Altered States

No. 1 - Year 8 - 12/2017

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

Editorial

Non-thematic issues always represent a challenge, mostly premised on defining and constructing a subtle thread that would, at least apparently, unify all of the numerous submitted papers, thoughts and opinions about a variety of different subjects. Sometimes the final product, the metaphoric body of our journal, is a harmonious and perhaps even optimistic reading of cultural, social and literary phenomena, while on some other occasions the projected and articulated themes and ideas tend to be a bit harsher, stronger and more explicit in their nature. Such is the issue in front of you; in spite of the cheerful and celebratory time of the year, the segment dedicated to culture and literature is defined by the somewhat gloomy overtones of the presented ideas, merging silently with the foreboding shadows and the unfriendly figure insidiously dominating our cover. However, the articulated themes and analyses, while inclined toward the darker states and altered perceptions of reality, still form a rich tapestry of research and scrutiny, actively and significantly contributing to contemporary debates on the subjects at hand....

Literary Translation
Mesándel Virtusio Arguelles and Kristine Ong Muslim:

12when traveling to Saint Isidore3behead the enemy without faltering4his offspringeven in his divinity5The witches convenethe over fifty-inch distance across67where only the eyes can be seen8to isolation at Quinta del Sordoand perhaps, with the precious Leocadia9The shadows could not leave him10that created the fourteen picturesWhat the paintbrushes insisted onfrom everyone11from the same book appears not to have time1213The hands were tiedClotho, Lachesis, Atropos14

DOI: 10.15291/sic/1.8.lt.2
Literary Translation
Guillermo Martínez and Matija Janeš:

Jutro je i muškarac u plavoj kućnoj haljini, kojega sada svi zovu Starac, skoro je sat vremena proveo uz kaveze hraneći kuniće. Iziđe u vrt, gdje se njegova supruga upravo brine o biljkama, i sagne se pokraj nje, pred svježe presađeni kaktus. Čuperak ravne i sive kose padne mu preko naočala. Prsti su mu prljavi te ga nevoljko pokuša ukloniti nadlanicom, ali čuperak iznova padne. Trebat ću posjetiti frizera, kaže, i neko vrijeme razgovaraju o tome. Oboje se slažu da je opasno izlaziti. Nisu prošla ni tri mjeseca od napada na kuću, i još uvijek su vidljive, na ciglenim zidovima spavaće sobe i na blindiranim kapcima na prozorima, lepeze rupa što su ih ostavili meci. Organizacija, čak i raštrkana, uspjela je u međuvremenu prikupiti novac da se vila osigura. Podignut je vanjski zid, izgrađeno sklonište s krovom od armiranog betona, drvena dvorišna vrata zamijenjena su čeličnima s alarmom, podignuta su tri nova tornjića za nadgledanje okolnih ulica. Štoviše, između tornjeva razvukli su bodlj...

DOI: 10.15291/sic/1.8.lt.5
Literature and Culture
Ana Fazekaš, University of Zagreb, Croatia:

Rape is a crime so close and personal, a trauma so individual, yet an experience so grotesquely impersonal, collective and inherent in our culture that it has a distinct place in the artistic practice of many feminist authors fighting for a voice where the cry had been muffled, refusing to be reframed into another masculinist fantasy of violence. Resistance through performance art as a mode of expression, its power and limitations, is what this article attempts to approach and start to untangle. When it comes to the artistic mode that prides itself most on its closeness to life and body – when there is pain, the pain is real – this paper aims to answer the following questions: how does one approach a violent invasion of a person’s body and self in a culture that perpetuates the mass psychology of rape (Brownmiller), and what can it mean to those who stand by and watch? Keywords: rape, feminism, performance art, autobiography, representation, representability, pain

DOI: 10.15291/sic/1.8.lc.1
Literature and Culture
Tamara Jevrić, Priština University in Kosovska Mitrovica, Kosovo:

Frequent lexical patterns can explain how language, society and culture interact. In this paper, we analyze the most frequent adjectival collocates which precede lemmas WOMAN and MAN, by searching the node words woman, women, man and men in the British National Corpus (BNC) using the statistical procedure list. The primary postulate is that frequent collocational patterns reveal common societal and cultural concepts. The research is based on Sinclair’s theory about how frequency points to what is typical and central in a language (17). Furthermore, Stubbs’s understanding of a community’s value system being built up and maintained by the recurrent use of particular phrasings in texts (Words and Phrases 166) is explored through the repetition of lexical patterns in the corpus, thus exposing dominant cultural models. Keywords: WOMAN, MAN, BNC, frequency, collocates, language, society, cultureMichael Stubbs’s principle that “language in use transmits the culture,” by which he provides his ...

DOI: 10.15291/sic/1.8.lc.2
Catalan Poetry Translation Workshop
Maria Cabrera i Callís and Grupa prevoditelja:

Sjedili smo na kamenoj klupi šivajući pretpostavke: sad lančić istina sad lančić laži, mogućnost da se međusobno razumijemo i euharistijsku tajnu puti što je tvoja kad mi se udaljuješ. To nam je postalo pukim pitanjem perspektive, bol. Kretali smo se oprezno kao ptica dvojbe, motrilo nas je opčinjavajuće oko samostrela. Više nismo shvaćali, samo smo ponavljali imena geparda, isijavanja brazgotine srčanih klijetki i dosadni krmelj glagola: istančani šav kože što nas dijeli od kamenja. Prožvakali smo gustu tišinu poput sjećanja na jutarnju maglu djetinjstva; odlazio si polako poput stada ovaca u smjeru vode i postao si šuma. Od tolike šutnje naučili smo govoriti ludilom praznine, i smisao nam je postao puka školska navada: ljubaznost ruku, s vremena na vrijeme, da bi se prebrisala divljačnost rase. Tako nestaje vrsta, vid naše janjeće ljubavi. Bila je to grčevita borba da se zaustave strojevi, da se razumijemo, govor kosilica i amfora teška trbuhu što preko oka nam usisava svu svjetlost ...

DOI: 10.15291/sic/1.8.cptw.2
Catalan Poetry Translation Workshop
Jaume Coll Mariné and Grupa prevoditelja:

i tako čitava života.(Boscalt)Misaelu AlermuU cik zore, kada se prođu Sobrebosc i Teieda, vidi se kako izlazi tekst, sjajan i velikih ruku, koji crtamo ili pišemo, koji hoda i vidi nas gdje dolazimo.No, kada se smrači, diže se i sve nam obavije; i kreće se među stablima, ne bi li mu pokazao puteve i mjesta na kojima se krije.Víctoru SunyoluMost je, ili ne, tek prijelaz, da, prijelaz, koji postavljaš jer želiš preko rijeke, pa uzimaš trupce i brezovu koru i nešto kamenja i odjednom to više nisu trupci ni brezova kora ni kamenje: to je most, ili ne, tek prijelaz, da, prijelaz.Postavio si ga da bio prešao preko i da zatim padne; no ispada da si prešao rijeku i da si na istoj strani kao i prije pa sad tražiš još trupaca i breza i kamenja…[FRAGMENT]Joanu Ferreru GracijiKada spusti se Noć, stvari se približavaju i nalikuju jedna drugoj; no, kada svane Dan, malo pomalo, nalikujući jedna drugoj, odvajaju se, kao stabla od zemlje ili riječi od tijela.Za Mariliin Vassenin

DOI: 10.15291/sic/1.8.cptw.4