No. 1 - Year 6 - 12/2015

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


The point at which all the texts collected in this issue of [sic] converge is the contended problem of (non-)belonging to a certain physical or imaginary place, with the accompanying experience of being displaced, replaced, or misplaced. The anxiety of displacement creates an increasing need – now perhaps more visible in contemporary societies than ever before– to move beyond the existing boundaries and limitations in a perpetual search of a place of one’s own, or otherwise place the fragmented experience of life within some spatial framework. Various aspects of and approaches to the broad concept and forms of displacement(s) provide the basis for considerations of artistic, literary and social phenomena offered by [sic]’s authors. ...

Literature and Culture
Atila Lukić, University of Zadar, Croatia:

Disability studies has a history of distinguishing the “dichotomy” between the biological and the cultural identity of the body and the attempts to deal with this conflict. Identity is divided into two registers of knowledge: the corporeality of the body and cultural ideas about the normal body. In his former two books, Enforcing Normalcy: Disability, Deafness, and the Body (1995) and Bending over Backwards: Disability, Dismodernism & Other Difficult Positions (1995), Lenard Davis tries to locate these focal points of entanglement between the biological and cultural. In Enforcing Normalcy, Davis attempts to analyze the historical origin and instrumentalization of the concept of the normal body (2), whilst in Bending over Backwards, he introduces the critical concept of dismodernism – a way of rethinking postmodern concerns with identity and how these relate to disability studies (27-31). In his third book, The End of Normal: Identity in a Biocultural Era, Davis explores a wholly new av...

DOI: 10.15291/sic/1.6.lc.9
Literary Translation
Ramsey Campbell and Tanja Jurković:

Edgeworth je na televiziji gledao memoare o autobusnoj vožnji u Hitchcockovom uratku Sretni Jim kad je zazvonio telefon. Pauzirao je posebno kolekcionarsko izdanje Obiteljske zavjere i podigao stražnji dio naslonjača. Posegnuvši za slušalicom, primijetio je kako su kazaljke na satu zatrzale prema ponoći. „Halo?“ rekao je, pa za manje od sekunde ponovio: „Halo?“„Je li to gospodin Edgeworth?“Nije prepoznao ženin glas premda nije niti znao neku ženu koja bi ga imala razloga nazvati. „Pri telefonu“, rekao je.„Gospodin Eric Edgeworth?“„Još uvijek niste u krivu.“„Imate li par minuta, gospodine Edgeworth?“„Ne treba mi popravak kompjutora. Nisam imao nesreću na radu, niti bilo gdje drugdje. Ne kupujem ništa i neću vam reći gdje i što kupujem. Moji politički stavovi su moja stvar, kao i sve ostalo o čemu trenutačno razmišljam. Nisam nikad pobijedio na natjecanju, tako da se nemojte niti truditi tvrditi drugačije. Ne idem na godišnji u inozemstvo, tako da mi ne morate niti pokušavati prodati neš...

DOI: 10.15291/sic/1.6.lt.4
Literary Translation
Ivo Andrić and Jovanka Kalaba:

The boy was playing alone on a dusty road, not far from the big door of the courtyard of his house. On a day other than a market day or a holiday, the road would be peaceful, almost deserted, but the boy would always harbor a hidden hope that the road might produce something new, rare, and exciting. On that day the road brought nothing for quite a long time. At one moment the boy raised his eyes. High overhead he saw someone coming down the hill.The slopes of that unusually steep hill rose above the town almost perpendicularly, evoking in the boy’s mind the image of a school blackboard. The precipitous surface of the hill was streaked by a dusty white road that disappeared behind low, rocky and sparsely vegetated mounds with a well-trodden shortcut the color of clay stretching between them. High above on the hill the traveller emerged as a tiny figure whose clothes or age could not yet be discerned. The boy saw him disappear behind the rocky mounds and then appear again, coming out of ...

DOI: 10.15291/sic/1.6.lt.5
Literature and Culture
Kevin Drzakowski, University of Wisconsin-Stout, USA:

Tom Stoppard once famously proclaimed his guilt that art is unimportant. The character Moon from Stoppard’s early farce The Real Inspector Hound presents surprising evidence that Stoppard’s view of art in his early years as a playwright may have been more complex than he let on. The circumstances behind Moon’s journey into the very art he criticizes are not unlike Tom Stoppard’s foray into politically conscious drama. Moon desperately wants the thriller he is reviewing to mean more than it really does. His wish becomes a reality when a third party, Puckeridge, forcibly pulls Moon into the fantasy. Like Moon, Stoppard had a fantasy, a dream-world in which art has the power to enact social change. Stoppard was unwilling or unable to act on that desire alone, until his own Puckeridge, an artist and dissident named Victor Fainberg, compelled him to act on his dream and merge art with politics.Keywords: Stoppard, The Real Inspector Hound, Fainberg, art, politics

DOI: 10.15291/sic/1.6.lc.7
Literature and Culture
Katarina Žeravica, Sveučilište Josipa Jurja Strossmayera, Croatia:

Gwen Pharis Ringwood (1910–1984) is one of the most eminent Canadian playwrights of the 20th century. In her drama Drum Song: An Indian Trilogy which consists of three parts: Maya (Lament for Harmonica, 1959), The Stranger (1971) and The Furies (1981) the author implements her knowledge of First Nations’ traditions and customs. Moreover, it is “in the lives of the Indian tribes [that] Gwen Ringwood had found an elemental struggle for survival that has produced conflicts comparable with those of Greek tragedy” (Perkyns 330). Such conflicts and elements characteristic of Greek tragedy find their place in this trilogy as well. Therefore, the aim of the paper is to analyse those elements, examine their function, the way and form in which they are presented in the trilogy. Keywords: Canada, drama, First Nations, Gwen Ringwood, tradition, tragedy, trilogy

DOI: 10.15291/sic/1.6.lc.5
Literature and Culture
Yi-Lee Wong, Chinese University of Hong Kong, Hong Kong:

This article is about twelve middle-class students, previously studying in elite primary and secondary schools, making another attempt at getting into university in Hong Kong. Despite their failure at a critical educational stage, which contradicts a general pattern of middle-class educational success, they decide to seek a second chance by reading an associate degree in community college, a perceived inferior educational option. Despite feeling determined, they are anxious and uneasy with taking up this option. How the middle class feel about their academic pursuits, especially after a critical failure, is under-researched. This article attempts to fill this gap by referring to Bourdieu’s notions of habitus and field to make sense of the complex or contradictory feelings of 12 students with a self-conscious, high-status, middle-class habitus in encountering a perceived low-status community college. I shall conclude this article with the normative implication of our discussion in makin...

DOI: 10.15291/sic/1.6.lc.6