The Zone and Zones - Radical Spatiality in our Times

No. 2 - Year 2 - 06/2012

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

Editorial

The long-expected fourth issue of [sic] – a Journal of Literature, Culture and Literary Translation offers a selection of papers presented at the second international conference entitled Re-Thinking Humanities and Social Sciences and held at the University of Zadar in September 2011. The conference topic, The Zone and Zones - Radical Spatiality in our Times, proved to have been intellectually enticing to almost one hundred scholars who managed to create a radical space of their own. Immersed into the zone of Croatian seaside filled with the aroma of pine trees and the Adriatic Sea, the zone of leisure rather than work, they managed to create an intellectual heterotopia by discussing the multilayered meanings of space. ...

Literature and Culture
Stipe Grgas, University of Zagreb, Croatia:

On the basis of ever-mounting evidence, amongst which is the “zone” problematic of the Zadar conference that occassioned these notes, it can be concluded that the spatial turn has insinuated itself as an all-pervading heuristic tool throughout the humanities and the social sciences. The extent to which space and spatiality have usurped the central stage in the various branches of reasearch can be gauged by admonishments that what we are witnessing is a new fundamentalism that has simply inverted the terms of the dualism of time and space (May and Thrift 2001: “Introduction”). According to Michael Dear the sway of space is manifested in multifold ways: in the ubiquity of spatial analysis in social theories and practices; in the explosion of publications devoted to the exploration of the interface of the social and the spatial; in the reintegration of human geography into various domains of knowledge; in the focus given to difference and the consequent diversification of theoretical and ...

DOI: 10.15291/sic/2.2.lc.5
Literature and Culture
Mario Vrbančić, University of Zadar, Croatia:

The cartographer’s dream is that of a perfect map: a map that perfectly represents a territory, a dream of Divine knowledge; a map that has haunted the ideology of representation throughout history; a map so detailed that it coincides with real space. In a short parable, ‘Museum, on Exactitude in Science’, Borges describes the mysterious gild of cartographers which charts such a map. Although Borges’ narrative finishes with a nostalgic conclusion about a superfluous and forgotten discipline, the cartographer’s dream of a perfect map has never ceased: it has merely varied throughout history. For medieval cartographers the perfect map included the physical cosmos and the spiritual one. In Dante’s time the European ‘mappa mundi’ depicted one single landmass, the Northern Hemisphere, with Jerusalem in the middle and the world is variously shown as dominated or held by God. In the Psalter mappa mundi, which is surmounted by an illustration of the Last Judgement, God holds a little dark red ...

DOI: 10.15291/sic/2.2.lc.4
Literary Translation
Susanne Jorn and Dora Maček:

Pjesništvo Susanne Jorn intimno je s mnogo kratkih pjesama koje često izražavaju osjećaje, atmosferu i dojmove. Tu su osobna viđenja prirode i ljudi, doživljena, mogli bismo reći, na slikarski način. Boje su gotovo redoviti sastavni dio tih doživljaja i kao na slikama, stvaraju dramatičnu ili smirenu atmosferu. One su izraz prirode koja okružuje pjesnikinju, ali su i izraz osjećaja i duševnih stanja. To se jasno pokazuje u zbirci Ne sada već sad, čiji je okvir paleta plavih boja. Druga scena njezine poezije sličice su iz japanskog života i japanske umjetnosti i pjesništva, koje mnogo puta prenosi u svoju dansku okolinu. U zbirci Ne sada već sad mnoge su pjesme prizori iz Danske ili Tokija, ali i drugih krajeva svijeta gdje je boravila. Ipak, njezino je pjesništvo prije svega vezano uz nordijsko nebo, zemlju i kulturu te sjećanja na oca (poznatog danskog likovnog umjetnika Asgera Jorna, koji je u svojim djelima spajao različite vrste umjetnosti. Asger Jorn bio je član poznate transnacio...

DOI: 10.15291/sic/2.2.lt.6
Literary Translation
Jane Bowles and Vivijana Radman:

Na periferiji glavnog grada stajala je niska bijela kuća, veoma nalik kućama koje su je okruživale. Ulica u kojoj se nalazila nije bila popločana zato što je to bila siromašna četvrt. Vrata te kuće, posve nova i ukrašena čavlima, bila su zakračunata i s unutarnje i s vanjske strane. Velika soba, opremljena s nekoliko modernih kromiranih stolica, barom i džuboksom otvarala se na prazno unutarnje dvorište. Na jednoj od tih stolica sjedio je debeo dječačić Indijanac i slušao Good Night, Sweetheart, pjesmu koju je netom odabrao. Svirala je vrlo glasno, a dječačić je ozbiljno zurio u stroj pred sobom. Bila je to jedna od kuća kojima je upravljao njihov vlasnik, senor Kurten, napola Španjolac, napola Nijemac. Poslijepodne je bilo tmurno. U jednoj od soba upravo su se probudile Julia i Inez. Julia je bila sitna i nalik majmunčiću. Bila je privlačna samo zbog svojih neobično velikih i sjajnih očiju. Inez je bila visoka, čvrstih grudiju. Glava joj je bila premalena za tijelo, a oči suviše blizu...

DOI: 10.15291/sic/2.2.lt.7
Literature and Culture
Lada Čale Feldman, University of Zagreb, Croatia:

Featuring as one of the privileged metaphors in humanities and social sciences, theatre provides primarily an image of a circumscribed space whose spatial syntax and modes of human engagement take place within and with respect to the larger space of the city, the world, and, as in Calderon’s Gran teatro del mundo, the universe. It is precisely as a special organization of spatiality that theatre reached the status of Foucault’s radical hetero-topos, flexible as it proved to be as a model for not only counter-representing all the human dealings in the external space, but also of conceptualizing, as in Freud’s psychoanalysis, man’s inner world, his psychic topography. But theatre is above all a concrete place, a built form with its own spatial history, its changing social and ideological functions, and its ways of bestowing to the bodies that enter into it actual or phantasm identities, thoughts, sensations, feelings and memories.My intervention will deal with one of the ruling borders/d...

DOI: 10.15291/sic/2.2.lc.2
Literature and Culture
Brandon LaBelle, Bergen Academy of Art and Design, Norway:

Experiences of listening can be appreciated as intensely relational, bringing us into contact with surrounding events, bodies and things. Given that sound propagates and expands outwardly, as a set of oscillations from a particular source, listening carries with it a sensual intensity, whereby auditory phenomena deliver intrusive and disruptive as well as soothing and assuring experiences. The physicality characteristic of sound suggests a deeply impressionistic, locational "knowledge structure" – that is, the ways in which listening affords processes of exchange, of being in the world, and from which we extend ourselves. Sound, as physical energy reflecting and absorbing into the materiality around us, and even one's self, provides a rich platform for understanding place and emplacement. Sound is always already a trace of location.Such features of auditory experience give suggestion for what I may call an acoustical paradigm – how sound sets in motion not only the material world but a...

DOI: 10.15291/sic/2.2.lc.1