Masked Paradigms

Svijet je oblikovan poput kanjija koji označava „kišobran”, samo je tako loše prikazan, kad ga ja napišem, da su svi dijelovi neproporcionalni.Moj bi se otac sramio dječačkog načina na koji još oblikujem znakove. Zaista, mnoge od njih jedva se sjećam napisati. Moje je formalno obrazovanje u Japanu prekinuto kad sam imao samo osam godina.No za ovu svrhu poslužit će i ovaj loše nacrtan znak.Natkrovlje na vrhu solarno je jedro. Čak i taj izobličeni kanji može tek donekle prikazati koliko je golemo. Rotirajući disk, sto puta tanji od rižinog papira, širi se tisućama kilometara u svemir poput golema zmaja koji želi uhvatiti svaki foton koji naiđe. Doslovno prekriva nebo.Ispod njega visi sto kilometara dugačak konop od ugljičnih nanocijevi: čvrst, lagan i rastezljiv. Na kraju konopa visi srce Hopefula: putnički modul, petsto metara visok cilindar u kojem se nalazi svaki od 1021 stanovnika svijeta.Sunčeva svjetlost udara o jedro gurajući nas u spiralnu orbitu koja se vječno širi, vječno ubrza...

Lerner’s The Topeka School references “the twenty-four-hour news cycle, Twitter storms, algorithmic trading,” (24) as a version of the debate strategy of the spread in the post-truth United States. In a similar way, the incessant and supernumerary presence of suburban objects in the novel functions as a spread the characters continuously have to face. Linking the spread and the sublime, this essay examines how the novel intertwines the characters’ responses to their suburban home with their subsequent futures on their way into the Trumpian post-truth age. Informed by the Kantian sublime, it shows how the sublime of the spread denies negative pleasure as the denouement of the threat of the sublime. The essay develops the argument that Lerner’s novel frames the ability to linguistically respond to the paradoxically placing and displacing effect of the sublime of the spread as a tool that on the one hand can help them navigate their 1990s-suburban life, but on the other hand also foreshad...

Redovnici upitaše Blaženoga: „Zašto, Blaženi, Yaśodhara nije mogla biti zadovoljna? Kad si kao mladić dijelio nakit djevojkama, Yaśodhari si dao ogrlicu vrijednu sto tisuća novčića, a ona je rekla: 'Zar samo toliko vrijedim?' Dao si joj još i prsten vrijedan sto tisuća novčića, ali ni tad nije bila zadovoljna. Zašto je Yaśodhara bila nezadovoljna i oneraspoložena?”Blaženi odgovori: „Nije to, redovnici, prvi put da je Yaśodhara bila nezadovoljna. I prije je bila nezadovoljna.Nekoć davno, u gradu Benaresu pokrajine Kaśi, vladao je, redovnici, kralj Suprabha. Imao je sina Suteđasa, koji je bio obdaren mnogim vrlinama. Bio je vrlo snažan, miran, ugodan, nenametljiv i pristojan u razgovoru. Cijenili su ga i uvažavali ministri, zapovjednik vojske i seoski poglavari pa je kralj jednom pomislio: 'Sav narod cijeni vrline toga princa. Da me neće jednoga dana ubiti pa njega postaviti na prijestolje?' I tako je kralj odlučio izgnati princa.Na čistini kraj šumarka, negdje na Himalaji, prognani prin...

The paper presents the results of a digital comparative text analysis of the Croatian original and the Burgenland editions of a children’s classic performed in combination with research methods of Translation Studies. The Croatian children’s novel of 1913, Čudnovate zgode šegrta Hlapića [The Strange Adventures of Hlapić the Apprentice] by Ivana Brlić-Mažuranić (1874–1938), appeared in Burgenland Croatian in 1960 and again, with minor alterations, in 2000. Burgenland Croatian is the language of the Croatian minority predominantly positioned in Austria, considered to be a regional variant of Croatian. These two languages are similar, but they still differ in structural and semantic elements as they have been separately developing since the 15th century. The similarities allowed for a digital comparative text analysis of the linguistic aspects of source and target texts, including their linguistic complexity. The results of the digital analysis demonstrate the applicability of digital lin...

The Fire This Time, written and edited by Jesmyn Ward, is a collection of various essays, poems, and stories. It is written by different authors who describe their experiences of being black in America. The title of the book is a reference to James Baldwin's work The Fire Next Time, published about fifty years prior to this book, since it discusses the same themes of race and identity but in a more contemporary context and through voices of various authors.The authors wrote the book in relation to all the historical events that led to the current position of black people in America while also describing their own experiences and reactions to the more contemporary events of police brutality and the Black Lives Matter movement. As Jasmyn Ward states in her introduction: “… the past is in the present, how heavily the past bears on the future; we cannot talk about black lives mattering without reckoning with the very foundation of this country,” (9) so have these essayists and poets reflec...

The American Western is imbued with a particular elasticity, which allowed it to stay relevant for decades. One of the recent developments in the genre seems to be its focus on the aging frontiersman – a hero past its prime. A faithful adaptation of Cormac McCarthy’s 2005 novel, the Coen brothers’ eponymous film No Country for Old Men (2007), departs from the traditional Western by outlining an aging lawman, Sheriff Ed Tom Bell, struggling to live up to his role. Similarly, James Mangold’s Logan (2017) forces the titular pop-cultural superhero icon to endure the deconstruction of its archetypal alter ego, the Wolverine. The underlying themes of the two films intersect, representing their aging protagonists both as evocations of their own previous, abler selves, and as elderly frontiersmen in a world with hardly any space for aged (super)heroes. Their fluctuating identities challenge the traditional, idealistic representations of patriarchal Western heroes by introducing a more realisti...