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The essay aims to investigate the evolution of the poetic vision of an important Romanian poet, Aurel Pantea, as he moves from the attitude of the warrior-poet, to that of a prophetic-poet.
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The essay aims to investigate the evolution of the poetic vision of an important Romanian poet, Aurel Pantea, as he moves from the attitude of the warrior-poet, to that of a prophetic-poet.
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The essay aims to present the main Romanian writers who wrote most of their books in exile, during the Communist regime, the leading voices of the Romanian exile being Monica Lovinescu and Virgil Ierunca.
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Present from the very first volume, Mic tratat de glorie (Small Treatise of Glory), published in 1973, the theme of exile takes on varied forms of manifestation in the poems of Dorin Tudoran. This essay follows the tortuous occurrences of the exile in Tudoran’s poems, but also the implication of the actual exile of the poet eventually materialized biographically twelve years later. Assuredly, the exile in the case of Dorin Tudoran embraces much more than solely a social component.
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This review touches on Andrei Dobos’ poetry book Spiro, published in 2016 at Charmides publishing house. I hereby argued that his book possesses two kinds of discursive tendencies that seemed more or less to contradict each other in their attempt to offer a unitary perspective. On the one hand, his attempt at creating a neo-bucolic and hymnic voice succeeds precisely because he borrows the posthuman detachment of his younger peers. When, however, he attempts to employ musicality and textual playfulness, the voice quivers and ends up sounding unconvincing.
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Prezență sau absență (Presence or Absence) is a volume which rarely shows the actual trajectory of the drama, as it is usually packed in the form of a liberal discourse with an existentialist-sensual stake through which Alexandra Văcăroiu's poems, minimally-shaped, lucidly and cynically underline the affective tension. From the same tough sublayer also derive Ligia Dan's poems from Metonimiile morții (Death's Metonymies), where the reflections on the issue of death and the tense wire of the poems are mixed in an incandescent process of trauma exorcism, an exercise which the poet operates with maximum freedom and overflowing energy.
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This paper frames an ingression on the poetry of Ioan Es. Pop seen as a collection of photos of nothingness and deception. The rhythm of the poetry is fractured and the contemplation of existence changes into a direct notation of a reality that rejects the melancholically texture.
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This essay analyzes Mariana Codruț’s poetry starting from a general characteristic of all the female poets of the 80 ist Literary Movement, namely their incapacity to enjoy life or to find any kind of happiness.
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The associative meaning of the word is a kind of "window" in the linguistic consciousness of the individual. With its help one can reconstruct the image about the world. Real world phenomena, acknowledged by man, are reflected in his consciousness, fixing the temporal, causal, spatial and even emotional relations, caused by the perception of these phenomena. All the associations can be interpreted as a model of linguistic consciousness, and in the opinion of psycholinguists one of the best ways to study it is the associative analysis. The article explores the associative field of the concept Family in Romanian. Despite being a universal value of any national culture, in the individual consciousness of the representatives of different ethnic cultures various associations and representations correspond to this concept.
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This article studies the meeting between English and all the languages spoken in the Pyrenees in the 19th century as they are perceived by British travellers. Those texts, showing a deep interest in languages, far from emphasising a separation between English and all the languages spoken from one end to the other end of the Pyrenean range, insist on the connections that those languages reveal between land and people, between past history and present time, between the evolution of landscapes and linguistic changes. Those texts show first and foremost a sense of connection seen in the meetings of languages, either when they are observed in place names, inscriptions or in the conversations, songs or poems of the populations.
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Using trains has become an oft-recurring symbol in literary history and a somewhat invisible energising force in the works of authors. In Tolstoy’s Anna Karenina, trains are seen as instruments of fate, the catastrophic accidents of which portend the heroine’s plot. The symbols of trains can be manifold: in literature, trains can be associated with optimism (for example, Arnold Munk’s The Little Engine That Could), but on the negative side, they are seen as instruments that ruin the landscape, exert damaging consequences on the city, and even cause social upheaval (for example, Elizabeth Gaskell’s Cranford).The aim of this paper is to explore the omnipresence of trains in some of Vladimir Nabokov’s works, who was known to have been infatuated with railroads and locomotives since his early childhood. Trains possess a variety of thematic functions in Nabokov’s works. In several instances, Nabokov uses trains to cast a nostalgic glance at his idyllic past and present a recollection of seemingly disjointed images in one still point in time. The concept of “cosmic synchronization” in Nabokov is always connected with moments of epiphany, during which bliss and freedom are experienced by his characters. In Glory, an early novel originally written in Russian, Nabokov reveals that trains are not simply objects of one’s youthful obsession and romantic glamour, but constitute a fundamental aspect of the hero’s life as an émigré, who must find a proper existence far from his roots. Similarly to the figure of the Wandering Jew, Nabokov also considers the train journey as an adequate locus for his emblematical migrant characters that are unable to settle down and find peace. In my analysis of “Cloud, Castle, Lake,” it will be claimed that the distance from and fleetingness with which the traveller perceives outside reality through his windows do not offer lasting contact with his surroundings. The landscape, the objects, and the people, which are left behind, remain unidentifiable and mysterious.Nabokov’s use of the trains and the metaphor of the journey are to portray how passengers are incarcerated in time despite their infinite progress through space, while trains also shed light on the alienation and dislocation of his protagonists, who are always on the move, either escaping from a force of circumstances (wars, revolutions, etc.) or embarking upon a quest for the unattainable. Whenever mention is made of trains, Nabokov subtly suffuses the whole story with the subliminal suggestion of the evanescence of life and the inevitable fate of loss and death. It will also be argued that the discovery of the landscape serves as a textual discovery, which, due to the train’s speed, can never be grasped in its entirety, and the fragmentation of the text brings no satisfaction both to the reader and the writer: memory thus becomes blurred and one’s holistic knowledge of existence eventually remains patchy. In this way, Nabokov uses trains differently from other authors less prone to highlight their importance in metaphysical ruminations and spiritual musings as Nabokov does. Throughout Nabokov’s works, the train and the railroad have become a functional and structural part of the plot and narration.
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The Book of Evidence is the self-confession of the protagonist Freddie Montgomery of the crime he has committed. Freddie, an Irish scientist, has been imprisoned for stealing a painting and murdering a young maid named Josie Bell. When Freddie sees “A Portrait of a Woman with Gloves” for the first time he is inexplicably attracted by the woman on the canvas, hypnotised by her mere presence. The picture has a strange power over him. As he himself says only he can understand “the pathos of her presence” (BE 79), only he “has come upon her in a golden room on a summer eve” (BE 79), and only he is capable of killing for her. While reading Freddie’s account of the murder we become witness of his gradual depersonalisation and loss of identity. He hesitates on the verge of reality and the fictional world, of the ordinary and the extraordinary, of art and life. He breaks the link with the ordinary world by murdering Josie Bell who is an intruder for him, the one who stands between him and his woman with gloves. The images of the two women are presented in contrast to one another. The maid is part of reality and yet the ordinary world in which Freddie feels an outsider. The woman with gloves exists in the fictional extraordinary world of art and yet she seems a living creature to Freddie. The picture stands in the centre of the narrative as an example of ekphrasis. In my article, I will analyse how Banville’s excessive use of ekphrastic descriptions in the narrative contributes to building a more complete picture of his protagonist and relating it to the loss of self and depersonalisation of character.
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The Bulaestian idiom “мокрей як щур” in a word-by word translation means ‘wet as a rat’; it refers to a person who gets wet in a heavy rain. As a variant (but rarer), the speakers of Bulaestian dialect use “мокрей як меш”, i. e. ‘wet as a mouse’. The adequate translation of both variants in English has to give a meaning of “completely wet”. The Ukrainian special dictionaries include neither “мокрий як щур”, nor “мокрий як миш”. The meaning of “completely wet; soaked to the skin” is conveyed by some other idioms in the Ukrainian language. However, “мокрий як щур” is known in a Ukrainian dialect (the Krasilov district of the Khmelnitsky region). Thus, we cannot exclude that it exists in some other Ukrainian dialects as well. The Russian language speakers know the idiom “мокрый как мышь” with the same meaning of “completely wet”. The idiom “mokry kaž myš”, identical to Russian “мокрый как мышь”, is known also by Upper Lusatian language speakers. It makes us suppose that the idiom has a for-Slavic origin. Slavic *ščиrъ ‘rat’ is absent in the Russian language. However, there is a well-known Russian щурёнок ‘young pike (Esox lucius)’ (word translation ‘small щур’). Thus, we can suppose the existence of Russian щурёнок ‘young pike (Esox lucius)’ as a reason for the appearance of Slavic idioms like “мокрей як щур”/“мокрей як меш”. Some ancient inter crossing of semantics between different Slavic lexemes *ščиrъ (and *aščerъ‘lizard’, also) could provoke the appearance of some new meanings.
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The author of the review discusses the minimalist poetry of Ioan Milea from his 2013 volume, entitled Fulgurations.
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The text is a review signed by Mihaela Vancea, dedicated to a novel written by a Romania writer, entitled The World War of Smokers (2015).
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The text is a review of the volume of poetry signed by a young Romanian poet, Alex Vasies, entitled The Installation.
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The text presents the evolution of t.s. khasis' poetry and its distinctive poetic voice in the picture of contemporary Romanian literature.
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The essay presents the poetry of Antonio Della Rocca.
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The text is a review of a novel signed by Silviu Lupascu, entitled The story of Green Tea.
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The aim of the article is to present the regional and general dimension of poetic folklore texts.The analysis is based on outlaw songs of Podhale recorded in several ethnographic compilations,above all in Oskar Kolberg’s Dzieła wszystkie. The regional hallmarks of Podhale include outlawthemes, phonetic, grammatical and lexical features of the local dialect of the Podhale region andSlovak borrowings used as poetic devices. The universal dimension of these songs is seen in theuse of typical devices of folk poetry such as diminutives, lexical and grammatica archaisms,displaced accent, non-lexical vocables, end-stopping, feminine rhymes, morphological doubletsand repetitions. The great variation of texts of each song is also universally typical for folklore.
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Poniżej przedstawiamy referat Kareta Bartoška wygłoszony na międzynarodowym kolokwium, które odbyło się na Uniwersytecie Wiedeńskim w dniach 14–16 stycznia 1981 roku. Tematem jego była Europa i Europa Środkowa (podtytuł: Problemy tożsamości i kulturowych), a zostało ono zorganizowane przez Instytut Francuski w Wiedniu, Colloquium Mitteleuropa i Gesellschaft fűr politische Aufklärung. Badacze i osoby zainteresowane tą problematyką (pisarze, politycy, dyplomaci) z Austrii, Francji, Węgier, Polski, RFN i Szwajcarii próbowali odpowiedzieć na pytania postawione przez organizatorów kolokwium, dotyczące związków między Francją a Europą Środkową, problemów narodów, narodowości i wielonarodowości obszaru Środkowej Europy, specyfiki literatury tego obszaru, jego tożsamości kulturowej oraz konsekwencji politycznych toczących się obecnie dyskusji. Dokumenty kolokwium będą wkrótce opublikowane w języku niemieckim. Referat ten przytaczamy za 10. numerem pisma „La Nouvelle Alternative”, które szerzej przedstawiliśmy w 4-5 numerze „Czasu Kultury”.
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