We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Once arrived to Bucharest, George Cosbuc had noticed that some negative life traits of villagers (magical practice, empirical medicine, ignorance for science) had been the same ones as the ones mentioned in the Enlightenment a century ago. He was involved in dismissing them on three planes: by converting some folkloric stories, by consolidating the school through articles and conferences to show badly practices or making public the scientific discoveries and work techniques. In these paper his contributions are analyzed, those that made him one of the most important personalities who thought towards that direction.
More...
Considering the fact that he did not enjoy the same success as his contemporary writers, Miodrag Bulatović managed to prevail on the international literary scene due to the considerable number of translations of his books abroad. Starting with observing some biographical elements of this Montenegrin author, I will identify the peculiarities of his poetics inclined towards the unmasking of the dark side of human nature in the novel The Red Cock Flies to Heaven. The grotesque, caricatured and peripheral characters are involved in an action carried out by the laws of carnival that reveals a true panorama of evil. Reversing the rules brings to the foreground the demythisation. The symbol of red cock remains the only vain hope of salvation in a world ruled by evil forces.
More...
A literary form that the writers have put in the service of their commitment (a contestatory one), the burlesque has a tripartite structure: the satirist (the satirist self), its goal (the satirist object) and the receiver, who desciphers the sarist message and blows it about. When the satirist allies with the receiver, the efficiency rises, because once the goal is isolated, one alienates oneself from the axiological norm. Furthermore, on the purpose of satiric degradation, this one does not hesitate to use contempt, ironical offence, precise and transparently, allusion, nicknames, caricature- as a means of comic degradation, animal symbol etc.
More...
The most common category of narrative hypothesis, being the heterogeneous term which, in a relationship of contiguity with the basic term, represents a particularization, a concrete application of the basic term, which is made with the intention of reducing it to absurdity. This exaggeration consists in a false explanation of the nature of the pamphleted situation. The technique of the pamphlet, providing first and foremost an art of words, is also noted by fantasy, under a quite wide range of modalities, starting from the subjective reception and until the fictitious addition. Remarkable humor and comic effects are achieved by zoomorphizing, materializing or lowering the human being into the plant kingdom.
More...
The dynamics of reality impose the dynamics of language and culture, just as language and culture, both individual, but in relation of interdependence with the cultural and linguistic context, change the perception of reality. The entire structure depends on the spoken language, because only this real language can fulfill the purpose of mirroring the entire cultural construct through which the reference to reality is achieved. The transition from the spoken language to its sedimentation in texts, later in written texts, implies a fixation in a form that cannot be changed, so that the text becomes the bearer of a frozen linguistic form, a synchronous manifestation that reveals, as a consequence , a certain cultural context, and not another, a certain perception of reality, not another. It is not to be understood from here that the image of reality reflected in texts is reality itself, because reality manifests diachronicly, in direct relation with a certain cultural context, and is revealed, as far as possible, by the real language, spoken, therefore subjected equally to the innovative and conservative tendencies. If, therefore, speaking always refers to certain circumstances in a particular case placed in a concrete space and time, texts, particularly those written and especially those of literature, relate to a context different from reality, a universe of the discourse that is, however, through the language used, tributary to the concrete reality. The text thus becomes a representation of reality, but not as something that can happen, but in the sense of something that is likely to happen. Reality is not copied and translated ad litteram into texts, but is perceived through the senses, filtered through thought and recreated, through language, into different texts and contexts.
More...
The idea of linking Matei Visniec's poetry to that of Mariana Marin was triggered by the statements that Mircea Cartăsescu makes in The Romanian Postmodernism. He attempts to make an organization of the eighty poetry according to several defining criteria. Thus, the nucleus of the eighty poetry will be given by the poets of Bucharest Literary Circle who write a prose, biographic poem, which is recording the real photo, while at the opposite pole are the poets who report themselves in a parabolic way to reality. Here, Mircea Cartărescu includes Matei Visniec and, surprisingly, Mariana Marin. I have thus considered it a challenge to mirror the two poetic paradigms, that of Matei Visniec and Mariana Marin, in order to see how close they are to each other and how different they are. It is true that Matei Visniec offers a highly-chosen elected poetry, based on obvious symbolic elements – the dog, the horses, the ship, the park, the city, the king/Emperor, the poet/philosopher/wise – and which, joined together, make up a coherent story with an obvious subversive film. Mariana Marinʼs poetry is also trying a parabolic report to reality, but the symbols that are used, although some of them are also found in Matei Vișniecʼs poetry, no longer have the same force to make up a story, so create more fragmentary images, but with an immediate impact on readerʼs conscience. Like Matei Vișniecʼs poem, Mariana Marinʼs poem, too, though much more incisive and aggressive, develops an ethical side, showing the frond character of her book. Therefore, the trait that brings the two writers undoubtedly closer together is the ethical attitude in front of the reality, the social and political context of the moment, but also the consciousness that the poet must sometimes assume a social role that goes beyond the esthetic sphere.
More...
Zoia is Virgil Tănaseʼs most complex character, a strange woman who fights against her destiny, against the society and, in the end, against herself. Beautiful like a fairy, brave and fearless like a warior, she constantly wants to escape a prison – her family, her country or her own identity. Imaginative, she always creates a different story about her past, trying to become somebody else. She manages to fascinate every single man she meets, changing her loversʼs lives by making them addicted to her. There is only one person she does not succeed in creating a good relationship – her own mother that she hates because of her ethernal absence from her daughterʼs life. Zoia remains in the readerʼs memory due to her strong personality and the power of her acts.
More...
Gellu Naum is a complex writer whose work bears autobiographical elements. For the surrealists it is a usual to access the memory and the dream space. Thus, for a full understanding of the writer's work, it is necessary to know his life. But a tedious biography that hints at a series of events in Gellu Naum's life would not encompass the true creative spirit. For this reason, Simona Popescu's essay is best suited to talk about the author. On one hand, she does not stop only at the cerebral notation of the words, but it goes on and gives them her own interpretation, she gives them a subjective interpretation. Further more, Simona Popescu is not only a critic in the search for textual meanings, but she also becomes a friend and crumbles the barrier between the interviewer and the interviewee showing a more human figure of the writer.
More...
The present paper seeks to examine how Lucilius` individual instances had functioned in the socio political context of his satires. In the time of Roman Republic Lucilius developed the poetical genre of satire into a socio-political tool capable of entertaining and harm. The bidirectional target is reached my using a harsh tone in the poetical intention of mocking the current state of the society and its individuals. Satire`s predilection for choosing individuals has become a Lucilianic label, where the critical approach is regarded by the use of poetical irony, persona-construction, rhetorical posturing, and thinly veiled autobiography. Lucilius` directness is defined through a clear demarcation between enemies and friends, a literary strategy used to demarcate the auctorial position in relation with the political environment and also to persuade the audience in a desired direction. Literary patronage or a close friendship of the poet may lead to a critical investigation of satire`s role into the contemporaneous political environment. Therefore, the satirical fragments of Lucilius are meant to be analyzed in accordance to the poets` political position in order to demonstrate that early Roman satire had the intention to influence the public perception. A more nuanced understanding of satire`s incipits will facilitated the involvement of mocking literature into the branch of influencing literature.
More...
The purpose of this work is to follow the dynamics of the poetic image in Eminescu's sonnets. We will first try to delimit a few steps and identify the most prolific interval for sonnets, the diachronicity of the Eminescian creation. Then we will open a discussion about the originality of the sonnets (at least two are translations). And finally, we will review the thematic registers and thematic axes of the sonnets, demonstrating the versatility of this species, despite the prejudices associated with the fixed form. Studying the fixed prosodic forms, we have the opportunity to clarify ourselves regarding the Eminescian creative mechanism. Experiencing the sonnet, the poet encounters a form of poetry that pushes the demands up to quantitative determinations, namely 14 verses in endecasilab, grouped into two chains and two thirds. What is the strength of this pattern? First it should be noted that the rhymes of sonnets are seen from the first versions, thus further limiting the possibilities of variation, of modification of the content. We can argue that the rhymes play a special role here, they support the elements of the inner universe, revealing a kind of still frame, within which the possibility of combinations-limited-obliges to deepen the senses.Thus, in this process of creation, the Eminescian rhyme is shifting its focus; it changes its function of formal determination, into a content one. As St. Augustin Doinaş sustains: "... the Eminescian sonnet is revealed as a spontaneous crystal, which the poet does not make - in his many variants - rather than grinding his faces, in order to browse, from any angle, we looked at him, the size of his emotional universe. .”To what extent the rhyme loses its corcitive function, providing a true circuit of the poetic idea or image, over the edges of the verse, proves it, especially the sonnet "The years have passed(Trecut-au anii)", here the first two verses form a single unit, even from a grammatical point of view – an extremely rare situation in the history of sonnet and that we may encounter in Shakespearean sonnets. Finally, at the level of the sonnets, the bottom-form dialectic game reveals its inextricable connection; these two elements are called and mutually reinforcing, lucidity having only the role of extracting from the ore of the spontaneous emotion the precious crystals.
More...
The present article aims to reveal the way in which waiting is seen by different characters who, without any sense, are waiting for something that never will come. So, the action of the plays is replaced by an expectation of the characters. As space of intertextuality, Matei Vișniec’s writings reorganize time and space of human existence, the characters are engaged in a continuous dialogue, but without any solution. The characters can’t explain their presence in a closed space, they want to leave, but they are not able to do that. They live in constant fear. What are they waiting for? The end of their lives.
More...
After many other incursions, some of them pseudo-critical, insidious speculations of the biography, this work tries to sound our National Poet’s love correspondence from insight, by a literary modern perspective, that one of Eminescu and Veronica’s correspondence-novel, part of frontier literature. Thus, we reconstitute love’s philosophical message resorting to the multitude of letters which were retrieved from these two lovers, most of Eminescu’s love letters being found only in the present millennium. With this end in view, this research uses Greek philosophy about Love, namely the concepts of Eros (with the derivate Latin amor hereos) and Agapè – the same ones used in our other researches – identifying the phases of this legendary love, love’s rituals, the heroes’ type, as well as the reasons for what Eminescu and Veronica’s yearning for Agapè remains only in the stage of project, never complete fulfilment.
More...
The diaristic notes of Al. Busuioceanu are gathered under the paradoxical title Midnight Note-books, being elaborated, literally, during the night, because of the extreme insomnia and of his unclearly diagnosticated malady. Moreover, the diary of this writer represents the unique confessor, and one of the few allies, of this misanthrope professor, who willingly stays away from the madding crowd, in order to get closer of himself, in a sustained effort of auto-definition. In this regard, the difficulty and the obscurity, up to a point, - in the sense of partial indistinction of the auctorial figure –constitute prominent marks of the autobiographical discourse. The professor of Hispanic civilization disguised, in a premeditated way, the features of his personality, preferring the formula of a severe, and yet open diary, respecting the discipline of the most well-known conventions – the clause of regularity, the relative sincerity, the principle of simultaneity -, and renouncing the literarised perspective, more generous in expressivity, from the outset. This complicated and original strategy, and even ritual, could be integrated, from our point of view, in the content of the expression the troubled intimacy (in a wide sense).
More...
This year, 2020, marks two hundred years since the passing to the eternal ones of an important Romanian writer and scholar of the Transylvanian School Ion Budai-Deleanu (b. 6 Jan. 1760 - d. 24 August 1820, in Lemberg, Austria Empire), author of the only successful Epic poetry in Romanian literature, Țiganiada, a work that could be printed and integrated into the circuit of our culture only over a hundred years after its elaboration. The Gypsy Epic was capitalized by literary critics especially in terms of the comic dimension, as a burlesque work, with allegorical and parodic features. But in our opinion, this Epic also has a tragic and prophetic substratum. Revealing this substrate is the purpose and originality of our approach.
More...
The rural world is, in Pavel Dan's prose, archaic and at the same time infused with elements of modern civilization and mentality. People live acutely uneasy and traumatic, are animated by metaphysical interrogations, summaries addressed to the transcendent, questioning the deep springs of existence, while myths, archaic rites and even religious institutions have limited operational coherence in the rural area, even if the members of the rural community constantly refer to them, because religiosity, mystical, ecstatic living, is ignored, superstitions have greater power. Rather than religion, the rituals are desacralized, taking place mechanically or even in a parodic key, so that the original senses undergo a symbolic mutation, they become providers of profane significance.
More...
The concept of children's literature itself arouses much controversy among researchers. Is there a genre dedicated exclusively to young readers or is it the same literature, equally valid for both children and adults? Viewed through the eyes of a grown-up, the Mary Poppins series, which enchanted the childhood of many generations, does not seem to outline the naive universe of little pranks, but rather to manifest itself as a plea for saving the souls of adults.
More...
The article analyzes, in comparison, the novels „Kinderland” and „The Glass Garden” of the writers Tatiana Țîbuleac and Liliana Corobca, in which they approach the theme of childhood from the perspective of two little girls deprived of parental care, who must to face the hardships of life since early their childhood. In addition to the similar narrative techniques, the novels also develop a series of common themes and subjects: demystifying the universe of childhood, family and parents; the worlds in crisis. Although they have many points of interference, the novels still fall into two different thematic areas: „Kinderland” develops the theme of migration, and „The Glass Garden” the problem of identity crisis.
More...