Multiple Exposure

Broj 2 - Godina 8 - 06/2018

Uvodnik

This issue of [sic] plays with the technique of multiple exposure, which we borrow from photography. In a similar way that the superimposition of several exposures creates a single and unique image, so all the articles here presented individually deal with different overlapping concepts, which produce distinctive images, texts, and readings. Thus, for example, superimposing Nigerian traditional practices on Shakespeare’s themes creates a unique phenomenon in modern Nigerian theater; similarly, Christmas customs in Croatia, overlapping the fantasy of J.R.R. Tolkien, form a particular product intended for the child reader. Additionally, this [sic] also engages in a game of meaning, working around the polysemy of the word exposure. To this effect, the presented selection of articles deals with exposure as appearance in various (multiple) digital sources, the exposure of the viewers to multifarious effects cinema can have, or the exposure (revelation) of the ideas underlying the translation process. ..

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Izdvojeno

Samuel Beckett zapamćen je kao književnik koji je bio prilično rezerviran u odnosima s medijima. Pomno je čuvao svoju privatnost, rijetko javno nastupao te davao intervjue i izjave za medije. Njegova nam pisma, objavljena u četiri sveska u razdoblju između 2009. i 2016. godine u izdanju Cambridge University Pressa, stoga otkrivaju posve nepoznato lice književnika koji je korespondirao s izrazito velikim brojem osoba tijekom života. U arhivima i privatnim kolekcijama nađeno je oko 20 000 pisama koja u potpunosti mijenjaju sliku Becketta kao pustinjaka. Pisma otkrivaju da je Beckett bio iznimno dobro povezan s poslijeratnim umjetničkim svijetom te u redovitom kontaktu s nizom bliskih osoba, poznanika i poslovnih suradnika, posebice u trenucima kad se zbog stvaralaštva povlačio u izolaciju.Samuel Beckett četiri je godine prije smrti, 1985. godine, odobrio posthumno izdavanje svojih pisama. Zadatak je povjerio Marthi Dow Fehsenfeld, koja je potom zamolila Lois More Overbeck (Emory University) da joj asistira na tom opsežnom projektu. Uredničkoj su se ekipi ubrzo priključili George Craig (Sveučilište u Sussexu, prevoditelj) i Dan Gunn (profesor komparativne književnosti i engleskoga na Američkom sveučilištu u Parizu). Od početka rada na projektu naslovljenom „Korespondencija Samuela Becketta“ do objave prvog sveska pisama 2009. godine prošao je niz godina, zbog različitih prepreka s kojima su se urednici suočili. Među njima su bili rješavanje pitanja autorskih prava, činjenica da je Beckett urednike zamolio da osobno obiđu sve njegove (živuće) korespondente i upoznaju ih, obim korpusa i pitanje selekcije pisama za objavu te naposljetku, nečitljivost Beckettova rukopisa (zbog katarakte), što je dodatno otežalo transkripciju. Plod višegodišnjeg rada četiri su sveska odabranih, no ne i sabranih, pisama Samuela Becketta. U objavljeni korpus uvrštena su pisma koja je Samuel Beckett napisao u razdoblju između 1929. i 1989. godine, i to isključivo ona koja se izravno tiču njegova književnog stvaralaštva i nude informacije o stvaralačkim procesima. Beckett je izričito zabranio objavu pisama u kojima se spominju pitanja privatne naravi, tuđe nevolje ili se iznosi nečije „prljavo rublje“. ...

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During the 1950s, West German cinemas screened approximately 600 war films, nearly ten percent of the domestic production. Faulting these features for their avoidance of significant issues such as the causes of World War II, the Holocaust, or the Wehrmacht’s misdeeds and atrocities, previous commentators have in the main focused on the failure of these films to engage the past in a thoroughgoing manner. As a response to this criticism, my essay will show how Frank Wisbar’s Dogs, Do You Want to Live Forever? (1959), a feature film about the Battle of Stalingrad, provides a conversion narrative that corresponds to the needs of the Adenauer era. As this film looks back to its past, it simultaneously looks forward and promotes the values of a new and emerging democracy.Keywords: Battle of Stalingrad, war films, Adenauer era, 1950s West German Cinema, World War IIWest German war films of the 1950s attempted to negotiate a problematic past through a variety of narratives. Alfred Weidenmann’s The Star of Africa (1957), for instance, revisited the exploits of flying ace Jochen Marseille in the skies above North Africa, while Harald Reinl’s U47 Lieutenant Prien (1958) turned to the sea in its treatment of the famous submarine commander. Other military films like J.A. Hübler-Kahla’s Mikosch Arrives (1952) or Franz Peter Wirth’s Heroes (1958) avoided the time and setting of World War II altogether, opting for comic representations. But few films dealt more directly and explicitly with Germany’s failure than Frank Wisbar’s Dogs, Do You Want to Live Forever? (1959). Wisbar’s war movie focused on what many considered to be the turning point of the war, the Battle of Stalingrad. Following the experiences of the fictional Lieutenant Wisse in the middle of a real historical event, Wisbar’s film explores the questions of German responsibility for the tragic defeat. ...

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In his masterpiece Musashi (1935), the author Eiji Yoshikawa depicts the birth of an ingenious swordsman and his spiritual evolution towards the final awakening (satori). While constructing the character of Miyamoto Musashi, Yoshikawa uses the elements of Zen Buddhist philosophy and describes Musashi's progress on his way of enlightenment through a series of direct personal insights (kensho) that precede satori. The paper aims to discuss and analyze Musashi's use of different types of swords that metaphorically suggest his personal and spiritual transformation from an untamed and uncultivated person to his ultimate enlightenment. Initially, Musashi fights with a wooden sword (bokken), which symbolizes his animalistic, rampant nature. As he progresses on the way of enlightenment, Musashi embraces the steel sword (katana), though he still uses bokken at times. The struggle between his wild and civilized nature culminates at the moment of kensho, when he starts fighting with two steel swords, which represents a true evolution that elevates him to the level of the Nietzschean Übermensch. The final birth of Musashi as a Rinzaian “man of no rank” is the moment of his ultimate awakening, symbolically depicted when he again reaches for the wooden sword. This act unmasks his true Buddhist nature, thus suggesting Musashi's return to “oneself.” ...

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The paper analyzes the Croatian translation of a collection of J.R.R. Tolkien’s letters to his children – the posthumously published Father Christmas Letters (1976). Situated within the theoretical and methodological framework of descriptive translation studies, the paper will examine specific translation strategies and tactics utilized to make the text more comprehensible and accessible to the target (child) audience, thus demonstrating that the translator, Zlatko Crnković, is first and foremost translating for children. The analysis is focused on the level of content (with special emphasis on culture-specific items) and style. By examining one of Tolkien’s “minor” works and its translation into a “minor” language, the paper aims to address underscrutinized areas within Tolkien, translation, and children’s literature studies. Keywords: children’s literature, Father Christmas Letters, J.R.R. Tolkien, Pisma Djeda Božićnjaka, translation strategies...

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