Multiple Exposure

No. 2 - Year 8 - 06/2018



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.

The three articles grouped around the issues of philosophy expose man as a value, in the same way that a work of art is a value (Marko Vučetić), explore the extent of the exposure of Croatian philosophers in today’s digital world (Josip Ćirić and Maja Jadrešin), and analyze Eiji Yoshikawa’s Musashi in terms of its exposure to Zen Buddhist philosophy (Jasna Poljak Rehlicki and Hrvoje Lepeduš). The second group of articles deals with cinema and theater, elaborating how Ahmed Yerima’s collaboration with Shakespeare – at the same time our contemporary and a dead man – resulted in the creation of a unique play (Lekan Balogun), how a film by Frank Wisbar in the Adenauer era shed a different light on Hitler (Mark Gagnon), and how cinema may evoke the sense of touch and translate it to an audiovisual medium (Mario Vrbančić and Senka Božić-Vrbančić). Translation is also the focus of the last segment of [sic]’s Literature and Culture section, which treats a translated work as a specific product of the superimposition of interpretive traditions and the process of translation (Mohammad Ali Kharmandar) and provides analyses of two Croatian translations – of The Father Christmas Letters by J.R.R. Tolkien (Nada Kujundžić) and Faize Guene’s novel Kiffe kiffe demain (Mirna Sindičić Sabljo). Mirna Sindičić Sabljo closes the Literature and Culture section with a review of the four volumes of the letters of Samuel Beckett published by Cambridge University Press.

In the literary translation section seven great translations are superimposed – to continue with the photography metaphor – over seven great texts. The works of Carlos Fonseca (Costa Rica), Rosa Montero (Spain), Jan Carson (Northern Ireland), Norbert Gstrein (Austria), Carys Davies (Wales), Joao Paolo Cuenca (Brasil) and Téa Obreht (USA) get their Croatian exposures in the magnificent translations by their Croatian – should we call them (co)authors: Ela Varošanec, Lovro Sučić, Andrea Rožić, Davorka Ljubenkov, Lana Filipin, Petra Petrač and again Lana Filipin, respectively. Fonseca, Carson, Davies and Obreht participated in and presented their works at the 17th edition of the European Short Story Festival. This year the Festival was held in Zagreb and Rijeka and it gathered authors around the concept of heritage which, seen as a meeting or overlapping point of history and geography, nation and culture, sex and gender, worldview and language, family and religion, race and class, can be considered a prime example of superimposition of several exposures which create a single and unique image. Interestingly, Montero and Cuenca participated in previous editions of the same Festival and the translations of their stories were previously published in our magazine so it is nice to see them visit our pages again, intertwining with some new names, in some new multiple exposures.

Tijana Parezanović and Ana Stanić