"Oni nemaju od čega umrijeti jer nemaju ni dostojanstva ni srama"
Prose by Zdenka Čorkalo ("Oni nemaju od čega umrijeti jer nemaju ni dostojanstva ni srama")
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Prose by Zdenka Čorkalo ("Oni nemaju od čega umrijeti jer nemaju ni dostojanstva ni srama")
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На оном дијелу моста који се зове капија, ту, на средњем стубу који се при врху проширује, са испуста озиданих са обје стране, л ијево и десно од коловоза, проширују се по једна тераса, око пет корака дуга и широка, ограђена каменом оградом; ту, на десној тераси, идући од вароши, на софи, уздигнутој за два басамака, опточеној сједиштима којима ограда служи као наслон... ту, дакле, на капији, на којој су застајале и свадбе и сахране, на мјесту чији су величанствени опис сви учили наизуст као Свету Књигу, на педесету годишњицу њеног исписивања, овјенчаног славом, доводили су их са свих страна, из чаршије и околних села, и бацали их, тој љепоти у част, ритуално у Дрину,
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Taking the study of Copic’s oeuvre into consideration, his reception in German-speaking countries is relatively unknown. This paper deals with one segment of that cultural exchange – translatological and contrastive analysis of comparative phrasemes in a collection of short stories entitled The Adventures of Nikoletina Bursac. Phrasemes (phraseologisms, phraseological units) serve as a reflection of a people’s spirit and culture, they emerge on the basis of certain images – sometimes in common with other languages and cultures, but to a large extent so specific that phraseology as a discipline regards them as untranslatable. Given the fact that every translator’s task is to turn the untranslatable into the translatable, thus revealing their own understanding and evaluation of the foreign culture in question, this analysis seems to coroborate the claim that Ms Ina Jun-Broda managed to maintain the subtle balance with regard to the (un)translatibility of Copic’s protagonists’ sparkling language.
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Tog je dana Tanatos, bog smrti, pratitelj mrtvih duša u podzemlje, k tome zgođušan momak s bradom i mačem u ruci, pred ogledalom vježbao strog izraz lica. To mu je dio imidža, kao i crna krila na leđima koja je bio dao raščešljati i namazati voskom prije odrađivanja još jednog posla. Nedavno je Tanatos izbacio leptira, jednog od svojih zaštitnih znakova, iz svog autfita. Umjesto toga radije je nosio baklju. Jednostavno je izgledalo muževnije. Tanatos je bio po naravi pesimist, njemu je baklja bila uvijek napola ugašena. Ipak, tog dana pred ogledalom odlučio je malo se opustiti, ne biti uvijek tako krut. Pokušao se čak i nasmiješiti. Tako, i bi dobro. [...]
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Кад се свијет разиђе, од три непрепозната леша остадоше у мртвачници два. - Дјевојка нека остане у мртвачници још један дан, није ce још добро ни охладила, a дјечака закуј, већ заудара, и ноћас га покопај - заповиједи мртвозорник гласом који се у муклом мраку мукло одбијао по зидовима голе мрачне просторије, те уписа нешто у свој смртопис, и сам потписа.
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Po njegovu vremenu u ovom stanu zadnji put bio je prekjučer na nedjeljnom ručku iako su se stan u kojem je bio i ovaj u koji je zakoračio potpuno razlikovali. Razlika između te dvije verzije bila je razlika između odraslog Nedima i Nedima djeteta. Već na ulasku obuzele su ga emocije i izgleda da je unutrašnjost stana imala veću snagu da ga katapultira u prošlost nego sve što je do tada vidio. Zakoračio je oprezno, kao da bi mu se pod mogao izmaknuti pod nogama, a onda se osvrnuo oko sebe.
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Na satu male železničke stanice videh da je negde iza jedanaest noću, Krenuh peške u hotel. Kao i obično, osećao sam zadovoljstvo i olakšanje koje nam uliva dobro poznata okolina. Velika kapija stajala je otvorena, posed je počivao u tami. Ušao sam u trem čija su bleda ogledala udvostručavala cveće u salonu. Vlasnik hotela me, začudo, nije prepoznao i pruži mi knjigu gostiju. Uzeh pero pričvršćeno na pultu, umočih ga u bronzanu mastionicu, i kada se nagnuh nad otvorenom knjigom, doživeh prvo iznenađenje od mnogih koja su mi se spremala ove noći.
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Dok je Gospodin Iks ručao u svom omiljenom restoranu, priđe mu neki čovek sa pištoljem prislonjenim uz slepoočnicu. – Molim vas, dajte mi pet dinara ili ću se ubiti – reče čovek.
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Kelj fel! Ébresztõ! Ki az? Hahó, Lívia, én vagyok! Hoztam brióst. Jaj, azta, de jó! Azt hittem, megint a nõvérke tapiz. Itt vettem a pékségben, még meleg. Istenem, de szeretem, hiszen tudod. Akkor kapd már be!
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This paper has examined the explicit manner in which “Teddy” adopts “the Orient” as a point of reference from which to consider the West and denounce the Western dualism. This paper has also looked at the implicit deconstruction of “the Occident” by way of “the Orient” being depicted as part of Teddy’s hybridity. Through these investigations of the representations of “the Orient,” this paper argues that Salinger represents “the Orient” as a literary strategy to challenge Orientalist appropriation and consumption in post-war America. Upon investigation, it may well be that Salinger displays his own Orientalism in his stereotypical representations of the East. Nevertheless, his depiction of the protagonist Teddy as a hybrid genius gives merit to Salinger’s attempts to describe “the Orient.” It can therefore be said that the literary space presented by “Teddy” is an exemplary case of Salinger’s attempts to deconstruct Orientalism, revealing his skepticism towards the chauvinism in post-war America. Despite the noticeable representations of “the Orient,” “Teddy” has long been interpreted to reflect the limitations of Salinger’s challenge to the materialistic “phoniness” of America because of the implication of Teddy’s death in the last scene. Academic explorations of whether Salinger questions the Orientalist manner of America have been neglected. This paper, however, has demonstrated that revisiting this story today can shed a new light on Salinger’s attempts to assault the chauvinism of America in the mid-twentieth century. “Teddy” illustrates how Salinger’s literary challenge is of significance in that this piece thematizes flexibility of borders between “the Occident” and “the Orient,” one of the major topics of interdisciplinary academic discussion today.
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Ovo je priča o mojem ocu. Nju ne stvara književnik (ta kako bi ju pisao književnik kada je moj otac bio jedan od najvećih što ih poznaje naše vrijeme, a ja to nisam), ne stvara ju ni želja da pripovijedajući istaknem sebe, a još manje da istaknem oca koji je još za života bio istaknut zahvaljujući svojim djelima. Ovu priču ispisuje kajanje za koje je sada prekasno budući da je moj otac prešao u carstvo sjena. Ipak, što vrijeme više prolazi sve više uviđam da nisam bio dostojan sin svojega oca, da sam materijalne vrijednosti stavio ispred ljubavi prema roditelju te da sam na taj način pogriješio u odnosu prema njemu. Otac je kroz život nakupljao mudrost pa mi je, zaogrnut starošću, prorokovao da će doći dani napunjeni kajanjem (ja sam mu se tada smijao izrugujući njegovu starost, o neokajana moja ludosti!).
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Childhood and youth emerge and re-emerge, time and again, as durable concerns and difficult intervals to reach adulthood, as John McGahern describes his experience in novels and short stories. In Memoir (2005), the writer adopts a more detached vision than in his earlier writings, yet he does not admit it to be a typical autobiography. How are conflicts shaped and reconverted by the passage of time? Where does imagination start and where do facts determine the narrative? Is Memoir a piece of fiction, a well-documented and rather neutrally-written volume, or something in between? This article aims at exploring the way in which the narrator’s identity is infused with difficult, tormenting memories of a distant past, while the writer undergoes a difficult process. To understand the process, the analysis relies on major cultural concepts: collective memory (Halbwachs), communicative memory (Assmann), remembering as remediation (Erll) and memory seen as migration (Glynn and Kleist).
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