Changing Pieces

No. 1 - Year 11 - 12/2020

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

Editorial

This issue, the third issue of [sic] in 2020, as twenty-some before, offers original scholarly work dwelling within the interdisciplinary and multidisciplinary realm of literary and cultural theories and literary translation. It inspires to look upon diverse set of fragments, of bits, of pieces, that surround our everyday life and the various issues surrounding the aforementioned fields. Sense of (not)belonging, issues of trauma, memory, censorship, imprisonment, and womens rights are at the forefront of our contributors’ work tackling diverse pieces of world literature or media outlets....

Literature and Culture
Edin Badić and Sandra Ljubas:

The paper investigates the extent and peculiarities of censorship in two Croatian editions of Pippi Longstocking, a classic of Swedish and world children's literature. Comparing the original Swedish text, contained in three books: Pippi Langstrump (1945/1948), Pippi Langstrump gar ombord (1946/1969) and Pippi Langstrump and Söderhavet (1948/1969), with the first edition of the Croatian translation published in 1973 and its revised 1996 edition shows significant differences in the number, layout, and title of chapters, and establishes the diversity of taboo topics present in both omitted and retained chapters. The retained chapters, after joining the micro-strategies previously adapted to the collected data (according to Desmet, Davoodi), also reveal clear variability in the way of translating taboo topics, such as inappropriate behavior, life (mis)fortunes, violence, racial intolerance, and religion.Keywords: Swedish children’s literature, censorship, taboo topics, translation micro-st...

DOI: 10.15291/sic/1.11.lc.9
Literature and Culture
Vesna Ukić Košta, University of Zadar, Croatia:

This paper sets out to explore a notion of freedom that Hanif Kureishi articulates in his short stories, focusing particularly on the collections Love in a Blue Time (1997) and Midnight All Day (1999). Kureishi’s stories almost always narrated from the point of view of a middle-aged man are here analysed in the light of Zygmunt Baumann’s theories of liquid modernity and liquid love. The paper attempts to demonstrate that these men are confined to a sort of a perpetual treadmill of misery. It is argued that most protagonists of his stories are largely unable to manage their lives and relationships, living in a contemporary world that allows individuals to enjoy excesses of freedom and infinite possibilities. Keywords: Hanif Kureishi, short story, middle-aged, freedom, liquid modernity, liquid love, familySomewhere towards the end of Hanif Kureishi’s 1995 novel The Black Album, the main protagonist, twenty-year-old Shahid Hasan, enthusiastically embraces the prospect of breaking free fro...

DOI: 10.15291/sic/1.11.lc.3
Literature and Culture
Branka Kovačević, Alfa BK University, Serbia:

Australian literature, as one of the vital constituents of English-speaking literature, boasts a rich diversity of themes and style, as does the society and continent on which it is located. It is rooted in an ancient landscape, which carries some of the oldest cultural traditions, as well as a mixture of numerous cultural immigrants. Ever since Patrick White received the Nobel Prize for Literature in 1973, the literary critical public has turned its attention to the South, toward a distant and mystical land where contemporary writers who play with the aesthetic principles of the Western Circle have begun to emerge and remain loyal to Australia, attempting to understand and, at the same time, defining Australian culture – or a variety of its cultures. Until recently, a small number of scholars from Serbia and the neighboring countries approached the study of Australian literature. Theoretical concern for the Australian literature never substantially advanced our understanding of this r...

DOI: 10.15291/sic/1.11.lc.12
Literature and Culture
Irena Jurković, University of Zadar, Croatia:

In recent years, popular culture has witnessed the proliferation of violent female characters, while female criminality has also received increasing attention from many critics and academics. These women remain a fascination for both mainstream culture and researchers as their acts go against cultural conceptions and are even viewed as antithetical to femininity. And while the increasing presence of female violence in media and popular culture may be symptomatic of present-day society’s concerns about gender behavior, the portrayal of violent women still seems to be following genre conventions and familiar stereotypes that inevitably frame, and thus normalize, their acts within boundaries of traditional discourses on femininity. In that regard, Women Who Kill: Gender and Sexuality in Film and Series of the Post-Feminist Era presents itself as a particularly timely book that investigates the representation of women who kill in a so-called postfeminist context recognized principally by a...

DOI: 10.15291/sic/1.11.lc.11
Literary Translation
Luiz Vilela and Paul Melo e Castro:

“More liquor,” said the dark-skinned man holding out his glass.“No more liquor,” said the fat man grabbing the bottle from the counter. “Indian dance now; liquor later.”“Liquor,” said the dark-skinned man stretching for the bottle.“Afterwards,” said the fat man, shielding the bottle behind his vast bulk. “Now Indian dance.” He waggled his hips and his flabby belly shook. “Now Indian dance out front. Everyone watch Indian dancing.”The dark-skinned man stopped and stared at his fat counterpart, stared at him as a famished, skittish dog might at a person chewing a sandwich in a roadside bar. The fat man waggled his hips once more, his arms upraised, the bottle in one hand and a shot glass he was drinking from in the other. The dark-skinned man chuckled.“You like that, eh?” said the fat man. His flabby jowls wobbled with laughter, his eyes vanishing between puffy little lids. “Off you go, Indian. Bwana want to see Indian dance. Me bwana, you Indian, monkey.”“Not monkey.” The Indian shook h...

DOI: 10.15291/sic/1.11.lt.2
Literature and Culture
Ana Ille Horvat, University of Zagreb, Croatia:

Među fjordove i gejzire, vrletne stijene i zastrašujuće ponore, smještena je priča sestara blizanki, Halldore i Sigridur, i njihove obitelji. Priča počinje opisom pokopa Sigridur i tugom ispunjenih dana preživjele sestre. Valter Hugo Mae vrlo nam živo i slikovito pripovijeda o nestabilnoj majci, koja za smrt kćeri krivi drugu kćer te je konstantnim ranjavanjem namjerno kažnjava, nanoseći joj bol. To je i priča o odnosu oca i kćeri, koji dane provode čitajući poeziju te u njoj pronalaze sve važne odgovore, snagu i smisao života. Znakovit je to početak romana, kojim Halla opisuje trenutak sestrine smrti, ujedno označen i kao novi početak života. Nakon njezine smrti, preživjela blizanka suočava se s vlastitim unutarnjim borbama, kao i s okolinom i neprihvaćanjem obitelji. Loš odnos s majkom kompenzira nježnim trenucima s ocem, a kasnije i kroz ljubavni odnos s Einarom, prožetim dubokim osjećajima. Einar, osebujni samotnjak kojeg su se sestre kao djevojčice plašile, za sobom vuče tajnovitu...

DOI: 10.15291/sic/1.11.lc.10