Engleski prevod dva osvrta na poemu „SREBRENIČKI KODIRANI KADROVI SMRTI“ Nikole Šimića Tonina


srebrenicki-kod

Poema Srebrenicau kontekstu avangarde XXI. stoljeća

 Poema Srebrenica funkcionira kao suptilna interaktivna umjetnička stvarnost svih žrtava i žrtvovanih projekcija, na toliku tugu nespremnih, ljudskih sudbina.
Srž – srži reducirane s istančanim jezičnim osjećajem, govori o zločinu, a zapravo o psihologiji ukupnog ljudskog postojanja: rođenja – života s mačevima ideologija trajno podignutim nad glavama ljudi – prostora smrti.
Ekonomičnost izraza s minimalističkim zahtjevima prema fondu jezika sadržajno nosi zamisli, realizacije nekih novih  avangardnih futurista XXI. stoljeća.
Poema Srebrenica naizgled jednostavno, ali snažno i dostojanstveno stoji kao turbe u ukupnom umjetničkom stvaranju pjesnika Nikole Šimića Tonina.

 

The poem Srebrenica in the context of the XXI. century avant-garde

 

The poem Srebrenica functions as a subtle interactive artistic reality of all victims and sacrificed projections, on such sadness of  the  unwilling human destiny.

The core – core reduced with the subtle linguistic sense, talks about the crime, but in fact it talks about the psychology of the whole human existence: birth – life with ideologies of swords permanently raised above the peoples’ heads – of the space of death.

Economy of expression with minimalistic demands towards language content carries the idea of realization of some of the new avant-garde futurists of the  XXI. century.

The poem Srebrenica apparently simply, but with power and dignity, stands as a „turbe“ (mausoleum) in the overall artistic creation of the poet Nikola Šimić Tonina.

 Žaklina Glibo

 

 

OSVRT NA POEMU „SREBRENIČKI KODIRANI KADROVI SMRTI“  Nikole šimića Tonina

 

 Ovo je Poema, pjesničko djelo duže forme koje u sebi sadrži i lirsko i epsko.  Puno misli i emocija gradi minimalan broj  riječi.  Kako? U sridu, što bi rekli alkari. Čak je i vizuelno određenje u toj funkciji. Kako? Vertikalno poredane riječi jedne ispod drugih, poput poredanih imena, poput beskrajnog spiska ljudi koji više to nisu,  svojevrsno je asocijativno pjevanje.

Kodirana smrt  zapravo je  dobro osmišljena, precizno kao što puščana cijev i metak  precizno ubijaju  nevine ljude, žene i djecu. Tonin nam podastire taj  ubilački kod, kod brutalnog  masovnog zločina,  projekat   nestanka čovjeka.   Jer oni su brojevi. Imena.

Autor ne preslikava samo jezive kadrove  iskopina  (koje imamo prilike vidjeti u drugim medijima), nego  ulazi u suštinu  zločina, čak  i citira riječi koji su njegovi simboli. On prati sam događaj, zatvoreni krug i opsadu u kome su se goloruki  ljudi lovili  monstroznom  igrom  sa životima.  Tonin  daje dokument. Istinu.

Razčovječi, kaljužišta, kaljuža duša, mržnja, krvnik, trulo ljudsko meso, crvi, krvavi noževi, između žica, zrnca srebreničkog sunca…“ – samo je mali  isječak  živopisnog vokabulara, zapravo poetskog izraza kojim nas baca među grobove žrtava. Ne da budemo posmatrači, nego da osjetimo i čujemo, da budemo svjedoci. Do kosti. Riječi su to koje lede krv,  zaustavljaju dah i blokiraju misao.

Ali, Nikola Šimić Tonin ide i korak dalje: Povezuje to stradanje sa savremenim trenutkom u kome krugove plete bauk Islama. Blizina bez blizine je njegov krik zbog  formalanog i licemjernog odnosa prema tom istom bosanskom narodu.  Preoostaje još pozivati se na onu  iskonsku  pravednost i zadnje utočište: Bog je svjetlost duše!

Dakle, pjesnik se bez ijedne predrasude oslanja na sopstveni osjećaj pravde i na Boga. I šalje svoju poruku: „Jedni drugima dugujemo ljubav“ u trenutku kad je ta stara dama, Evropa, okrenula glavu. Odgovornost je lična, kaže pjesnik,  nema zločinačkih naroda.

A nama ostaje još  biti tu i ne izdati srebreničku žrtvu: „Tihujemo 11. Jula!“ Šta može Čovjek osim da zanijemi?!

 

Jasmina Hanjalić, Sarajevo, 2016.

 

 

REVIEW OF THE POEM “SREBRENICA ENCODED FRAMES OF DEATH” by Nikola Šimić TONIN

 

This is a poem, a poetic piece of a longer form which contains both the lyric and the epic. A lot of thoughts and emotions are built by a minimum number of words. How? Straight to the point (u sridu), as an alkar would say[1]. Even the visual determination supports this role. How? Vertically arranged words, one below the other, like the names lined up, like an endless list of people who are not people any more, presents a sort of an associative singing.

Coded death is actually well-designed, as precisely as rifle barrels and bullets accurately kill innocent men, women and children. Tonin presents us this murderous code, the code of the brutal mass crime, the project of  the disappearance of a man. Because they are numbers. Names.

The author does not just copy some horrible excavation snapshots (which we have seen in other media), but enters the essence of the crime, even quoting the words which are its symbols. He follows the event itself, a closed circuit and the siege in which the unarmed men chased lives in a monstrous play. Tonin gives a document. The Truth.

Dirt, mud, a quagmire of souls, hatred, executioner, rotten human flesh, worms, bloody knives, between wires, beads of the Srebrenica sunlight …” – only a small clip of a colorful vocabulary, actually a poetic expression which throws us among the graves of the victims. Not to be observers, but to feel and hear, to be witnesses. To the bone. Words are blood-curdling, they hold the breath and block the thought.

But, Nikola Šimić Tonin goes a step further: he connects that suffering with the present time in which the phenomenon of Islam „weaves some circuits“. Closeness with no closeness is a poet's cry because of a formal and hypocritical attitude towards the same Bosnian people. There is just a possibility to refer to the primal righteousness and the last resort: God is the light of a soul!

Thus, the poet relies, without any prejudice, on his own sense of justice, and on God. And sends his message: “We owe each other love” at the time when this old lady, Europe, turned her head. The responsibility is personal, says the poet, there are no criminal nations.

And we need to remain here and not to betray the victims of Srebrenica, “Tihujemo (we stand quiet) on July 11th!” What can a Man do except to be speechless?!

Jasmina Hanjalić, Sarajevo, 2016

 

[1]The Sinjska alka  is an equestrian competition held in the Croatian town of Sinj every first Sunday in August since 1717.

The contestant is called an alkar 

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