The Zone and Zones - Radical Spatiality in our Times

Broj 2 - Godina 2 - 06/2012

Uvodnik

The long-expected fourth issue of [sic] – a Journal of Literature, Culture and Literary Translation offers a selection of papers presented at the second international conference entitled Re-Thinking Humanities and Social Sciences and held at the University of Zadar in September 2011. The conference topic, The Zone and Zones - Radical Spatiality in our Times, proved to have been intellectually enticing to almost one hundred scholars who managed to create a radical space of their own. Immersed into the zone of Croatian seaside filled with the aroma of pine trees and the Adriatic Sea, the zone of leisure rather than work, they managed to create an intellectual heterotopia by discussing the multilayered meanings of space. ..

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Izdvojeno

Netko je u dvorištu, pomisli Anne. Njišu se grane cedra. Ptice se razbježe prhnuvši s hranilica. Bježe kardinali, plave šojke i domaći vrapci i kroz veliki prozor dnevne sobe bacaju svoje sjene. Tamni obrisi njihovih krila kratko se zadržavaju na baršunastom prekrivaču na Anninim nogama. Ona pritišće dugme s jedne strane svog bolničkog kreveta, a gornji dio naprave počinje zujati i dizati se sve dok se Anne ne uspravi. Krevet joj je kupio sin u trgovini medicinskom opremom i smjestio ga ispred prozora u dnevnoj sobi, tako da može promatrati svoje ptice na hranilicama. Pritisak dugmeta izaziva joj bol duboko u kostima ruke. Tablete koje svaki dan uzima ne pomažu. Zbog njih Anne se osjeća omamljeno i odvojeno od vlastitog tijela, ali lijek sprečava da bol postane nepodnošljiva. Kako napreduje njezin artritis, tako se i bol širi i postaje sve jača. Čini se da sada dolazi iz same moždine, kao da se ona žuta spužvasta tvar iznutra suši i pretvara u prašinu poput starog spužvastog jastuka. Anne pogledom prati mladića koji se najednom pojavi i probija kroz nasade cedra i kupine koje okružuju kuću. Šilterica maskirnih boja, štrkljaste noge u trapericama, radne čizme. Nosi pušku zataknutu pod ruku. Zapinje za grančicu kupine, spotiče se i udara glavom u jednu od hranilica. Po ramenima mu padaju sjemenke. Psuje. Klinac, zapravo, pomisli Anne. U ranim dvadesetim, rekla bi. Čelo mu je izbrazdano ožiljcima od akni. Dugačak pramen kose, nešto poput repa štakora, raste mu na zatiljku. Opako izgleda. Podsjeća Anne na njezina sina iz njegovih najluđih godina, na njegove prijatelje odmetnike s kojima je ponekad bježao od kuće. Divlje i agresivne. Pogledava telefon na stolu pokraj kreveta, razmišlja o tome da porazgovara sa šerifom ili da nazove sina u banku u Mason. Stid ju je što se boji mladića kojemu je prije nekoliko godina mogla ponuditi komad pite, ali sada je onemoćala zbog artritisa. Umjerena oduzetost, kaže njezin liječnik. Potpuna će stići naknadno. ...

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The cartographer’s dream is that of a perfect map: a map that perfectly represents a territory, a dream of Divine knowledge; a map that has haunted the ideology of representation throughout history; a map so detailed that it coincides with real space. In a short parable, ‘Museum, on Exactitude in Science’, Borges describes the mysterious gild of cartographers which charts such a map. Although Borges’ narrative finishes with a nostalgic conclusion about a superfluous and forgotten discipline, the cartographer’s dream of a perfect map has never ceased: it has merely varied throughout history. For medieval cartographers the perfect map included the physical cosmos and the spiritual one. In Dante’s time the European ‘mappa mundi’ depicted one single landmass, the Northern Hemisphere, with Jerusalem in the middle and the world is variously shown as dominated or held by God. In the Psalter mappa mundi, which is surmounted by an illustration of the Last Judgement, God holds a little dark red ball, the size of a golf ball – the world. Its size reminds us of the world’s shrinkage due to the advancing technology of transport and communications of the 20th century. Borges’ mystical Aleph on the other hand contains the whole cosmos within its confines (no bigger than the globe held by God on the Hereford map). In a sense the Aleph is a goal of cartography, its theology. Instead of God’s gaze into the unknown distance (as on the Hereford map), Renaissance cartographers imagined the Ptolemaic human gaze looking down on the Earth. The cartographer’s ‘organ of sight’ began to shift from the inner eye of the soul to the physical eye of the body: the idea of the globe as a whole observed by a ‘roving human eye’ is connected to the Renaissance idea of perspectivism. In many respects Renaissance concepts of space laid the foundations for the Enlightenment project. Maps were stripped of spiritual space, of their angels and their monsters; cartographers were involved in the production of abstract and functional systems based on mathematically rigorous depiction. By conceiving space as abstract, homogenous and universal, perspectivism and mathematical mapping enabled the era of great discoveries and colonization. Since then, the world has become more and more enmeshed in different maps, in different spaces, including that without volume, a new immaterial space of digital being. By constantly increasing digital connections of one site with thousands of others, cyberspace branches out in many directions at once, creating a labyrinthine web. Its expansion parallels the latest theory of cosmology, of an ‘inflationary’ period, during which the whole cosmos swelled from a microscopic point smaller than a proton to the size of a grapefruit in a fraction of a second. Paradoxically, we live in an ambiguous spatial construction: on one hand there seems to be a perfect map of the Empire that covers the territory (modern science masters both micro and macro worlds ever more precisely); on the other hand social theory reflects an overwhelming disorientation and confusion, characteristics of an existence within ‘the ruins of the Map’. However, both premises of Borges’ parable appear to be confusing. The map that covers the territory would confuse a traveller: does one navigate the actual or the virtual? Is the perfect map that would be a substitute for reality possible? Do we live in the ‘Tattered Ruins of that Map’? Maybe the map does not mirror the real, but precedes the territory and opens new, as yet undiscovered spaces. Or, better still, we should invent new maps. Borges’ parable teems with many readings describing postmodern cartography’s attempt to map the territory, or reality, and at the same time show the impossibility of such an endeavour. ...

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It is time to radically rethink the question of the political – is how contemporary theorist Enrique Dussel explained the motive to write his Twenty (20) Theses on Politics [20 Tesis de política], almost six years ago. In one of his theses he stated that the radical transmutation of the political system is actually a “response to new interventions by the oppressed and excluded” (Dussel 112), or in other words, that it relies on other spaces and impulses of the political, namely on those which are dedicated to engaging in critical, that is, liberating actions. A year ago, in a joint public conversation between two leading feminist theorists – Judith Butler and Gayatri Chakravorty Spivak – organized by the Centre for Postcolonial Theory in Frankfurt in May 2011 and devoted to critique today, the main meaning of critique was expressed neither as a method nor as a theoretical position, rather as its potency to explore “how it may be possible to think”; namely, the way “in which we pose the question of the limits of our most sure ways of knowing, doing and thinking” (Judith Butler & Gayatri Chakravorty Spivak 2011) is what constitutes a sense of critique, what makes it workable. ...

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Pjesništvo Susanne Jorn intimno je s mnogo kratkih pjesama koje često izražavaju osjećaje, atmosferu i dojmove. Tu su osobna viđenja prirode i ljudi, doživljena, mogli bismo reći, na slikarski način. Boje su gotovo redoviti sastavni dio tih doživljaja i kao na slikama, stvaraju dramatičnu ili smirenu atmosferu. One su izraz prirode koja okružuje pjesnikinju, ali su i izraz osjećaja i duševnih stanja. To se jasno pokazuje u zbirci Ne sada već sad, čiji je okvir paleta plavih boja. Druga scena njezine poezije sličice su iz japanskog života i japanske umjetnosti i pjesništva, koje mnogo puta prenosi u svoju dansku okolinu. U zbirci Ne sada već sad mnoge su pjesme prizori iz Danske ili Tokija, ali i drugih krajeva svijeta gdje je boravila. Ipak, njezino je pjesništvo prije svega vezano uz nordijsko nebo, zemlju i kulturu te sjećanja na oca (poznatog danskog likovnog umjetnika Asgera Jorna, koji je u svojim djelima spajao različite vrste umjetnosti. Asger Jorn bio je član poznate transnacionalne udruge CoBrA, koja je djelovala početkom 1950-ih godina). U mnoge se pjesme određenih osjećaja i ozračja skladno uklapaju i japanski i danski krajolici te japanski i, ako tako možemo reći, nordijski pjesnički izraz. Unatoč vrlo intimnoj poeziji, kao i većina skandinavskih pjesnika i pjesnikinja, Susanne Jorn osjetljiva je na sudbu današnjeg čovjeka bilo gdje u svijetu i ona nalazi značajno mjesto u njezinu pjesništvu....

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