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L’itinerario interiore di Śaţakōpan’s. L’articolo si propone di analizzare il libro di Francis X. Clooney, S.J., Seeing through Texts: Doing 7 eology among the Śrīvaisnavas of South India, al fine di mettere in rilievo gli elementi essenziali della tradizione Śrīvaisnavas per una conoscenza della bhakti induista. L’analisi dell’opera offre altresì l’occasione per una valutazione del metodo di teologia comparativa secondo Clooney.
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Le feu en relation à la Divinité. Terminologie, sens, textes significatifs dans l’Ancien Testament. L’article se propose d’identifier, à partir de quelques „mots-clés” du vocabulaire biblique (de la terminologie grecque pour LXX et celle hébraïque pour TM), les textes vétérotestamentaires où le feu se trouve en liaison avec la Divinité. L’article comporte ensuite une analyse sur les différentes catégories de textes, en approfondissant le rôle des théophanies, du feu dans l’histoire d’Israel, le feu désignant Dieu. Les conclusions résument les principales fonctions et attributs du feu dans l’Ancien Testament.
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L’homme prédestiné (appelé) à la déification. L’homme a été créé à l’image de Dieu, il ressemble à Dieu, en faisant partie de la Cité de Dieu. Cette image, ce visage de l’homme qui ressemble au Créateur a constitué un élément principal des écrits des Pères tout au long du temps. La téologie qui fait référence à la restauration de l’image et à la ressemblance avec l’archétype divin se trouve à la base de la nécessité de connaître de l’homme, tout d’abord comme une création qui fait partie d’une création universelle et ensuite comme une création qui devient une personne douée de raison, liberté, volonté, souveraineté. L’homme devient une totalité de la création, par la synthèse même entre la matière visible (terre) et la matière invisible (âme).
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Celestin Cherebeţiu’s Activity as Teacher and Conductor. Professor, conductor, intrumentalist and composer, Celestin Cherebeţiu was one of the outstanding personalities of Transylvanian culture. He graduated from the Music Academy in Cluj and Pontifi cia Scuola Superiore di Musica Sacra in Roma. He started his career in Blaj as a music teacher at the Pedagogical School, the Girls’ School, the Theological Academy, the Boys’ School. In 1946 he moved to Cluj and started as a teacher at the Boys’ Pedagogical School and an instrumentalist at the State Philharmonic and the National Opera in Cluj. His career was completed by the sixteen years he spent as a teacher at the Music Academy in Cluj.
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Church and State in the mid-19th century Danubian Monarchy. Legal framework: provisions and consequences. The present study analyses from a historical and juridical point of view the evolution of Church-State relation inside the Danubian Monarchy, focusing mainly on the repercussions of a legislation advancing in its process of secularization upon the Catholic Church, in general, and the Greek-Catholic Curch in particular. The Church and the State confronted in the second half of the 19th century with the demarcation of their spheres of influence and power. Evolving, from alliance to separation, the relation between the Catholic Curch and State in Austria meant, as a matter of fact, the heading of an irreversible path. By its end, the Catholic Church ceased to by the old worldly power, becoming an emintently spiritual institution, situated at the edge of the society. From a church of state as it once used to be, changed itself in a certain confession, along the other confessions inside the empire. It was the result of some transfigurations which had started a long while ago, but which visible had accelerated in the second half of the 19th century. The starting point of thise aceelerated process was emphasized by the Concordat signed in 1855, between Austria and the Holy See, when the Catholic Church apparently recovered inside the monarchy its role of temporal power detained since the 18th century. In practice, the „restoration” was incomplete and for a short period of time. After only several years, the Concordat stopped as being recognised, first in Hungary (1867), and afterwards in Austria (1870). Its repudiation meant that the Church vertiginously sliped towards the edge of the society. The end of this path was underlined in Hungary by the institutionalization of compulsory civil marriage and of the ledger (1894), throughout which the State took the definitely control over marriage, as the last major fief belonging to the Church. Reduced in this way at the necessitous circle of a Sunday exercise, the only hope for the Church was to assume with conscientiousness her real vocation: the spiritual salvation.
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Termenul „codicologie” este un termen recent apărut – pe la jumătatea secolului al XX-lea – in spaţiul francez.Disciplina a existat anterior, fiind studiată in universităţi in cadrul paleografiei de care nu este indepărtată; totuși, in timp, codicologia ajunge să fie socotită o disciplină de sine stătătoare datorită publicaţiilor apărute care au stimulat răspandirea discuţiilor și a informaţiilor despre manuscrise.Printre primii autori care au luat in discuţie această disciplină se numără Francois Masai care o considera archeologie du livre (arheologia cărţii), termen de care disciplina ca atare nu este străină. Contribuţii importante in domeniu au adus și Denis Muzerelle (Vocabulaire codicologique. Repertoire methodique des termes francais relatifs aux manuscrits – 1985), Jacques Lemaire (Introduction a la codicologie – 1989), Marilena Maniaci (Terminologia del libro manoscritto – 1996), Armando Petrucci (La descrizione del anoscritto – 2001) etc.
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The postmodern over passing of all kinds of contrasting forms is caused by the constant use of intertextual mirrors joined together in textual spaces that are homothetic in construction. They become game strategies by means of which the text and the world, although once opposing, get together. Combining the detail, the insignificant and the marginal with the perspectival opening towards wholeness within the dialogic texture, the postmodern authorial ego structures itself out of complementary heteromorphic facets. The main target of the present analysis lies in the focus on a new „Postmodern age” in reading Eminescu’s work to build up the image of the Romantic poet as surprisingly attached to the epistemologic realities of the end of the 20th century and the beginning of the 21th. By proposing a different approach on Eminescu’s work, now viewed through its inherent fractality, our approach will build up an innovative way of reading texts, that is the fractal method, which radically changes the image of the Romantic Eminescu, who seems ever more interested in grasping the dynamic multifaceted universe.
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The preoccupations for optimizing the efficiency of the didactic process most profoundly aim at its results, their depth and solidity, from the informative but particularly from the formative perspective. The action-pragmatic structures (abilities, skills, competences) as well as the energetic-axiological orientation ones (attitudes, motivation) are achievements that persist for a long time, after a good part of the informative contents that implicitly “work” to obtain other new results over and over again is forgotten. Experiential learning, one of the types of learning designed to surpass the clash between theory-application, abstract-concrete, successfully developed by Kolb in the 80s, is of a large variety. The paper intends to synthetically and comparatively present a number of 9 alternatives for realising the cycle of experiential learning with the aim of identifying some possibilities for valuing them in the formative practice from the didactic career training
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As a term of cognitive linguistics, metonymy is the use of a single characteristic to identify a more complex entity. Metonymy works by contiguity unlike metaphor, which works by similarity. Typically, when using metonyms, we do not wish to transfer qualities (as in the case of metaphors), but to transfer associations that may not be integral to the meaning. Metonyms help us make our way through language and, as George Lakoff and Mark Johnson sustain, metaphors and metonyms are the basis for much of our understanding in everyday life. Starting from this idea, our study concentrates particularly on the investigation of metonymy, a device not so thoroughly studied in literature (probably because unlike metaphor, it does not discover new relations but arises between words already related to each other) ; we hope that our analysis will carry us over to other kinds of figurative language, as metonymy is an important factor in semantic changes. Our analysis concentrates mainly on the cognitive linguistic approach which is a relevant theoretic account of metonymy as it offers a variety of the interpretative use of language and gives rise to semantic extension, lexical polysemy and semantic change. We have chosen to base our study particularly on the food domain as it is available for anyone who wishes to take a well-understood aspect from a familiar domain and use it in such a way as to stand for a thing as a whole or just for a part of it.
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In this paper, we accomplish a type of analysis that focuses on the reflection of mental patterns found at the origin of idioms in the English and the Romanian languages. The mental component of the meanings of idioms has a special relevance and we considered that acknowledging the way in which the cultural information manifests into language, and especially, in the analysed units, is not only a theoretical, but also a practical problem. In our approach, we identified a number of idioms, common to the two languages, despite the fact that they belong to different linguistic branches. The phraseological units common to the two cultures reflect the primary mental Romanian and English forms, connected to the individual’s orientation in space and time, to the primordial occupations related to general human frameworks, practices and rituals, transmitted from generation to generation. The illustration of mental patterns in idioms becomes evident not only in the phraseological similarities from English and Romanian, but we noticed that there are equivalent units in the European area. Considering this assertion, we collected a number of units that are common to more European languages and come from either an oral, or a written source and are transmitted by oral or written ways. At the same time, we observed that there is a large collection of idioms which are specific to the Romanian or the English language, and are structured on traditions, social and political aspects, economic relationships and cultural values, unique for the identity of the two cultures. By discussing certain expressions belonging to the two linguistic areas, we concluded that idioms are founded on linguistic and psychological patterns that vacillate between specific and universal, as they have become real cultural symbols of the two nations.
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Textualizing processes of both the ethics and politics of memory – whether achieved by the means of the word, i.e. the book, or of the image, i.e. TV, radio, cinema – are of utmost interest in an age of mediated and mediating mass culture, as it comes off the pages of David Lodge’s novels. Many of the later novels written by David Lodge focus, at least at the level of content, on the media with all its aspects and under all its known forms. The present paper intends to investigate the way in which the reader is allowed (or not) to infer the reading keys by letting themselves caught in the mediated and mediating writing games. At the level of form, the covers of David Lodge’s novels, although released by different publishing houses, enclose all sorts of intriguing reviews and images, genuine understatements that function more like pretexts than pre/post-faces, thus managing to lure and entice the reader (not without unveiling at least a small part of the novel’s theme) who peeps into and infers (the visual pretext/ the image or the textual pretext/ the word) that which is hidden in between the covers of the book.
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Age of important historical, political, economic and cultural changes, the middle of the 19th century meant at the same time the birth of a national literature which was to illustrate the modernization process of the Romanian society. The events highly influenced people, leading to the shaping of different attitudes. Such attitudes reflect the collective mentality, the particular way in which people understand to look at themselves, at the others and at the world they live in. C. Negruzzi's prose (especially the biographic and the memories) observes the passing from the Greek, Balkan and conservative eastern tradition to the French, western modernism. His writings develop, in an unexpected mixture of fiction and memories, the very close relationship between literature and the mechanisms of collective thinking. Proving the relationship between the literary text and social dependence in Black on White is the purpose of this paper.
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The article attempts to analyse the modelling factors in constructing the female characters in the 19th century American, British and Romanian prose from the perspective of particular patterns that appear in most of the writing. I will approach this issue from three main perspectives: a socio-cultural and historical one, dealing with the transition from rural/agrarian to urban/industrial ways and values of life; an aesthetic one, dealing with the erosion of conventions and stereotypes and the mutations produced in the representations of womanhood by the transition from romanticism to realism and a comparative one, engaging a parallel between Romanian, British and American literature and culture, on issues such as: strategies of feminist discourse, women’s economic independence, women in transcultural representations of slavery, social conformity and individual fulfilment in society writings or female characters and the rural environment.
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In Henry James’s works the passage of time is rather unimportant, and his main interest seems to be a rather spatial representation of experience. Psychological actions and thoughts of the characters are seen as unfolding in time, but there is also a feeling of being suspended in a timeless universe, of being lost in the labyrinth of a central consciousness, which produces a text that is free of time. The use of interior monologue produces a feeling of a continuous present. The reader loses any sense of reality or physical time and is led into the mind of the character. What really matters is the change in the individual's emotional or mental condition that is determined by a specific set of experiences. Characters’ voices blend with the narrator’s: past and present, self and other become synchronic, and the language tries to express this presentness in the functioning of the mind. James's use of a centre of consciousness relies very much upon a notion of a flexible self-receptive to experience. The centre of consciousness also operates as a vehicle with which James is able to bring the reader into the events of the text. It is probably the reason why James refuses the artificial constraints of omniscient narration that, in his view, never lets the reader forget that one is reading fiction. Rather, a novel should try and create that kind of an atmosphere that requires the absence of overt authorial control, and that absence, in its turn, allows the reader to step into the text and join the character in the active process of understanding the various experiences included in the novel. In many ways, reading James is like an experience of virtual reality. This is the essential power of fiction for James. Through James's narrative technique the novel offers readers an image of themselves and an opportunity to better understand not only themselves in the reflected image, but exactly the mechanism of this understanding process.
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Discussions of what was more or less controversially termed as “postmodernism” seem to be over as long new theories seem to have signed the obituary of this period/ condition and seem to be hailing the beginning of a new chiliastic trend. The new mentality at the turn of the millennium, the new life style and perception of life were transferred into a type of fiction that regarded both towards the past and towards the future so as to meet the requirements of the present times. Focus has changed from the author to the text and back, from the writer to the readers and their preferences, tastes, demands and needs, fact that made opinions change regarding a trend, cultural condition whose beginnings can be traced as far back as four decades ago. Thus, the fact that the new type of fiction reconstructs the past, imitates it or it brings new ontological bases of one and the same reality can be rejected or accepted in part or wholly. Contemporary times allow for such multiple manifestations and interpretations ranging from classical to “postmodern” realism, from convention to experiment. The new relation with reality is seen in the light of the new self-referential type of discourse of postmodern writing giving rise to what was dubbed as “experimental realism”.
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The features of spoken language provide journalese with a number of facts that are transformed into marks of vocality. Thus, the journalistic text allows for the transcription of non-literary phonetic phenomena pertaining to fast pronunciation, familiar and informal variants of certain morphological elements. At the level of syntax, vocality is a result of parataxis and discourse fragmentation, avoiding discontinuity and the excess of discursive marks. All these, as well as several other elements that the present paper aims at evincing, maintain and favour a feature of the journalistic language: familiarity.
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The road acquires special significations in the eighteenth-century English novels thus symbolising the permanent quest of the human being for happiness, liberty or knowledge. It reveals the fact that the road is presented as a space with a noteworthy cultural importance echoing values of the eighteenth-century England. Therefore, we intend to show that due to its multifarious functions and meanings, the road constitutes the spatial artery of the eighteenth-century geography, social and cultural life or, as we will see, even of the narrative productions. The motif of the journey is a necessary component of the road chronotope and, together, they form the spatio-temporal axis accompanying and structuring the narrative edifice. A key-space in the literary representations of the period, the road accommodates the majority of the cultural types building the cultural structure: a space of transition, of exchange and of sociability, the road brings the characters together and links different spaces delineating the geography of the real or of the fictitious eighteenth-century England. For this reason, roads are culturally charged spaces recording and echoing eighteenth-century values and realities.
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Evidentiality comprises a category of linguistic markers responsible for indicating the source of knowledge lying behind assertions. Initially studied in the Amerindian languages that make use of verbal affixes in order to express that the information communicated in an utterance is the result of direct perception, of an inference or it is hearsay content, recent studies have been trying to enlarge the field of analysis to languages that do not have a grammatical category of evidentiality. Referred to as evidential strategies and defined as forms that are not primarily endowed with evidential meaning, but can contextually validate such an interpretation (Aikhenvald, 2004), linguistic forms with evidential usage do not have recurrent and uniform functioning in discourse and may be either lexical or grammatical. For Romanian, this phenomenon is tackled with by the linguist R. Zafiu in the latest edition of Gramatica Limbii Române (GA, Editura Academiei Române, 2008: 715-718) as a sub-domain of the epistemic modality, opposed to the cognitive modality. The aim of this article is to reconsider one of the evidentials (which we call evidential indicators) discussed in GA, i. e. cum că (an equivalent of the reporting THAT), to provide further contexts in order to highlight its contextual behaviour, and to investigate the argumentative effects of its use in discourse*.
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