Rides of Insight

No. 1 - Year 14 - 12/2023

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

Editorial

By aiming to provide different aspects of insight, the following issue of [sic] presents diverse topics and approaches that provide “something more” in acknowledging various aspects of literary and film art....

Literary Translation
T. Coraghessan Boyle and Lucija Grabovac:

Pritisnula je kvaku. Vrata su bila otključana. Ušla je.Trenutak je bio slojevit i zamršen, gotovo kao bajka, ali gdje su bila tri medvjeda? Bili su gore, lajali. Zar medvjedi laju? Ne, ali psi laju, i o tome se tu radilo, psi su lajali i grebli svojim sjajnim crnim noktima – kandžama? – po zatvorenim vratima na vrhu stepeništa, koje je bilo tapecirano i prekriveno blagim, poznatim sjenama raznih predmeta u prigušenom svjetlu lampe iza kauča koji se nalazio samo par metara od nje. Na kauču su bili jastuci, cijela flotila jastuka, i dvije fotelje s oba krila, stolić, police za knjige, crna mrcina od TV-a postavljena na zid nasuprot nje. Kad se pomaknula, a pomaknula se samo koračić ili dva u sobu – šuljala se, to je radila, šuljala se – u ekranu TV-a pojavio se njezin odraz, previše nejasan da bi ga se moglo razaznati.Neki se glas možda čuo iz sobe na vrhu stepenica – „Cameron, jesi to ti? Halo? Ima li koga?” – ali izgubio se u lavežu, uostalom, nije se mogao odnositi na nju, jer ona se ...

DOI: 10.15291/sic/1.14.lt.4
Literature and Culture
Scott Pearce, Alia College, Australia:

This paper focuses on the John Hough film Dirty Mary, Crazy Larry (1974). Using the work of Sabina Spielrein, this paper situates the car chase in the film as allegorical and as representing a desire for economic and social rebirth for its titular characters. However, the economic, political, and social upheaval of the period means that such desire is impossible to fulfill. Contextually, the promise of systemic change, so potent in 1960s America, had not fully materialized. The car chase that makes up much of the film then becomes a death drive for the characters. This positions the titular characters as variations on the absurd hero that Albert Camus articulates in The Myth of Sisyphus. They flee from institutional authority with little hope of escape, yet they flee anyway, finding meaning in the rebellion. Dirty Mary, Crazy Larry differs thematically from the car chase films of the late 1970s and early 1980s. These later incarnations reappropriated the car chase to mute the genre’s c...

DOI: 10.15291/sic/1.14.lc.5
Literary Translation
Vida Sever and Anja Glavinić:

the family hair
spills over lunch
after we’ve become
weak and thin

my hair ends up in the plate
and pretends to be drowning
I silence it
with shyness behind my ear

the teeth are the answer
to the childish carelessness
when I splash water on the hair
bound around my waist
barely pulling out my hands
I offer them the remaining drops

DOI: 10.15291/sic/1.14.lt.3
Literary Translation
Jurica Pavičić, Katarina Reljić and Antonija Primorac:

Bašić called him early that morning, just after seven.It was an autumn Saturday, lead-grey light seeped in through the shutters, and Niko was idling in bed, troubled by sleeplessness, observing Maja’s body move in tune with her breathing under the duvet. He was watching the light conquer the corners of the room when the ringing of the telephone broke the silence. He dragged himself over to the device and heard a raspy, elderly baritone from the other side. “Bašić speaking.”He didn’t immediately work out who he was talking to. He stood in the hallway, barefoot, telephone in hand, sifting through his memory, hoping to connect the name he’d just heard to a voice and a face. “Bašić, your former neighbour,” the man on the other side added, as if he’d realized what was going on. “Apologies for calling so early, but I think you should come over to Sts. Cyril and Methodius Street.” In that moment, Niko connected the voice coming from the receiver with a face which surfaced from the past. He kn...

DOI: 10.15291/sic/1.14.lt.6
Literature and Culture
Mirna Sindičić Sabljo , University of Zadar, Croatia:

Samuel Beckett bilingvalni je autor. Većinu je svojih književnih tekstova napisao na dva jezika, engleskom i francuskom. Nakon književnih početaka na materinjem engleskom jeziku, nakon Drugoga svjetskog rata, tijekom nekoliko idućih godina, Beckett piše isključivo na francuskom jeziku, potaknut razlozima estetske naravi. Od 1956. godine pa sve do smrti istovremeno piše na oba jezika. Vlastite tekstove, napisane na počecima književne karijere, sâm ili u suradnji nakon sredine pedesetih godina prevodi na drugi jezik.Beckett je vlastite tekstove tijekom prevođenja revidirao, mijenjao izraze i kulturne referencije, pa je stoga svaki prijevod ujedno revizija i transformacija prethodno napisane verzije. Tekstovi koji su prevedeni nedugo nakon dovršetka izvornika u nešto se manjoj mjeri razlikuju od samoprijevoda koji su nastali godinama ili čak desetljećima nakon dovršetka izvorne verzije teksta, poput primjerice engleske i francuske verzije Murphy, Watt ili Mercier i Camier. Također, Becket...

DOI: 10.15291/sic/1.14.lc.6
Literature and Culture
Mario Vrbančić, University of Zadar, Croatia:

In this paper, I investigate the 'creatureliness' of film, questioning whether we can perceive film as a process of witnessing history. Is there trust in the cinematic image as a document, and what role does film play in memory and history? Responding to these questions, inspired by Eric Santner's concept of political theology and sovereignty, as well as Laura Mulvey's concept of death in 24 frames per second, I analyze W.G. Sebald's novel Austerlitz. In the novel, the protagonist attempts to fathom a traumatic past through slow-motion, raising inquiries about the possibility of redemption through the cinematic image. I also write about what escapes the field of visibility in both the twentieth and twenty-first centuries.Keywords: political theology of film, sovereignty and temporality of film, 'creatureliness' of filmic lifeJedna od najdužih i najtežih polemika o povijesti i filmu u dvadesetom stoljeću ticala se Shoah (holokausta): je li film „kriv” jer nije dokumentirao genocid, da l...

DOI: 10.15291/sic/1.14.lc.4