Search results for: Danziger Trilogie in All Content

Structure of narration in the novel "Katzenmusik" and the short story "Endre" from René Fülöp-Miller

Formen des Erzählens im Roman "Katzenmusik" und in der Erzählung "Endre" des Banat Deutschen Schriftstellers René Fülöp-Miller

Author(s): Anita-Andreea Széll / Language(s): German / Issue: 1/2007

Structure of narration in the novel „Katzenmusik“ and the short story „Endre“ from René Fülöp-Miller. The subject of the essay is the analysis of a novel and a short story from the transsylvanian german writer, René Fülöp-Miller. The analysis is based on the structural point of view of the works. The text – construction of the writer contains the distinctive features of the German languge and literature at that time. The style is a mixture of land describing novel and portrayaling short stories. René Fülöp-Miller is the outstanding representative of transsylvanian German literature, s multicolour. His literary works, narration and style held the features of the region, but the individually particular description is present all the time.

The Inner Mechanisms of Insular Exotism with Loti and Le Clézio. An Interwoven Description of the Indigenous Woman

Les dessous de l’exotisme insulaire chez Loti et Le Clézio. Descriptions croisées de la femme indigène : mi-ouistiti, mi-canéphore antique

Author(s): Florence Lojacono / Language(s): French / Issue: Special ed/2010

Keywords: exotisme; Loti; Le Clezio; Segalen; îles; femmes

Depuis la découverte du nouveau monde, le regard porté sur les terres lointaines est essentiellement masculin. Dans Le Chercheur d’or (1985), Voyage à Rodrigues (1986) et La Quarantaine (1995) de J.M.G. Le Clézio, comme dans Le Mariage de Loti (1880), la femme indigène est décrite selon l’imaginaire qu’elle évoque, selon les mondes qu’elle ressuscite, mais jamais selon ce qu’elle est. Mi-ouistiti, mi-canéphore antique, ce qui est toujours refusé à la femme indigène, c’est le statut de sujet, ici et maintenant. Et pourtant, ou à cause de cela, elle a un rôle clé dans la littérature exotique : c’est grâce à elle que l’homme occidental pourra se régénérer. Les descriptions des femmes indigènes faites par les Européens, en particulier l’examen des analogies employées, nous renseignent plus sur les aspirations et les cicatrices de la civilisation occidentale qu’elles ne brossent un quelconque tableau des antipodes. Si la femme indigène n’atteint pas le rang de sujet, c’est que cela nuirait à sa mission : permettre à l’homme de croire au recommencement possible. Le mythe de l’origine a déplacé son centre de gravité : de la terre à la femme. L’idéal restant, bien sûr, la combinaison de la terre la plus mythique – l’île – et de la possession la plus symbolique: la femme.

What normalization? A few notes on (ab)normalization of film and TV work

Jaká normalizace? Několik poznámek o (ne)normalizaci filmové a televizní tvorby

Author(s): Petr Kopal / Language(s): Czech / Issue: 03/2013

From Darkness at noon (1941) by Arthur Koestler to The Confession (L’Aveu, 1968) by Lise and Artur London and to The Silent Escape:

De Darkness at noon (1941) d’Arthur Koestler à L’Aveu (1968) de Lise et Artur London et à L’Évasion silencieuse (1990) de Lena Constante

Author(s): Alain Vuillemin / Language(s): French / Issue: 1 (17)/2013

Keywords: Political trials; European literature; novel; autobiography; prison memoirs; USSR; France; Romania; Czechoslovakia

The term “Stalinist trial” means rigged trials, taking place in Russia in order to eliminate political opponents to Stalinism. The first denunciations go back to 1929. At that time, returning from a visit to the USSR, Panaït Istrati published a damning testimony on these practices in his book To the Other Flame and The Confession of a Loser, published in French, in Paris, in October 1929. This book was written with other two authors, Victor Serge, a journalist of Russian descent, and Boris Souvarine, another journalist of Ukrainian origin. Starting with February 25, 1927, a concept, that of “enemy of the workers” was introduced in the Soviet law in order to allow legal prosecution of all the alleged opponents of the Revolution. Between 1936 and 1938, the great Moscow trials were the most spectacular manifestation. Several million people became its victims. A novel, Darkness at Noon, written in German by a Hungarian author, Arthur Koestler, then translated into English and published for the first time in London, in Great-Britain, in 1941, evoked the tragic fate of these unfortunate through an iconic character, that of Nicolas Rubashov Salmanovich, a former Bolshevik leader, arrested and executed for trying to oppose the Soviet government. This book, translated into French under the title Le Zéro et l’infini had a worldwide audience. In 1968, in Paris, and always in French, Lisa and Artur London’s damning testimony, The Confession, is published and unveils the reality of the trial that had been brought to Prague, Czechoslovakia, in 1951, against members of the Rudolf Slánský’s government. In 1990, finally, it is still in Paris, France and in French, that a Romanian writer, Lena Constante, publishes The Silent Escape: Three Thousand Days in Romanian Prisons. This story recounts the circumstances of her arrest and conviction in Romania in 1954, for having been involved in the lawsuit against Lucretiu Păstrăşcanu, a former minister of the Romanian Government, arrested in 1951 and sentenced to death in 1954. A secret link connects these three books. It is explained by Lena Constante herself at the beginning of her own story. Before her arrest, she had read Darkness at Noon. She had been accused with that during the investigation. After her release, she read The Confession about which she said: “The book of a trial. Of a technique. Only then [...] I finally understood what still remained obscure to me. Everything was the same. In the least details...”. These extremely accurate testimonies are an indictment of how the “Stalinist trials” took place. They somehow instruct about other trials, at every stage, from the prison until the sentence and sometimes the rehabilitation.

JUPITER'S FEAR

LA PEUR DE JUPITER

Author(s): Adina Curta / Language(s): French / Issue: 2/2014

Keywords: Jupiter; Oreste; peur; liberté; Jean-Paul Sartre

Jean-Paul Sartre rewrites the myth of Orestes from the point of view of his own philosophy of freedom. This is a paradox given the writer is known as a promoter of an atheistic existentialism. Agreeing to approach freedom through the voice of a mythological character such as Orestes, know as a victim of fatality, of an inescapable destiny, Sartre introduces Jupiter, the god of gods, in a double hypostasis: as an impostor in flesh and blood, who borrows a false identity (Demetrios) under which he interacts with human beings and present issues, and as an authentic god, who comes down from the Olympus for showing himself to Egystus, in order to perpetuate his reign and image through him. Forced to reveal his secret, Jupiter has to admit that he is afraid of his own creation, upon which he lost control: in freeing Orestes, Jupiter ignored the consequences that would diminish his position. Agreeing to bring a credible god into light, Sartre gives life to a god that has fears: The fear of Jupiter turns him into a character that completes the gallery of literary Jupiters, in an original way, perfectly rhyming with the deepest beliefs of Sartre's philosophy. As Sartre does not count on God, his conventionally accepted Jupiter, as God of gods that he is, could only be a fearful one. It is like he would say: if he existed, he would definitely be afraid. By the plume of Sartre, fear becomes an existential condition for Jupiter. It is all that the great philosopher grants to this character: acceptance of his fear. Turning the king of gods, the god of gods, into a fearful character – protected by all the attributes that we have mentioned above: impostor, manipulative, changeable, subjective, vengeful – questions faith, belief, the role of religion, even the existence of God. Through this play, Sartre the atheist seems to send a disrupting message, that turns christian traditions upside down: it is not God that created mankind in his image, rather it is man who conceived a God in his own image (see his Jupiter whose existence orbits around fear, one that humans accept being instilled in with, and one of his own, that contains the terrible secret that is eating away at him: human freedom).

The gore: from the cinema to the literature

Le "gore": du cinéma à la littérature

Author(s): Katarzyna Gadomska / Language(s): French / Issue: 3/2008

Keywords: Gore; mainstream horror; blood; mad serial killer; modern supernatural; urban legends; terror; slasher movie

The gore is a modern supernatural where the blood is the most important element. This phenomenon of the pop culture is born in the cinema with wave of the slasher movies and, later, he’s coming in the literature of supernatural, named also the mainstream horror. The constituent elements of the gore there are: — the mad serial killer in the mask, — the space of a giant city, — the blood and the terror, — the extreme cruelty (the murders, the tortures etc.). The present study is analysing of these elements in the movies and the French short stories gore.

CHILDREN AND TRAUMA

ENFANTS ET TRAUMA. LE TRAUMA D'ENFANTS ABANDONNES DE PERE. QU'AS-TU FAIT DE TES MOMES, PAPA DE EZZA AGHA MALAK

Author(s): Efstratia Oktapoda-Lu / Language(s): French / Issue: 08/2011

Keywords: Ezza Agha Malak; La Femme de mon mari; Beyrouth

Ezza Agha Malak is a writer who denounces abuses of Islamic society. She writes a powerful story about Muslim women's condition. Her artistic identity is determined by social conditions of the Arab writer.

The Fictionalization of Wartime Childhood in Young Adult Novels by Anatolij Pristavkin

Fiktionalisierung der eigenen Kriegskindheit in den Jugendromanen von Anatolij Pristavkin

Author(s): Oxane Leingang / Language(s): German / Issue: 01/2013

Keywords: autobiography; Pristavkin; wartime childhood; Word War II; young adult fiction; orphans

“I was created by war”, writes Anatolij Pristavkin in his last autobiographical povest – a Russian term denoting a medium length prose narrative – characteristically entitled The First Day – the Last Day of Creation (Pervyj den’ – poslednij den’ tvorenija). As he lost his mother to tuberculosis at the age of ten, and knew his father to be fighting at the front, the war became the context of his socialisation: Pristavkin spent his childhood in various orphanages, and was in 1944 evacuated to North Caucasus, where he was one of the few of Muscovite orphans to escape massacre. Pristavkin’s large-scale literary project is focused on this traumatic biography. He approaches his childhood with increasing introspection in six short novels and countless short stories. The gaps in his inconsistent traumatic memories are bridged with repetitions which disguise the construction of an intrafictional reality and guarantee narrative coherence. But at the same time they obscure the constructed nature of such memories, which are conditioned by context and an individual perspective. Thus breaking the ‘autobiographical pact’, Pristavkin transforms what he does not want to express about his own life into imaginative moments of relief, into so-called “ideal autobiographies”. The paper demonstrates how Pristavkin depicts and elaborates his traumatic war memories in his young adult novels.

Twenty years of Croatian drama

Vingt ans de drame Croate

Author(s): Darko Gašparović / Language(s): French / Issue: 3/1986

Le texte qui va proposer ici un aperçu critique de quelques tendances dans le drame croate pendant les vingt dernières années ne tend absolument pas à dresser un tableau complet, dans le sens qu'il comprendrait tous les écrivains et oeuvres de cette période, ou même la plupart d'entre eux. Il s'agira tout simplement d'essayer de relever et d'interpréter ensuite quelques centres thématiques et de genres, apparaissant, dans la perspective actuelle, comme les lignes de force les plus importantes et les plus stimulantes pour la nouvelle écriture dramatique dans la littérature croate contemporaine. Et, bein entendu, d'illustrer cela par des exemples, soit des analyses des oeuvres dramatiques de leurs représen· tants clefs. Avant cela, il est cependant nécessaire de préciser l'ébauche du genre dramatique croate de l'après-guerre, ayant pour point central les auteurs et les oeuvres qui s'avèrent aujourd' hui comme les anticipateurs des tendences nouvelles.

What prevails ... language or identity? A Psycholinguistic Approach

Qui domine .. La langue ou l’identite? Aspect psycholinguistique

Author(s): Mohammed Alkhatib / Language(s): French / Issue: 1/2011

Keywords: language; identity; pedagogy; mother tongue; culture; psychology; linguistics

It is not Indeed easy to decide which one dominates the other: language or identity, but from our findings and experiments that we performed we can say that language is one of the ways that the individual uses to assert his identity. From a pedagogical point of view when it comes to learn a foreign language, there could be some sort of rivalry between the foreign language and mother tongue because of the identity. This invites both the learner as the teacher to find a compromise by using the mother tongue to learn a foreign language. Knowing that in learning a foreign language, our mother tongue is our guide who indicates us two main paths: a semantics path and a morph-syntax path. The identity resists against any kind of interference of a foreign language by suspicion of harming the original identity and personality of the individual.

Discourse Strategies Of The Paratext Of Literary Life Stories: Transtextuality Of The Biographical Element

Les Stratégies Discursives Du Paratexte Des Récits De Vie Littéraires : La Transtextualité Du Biographique

Author(s): Alina HROMYK / Language(s): French / Issue: 4/2012

Keywords: biographical discourse; biographé/biographant; discourse analysis; paratext; French modern literature;

Life stories, fictional biographies, biofictions,biographical novels, imaginary life, etc. have been one of themajor trends in French literature in the recent decades. Ourarticle deals with the analysis of the paratext (titles, subtitles,titles genre, epigraphs, editorial indices, etc.) which frame andrepresent these texts. We know that the paratext is notsecondary to text understanding, since, both literally andmetaphorically, it is the very threshold thereof and generatesthe reader’s first horizon of expectations. Actually, we supposethat the latter highlights the ambiguity generated in turn by theexistence of two pacts, of which the texts under study are ashining example.Admittedly, from a certain point of view, itseems that the paratext anchors the story in the “real world”,because it states, explicitly or implicitly, that the characterwhose life is recounted is a person who really existed (it iscommon knowledge that denotative or referential functions arecharacteristic of the biographical project). Sometimes,however, simultaneously and contradictorily, other paratextualindications (such as “novel”, “collection”, “fiction”, etc.)introduce a pact of fictional reading. In short, the paratext sometimes seems to indicate that “there is nothing true, nothingfalse” (Lamartine) in what we are about to read. We thenexamine the strategies of the paratext which establish thebiographical discourse, as well as the relationship representedin the texts by the pair “biographé / biographant”. In the finalphase of the approach we identify the main functions differentparatextuals can have in literary works as well as inbiographical discourse.

The impact of artificial intelligence on work relations given the jurisprudence of the ECtHR

L’impact de l’intelligence artificielle sur les relations de travail à la lumière du système CEDH

Author(s): Elena Lazăr / Language(s): French / Issue: 3/2019

Keywords: labor; artificial intelligence; technology, discrimination;

Nowadays, taking into account the rapid development of technology, labor relations are increasingly impacted by AI. What is more, there is no direct protection of labor relations on the field of the European Convention on Human Rights and there is also no provision related to AI among its articles. In addition, the present study aims to analyze which rights related to labor relations are affected by the new developing technologies, and to what extent.

Nouveau Roman during 1967–1968 in Romania

Le Nouveau Roman dans la Roumanie des années 1967-1968

Author(s): Oana Soare / Language(s): French / Issue: 2 (30)/2019

Keywords: cultural transfer; Nouveau Roman; modernism; debate; liberalisation;

In this article I will analyse the way in which the Nouveau Roman was imposed and received in Romania between 1967 and 1968. During this time, the main works of Alain Robbe-Grillet, Nathalie Sarraute, Michel Butor were translated and brought to market in a high number of copies, all with lengthy prefaces. In 1967 Alain Robbe-Grillet visited Romania where he met his audience, while at the same time, the Romanian media were debating the topic at length. Among the advocates of the Nouveau Roman were Romul Munteanu and Nicolae Balota, whereas among the contestants, there were Vladimir Streinu and Adrian Marino, whose interventions had a consistent anti-modern character (not simply conservative).Together with structuralism, the phenomenon of ‘popularisation’ of the Nouveau Roman can be considered one of the main French cultural transfers, its implementation being an integral part of a significant episode of the modernity war which characterized Romanian modernity. The importance of the Nouveau Roman during the so called cultural liberalisation period is synchronous with the anamnesis of the inter-war literary modernity started by the writers of the 1960s, emphasising a clear intention to recover the time lost during Stalin’s era through a connection to the West’s extreme modernism. Last, but not least, as in any totalitarian political regime – and not only – the political aspect plays an important role in the way these novels were received, which skewed, influenced or even silently encourage the phenomenon (revolutions on paper hardly ever turn into real ones), highlighting the illusory nature of this written mirage, that came to Romania during a transition period: between Stalinism and Protocronism.

Fabian, Fairies and Goblins: Supernatural Beings and Hiker Fiction

Fabián, víly a čučkové: nadpřirozené bytosti a trampská próza

Author(s): Jan Pohunek / Language(s): Czech / Issue: 51/2019

Keywords: hiking;tramping;fantasy fiction;contemporary legend;perception of nature and landscape

The Czech hiker movement (trampské hnutí) is largely based on various forms of interaction with the land that the hikers (trampové) visit and live on. This close relationship between hikers and the natural environment is, among other things, reflected in hiker legends and works of literature. Here, at the intersection of belles-lettres and folklore, we find numerous instances in which writers have taken various beings of superstition or fairy tales, and placed them in new contexts. This has led to the rediscovery and adaptation of traditional characters, like Fabian (the Krakonoš, or Rübezahl, of the Brdy mountains), or more generally defined supernatural forest beings like dwarfs, fairies and wild men. This also includes the creation of characters that are entirely new and plots that set traditional elements into different contexts.The article takes a folklore-literary perspective to analyse the way these motifs have been used in hiker fiction since the early twentieth century, the ways it differs from oral and historical literary representations, and what these nonhiker characters and distinctive atmospheres reveal about hikers’ perceptions of the natural environment. The source material for this article consists of hiker fiction of the twentieth and early twenty-first centuries, and also considers the topics generally in the development of the composition of the motifs of hiker literature, which may be influenced by ‘mainstream’ mass culture.

The figure of King Saul in French theatre since the Middle Ages to Voltaire

Le roi Saül, personnage théâtral au théâtre français, du Moyen Âge à Voltaire

Author(s): Charles Mazouer / Language(s): French / Issue: 2/2019

Keywords: King Saul; theatrical adaptations of the Bible; French Biblical theatre in the Middle Ages; Renaissance and Classicism; tragedy and the tragic;

The article analyses the figure of the Biblical King Saul in early French theatre. First, it considers various theatrical forms reworking the Biblical story in the dramatic mode, from the medieval mystery play to the dramas written in accordance with the classical rules, which show the protagonist on the verge of death. The playwrights discussed in the article particularly emphasize two aspects of the character: that of a father and of a king. In all the plays considered, the central focus is the spiritual drama of the cursed king, who questions divine justice, as it was often the case in ancient tragedy. Despite numerous versions, additions and sometimes significant changes to the original story, King Saul in early French theatre turns out to be quite a faithful rendering of the Biblical Saul from the Books of Samuel.

Mircea Eliade and Lucian Blaga in Correspondence: Elective Affinities

Mircea Eliade şi Lucian Blaga în Corespondenţă: afinităţi elective

Author(s): Sabina FÎNARU / Language(s): Romanian / Issue: 2/2019

Keywords: correspondence; reception; interwar period; polemic;

The present paper, Mircea Eliade and Lucian Blaga in Correspondence: Elective Affinities, analyzes the intellectual relationship between the two writers, starting from their correspondence and focusing on the mutual reception of their works as mentioned in it, as well as on the evocation of these works in Mircea Eliade’s memoirs. It specifies the cultural context, their position towards the debates of the time on the concepts regarding ethnic expression in art and orthodoxism as well as their orientation towards common sources of inspiration in ethnography, folklore and myth. Their vision of the world and of literature, their themes of reflection, their intellectual openness towards Europe highlight the structural affinity between the two writers, philosophers, essayists and publicists.

Daniel B. Hinshaw, Suffering and the Nature of Healing

Daniel B. Hinshaw, Suferința și natura vindecării

Author(s): Petru Cernat / Language(s): Romanian / Issue: 9-12/2020

Ion Moraru, Desolation. The steps of hell. The girl with the smell of basil

Ion Moraru, Pustiirea. Treptele infernului. Fata cu miros de busuioc,

Author(s): Gabriel-Alin Piștea / Language(s): Romanian / Issue: 9-12/2020

Serving the Truth, God and His people. Aspects of Current Doctoral Research, the XI volume of the International Symposium "Studia Theologica Doctoralia"

Slujind adevărul, slujim pe Dumnezeu și pe oameni: Aspecte ale cercetărilor doctorale actuale, volumul al XI-lea al Simpozionului Internațional „Studia Theologica Doctoralia”

Author(s): Gabriel-Alin Piștea / Language(s): Romanian / Issue: 9-12/2020

Adaptation or Rewriting: from Vera Chapman’s Novel The King’s Damosel to Frederik Du Chau’s Cartoon The Magic Sword: a Quest for Camelot

Adaptation ou réécriture : du roman The King’s Damosel de Vera Chapman au film d’animation The Magic Sword: a Quest for Camelot de Frederik Du Chau

Author(s): Marie HAMEL-MARTINENGHI / Language(s): French / Issue: 26/2020

Keywords: female knight; disability; Matter of Britain; Arthurian romance; remediation; English language literature; cartoon;

With The King’s Damosel – the first novel of The Three Damosels trilogy – Vera Chapman offers a rewriting of the Matter of Britain in a womanly point of view, the point of view of a female knight. Indeed, she gives her own interpretation of Linet’s character – the “damosel Savage” created by Thomas Malory – and imagines her adventures, which are not told in Le Morte Darthur. In turn, the Warner Bros. The Magic Sword: a Quest for Camelot cartoon, directed by Frederik Du Chau, is a remediation of Vera Chapman’s novel, of which it keeps some characteristics – such as a strong female as the main character – while renewing nearly the entire plot. The plot change is accompanied by the promotion of a secondary character: Lucius, a young blind hermit, who is foregrounded in the diegesis under the name of Garrett. A reflection on disability is primed through this character.