Multiple Exposure

No. 2 - Year 8 - 06/2018

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

Editorial

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. ...

Literature and Culture
Mirna Sindičić Sabljo, University of Zadar, Croatia:

Just like tomorrow (Kiffe kiffe demain), a novel written by the French author Faize Guene, was published in 2004. Shortly after its publication, the novel was translated into twenty foreign languages. The Croatian translation appeared in 2006. Kiffe kiffe demain describes a year in the life of a teenage girl of Moroccan origin, living in one of the suburbs in northern Paris. The novel is written mostly in slang. The aim of this paper is to analyse the lexical, grammatical and syntactic specifics of the language in which the novel was written, to determine the difficulties that the translator encountered in translating them, and to analyze the Croatian translation of the novel Kiffe kiffe demain. The analysis is based on close reading and comparative analysis of the original text and its translation, taking into account the linguistic, stylistic, textual, and cultural issues relevant to the translation. Comparative analysis of the original and the translation, apart from their philologi...

DOI: 10.15291/sic/2.8.lc.9
Literature and Culture
Mario Vrbančić and Senka Božić-Vrbančić:

Haptic visuality is for Laura Marks the possibility of vision to be tactile, “as though one were touching a film with one's eyes.” An intercultural visual work, for Marks, more than any other work does this sensory exploration. This article does both: it builds on Marks’s work on haptic visuality and distinguishes its reading of the possibilities of an intercultural work to translate to “an audiovisual medium the knowledge of the body.” Inspired by a relatively recent anthropological school of thought, developed particularly around the works of Eduardo Viveiros de Castro, the article offers new readings of haptic visuality and invites us to think of the political dimension of film and the role of haptic translation as a possibility of decolonization of thought. Keywords: haptic cinema, intercultural haptic, horror haptic, oriental haptic, Deleuze & Guattari, Benjamin, Viveiros de CastroKako se sve može iskusiti zvuk, boja, gesta, u kolikoj mjeri i na koji način ta iskustva u nama bude ...

DOI: 10.15291/sic/2.8.lc.6
Literary Translation
Carys Davies and Lana Filipin:

Upoznao ju je, moju baku, Engleskinju, jednog prohladnog ljetnog poslijepodneva na plaži u Southerndownu. Sjedila je na stijeni, na svom kaputu, i pušila cigaretu, a on je – to sam čula od nekoga, od tate ili Mair – bio očaran. Pitao ju je može li sjesti kraj nje i, bez sumnje zato što je bio tako visok i zgodan, pristala je, pa je i on sam zapalio cigaretu, i ona mu je rekla svoje ime, a zvala se Agnes, i on je njoj rekao svoje, a zvao se Will. Tog su dana njih dvoje šetali po cesti od Southerndowna do Ogmorea i od Ogmorea preko dina u Merthyr Mawru do Ewennyja, gdje su promatrali kako se peče posuda prelivena plavom glazurom, i prije nego što su se razdvojili kako bi ona otišla u hotel u kojem je radila, dopustila mu je da je uzme za ruku.Vratio se sljedeći tjedan, i tjedan poslije toga, a svaki dan koji se nisu vidjeli pisali su jedno drugome, i nakon četiri tjedna prvi ju je put doveo kući, vlakom do dolina, i ondje je otkrila nešto o njemu što joj nije bio rekao. Možda je to negdj...

DOI: 10.15291/sic/2.8.lt.5
Literature and Culture
Jasna Poljak Rehlicki and Hrvoje Lepeduš:

In his masterpiece Musashi (1935), the author Eiji Yoshikawa depicts the birth of an ingenious swordsman and his spiritual evolution towards the final awakening (satori). While constructing the character of Miyamoto Musashi, Yoshikawa uses the elements of Zen Buddhist philosophy and describes Musashi's progress on his way of enlightenment through a series of direct personal insights (kensho) that precede satori. The paper aims to discuss and analyze Musashi's use of different types of swords that metaphorically suggest his personal and spiritual transformation from an untamed and uncultivated person to his ultimate enlightenment. Initially, Musashi fights with a wooden sword (bokken), which symbolizes his animalistic, rampant nature. As he progresses on the way of enlightenment, Musashi embraces the steel sword (katana), though he still uses bokken at times. The struggle between his wild and civilized nature culminates at the moment of kensho, when he starts fighting with two steel swo...

DOI: 10.15291/sic/2.8.lc.3
Literary Translation
João Paolo Cuenca and Petra Petrač:

VijestOtkrio sam da sam umro dok sam pokušavao napisati knjigu. To još nije bila ova knjiga. Živio sam sa suprugom u stanu s pogledom na dvorište, dva kata iznad restorana. Osoblje restorana voljelo se družiti u dvorištu u prizemlju, u onom unutarnjem prostoru od kojeg zgrade oblikuju poliedar izopačene prisnosti. Ondje bi jeli, pušili, pričali na telefon, brbljali. Njihove riječi prolazile su kroz zidove mog doma. Kao da sam bio u Strindbergovu Paklu i slušao glasove koji su ga slijedili po jeftinim pariškim hotelima na zalasku 19. stoljeća. No to je bio Rio de Janeiro i za razliku od švedskog pisca, ja nisam bio lud. Ili sam želio vjerovati da nisam. Budući da su me svako jutro budili glasni razgovori koji mi danju nisu dali raditi, a noću ševiti, često sam se žalio na buku. Kada moji prigovori ne bi urodili plodom, zaurlao bih kroz prozor: „Zašuti, kurvin sine!”. Jedne noći nakon kratke izmjene uvreda, bacio sam na njih prvo što mi je došlo pod ruku: vreću smeća punu pisama. Zauzvra...

DOI: 10.15291/sic/2.8.lt.6
Literary Translation
Rosa Montero and Lovro Sučić:

Uskoro će sunce poravnati obrise stijena u uvali, ali zasad je mali pješčani polumjesec još uvijek u sjeni. Baš je to Tomásu omiljeni trenutak, volio je na plažu dolaziti rano, da se prvi spuste stepenicama uklesanima u kameni zid, uživaju u samoći i vlažnoj i tamnoj svježini; no za to je trebao pridobiti Elenu da ustane na vrijeme, morao ju je nagovoriti da se pokrene i zatim je, mlitavu i zlovoljnu, vući sa sobom. Sada se nalazila ondje, uz njega, s kljunastim i čvrsto stisnutim ustima. Provoditi dvadeset četiri sata na dan gledajući opor krajolik tih kiselih čuba bila je prava muka. U normalnom životu, dok bi dolazili kući i odlazili na posao, stvari su funkcionirale bolje, ali na godišnjem bi se uvijek na kraju posvadili. Već su sedam godina bili u braku, a Tomás je i dalje bio spreman biti uz svoju ženu u siromaštvu i u bolesti, no ljetovanje s njom više nije mogao podnijeti. A pred njima je još cijeli tjedan tog dosađivanja. Tomás snažno uzdahne i pažljivo raširi ručnik. Elena je...

DOI: 10.15291/sic/2.8.lt.2