Rides of Insight

No. 1 - Year 14 - 12/2023

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


By aiming to provide different aspects of insight, the following issue of [sic] presents diverse topics and approaches that provide “something more” in acknowledging various aspects of literary and film art....

Literary Translation
Jurica Pavičić, Katarina Reljić and Antonija Primorac:

Bašić called him early that morning, just after seven.It was an autumn Saturday, lead-grey light seeped in through the shutters, and Niko was idling in bed, troubled by sleeplessness, observing Maja’s body move in tune with her breathing under the duvet. He was watching the light conquer the corners of the room when the ringing of the telephone broke the silence. He dragged himself over to the device and heard a raspy, elderly baritone from the other side. “Bašić speaking.”He didn’t immediately work out who he was talking to. He stood in the hallway, barefoot, telephone in hand, sifting through his memory, hoping to connect the name he’d just heard to a voice and a face. “Bašić, your former neighbour,” the man on the other side added, as if he’d realized what was going on. “Apologies for calling so early, but I think you should come over to Sts. Cyril and Methodius Street.” In that moment, Niko connected the voice coming from the receiver with a face which surfaced from the past. He kn...

DOI: 10.15291/sic/1.14.lt.6
Literary Translation
Tasos Leivaditis and N. N. Trakakis:

The room was pitch-dark, seemingly nonexistent, as he opened his eyes. Not even a trace of the dawn had yet made its way through the louvres. ‘That’s weird, for I got up so early,’ he thought. The entire right side of his body had gone numb, especially his arm, which appeared paralysed. ‘See, that’s what I get when I lie on my right side.’ He was always afraid of sleeping on the side of his heart, in case something happened and he never woke up again. And he liked thinking, in a somewhat smug way it must be said, about his desire to experience his own death. ‘There’s nothing more humiliating than to die while asleep,’ he had once written in a diary that he kept. ‘Kept’, in a manner of speaking, for the diary was a battered, 100-page exercise book which he remembered three or four times a year, and then he’d take the opportunity to put down on paper some of the thoughts that occasionally crossed his mind.The numbness had in some measure diminished. But what really sickened him lay in hi...

DOI: 10.15291/sic/1.14.lt.5
Literary Translation
Vida Sever and Anja Glavinić:

the family hair
spills over lunch
after we’ve become
weak and thin

my hair ends up in the plate
and pretends to be drowning
I silence it
with shyness behind my ear

the teeth are the answer
to the childish carelessness
when I splash water on the hair
bound around my waist
barely pulling out my hands
I offer them the remaining drops

DOI: 10.15291/sic/1.14.lt.3
Literary Translation
T. Coraghessan Boyle and Lucija Grabovac:

Pritisnula je kvaku. Vrata su bila otključana. Ušla je.Trenutak je bio slojevit i zamršen, gotovo kao bajka, ali gdje su bila tri medvjeda? Bili su gore, lajali. Zar medvjedi laju? Ne, ali psi laju, i o tome se tu radilo, psi su lajali i grebli svojim sjajnim crnim noktima – kandžama? – po zatvorenim vratima na vrhu stepeništa, koje je bilo tapecirano i prekriveno blagim, poznatim sjenama raznih predmeta u prigušenom svjetlu lampe iza kauča koji se nalazio samo par metara od nje. Na kauču su bili jastuci, cijela flotila jastuka, i dvije fotelje s oba krila, stolić, police za knjige, crna mrcina od TV-a postavljena na zid nasuprot nje. Kad se pomaknula, a pomaknula se samo koračić ili dva u sobu – šuljala se, to je radila, šuljala se – u ekranu TV-a pojavio se njezin odraz, previše nejasan da bi ga se moglo razaznati.Neki se glas možda čuo iz sobe na vrhu stepenica – „Cameron, jesi to ti? Halo? Ima li koga?” – ali izgubio se u lavežu, uostalom, nije se mogao odnositi na nju, jer ona se ...

DOI: 10.15291/sic/1.14.lt.4
Literature and Culture
Vesna Ukić Košta, University of Zadar, Croatia:

In the novels published in the course of the nineties, Every Light in the House Burnin’ (1994), Never Far from Nowhere (1996), and Fruit of the Lemon (1999), Andrea Levy (1956–2019), a British writer of Jamaican origin, focuses on the experiences of British-born daughters of first-generation Caribbean immigrants in Britain. This paper will examine how Levy’s young protagonists struggle to come to terms with their highly hybridized identities, which resist reductive racial categories of ‘white’ and ‘black.’ Experiencing racial bias on the one hand and confronting silences about their Jamaican heritage on the other, Levy’s protagonists often find themselves in liminal spaces and are constantly compelled to negotiate private (Jamaican) and more public (British) spheres of existence.Keywords: Andrea Levy, Stuart Hall, womanhood, British, hybridity, identityIn Jackie Kay’s 1984 poem “So You Think I Am a Mule,” the lyric speaker is an unapologetic mixed-race woman. She responds very assertiv...

DOI: 10.15291/sic/1.14.lc.2
Literature and Culture
Mario Vrbančić, University of Zadar, Croatia:

In this paper, I investigate the 'creatureliness' of film, questioning whether we can perceive film as a process of witnessing history. Is there trust in the cinematic image as a document, and what role does film play in memory and history? Responding to these questions, inspired by Eric Santner's concept of political theology and sovereignty, as well as Laura Mulvey's concept of death in 24 frames per second, I analyze W.G. Sebald's novel Austerlitz. In the novel, the protagonist attempts to fathom a traumatic past through slow-motion, raising inquiries about the possibility of redemption through the cinematic image. I also write about what escapes the field of visibility in both the twentieth and twenty-first centuries.Keywords: political theology of film, sovereignty and temporality of film, 'creatureliness' of filmic lifeJedna od najdužih i najtežih polemika o povijesti i filmu u dvadesetom stoljeću ticala se Shoah (holokausta): je li film „kriv” jer nije dokumentirao genocid, da l...

DOI: 10.15291/sic/1.14.lc.4