Masked Paradigms

No. 3 - Year 10 - 06/2020

University of Zadar | ISSN 1847-7755 | SIC.JOURNAL.CONTACT@GMAIL.COM

Editorial

The new issue of [sic] is upon us. And it is special, not only because it was done under strange circumstances of the ongoing COVID-19 pandemic, lockdowns, hand sanitizers and distancing, physical, and also, oddly, social… this issue is special because, just like all of us, it wears a mask, a mask that is not only meant to protects us and all those around us – and not allow us to let go, to forget what is important and what is it we set to do – but that also hides an important date in the lives of all of us at [sic] – our 10th anniversary....

Literature and Culture
Adriana Barešić, University of Zadar, Croatia:

The Fire This Time, written and edited by Jesmyn Ward, is a collection of various essays, poems, and stories. It is written by different authors who describe their experiences of being black in America. The title of the book is a reference to James Baldwin's work The Fire Next Time, published about fifty years prior to this book, since it discusses the same themes of race and identity but in a more contemporary context and through voices of various authors.The authors wrote the book in relation to all the historical events that led to the current position of black people in America while also describing their own experiences and reactions to the more contemporary events of police brutality and the Black Lives Matter movement. As Jasmyn Ward states in her introduction: “… the past is in the present, how heavily the past bears on the future; we cannot talk about black lives mattering without reckoning with the very foundation of this country,” (9) so have these essayists and poets reflec...

DOI: 10.15291/sic/3.10.lc.7
Literature and Culture
Danijela Lugarić Vukas, University of Zagreb, Croatia:

The paper develops in a specific reading strategy of appropriation of Danilo Kiš’s story Slavno je za otadžbinu mreti in Péter Esterházy’s literary opus (first in the story Mily dicső a hazáért halni, published in Hungarian in 1986 with changes due to aspects of the text that are necessarily changed in translation, then in his Introduction to Literature and Celestial Harmonies), in order to offer possible answers to the following questions: What is the role of (in-)translation in the study of literature? What does the metaphor of elliptical refraction (Damrosch) mean as “the most convenient” description for world literature? If the stories of Kiš and Esterházy are the same, but written in different languages and received in different cultural, historical, and social contexts, can we refer to it as one literary work? If the author is different – is the literary work only seemingly the same? Who, in fact, is the author – if Esterházy read and used Kiš's story in translation? How does thi...

DOI: 10.15291/sic/3.10.lc.1
Literary Translation
Janko Jesenský and Luka Huzjak:

Vladimir Štilec, urednik mjesnih novina Glas ljudi, sjedio je u svojoj radnoj sobi. Jedno golo stopalo zavukao je pod sebe, a na drugom, također bez čarapa, ljuljala se crvena papuča. Na sebi je imao košulju. Rukave je zasukao, a košulju otkopčao tako da mu se vide prsa. Na spuštene žaluzine žarilo je poslijepodnevno sunce, a prostorija je bila zagušljiva od neuobičajene sparine. Kroz otvorena vrata s dvorišta na kojem su kriještala djeca dopirala je svjetlost.Rukama je podbočio glavu, češkao raščupanu kosu i čitao posljednje izdanje svojih novina. Očito mu se sviđalo, jer se smijao. Ponekad bi podignuo glavu, izdahnuo i pogledao kroz otvorena vrata kad bi mu dječja vika privukla pozornost.Djeca su izmislila čudnovatu igru. Jedno je dijete zakukurikalo, a drugo na to odgovorilo: „Turčin.” Na to su se sva djeca smijala. Kukuriku. Turčin. Smijeh. Jednom je dijete umjesto Turčin izgovorilo Mađar. Onda se djeca nisu smijala. Smisao zabave bio je da se moraju smijati Turčinu, ne Mađaru, a t...

DOI: 10.15291/sic/3.10.lt.3
East-West -- Russia, or the USA as a Metaphor
Mihail Èpštejn, Marija Bakula, Mane Boca and Paula Čivrak:

Članak je zadržan u integralnom obliku i odstupa od standardnog načina citiranja i navođenja izvora koji se primjenjuje u [sic]-u.Dugo su se ruska i američka kultura percipirale kao potpuno suprotne, građene na proturječnim idejama: kolektivizmu i individualizmu, jednakosti i slobodi, na pojmovima komunalnost i „privacy”. Kako bismo se razumjeli, potrebno je primijetiti isti oksimoron u samom izrazu „rusko-američka kultura”, kao i u izrazu „crna ovca”. Mi se, ruski Amerikanci, nalazimo „na kraju perspektive koja iščezava”, u točki konvergencije suprotnosti i dužni smo ih iznova razrješavati sami u sebi, u svojem iskustvu i stvaralaštvu. Magnetno polje rusko-američke kulture nabijeno je svim onim intelektualnim i emocionalnim proturječjima koja su donedavno spomenute kulture činile neprijateljima i suparnicima.Dakle to je, prema svojem potencijalu, zapravo velika kultura koja ne pripada u potpunosti ni američkoj, a ni ruskoj tradiciji, već nekoj fantastičnoj kulturi budućnosti, onoj Ame...

DOI: 10.15291/sic/3.10.ewrs.2
Literary Translation
Ken Liu and Maja Zidarević:

Svijet je oblikovan poput kanjija koji označava „kišobran”, samo je tako loše prikazan, kad ga ja napišem, da su svi dijelovi neproporcionalni.Moj bi se otac sramio dječačkog načina na koji još oblikujem znakove. Zaista, mnoge od njih jedva se sjećam napisati. Moje je formalno obrazovanje u Japanu prekinuto kad sam imao samo osam godina.No za ovu svrhu poslužit će i ovaj loše nacrtan znak.Natkrovlje na vrhu solarno je jedro. Čak i taj izobličeni kanji može tek donekle prikazati koliko je golemo. Rotirajući disk, sto puta tanji od rižinog papira, širi se tisućama kilometara u svemir poput golema zmaja koji želi uhvatiti svaki foton koji naiđe. Doslovno prekriva nebo.Ispod njega visi sto kilometara dugačak konop od ugljičnih nanocijevi: čvrst, lagan i rastezljiv. Na kraju konopa visi srce Hopefula: putnički modul, petsto metara visok cilindar u kojem se nalazi svaki od 1021 stanovnika svijeta.Sunčeva svjetlost udara o jedro gurajući nas u spiralnu orbitu koja se vječno širi, vječno ubrza...

DOI: 10.15291/sic/3.10.lt.5
Literature and Culture
Ljubica Matek and Zvonimir Prtenjača:

The American Western is imbued with a particular elasticity, which allowed it to stay relevant for decades. One of the recent developments in the genre seems to be its focus on the aging frontiersman – a hero past its prime. A faithful adaptation of Cormac McCarthy’s 2005 novel, the Coen brothers’ eponymous film No Country for Old Men (2007), departs from the traditional Western by outlining an aging lawman, Sheriff Ed Tom Bell, struggling to live up to his role. Similarly, James Mangold’s Logan (2017) forces the titular pop-cultural superhero icon to endure the deconstruction of its archetypal alter ego, the Wolverine. The underlying themes of the two films intersect, representing their aging protagonists both as evocations of their own previous, abler selves, and as elderly frontiersmen in a world with hardly any space for aged (super)heroes. Their fluctuating identities challenge the traditional, idealistic representations of patriarchal Western heroes by introducing a more realisti...

DOI: 10.15291/sic/3.10.lc.2