Art and Subversion

No. 1 - Year 3 - 12/2012

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

Editorial

When discussing art, regardless of its form, expression, context, genre or any other classifying or defining feature, one of the key issues that constantly emerges as a thing of relevance is its connection to real life, its meaning to our everyday existence, together with its impact on historical, current, and sometimes even future social and cultural aspects of our lives. Within this context the idea of subversion comes to art almost naturally. By constantly reinventing itself, by expanding various social boundaries, which are in fact self-imposed limitations, art (un)successfully subverts everything that stands in its path, creating different approaches to established routines and perceptions, or even completely breaking down all of the traditional notions surrounding a particular segment or phenomena present in society....

Literature and Culture
Iva Šarić, independent researcher, Croatia:

Recepcija romana Les Champs d'honneur (1990.) Jeana Rouauda redovito se svodi na isticanje dviju njegovih komponenata: autobiografske i povijesne. Naime, u romanu je riječ o osobnoj i obiteljskoj priči, odnosno nedaćama koje su zatekle jednu skromnu obitelj iz francuske provincije 60-ih godina 20. stoljeća, ali i o zbivanjima iz Prvog svjetskog rata koja su toj priči prethodila. Tomu da romaneskni diskurs vuče na autobiografski pridonijela je usporedba, odnosno analogije iz života autora, Jeana Rouauda, s događajima iz romana, ali i brojne autorove paratekstualne napomene u drugim njegovim djelima gdje on te analogije dodatno naglašava i objašnjava. Riječ je, dakle, o samom po sebi kontradiktornom žanru autobiografskog romana s jedne strane te povijesnom romanu s druge, ako se, pak, takvim može nazvati roman čije se tek jedno jedino poglavlje izravno dotiče prave povijesne materije. Rouaud zapravo subverzira autobiografski i historiografski diskurs u romanu, a na trećoj razini tomu tre...

DOI: 10.15291/sic/1.3.lc.4
Literary Translation
Sergej Dovlatov and Petar Karavlah:

Kuja iz Ureda za vize rekla je: „Svaki emigrant ima pravo na tri kofera. Takva je norma. To su posebni propisi ministarstva.“Nije imalo smisla proturječiti. Ali ipak sam morao: „Samo tri kofera?! Što bih trebao sa stvarima?“„Na primjer?“„Na primjer, sa svojom zbirkom trkaćih auta?“„Prodajte je“, odsutno odgovori službenica. Zatim doda, lagano se namrštivši: „Ako nečim niste zadovoljni, podnesite žalbu.“„Zadovoljan sam.“Nakon zatvora bio sam svime zadovoljan.„Pa onda se i ponašajte tako.“Za tjedan dana već sam pakirao stvari. Ispostavilo se da mi je bio dovoljan jedan jedini kofer. Gotovo sam zaplakao od muke. Pa imao sam trideset i šest godina. Od toga sam osamnaest godina radio. Zaradio bih pa kupio nešto. Mislio sam da imam nekakvu imovinu. A na kraju – jedan kofer. I to prilično skromnih dimenzija. Ispada da sam siromah? Kako je do toga došlo?Knjige? Imao sam uglavnom zabranjene knjige. One nisu prolazile kroz carinu. Morao sam ih podijeliti poznanicima zajedno s takozvanim arhivom.

DOI: 10.15291/sic/1.3.lt.5
Literature and Culture
Sintija Čuljat, University of Rijeka, Croatia:

Probing the dramatic monologue mould of Robert Browning (1812-1899) has maintained a long tradition of portraying this poet as an experimenter and pursuer of the Victorian representation de-norming process. Browning’s narrative verse employs ambiguation through syntactic rendition of his dramatic personae who voice their minds beyond the restraints of dialogic turn-taking and divulge their impulses through verbal dominance. Browning’s bicentenary seems a most auspicious moment to creatively explore the tenacity of his discordant narrative vein in literary translation. Browning’s fixation on engendering a poetic form that would fully sustain the self-projecting techniques of his protagonists resulted in the employment of narrative verse whose dialogic nature is undermined and embedded in his creations’ monologues. The poet utilizes innuendoes which originate not only from the pool of poetic references but also from the syntactic realizations disclosing a disparity between the speakers’ ...

DOI: 10.15291/sic/1.3.lc.6
Literary Translation
Regina Rheda and Jelena Bulić:

Herofil je pobjegao iz Osnovne škole “Domingos Jorge Velho” i sakrio se u odvodu za kišu. Iz tame, tih kao kamen, gledao je automobil kako se naglo zaustavlja i kako iz njega iskaču jedni te isti ljudi. Utrčali su u školu i brzo izjurili noseći profesora Aristidesa kojim su nahranili automobil. Dok je rukama gurala učenike kroz vrata, zadihana je ravnateljica gledala kola hitne pomoći. Pospremite stvari i vratite se kući. Nastava je za danas otkazana. A zmija, gospođo Carminda? Svi kući, smjesta. Ja ću se pobrinuti za zmiju.Ravnateljica je pričekala da i posljednji učenik šestoga razreda ode i zatim uzela dvije tablete za smirenje. Policija bi se mogla svaki tren pojaviti i početi postavljati pitanja – gospođa Carminda trebala bi imati spremne odgovore. Policija ju je uvijek strašila. Jedan nesiguran odgovor, oklijevanje, nervozni drhtaj, i policija bi mogla osumnjičiti ravnateljicu i poslati je u zatvor zbog zločina koji nije ni počinila. O, bože, koraljna zmija slobodno tumara prosto...

DOI: 10.15291/sic/1.3.lt.4
Literature and Culture
Roxanne Barbara Doerr, University of Modena and Reggio Emilia, Italy:

Art has always held a very ambiguous position in human society: on the one hand it has been exploited for promotional use and revered as a stand in for the entity it represents; on the other hand however, its ability to question dogmatic authorities by appealing to an individual’s innermost instincts and thoughts has made it a threatening and seditious force to be reckoned with. As a result, numerous studies on the impact of art and visions on society, authority, and our perception of reality, have emerged and taken many forms of interdisciplinary inquiry (it is sufficient to think of movements such as “literature and the visual arts”, “culture studies”, “cross-cultural image studies” or “law and imagery”, to mention a few). As a confirmation of this, the subversive power of art, in the form of suppressed colours and controversial portraits, is at the heart of two of Tracy Chevalier’s works, The Virgin Blue (1997) and The Lady and the Unicorn (2003). In both novels the protagonists’ li...

DOI: 10.15291/SIC/1.3.LC.1
Literary Translation
Ana Fernández Guerra:

Literary texts display many linguistic peculiarities, as well as social and cultural aspects of our lives and, thus, we can assert that literary translation is one of the main ways of communication across cultures. Translating literary texts, however, is not an easy task, since it certainly poses many problems for the translator. One of the problems a translator can face arises from the fact that some words or phrases denoting objects, facts, phenomena, etc… are so deeply rooted in their source culture (SC) and so specific (and perhaps exclusive or unique) to the culture that produced them that they have no equivalent in the target culture (TC), be it because they are unknown, or because they are not yet codified in the target language (TL). When discussing the problems of correspondence in translation, “differences between cultures may cause more severe complications for the translator than do differences in language structure” (Nida 130). Moreover, several theorists, such as Santoyo,...

DOI: 10.15291/sic/1.3.lt.1