Art and Subversion

No. 1 - Year 3 - 12/2012

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

Editorial

When discussing art, regardless of its form, expression, context, genre or any other classifying or defining feature, one of the key issues that constantly emerges as a thing of relevance is its connection to real life, its meaning to our everyday existence, together with its impact on historical, current, and sometimes even future social and cultural aspects of our lives. Within this context the idea of subversion comes to art almost naturally. By constantly reinventing itself, by expanding various social boundaries, which are in fact self-imposed limitations, art (un)successfully subverts everything that stands in its path, creating different approaches to established routines and perceptions, or even completely breaking down all of the traditional notions surrounding a particular segment or phenomena present in society....

Literature and Culture
Karla Lebhaft, University of Zadar, Croatia:

Početkom 50-ih godina političke promjene u Hrvatskoj (odnosno u tadašnjoj Jugoslaviji) uvjetovale su stvaranje nove kulturne klime, a kao jedno od važnijih obilježja u navedenom razdoblju moguće je istaknuti promjene manifestirane unutar umjetničke sfere koja je tada imala izuzetan politički značaj. Nakon razdoblja tijesne političko-ideološke veze sa sovjetskim političkim blokom (1945. – 1948.) i zaokreta 1948. godine, koji je rezultirao nastankom samoupravnog socijalizma i složene multietničke federativne države, u samo nekoliko godina dolazi do gotovo potpunog raskida sa socijalističkim realizmom, a modernizam je prihvaćen kao dominantan jezik (službene) umjetnosti. Za umjetnost i kulturu to je značilo prijelaz iz borbenog, revolucionarnog socrealizma u umjereni modernizam intimističkog tipa. U tom razdoblju omogućuje se i djelovanje novih alternativnih umjetničkih grupa koje pratimo u kontinuitetu s predratnim (povijesnim) avangardama sve do rasapa socijalističke države. U korpusu '...

DOI: 10.15291/sic/1.3.lc.5
Literature and Culture
Iva Šarić, independent researcher, Croatia:

Recepcija romana Les Champs d'honneur (1990.) Jeana Rouauda redovito se svodi na isticanje dviju njegovih komponenata: autobiografske i povijesne. Naime, u romanu je riječ o osobnoj i obiteljskoj priči, odnosno nedaćama koje su zatekle jednu skromnu obitelj iz francuske provincije 60-ih godina 20. stoljeća, ali i o zbivanjima iz Prvog svjetskog rata koja su toj priči prethodila. Tomu da romaneskni diskurs vuče na autobiografski pridonijela je usporedba, odnosno analogije iz života autora, Jeana Rouauda, s događajima iz romana, ali i brojne autorove paratekstualne napomene u drugim njegovim djelima gdje on te analogije dodatno naglašava i objašnjava. Riječ je, dakle, o samom po sebi kontradiktornom žanru autobiografskog romana s jedne strane te povijesnom romanu s druge, ako se, pak, takvim može nazvati roman čije se tek jedno jedino poglavlje izravno dotiče prave povijesne materije. Rouaud zapravo subverzira autobiografski i historiografski diskurs u romanu, a na trećoj razini tomu tre...

DOI: 10.15291/sic/1.3.lc.4
Literature and Culture
Ana Kedveš, University of Warwick, United Kingdom:

In 2000 the final volume of the fantasy trilogy His Dark Materials was published in London. Although it was only after New Line Cinema announced the film adaptation that it attracted world wide attention, it is undeniable that Pullman’s work made an immense contribution not only to children’s literature, but to British literature in general. The fact that Pullman was the first children’s author to receive The Whitbread Award, as well as the sales of more than 15 million, speak in favour of the significance his work. However, because of his public outbursts against the boycotters of his works, Pullman came under strident criticism. Unconventional usage of traditional religious and Church-related concepts as literary devices brought into question his integrity as an author and designated him as a fervent atheist. The central aim of this paper is to show how Pullman uses various religious concepts, which are mainly related to Christian tradition and doctrines. The resonant imagery of His ...

DOI: 10.15291/sic/1.3.lc.3
Literary Translation
Regina Rheda and Jelena Bulić:

Herofil je pobjegao iz Osnovne škole “Domingos Jorge Velho” i sakrio se u odvodu za kišu. Iz tame, tih kao kamen, gledao je automobil kako se naglo zaustavlja i kako iz njega iskaču jedni te isti ljudi. Utrčali su u školu i brzo izjurili noseći profesora Aristidesa kojim su nahranili automobil. Dok je rukama gurala učenike kroz vrata, zadihana je ravnateljica gledala kola hitne pomoći. Pospremite stvari i vratite se kući. Nastava je za danas otkazana. A zmija, gospođo Carminda? Svi kući, smjesta. Ja ću se pobrinuti za zmiju.Ravnateljica je pričekala da i posljednji učenik šestoga razreda ode i zatim uzela dvije tablete za smirenje. Policija bi se mogla svaki tren pojaviti i početi postavljati pitanja – gospođa Carminda trebala bi imati spremne odgovore. Policija ju je uvijek strašila. Jedan nesiguran odgovor, oklijevanje, nervozni drhtaj, i policija bi mogla osumnjičiti ravnateljicu i poslati je u zatvor zbog zločina koji nije ni počinila. O, bože, koraljna zmija slobodno tumara prosto...

DOI: 10.15291/sic/1.3.lt.4
Literature and Culture
Sintija Čuljat, University of Rijeka, Croatia:

Probing the dramatic monologue mould of Robert Browning (1812-1899) has maintained a long tradition of portraying this poet as an experimenter and pursuer of the Victorian representation de-norming process. Browning’s narrative verse employs ambiguation through syntactic rendition of his dramatic personae who voice their minds beyond the restraints of dialogic turn-taking and divulge their impulses through verbal dominance. Browning’s bicentenary seems a most auspicious moment to creatively explore the tenacity of his discordant narrative vein in literary translation. Browning’s fixation on engendering a poetic form that would fully sustain the self-projecting techniques of his protagonists resulted in the employment of narrative verse whose dialogic nature is undermined and embedded in his creations’ monologues. The poet utilizes innuendoes which originate not only from the pool of poetic references but also from the syntactic realizations disclosing a disparity between the speakers’ ...

DOI: 10.15291/sic/1.3.lc.6
Literature and Culture
Tijana Parezanović, Alfa BK University, Serbia:

In his essay on Australian poetry of the early twentieth century, Nicholas Birns claims that the poetry of the given period was not at the time fully appreciated in the rest of the world, and that metropolitan centres placed low esteem on Australian poetic production (173). There was the lack, as he puts it, of “an efficient market”, caused by various factors, including the remoteness and isolation of the country, its distance from the hotspots of political crisis, and its “perceived rejection of modernism” (Ibid). It was the Anglo-American experimental modernism that the young Australian poets rejected, composing verse that “tended to rhyme and obey metrical contentions” (Ibid, 174) or at least have a certain melodic quality. In its stylistic aspect, this poetry was rather traditional, and the themes used were also quite different from those explored by American or English modernist poets: exploration by sea and land, and the European explorations of Australia in particular, was a ver...

DOI: 10.15291/sic/1.3.lc.2