The Anatomy of Love

No. 2 - Year 7 - 06/2017

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

Editorial

In All About Love: New Visions, bell hooks observes that we are constantly exposed to messages telling us that the workings of love are mysterious and its agency unfathomable; that love is, in other words, only invaluable if it remains unexplained and unknowable. hooks argues that knowledge is a crucial element of love and that understanding its forces does not detract from its importance and value; on the contrary, it enriches the experience of love. More recently, Alain Badiou has in In Praise of Love similarly claimed that love is a ‘truth procedure,’ the kind of experience through which the truth about Two is constructed....

Literature and Culture
Ioana Unk, Babes-Bolyai University, Romania:

This article aims to give a psychological interpretation to Alain de Botton’s novels On Love and The Course of Love, doubling the philosophical take on love that runs in the background of the novels. Robert Sternberg’s triangular theory of love will be applied to de Botton’s two novels, in an attempt to reach an understanding of love by means of psychological deconstruction, following the dynamic of the three components of the love triangle: passion, intimacy and decision \ commitment. References will also be made to Sternberg’s complementary theories on love, i.e. the theory that conceptualizes love as a story and the theory of love as a socio-cultural artefact.Key words: love, psychology, triangular theory, love story, cultureAlain de Botton’s book On Love, presented to the readers as a novel telling the love story of Chloe and the narrator, is a full-circle account that unfolds between two plane flights: on the first flight, from Paris to London, the two future lovers are seated one...

DOI: 10.15291/sic/2.7.lc.2
Literary Translation
Ondjaki and Una Krizmanić Ožegović:

[...] opatica je žena, ali žena koju se ne vidi svaki dan. Muškarci je se ne mogu nauživati u svakodnevnom ophođenju, stoga je žele s još većim žarom, skrivena je, zakukuljena, odsječena od svijeta u samostanu, u zatvoru, u beskrajnom zdanju u kojem se iza svakih vrata skrivaju još jedna. Carlos Fuentes, Constancia i druge priče za djeviceBože, oprosti mi. Možeš razumjeti silnu mahnitost u mojim prstima, vulkansku i suspregnutu potrebu mojih usana, vrelinu, i, o moj Bože, miris. Mnoštvo mirisa, otporne dlačice, znoj, znoj, prosta ruka, neobuzdana, poremećena, gruba. Gruba ruka kreće se u rupi, u kaljuži mojega bića. Svjedok – noć: pozornica za nasuprotnosti, noge i raskriljene proscenije, predstava uživo odakle se mrijeste strašne sablasti. Hitnem se s vrhunca svoje vjere, tijelo mi se razvaljuje u prah: prah koji se slobodno kreće, prah koji živi, prah koji je daleko od tebe, Gospodine. Jer griješim s golemim užitkom! I griješim misleći oživjeti. Gospodine, ja umirem od užitka u rukam...

DOI: 10.15291/sic/2.7.lt.2
Literary Translation
Bronka Nowicka and Đurđica Čilić Škeljo:

Pokojnici stavljaju šećer samo onda kad im gurnemo žličicu u ruku i sami opisujemo kružnicu po dnu šalice. Kristalići šećera imitiraju tornada, zračni vrtlozi postavljaju listiće čaja na vrtuljak. Vrte se i nakon što su se žličice, odložene na tanjuriće, ohladile. Neka bude pokret. Neka mrav bježi preko stolnjaka vukući mrvicu kolača. Treba nam osa iznad stola. Neka nešto zuji. Neka ukine tišinu te scene, prije nego što pokojnici progovore jezikom koji smo za njih sastavili od tankih papirića sačuvanih riječi. Prije nego što se skrijemo iza njihovih leđa i počnemo govoriti umjesto njih, zamišljajući da miču usnama. Poslije ćemo nad tanjure prinijeti njihove prste koji će razlomiti kekse, pokupit ćemo mrvice njihovim jagodicama, koje ćemo mi polizati. Na kraju, umorni od težine marioneta, spustit ćemo njihove ruke na koljena, prihvaćajući da tu završava i popodnevni čaj i uspomena. Pokojnici se ne odijevaju sami. Mi to činimo za njih. Isto je i sa češljanjem, brijanjem, stavljanjem ukos...

DOI: 10.15291/sic/2.7.lt.5
Literature and Culture
Sabira Hajdarević, University of Zadar, Croatia:

Alciphron's Letters (2nd or 3rd century AD) belong to Greek fictional epistolography, a subgenre whose literary conventions forbid direct portrayals of nudity or physical contacts. However, once the author chose erotica as a prevalent theme for his letters, he found himself entrapped; he had the obligation to obey the “chastity” of the literary subgenre and avoid any drifts into pornography and impropriety, but, at the same time, he was expected to satisfy his readers' curiosity and tantalize their imagination with shy innuendos. Consequently, he had to make sure that his stylistic devices used for erotic allusions (metaphors, metonymies, euphemisms etc.) were as vivid and various in origin as possible. Those erotic expressions are at the focus of this paper. In accordance with the given theme, the ones that contain the idea of violence, conflict, and warfare or its consequences are scrutinized. Once the erotic expressions of this kind are detected, they will be placed into a wider con...

DOI: 10.15291/sic/2.7.lc.5
Literature and Culture
Sonja Novak, Josip Juraj Strossmayer University of Osijek, Croatia:

The paper analyses film adaptations of the play Der Besuch der alten Dame written by the Swiss author Friedrich Dürrenmatt with special focus on how they thematise love. Dürrenmatt’s play is in its essence a tragic comedy that deals with the issue of greed and the distortion of basic moral values such as honesty and sincerity that are then also turned into greed, culminating in the justification of violence and murder for profit. The film adaptations that are analysed in the paper are the German version from 1959, the American version from 1964, and the newest German version from 2008. The analysis shows that the American and the newest German version do not adhere to the original pattern in terms of representing the love and relationship between the two main characters, Claire and Alfred. It is important to stress that love is the trigger that directs the plot to its end. The role that love plays in the film adaptations is the key factor that influences whether the end is tragic or no...

DOI: 10.15291/sic/2.7.lc.4
Literary Translation
Chika Unigwe and Lana Filipin:

To je jedan od razloga zašto ne voli kupovati u ovo doba godine – previše ljudi. Ruke su joj pune i kad se sjeti kako je bilo teško odabrati, pomisli: tiranija izbora. Ne točno tim riječima, naravno, jer ovih joj je dana teško pronaći potrebne riječi. Sve dolazi iz nutrine. Osjeća što misli iako to ne može artikulirati. Da je barem hobotnica! Dobro bi mi došao još koji par ruku, pomisli, boreći se da jednom zadrži golem trkaći auto dok drugom podiže plastičnu vrećicu s transformerom koja joj je nekako iskliznula iz ruku. Nespretna. To bi Gunter promrmljao. Nespretna si, Oge. Nespretna. Cokćući jezikom i odmahujući glavom poput oca koji kori dijete. Mrzi kad tako razgovara s njom. Kao da mu je dijete, a ne žena. Kad to radi, nju počne žariti u grlu pa kaže neke stvari pa on kaže neke stvari pa oboje utihnu. No žarenje u grlu još dugo ne posustaje. Boli kao da joj netko trlja sol u ranu. Čir na grlu. Zadivljena je čudom riječi koja je iskrsnula. Niotkud. No takva je narav čuda, zar ne? D...

DOI: 10.15291/sic/2.7.lt.4