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The study proposes a formal and semantic classification of constructions with predicative word and an experiencer argument. A syntactic description of the different types of constructions with predicative word is made. The argument structure of the constructions,the semantic roles of their arguments and the possible complements are presented. The conclusions are mainly supported by data from the Bulgarian National Corpus.
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The text is the author’s attempt to present (crypto)autobiographical fragments in George Steiner’s work. The main axis of the article is the assumption that the intellectual’s origin and experiences strongly, though covertly, influenced his scientific activity. Consequently, the text traces the threads from Steiner’s life that resonate in his literary critic and philosophical decisions.
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In the first half of the 19th century, a new literary species is particularly successful. The prose of the first half of that time will be invaded by literary physiology, the appearance of numerous writings of this kind representing an impetus for many other writers of the time to take up such a perspective. Thus, a considerable number of physiological monographs of contemporary society entered the literature of the time, in which the various social, psychological and professional types etc. are put under the microscope. Romanian writers do not remain indifferent to such approaches either, and gradually, a considerable part of Romanian literary productions from the 19th century was influenced by the procedures characteristic of literary physiology. And one of the Romanian writers who also approached that literary genre is Dimitrie Ralet. Through his writings, he delighted the public with such neat creations, moderate in tonality, but with an obvious moralistic character.
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Unofficial ambassadors are those who really change the destinies of lives and countries for the better. Born in 1939 in Vilnius, Lithuania, and passed away in 1983 in Poznań, western Poland, where there is today a memorial house bearing her name, Kazimiera Iłłakowiczówna was an exemplary woman not only for the Poland of the 20th century, but also for Romania and Europe. A poet, a translator and a diplomat, known as having ‘the body of a politician in a woman’s dress’, Kazimiera Iłłakowiczówna was also the personal secretary of Marshall Józef Piłsudski (1926-1935). She dedicated her life to Poland in an honest, determined manner, but also to maintaining a special relation between Poland and Romania, the latter being her second home, more specifically in Cluj, between 1939-1947, and spiritually probably forever. This article analyses, on the one hand, Kazimiera Iłłakowiczówna’s life, and, on the other hand, her literary work, poetry and prose, dedicated to the special relation she developed and cultivated with Transylvania. The role of unofficial ambassador of both countries she assumed is one of the main conclusions of this article, an ambassador who opened and stretched her soul across borders for the closeness of both countries.
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The 1970s interviews and literary studys of Ana Blandiana and Romulus Rusan's Subjective Dialogues and Discussion at the Table of Silence and Other Subjective Dialogues in Colaboration with Ana Blandiana books reveals the role of the interview as an instrument used to bring in the limelight artists that were active in the period between the two World Wars and who have achieved professional maturity in the 1970s. By using methods like text analysis, the contextualised integration into the communist society, and the comparison between interviews taken in different periods of time or with different authors, we've identified the distinct features of the two writers' interviews, the vast themes and the praiseworthy intent to provide the interviewees with the opportunity to express themselves freely in times of political and ideological censure. The first title of Ana Blandiana and Romulus Rusan's work - Subjective Dialogues (1971) - starts with a so-called "explanation" through which the authors reveal their purpose: to identify the conceptions, the principles and the convictions of the interviewed artists. This first "interview compilation" includes interviews with well-known personalities from the field of philology and with professors, academicians, engineers, architects, mathematicians, doctors and other professionals from the science elite, as well as four portraits of the remarkable historical personalities of Nicolae Bălcescu, Emil Racoviță, Lucian Blaga, Nicolae Labiș. The second title - Discussion at the Table of Silence and Other Subjective Dialogues in Collaboration with Ana Blandiana (1976) - continues the artistic and scientific dialogues with prominent personalities of the cultural world. The volume also includes the atypical twelve subjects interview with personalities that were contemporaries with Brancusi and who Romulus Rusans seats them symbolically around The Table of Silence in honor of Brancusi's genius. The Subjective Dialogues have documentary, historical, but also educative, cultural and esthetic value for 21st century readers.
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The library is not just a room where books are kept and read, but a polymorphic, plurivectorized space which mediates continuous metamorphoses, thus becoming a place of identity withdrawal. In fact, this polymorphic space is like a center in which a being throbs with life, beauty, love and from which vectorial rays are scattered in all directions towards knowledge, fulfillment and bliss. Thus, a library becomes an intermediate space between utopia - the most beautiful of the worlds possible - and heterotopia - the movement of man from one space to another. In fact, this sanctuary full of books is the only place that generates a deep sense of space.
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In the 80s, the alienation of the individual under the pressure of the totalitarian regime takes the form of magical realism - DR Popescu, Blandiana- with excess meaning in the form of parables, slipping into the fantastic, sending to multiple levels of reading, as well as that of non-conceptualizing, empiricist minimalist poetry and prose, with simple syntactic structures. A deliberate impoverishment of vision and language is promoted, the minimalist author relying on the power of meaning of the chosen word. Under the pretext of describing the commonplace, the drastic reduction of stylistic means and the poor vocabulary betray the creator's intention to suggest a world emptied of meaning, of values, a world that no longer pursues major goals, but only the imposition of subjective hierarchies of the discretionary regime. Common to these two opposing poetics is the politics of aversion to dogmatism and the totalitarian regime.
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The literary wold of the West had a common language and common themes: the importance of language, its nature, the figure of the writer in his work, the mechanisms of textuality, the construction in language of individual or social identity, the impossibility for the individual writer to escape the constraints of public discourse and so on. In Romania, we notice the existence of radically different languages, a sort of schizophrenia, between down-to-earth socialism and self-reflexive poetics that characterized the entire period after the war until the collapse of totalitarianism, that December 1989 that symbolically ended, we would say, also the literary career of Alexandru Andrițoiu. Let us track down Andritoiu in the context in which he evolved and for which he is representative, that is, on the side of the official discourse, politicized, laden with clichés, which circulated throughout the space forced to communism at the end of the war. Alexandru Andrițoiu was: "a new poet of the new times", lyrically capturing the pulse of a revolutionary era. He was – perhaps more than any of his contemporaries – the case of the writer perfectly molded on the canons of the era and adapting himself, "step by step" – as he says in a poem – to the changes that occurred in the socio-political and cultural context. Making his debut, as a poet, in the early years of the dogmatic era, Andriţoiu had to write according to the norms imposed by socialist realism. He frequently publishes, in periodicals, versified versions of Marxist-Leninist-Stalinist theses regarding class struggle, the difference between the past and the present, and other antinomies perceived as being present in the village world and beyond. His eulogy is addressed to the people, the working class, the party, the country and the supreme leader. Socialist realism requires the poet to really highlight his revolutionary progress. The theme, simple and rigid at the same time, in his poems was the effect of the imperative that literary writings had to be created "in the language and to the understanding of the people".
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Ioan Arion (b. June 3, 1894, Agriş - d. November 30, 1918, Teiuş Train Station), the only martyr of the Union from December 1, 1918, was shot in the train while the Romanian tricolour was flying on the way to the Great National Assembly from Alba Iulia. Unfortunately, he did not reach his destination alive, he was the victim of a crossfire from bullets coming from the Hungarians and Germans who were retreating to Hungary. The one who swore in the holy church from the village of Agriş that he would not let down the tricolour except at the cost of his life kept his promise and defended him with his chest. It seems that only the dead comrades were able to take his flag to take it to the promised place. At only 24 years old, he died unable to see the Great Union with his own eyes. Flag-bearer and a war veteran in World War I, legend says that he was decorated by General Henri Mathias Berthelot himself. He was shot on the evening of November 30, 1918, while coming with a delegation of 25 people from his native village of Agriş, to take part in the Great Union Act. He was buried in the cemetery of Alba Iulia on December 2, 1918, at the funeral ceremony attended by various personalities such as Deputy Vasile Goldiş, General Leonte, the Romanian army delegate to the Great National Assembly, who kissed him on the forehead, giving him the kiss of all Romania, the archpriest Vasile Urzică and the priest Florian Rusan, who also officiated the funeral service. On the tombstone of the martyr are inscribed the words: "Ioan Arion, from Agriş-Iara commune, killed by the Hungarian guard in Teiuş station on the way to the Great Assembly held in Alba Iulia on December 1, 1918. The grateful nation".
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The phenomenon of creating myths, of their forms, of the connections and the importance they had and still have in the development of our society, has been over time the subject of study for many scientists. The interest in the study of myths has its roots in the fact that they influence our development as individuals and in general the development of society. The Myth is a complex phenomenon that sums up the primordial ideas passed through the prism of modern human's sense. The relationship between myth and present resists over time due to man's need to survive and maintain himself through culture. Being perceived as true examples of morality, the ancient legends became models of human conduct that the romanian playwrights took over in their own texts. This paper aims to analyze the Promethean myth and how it was transposed in the play "Prometheus" by Victor Eftimiu. Having as a source of inspiration the Promethean myth in antiquity, we investigated the way in which the myth is reflected in the reality of the time, but also the impact that archetypes and symbols had on the society of the last century.
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This study aims to investigate the analyzes that Ioana Em. Petrescu dedicates, in her famous study devoted to the evolution of heroic-comic, to four major poems in the history of French literature: La Chanson de Roland, Le Virgile travesti, Le Lutrin and La Pucelle d’Orléans. Our intention is to study the way in which the author contextualizes the four works in the broader frameworks of European culture, as well as the notes of originality of her critical vision. From the medieval period to the Age of Enlightenment, Ioana Em. Petrescu is interested in the internal coherence of the forms of heroic-comic and the strategies by which the ideology of each era colors the aesthetic options of French writers.
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In this article, we intend to analyze a play written by Wajdi Mouawad, Ciels, from a linguistic perspective. We will focus on the manner in which it is built the conflict between the characters of the play. The concepts of tension and suspense will closely be analyzed, since they are essential for the dramatic interaction between the different characters created by Wajdi Mouawad. We pay special attention to the sequences related to religious wars, particularly the terrorist attacks that have recently been done in multiple European countries by extremist Islamists. More precisely, we identify the processes of reformulation that appear in various stages of the dramatic conflict, and we analyze their importance for the overall action of the play. After analyzing Ciels by Wajdi Mouawad, we redirect our attention to “the politics of emotion” that have been practiced by some European politicians who seem to reject Muslim refugees entering their countries. We specifically refer to the anti-Islam discourse of the Hungarian Prime Minister, Viktor Orbán. The ideas concerning the identification and description of auto- and hetero-reformulations are based on the theories of Gülich and Kotschi (1985, 1987, 1995), as well as on the theories of Kerbrat-Orecchioni (2005). As we already mentioned before, the reformulation sequences occupy an essential place in the discourses that we analyze and they need to be explained carefully and in detail in order to avoid any possible misunderstanding and/or misinterpretation of the dramatic or political situations that we describe in our research.
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Almeida Garrett (1799-1854) is considered nowadays one of the most important writers of the 19th century. Garrett’s writings, especially the poems from the volume Folhas Caídas, the play Frei Luís de Sousa and the novel Viagensnaminha terra are studied in Portugal not only at school, but also at university. His play Frei Luís de Sousahas been performed for dozens of years on the stage of the National Theater D. Maria II, one of the biggest public theaters in Lisbon and Portugal. Even though Almeida Garrett is mostly known by the contemporary readers as a Romantic writer, he was also an important journalist and politician who played multiple roles in the national institutions, especially between 1830 and 1840, and, at a lesser degree, in the early 1850s. He wrote articles and manifestos in journals, such as O Cronista and O Portuguêz. One of the aims of our paper is to present and analyze Garrett’s political activity. He supported the Liberal Revolution from 1820 by writing two poems Hymno Constitucional and Hymno Patriótico, which were distributed to civilians in Porto. In the following years, he became more and more active in the political affairs of the country and he even participated in various protests and insurrections, including in Vilafrancada, which was an attempt of D. Miguel to seize the power of the country in 1823. In 1832, he joined the liberal troupes of D. Pedro I of Brazil/ IV of Portugal to fight against the ones led by D. Miguel, who defended the absolute monarchy. In 1836, Garrett helped the ministers with the definition of a new Constitution, which was later adopted in 1838. During his lifetime, he was sent as consul of Portugal in Belgium, he was several times named deputy in the Portuguese Parliament and, finally, he received the title of viscount. Another aim of our paper is to analyze to which degree Garrett’s political views are included in his fictional writings, especially the novel Viagensna Minha Terra(1846),but also the plays Frei Luís de Sousa e Um Auto de Gil Vicente (1841). In order to obtain the expected results, we will take into consideration not only the articles that he published in the national journals of that time, but also his manifestos, including O Dia Vinte e Quatro de Agosto (1821) and Portugal na Balança da Europa (1830).
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Although Bellow’s novels deal with huge suffering as a rule, very often a duplicitous ironic approach can be detected in the structure of his books and in the configuration of his main characters. The perspective of psychological torment and frailty in Herzog or Mr. Sammler’s Planet is combined with the awareness of an ailing and unusually large body in Henderson the Rain King. This article explores the subtle ironic narrative background in two of his novels and highlights the use of cultural references and mythical allusions as key devices in the construction of characters for which the exercise of suffering is almost a vocation.
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With the goal of finding more feasible and effective teaching strategies for Chinese intonation acquisition for Romanian learners, this article explores the bias in Chinese disyllabic words by Romanian learners of the Chinese language. By means of the contrastive analysis and the phonetic software Praat, the intonations in Chinese and Romanian linguistics are visualized in order to make the necessary comparisons for identifying the causes of the bias. Considering the Romanian language pronunciation characteristics and the causes of the usual intonation bias by Romanian learners, several teaching suggestions are hereby put forward: utilizing the phonetic software, forming and emphasising the Chinese intonation system sustainably, reducing the negative migration of the native language, and further scientific pronunciation practice.
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This article presents autopathography as a genre in which patients can reclaim their voices to articulate their experiences of the medical system, drawing on Arthur Frank’s theory in The Wounded Storyteller. Illness narratives can be understood not only as means of expressing a largely negative experience by way of monologue, but also as platforms for dialogue between patients and their caregivers. Such encounters, albeit seemingly impossible under the conditions of contemporary medical system, have been postulated, among others, by Rita Charon, the founder of narrative medicine. In the text, autobiographical works of Anatole Broyard and Aneta Żukowska are given as examples of patients expressing the need for a sustained, mutual relationship between doctors and their patients. As such, autopathographies can play their part in bringing to life the ideals of narrative medicine, as well as of what S. L. Jain called “elegiaic politics”.
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This paper deals with the problem of the subject and its realization in the information structure of the Bulgarian simple declarative sentences in the written language. The main problems which this paper will make attempt to investigate, are how the pragmatic roles topic and focus are mapped on the subject, and what factors determine the distinction/realization of the pragmatic roles of the subject. For the purpose of the analysis, we will examine the interface of syntactic structure (word order) of the sentence, formal features of the subject noun in relation to the category of definiteness, and information structure of the sentence.
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The shifting of the borders and the incorporation into the Polish state of territory that had, up to 1945, been part of Germany led to the re-Polonization and Polonization of geographical and personal names, which was considered one of the elements of the eradication of “any trace of German rule”. Such renaming also included personal names (given names and surnames). Given names belonging to the German cultural sphere, including those of saints recognized and revered throughout Poland, were eliminated and replaced by Polish ones. German surnames, even those orthographically or phonetically adapted to the Polish language, also had to be changed. In the choice of a new given name or family name, there was a visible tendency to retain the initials of the previous anthroponym, or to assume surnames occurring in the family, e.g. a mother’s maiden or family name. Preponderance of surnames with the suffix -ski, which was considered very Polish, can also be observed. This change in given names and surnames did not only relate to the native Silesian population, but also the influx of people arriving from various regions of the country and from the Eastern Borderlands. In the situation of the postwar changes of anthroponyms, one should speak of a received and/or imposed surname or given name, provided that the main causes of changes of personal names was administrative coercion resulting from ideological and political positions.
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The foreword explains why the title of the issue and that of its first part were chosen, as well as why the second part and the two permanent columns, Reflexions and Proposals for Reading, include the articles published there. It also emphasizes the fact that the geographical origin of the authors is an argument for the issue’s title.
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