Coded Realities

No. 1 - Year 4 - 12/2013

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

Editorial

The seventh issue of [sic] was conceived as an open-themed issue, unrestricted by a specific topic, genre or mood. Yet, the papers that made it through the review process all seem to remind the readers that our reality is coded in so many ways. Whether it is by means of a literal code, such as the one used between the brothers Vrančić, one a cardinal and writer, the other a diplomat and poet, to prevent others from reading their letters, or a less conspicuous one, such as the one that transforms reality into reality TV, our literature, art and culture seem to rely heavily on cyphers, secrets and the tension between the real and the false. At times, in Grand-Guignol, the boundaries between viewing a play and witnessing a violent act become blurred as the viewer unintentionally becomes a witness or even the perpetrator of violent acts represented (faked!) on a stage in order to seem real. Questions of (in)authenticity and the construction of personal or cultural identity also contribute to our sense of our life, our very existence being coded intentionally and unintentionally in a myriad of ways. ...

Literary Translation
Rachel Trezise and Andrea Rožić:

Mamica se opet bavila svojim brkovima, jak miris voska, kovrče pare iznad lonca. Bila je grozno opsjednuta uklanjanjem dlaka; ovo joj je bilo drugi put u tjedan dana. Pribor razbacan po pultu u prednjem dijelu kafea, ljepljive posudice voska među prašnjavim staklenkama za slatkiše, drveni štapići vire iz posude za žličice za kavu. "Uz malo sreće, ti ovo nećeš morati raditi", rekla je nanoseći zlaćanu smjesu iznad gornje usnice. Pogledala se u zrcalu na reklami Coca-Cole koja je visjela na zidu s brodskim podom i pritisnula komad gaze na usta dok se tekućina ne stvrdne. "Vidi me, ja sam Sicilijanka. Prekrivena dlakama koje ne želim, kao Turkinje, kao Grkinje. Ali ti si Irkinja, Majella, i bjelja od toga ne možeš biti. 'Trebaju ti samo dvije generacije da se asimiliraš.' To mi je rekao tvoj stari nono kad si se rodila. 'Sad si Irkinja, Bonfilia. I imaš irsku bambinu kao dokaz.'" Uprla je štapićem u mene. "Ali nisam postala plavuša zbog tebe, je l' da?" Moj je nono sjedio u stražnjem dije...

DOI: 10.15291/sic/1.4.lt.2
Literature and Culture
Monika Bregović, University of Zadar, Croatia:

Alan Bennett’s play The History Boys provides different perspectives of the educational system, which are reflected in different teaching techniques used by the fictional teachers. The play reflects the clash between two ways of producing legitimacy for education – the modern that relies on grand narratives, and the postmodern that relies on performativity and profitability. The issues raised by Bennett concern the changes in the educational system triggered by reforms introduced in the 1980s that were perceived as a gradual commodification of education. Changes in educational policy governed by neoliberal logic continue to have great impact on contemporary education with the introduction of the Bologna process. The only female teacher in Bennett’s play Mrs Lintott, offers a feminist critique of the system of education as well.Keywords: Alan Bennett, The History Boys, neoliberalism, education, commodificationSet during the rule of Margaret Thatcher in England, Alan Bennett’s play The H...

DOI: 10.15291/sic/1.4.lc.6
Literary Translation
Adam Marek and Una Krizmanić Ožegović:

Idemo do plaže spasiti ptiće da se ne udave. Obučem traperice i debelu vestu preko pidžame. Dok piškim u hladnoj kupaonici, mokraća mi isparava. Tata svojim koracima prodrma i razbudi cijelu kuću. Idemo, kaže s prstom u uhu. Kad izađemo van, lice mi se stisne od hladnoće. Jučer sam izgubio rukavicu, tako da golu ruku trpam duboko u džep, zajedno sa šmrkavim maramicama i fosilima. Na vrhu litice izraslo je novo cvijeće. Tata ga očeše potplatom čizme. Nisam siguran zašto to radi, ali čini se da je zadovoljan.Na pjeskovitoj nizbrdici nema drugih tragova osim naših. Jednom sam ovdje pao, davno, porezao lice na travu, koja u čupercima raste poput zakopanih jastučića za pribadače. Imam blijedosrebrni ožiljak na licu. U obliku ptičjeg stopala. Tata juri dugim korakom, a ja se izmičem pijesku koji zabacuje iza sebe dok trči. Već je ugledao ptića morske laste na plaži pri dnu litice. Isprva, riba koja mu je zapela u grlu izgleda kao dugi jezik. Ptić baca glavu u stranu, onda ponire naprijed, gu...

DOI: 10.15291/sic/1.4.lt.5
Literary Translation
Herta Müller and Lorea Ajanić:

Otkako je u selu ostalo još samo jedanaest učenika i četiri učitelja, koji zajedno čine osnovnu školu, nastavnik tjelesnog odgoja predaje prirodu i društvo. Otada se na satovima prirode i društva uvježbava skok u dalj preko jedne vječito mokre pješčare i igra graničar, ljeti s loptama, zimi s grudama. U ovoj igri učenici se dijele na narode. Koga lopta pogodi, mora se povući iza linije paljbe jer je mrtav i gledati dok svi iz njegova naroda ne budu pogođeni, gledati dok, kako to selo zove, ne padnu. Nastavniku tjelesnog teško je podijeliti učenike. Zato nakon svakog sata zapisuje kojem je narodu koji pripadao. Tko je na prošlom satu bio Nijemac, na sljedećem mora biti Rus, a tko je na prošlom satu bio Rus, taj smije na sljedećem biti Nijemac. Događa se da nastavnik ne uspije nagovoriti dovoljan broj učenika da budu Rusi. Kad više ne zna kako dalje, samo kaže, Budite onda svi Nijemci. Idemo! Budući da u ovom slučaju učenici više ne shvaćaju za što bi se borili, dijele se na Sase i Švabe...

DOI: 10.15291/sic/1.4.lt.3
Literature and Culture
Sanja Runtić and Jasna Poljak Rehlicki:

The paper analyzes the use of humor in the work of Luiseno artist James Luna. Utilizing the media of performance, photography and installation, using himself as the object of representation, Luna has created a recognizable artistic style that addresses the complex issues of American Indian identity and representation. His installations The End of the Frail (1990-91) and The Artifact Piece (1987, 1990) both point at the constructed nature of Native identity. Whereas the former employs satire, self-stereotyping, parody and humor to expose and confront the colonial myths, distorted attitudes and pictographic representations of Native Americans, the latter addresses the issues of Native absence and invisibility in the dominant culture. Representing himself as an artifact to provoke laughter, shock and discomfort, in The Artifact Piece Luna clearly disclosed the relationship between Western institutions of knowledge and the culture of the spectacle. Both installations draw attention to the ...

DOI: 10.15291/sic/1.4.lc.5
Literature and Culture
Nataša Kampmark, University of Novi Sad, Serbia:

Taking (in)authenticity as his subject and intertextuality as the structuring principle, Peter Carey brings together Australian literary and social history, literary theory and a self-reflexive probe into the issues of identity, authenticity and cultural insecurity of a postcolonial society. The novel is interpreted as an allegorical account of national history and an allegorical narrative on the theoretical matters of originality and authorship.Keywords: Carey, identity, (in)authenticity, intertextuality, text, postcolonialism. The most well-known Australian author today, Peter Carey, has more than once found inspiration for his novels in already existing texts of British and Australian cultures. The most notable examples are his sixth novel titled Jack Maggs, his seventh novel titled True History of the Kelly Gang and the one explored in this paper, his eighth novel titled My Life as a Fake. Carey’s Jack Maggs (1997) retells the story of Dickens’ Great Expectations and in a postcolon...

DOI: 10.15291/sic/1.4.lc.4