University of Zadar | eISSN 1847-7755 | SIC.JOURNAL.CONTACT@GMAIL.COM
Editorial
Non-thematic issues always represent a challenge, mostly premised on defining and constructing a subtle thread that would, at least apparently, unify all of the numerous submitted papers, thoughts and opinions about a variety of different subjects. Sometimes the final product, the metaphoric body of our journal, is a harmonious and perhaps even optimistic reading of cultural, social and literary phenomena, while on some other occasions the projected and articulated themes and ideas tend to be a bit harsher, stronger and more explicit in their nature. Such is the issue in front of you; in spite of the cheerful and celebratory time of the year, the segment dedicated to culture and literature is defined by the somewhat gloomy overtones of the presented ideas, merging silently with the foreboding shadows and the unfriendly figure insidiously dominating our cover. However, the articulated themes and analyses, while inclined toward the darker states and altered perceptions of reality, still form a rich tapestry of research and scrutiny, actively and significantly contributing to contemporary debates on the subjects at hand....
This paper examines the young heroine’s ambivalent relationship with books in Doris Lessing’s coming-of-age novel Martha Quest. Martha, a young British girl growing up in the British colony of Southern Rhodesia (now Zimbabwe) in the wake of World War II, is a voracious young reader who reads extensively in order to make sense of the world in which she is living. Sometimes the books she reads lead her to think critically and challenge the canonical authorities and patriarchal society; however, at times her reading experience is also unsettling and frustrating because the books she reads are mostly produced within a biased system she intends to go beyond. The paper analyzes how Martha relies on books to reshape her national identity and personal life, and how she deals with the discrepancy between the world represented in books and reality in terms of Benedict Anderson’s concept of an ‘imagined community’. Furthermore, this paper also discusses how Martha’s portrait as a bewildered reade...
In this article we analyze the novel Waiting for the Barbarians, by the South African writer John Maxwell Coetzee. We read the novel from the perspective of some ethical insights of Emmanuel Levinas and Jacques Derrida, associating them with the emphasized domination of the political in the novel. In this unequal relationship, however, political domination gradually cedes place to the ethical doing, the beginning of which is marked by aporia, that is, by an attempt to reconcile two irreconcilable perspectives: that of loyalty to political authority and that of individual responsibility for the other human being. When the latter takes place, the main character – the unnamed Magistrate – becomes an ethical subject. But this is not an easy process, and in order for this to happen, he must experience physical pain and risk his own life. In doing so, he undergoes the journey from a position of political power to complete disempowering. However, taking responsibility for the other is a much ...
Faruk Šehić je jedan od najpoznatijih, najpriznatijih i najboljih savremenih bosanskohercegovačkih i slavenskih pisaca koji je putem prevoda, do sada prvenstveno njegovog slavnog romana Knjiga o Uni (2011) na mnoge jezike, već afirmisan i u svjetskoj književnosti. Bogatstvo i visprenost njegove književnosti, kako proze, tako i poezije, u kombinaciji s jednostavnošću njegovog bića, onom kompleksnom jednostavnošću kakvu mogu imati samo vrhunski intelektualci, i to čovjek koji misli – koji je, dakle, prvo čovjek, a onda biće koje misli, za razliku od pukog mislioca, kako je to o američkom učenjaku rekao američki pisac Ralph Waldo Emerson u svom govoru održanom na Harvardu, 31. 8. 1837. godine, a što se može odnositi i na univerzalnog intelektualca – već su uveliko obilježili bosanskohercegovačku i post-jugoslovensku regionalnu književnost i pojavnost. Do sada je objavio sljedeće knjige: Pjesme u nastajanju (2000), Hit depo (2003), Pod pritiskom (2004), Transsarajevo (2006), Hit depo, Pod ...
This paper analyzes Woody Allen's 2013 movie Blue Jasmine as a pastiche of the famous 1951 movie A Streetcar Named Desire, directed by Elia Kazan. The paper points out the similarities between the two films in terms of plot and relationships between female and male characters, as well as the differences between them in terms of genre and film techniques. The main emphasis in the comparative analysis of these movies is placed on the character and destiny of the female protagonist – Blanche DuBois and Jasmine French. At the end of the paper, the author draws attention to the name of Woody Allen’s protagonist as proof that Blue Jasmine should be interpreted not as a parody but rather a pastiche of A Streetcar Named Desire.Keywords: A Streetcar Named Desire, Blue Jasmine, Tennessee Williams, Woody Allen, pastiche
Jutro je i muškarac u plavoj kućnoj haljini, kojega sada svi zovu Starac, skoro je sat vremena proveo uz kaveze hraneći kuniće. Iziđe u vrt, gdje se njegova supruga upravo brine o biljkama, i sagne se pokraj nje, pred svježe presađeni kaktus. Čuperak ravne i sive kose padne mu preko naočala. Prsti su mu prljavi te ga nevoljko pokuša ukloniti nadlanicom, ali čuperak iznova padne. Trebat ću posjetiti frizera, kaže, i neko vrijeme razgovaraju o tome. Oboje se slažu da je opasno izlaziti. Nisu prošla ni tri mjeseca od napada na kuću, i još uvijek su vidljive, na ciglenim zidovima spavaće sobe i na blindiranim kapcima na prozorima, lepeze rupa što su ih ostavili meci. Organizacija, čak i raštrkana, uspjela je u međuvremenu prikupiti novac da se vila osigura. Podignut je vanjski zid, izgrađeno sklonište s krovom od armiranog betona, drvena dvorišna vrata zamijenjena su čeličnima s alarmom, podignuta su tri nova tornjića za nadgledanje okolnih ulica. Štoviše, između tornjeva razvukli su bodlj...
Sjedili smo na kamenoj klupi šivajući pretpostavke: sad lančić istina sad lančić laži, mogućnost da se međusobno razumijemo i euharistijsku tajnu puti što je tvoja kad mi se udaljuješ. To nam je postalo pukim pitanjem perspektive, bol. Kretali smo se oprezno kao ptica dvojbe, motrilo nas je opčinjavajuće oko samostrela. Više nismo shvaćali, samo smo ponavljali imena geparda, isijavanja brazgotine srčanih klijetki i dosadni krmelj glagola: istančani šav kože što nas dijeli od kamenja. Prožvakali smo gustu tišinu poput sjećanja na jutarnju maglu djetinjstva; odlazio si polako poput stada ovaca u smjeru vode i postao si šuma. Od tolike šutnje naučili smo govoriti ludilom praznine, i smisao nam je postao puka školska navada: ljubaznost ruku, s vremena na vrijeme, da bi se prebrisala divljačnost rase. Tako nestaje vrsta, vid naše janjeće ljubavi. Bila je to grčevita borba da se zaustave strojevi, da se razumijemo, govor kosilica i amfora teška trbuhu što preko oka nam usisava svu svjetlost ...
