Multiple Exposure

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...

This article discusses the relationship between anthropology and art in the philosophical work of contemporary Croatian philosopher Raimundo Kupareo. Anthropology is the study of man, and art is the study or manifestation of human presence. Man is a being of value that connects mysticism and rationality, knowledge and emotions, idea and matter, anthropology and art. The possibility of a touch between anthropology and art allows for the avoidance of dichotomous tendencies of separation between art and anthropology, works and authors. The artistic process, viewed from anthropological positions, is the process of rise and resurrection of the artist as the author and his/her work as a particular value. The author has been legitimized in the world as a being that conceives different ideas and is able to express them in matter, while his work has been publicly presented as a true, human value without the predetermined exclusivity of belonging to someone. That man presents a value, the same a...

Marko za slobodno mjesto konobara u salunu Well-Digger’s Wallet saznaje od Lidije. Ona je upravo otišla odande da bi se smjestila u Santa Feu prije početka zimskog semestra; no Marko bi se, tvrdi ona, trebao prijaviti za posao prije nego što izvjese oglas u izlogu. Rad u salunu bio bi dobar način da poradi na svom engleskom; a i zaradio bi više nego što zarađuje za pultom Spur & Saddle Cluba, antikvarijata preko puta specijaliziranog za Divlji zapad, gdje je u šest mjeseci jedinu proviziju zaradio kad je natjerao neki par da kupi prepariranog rakuna kojeg su negdje u sedamdesetima opremili indijanskom perjanicom, postavili u kožni kanu i za osušeni mu struk privezali sićušno veslo.Well-Digger’s Wallet niski je dvokatni drveni objekt oko kojega se tijekom prošlog stoljeća formirao ostatak glavne ulice. Na spomen-ploči stoji da je izvorna zgrada podignuta 1870. godine; neonska silueta kauboja, koja vjerojatno predstavlja upravo tog kopača bunara po kome salon nosi ime, a koji se pogrblje...

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...

During the 1950s, West German cinemas screened approximately 600 war films, nearly ten percent of the domestic production. Faulting these features for their avoidance of significant issues such as the causes of World War II, the Holocaust, or the Wehrmacht’s misdeeds and atrocities, previous commentators have in the main focused on the failure of these films to engage the past in a thoroughgoing manner. As a response to this criticism, my essay will show how Frank Wisbar’s Dogs, Do You Want to Live Forever? (1959), a feature film about the Battle of Stalingrad, provides a conversion narrative that corresponds to the needs of the Adenauer era. As this film looks back to its past, it simultaneously looks forward and promotes the values of a new and emerging democracy.Keywords: Battle of Stalingrad, war films, Adenauer era, 1950s West German Cinema, World War IIWest German war films of the 1950s attempted to negotiate a problematic past through a variety of narratives. Alfred Weidenmann’s...

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...