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
Gisèle Sapiro and Barbara Banović, Hilda Bednjanec, Daniela Grabar, Ivana Kasalo i Sanja Tolić:

Kritika „metodološkog nacionalizma” i razvoj transnacionalnih pristupa doveli su u pitanje relevantnost nacionalne države kao istraživačke jedinice. Štoviše, brojne pojave i kretanja koji se uočavaju u nacionalnim državama rezultat su interakcija s drugim društvima te se čini da je postojanje sličnih elemenata u različitim kulturama često plod cirkuliranja modela i razmjena, a ne posljedica usporedivih uzroka (kada nije riječ o zajedničkom nasljeđu). Utječe li na koncept „polja” promjena perspektive s nacionalne na transnacionalnu, i ako da, na koji način? To će pitanje biti postavljeno u ovom promišljanju, koje je još uvijek provizorno. Iako se koncept polja općenito koristi unutar nacionalnih okvira, do te mjere da su mnogi istraživači koji se bave transnacionalnim i internacionalnim temama odustali od njegove upotrebe, dajući prednost manje ograničavajućem konceptu „prostora”, Pierre Bourdieu nigdje u svom opusu ne kaže da su polja nužno ograničena na područje nacionalne države. Pol...

DOI: 10.15291/sic/1.14.lt.1
Literary Translation
Tasos Leivaditis and N. N. Trakakis:

The room was pitch-dark, seemingly nonexistent, as he opened his eyes. Not even a trace of the dawn had yet made its way through the louvres. ‘That’s weird, for I got up so early,’ he thought. The entire right side of his body had gone numb, especially his arm, which appeared paralysed. ‘See, that’s what I get when I lie on my right side.’ He was always afraid of sleeping on the side of his heart, in case something happened and he never woke up again. And he liked thinking, in a somewhat smug way it must be said, about his desire to experience his own death. ‘There’s nothing more humiliating than to die while asleep,’ he had once written in a diary that he kept. ‘Kept’, in a manner of speaking, for the diary was a battered, 100-page exercise book which he remembered three or four times a year, and then he’d take the opportunity to put down on paper some of the thoughts that occasionally crossed his mind.The numbness had in some measure diminished. But what really sickened him lay in hi...

DOI: 10.15291/sic/1.14.lt.5
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
Literature and Culture
Iva Polak, University of Zagreb, Croatia:

Research into humour in Indigenous Australian fiction is strikingly rare, even when compared to studies on humour in traditional Indigenous societies. As a consequence, when channelled through fictional prose, Indigenous humour rarely “receives any echo” (Bergson). One case in point is Gayle Kennedy’s novel Me, Antman & Fleabag (2007). Kennedy’s text, despite being marketed as humorous and winning the prestigious 2006 David Unaipon Award, has attracted a handful of minuscule reviews. The paper discusses distinctive “elastic polarity” of humour (Boskin) in Kennedy’s text, which simultaneously denies and affirms. By analysing the way in which her narrative debunks social and racial stereotypes of Indigenous and non-Indigenous Australia, the paper argues that her double-edged humour produces a site of cultural negotiations necessary for understanding complexities of contemporary Indigeneities and contemporary Australia. Keywords: Gayle Kennedy, Me, Antman & Fleabag, humour, elastic polari...

DOI: 10.15291/sic/1.14.lc.1
Literary Translation
Simge Yılmaz, Justus Liebig University of Giessen, Germany:

The present contribution examines the promotion of German-Turkish literature in Turkey by analyzing three selected novels. It is based on exploring systemic/field-oriented ambiguity in situating German-Turkish literature both in the source (German-speaking) literary field and in the target (Turkish) book market. The three texts chosen are Emine Sevgi Özdamar’s Life is a caravanserai, Feridun Zaimoglu’s Leyla, and Selim Özdogan’s The Blacksmith’s Daughter. By discussing covers, blurbs, and the homepages of a few publishing houses, a paratextual analysis is carried out to explore the presentation of these novels to readers in Turkey. Keywords: German-Turkish literature, promotion of literary translations, paratextual contextualization, Emine Sevgi Özdamar, Feridun Zaimoglu, Selim ÖzdoganEmine Sevgi Özdamar’s highly acclaimed long-seller Life is a caravanserai (hereafter abbreviated as Caravanserai) has been published in the “Turkish-language literature” series (“Türkçe Edebiyat”) by its ...

DOI: 10.15291/sic/1.14.lt.2
Literature and Culture
Geethu Thomas and Santosh Kumar:

This paper analyzes the act of ‘thalaikoothal,’ performed on ill and infirm older people in the southern part of the state of Tamil Nadu, India, with reference to two Tamil films, K.D. (2019) and Thalaikoothal (2023), which portray the horrors of the practice. A kind of involuntary euthanasia, the ritual continues to have covert social acceptance as exemplified in the films, favoring the common stereotype that marks aging bodies as unproductive and unworthy of living. Therefore, this article explores the aging bodies in the films as sites of power, controlled by death enforced through Thalaikoothal, employing Mbembe’s concept of ‘necropower.’ It also examines the effects of the practice on the elderly, who are compelled to prepare themselves for a forced death. The study further identifies the underlying factors contributing to the prolonged existence of Thalaikoothal even in the present times.Keywords: Thalaikoothal, aging bodies, senicide, necropower, Tamil films, Achille Mbembe

DOI: 10.15291/sic/1.14.lc.3