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In memoriam of Esad Ćimić (Mostar, 3. June1931 – Zagreb, 7. October 2024.)
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In memoriam of Esad Ćimić (Mostar, 3. June1931 – Zagreb, 7. October 2024.)
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Review of: Myftiut Naim ef. Tërnava, "Shkenca e Ilmul Kelamit – parimet bazë"
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This paper is meant to investigate how Henry David Thoreau could accomplish the major criteria specific to the transcendentalist school of thought as they were embodied in Ralph Waldo Emerson`s work and literary theory: the tendency to pass beyond human experience, mystic approach towards nature as a part of divinity , strong belief in inspiration and extasy, repudiation of the past, avoidance of imitation and repetition, individualism, propensity towards philosophy, morality, and the poetic communion with nature.
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Han Kang is the laureate of the Nobel Prize for Literature this year, 2024. The author was first translated into Romanian in 2019, by Art Publishing House, with the volume “ The White Book", but the discovery of the beauty and elegance of her simple technique, which touches the soul directly, like the snow of lambs in April, truly occurred when, first reading out of curiosity, the work of an author from Seoul who becomes universal through the excellence with which she knows how to map the finest and most unexpected sources of pain. Our work analyses the spaces of pain, as they are inserted in the book: the pain of her sister's birth and death, an event drawn in just two hours of life, with the smell of blood and tight and frozen fears, which became snowflakes, fog, pebbles, grains of sand or white nights, bones and memories. To the direct question asked by a doctor at the beginning of the anamnesis: "what hurts?", using Han Kang's novel as a base text for a narrative medicine workshop, we discovered, together with the workshop group, medical students and young doctors, the fragility and beauty of all life encapsulated in the colour white, the symbolic colour of the medical profession.
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In this critical essay I have been trying to focus on an introduction in crime theory, namely in the birth of policier, the detective novel, starting with the novel of mystery and ending with le roman noir, last but not least it is focused on the birth of a new hero, the detective, the new chevalier. I have been trying to define the first attempts to give a definition of the detective novels, starting from le degree zero de l’ ecriture, as once Roland Barthes put it.
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Jeffrey Eugenides, an eminent figure in contemporary American literature, is recognized for his intricate narratives that blur the lines between the real, the unreal, and the imaginary. His novels often delve into the complexities of human experience, the interplay of personal and historical events, and the nuanced nature of identity and reality. In the present essay, we will explore these themes across some of his major works: The Virgin Suicides, Middlesex, and The Marriage Plot. By analyzing the ways Eugenides navigates the realms of the real, the unreal, and the imaginary, one can better appreciate his literary contributions and the philosophical questions his narratives pose. Eugenides’ treatment of the real is deeply rooted in the particulars of human experience. His characters grapple with tangible issues such as mental health, sexual identity, and familial relationships, placing their struggles within recognizable settings and contexts. He does not shy away from incorporating elements of the surreal or the unreal into his narratives, using these devices to illustrate the psychological states of his characters or to challenge conventional narrative structures. Moreover, imaginary elements in his novels are often intertwined with memory and the act of interpretation. The characters bear the weight of their pasts, reflecting on how their memories shape their perceptions of reality. Eugenides’ use of imaginary constructs also allows for a broader commentary on societal narratives and cultural myths that shape individual identities. Consequently, the characters’ attempts to navigate their lives often mirror larger societal shifts, reflecting the ways in which cultural narratives inform personal experience. The novels analyzed navigate the complex interplay of the real, the unreal, and the imaginary, offering readers a rich tapestry of human experience. By grounding his narratives in real-life contexts while simultaneously exploring the surreal and the imaginative aspects of identity and memory, Eugenides crafts stories that resonate on multiple levels. His ability to blur these boundaries invites readers to question their understandings of truth, identity, and the narratives they construct. As such, his works stand as profound explorations of the human condition, inviting readers to reflect on their own realities, unrealities, and imaginations. Furthermore, the paper discusses how the sense of place in Eugenides’ novels often serves as a character in its own right. The suburban landscape of The Virgin Suicides is painted with a stark realism that mirrors the psychological states of the characters. The Lisbon household, with its oppressive atmosphere and the sisters’ retreat into their own world, embodies the tension between outer appearances and inner turmoil. The neighborhood boys’ obsession with the Lisbon sisters reflects a blend of longing and misunderstanding—an exploration of adolescence that resonates with real-life experiences of desire, loss, and the struggle for connection. Similarly, Middlesex explores themes of identity and transformation through the lens of a Greek-American family’s immigrant experience. The protagonist, Cal Stephanides, undergoes a complex journey of self-discovery that reflects broader societal changes throughout history. Imaginary elements in Eugenides’ novels are also often intertwined with memory and the act of interpretation. The characters bear the weight of their pasts, reflecting on how their memories shape their perceptions of reality. Thus, in The Marriage Plot, the cyclical nature of romantic relationships and the influence of literary narratives on personal experience come to the forefront.
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This paper examines the theme of women’s power in Louise Erdrich’s ”The Antelope Wife” focusing on how women display their affection, maternal care and physical attractiveness. Through complex and engaging characters, the novel provides deep insight into the essential role women play within the Ojibwa tribal community. Maternal care is a central theme in the novel where women are presented as devoted and dedicated to the care and protection of their children. They assume the responsibility of providing them with love, confort and safety, being always concerned with the well-being and happiness of the family. The women of the novel are strong in different ways and manifestations. They demonstrate resilience and inner strength in the face of challenges and adversity. The paper highlights the importance and contribution of women to the cohesion and prosperity of the tribal community, providing a deep insight into the diversity and complexity of their roles.
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The purpose of the paper is to analyse the poem Demult by George Bacovia, based on the framework provided by reader-response criticism, and free associations, in order to highlight the way in which the symbol, within the Symbolist movement, can have both a public and, especially, personal connotation. The poem analysed becomes, in addition, an example of atypical poem for poet George Bacovia’s style, leaning more towards the Romantic movement influence than towards the influence of the Symbolist movement, marking, in fact, the specificity consisting of the overlapping between these two movements in Romanian culture. Additional insight into the understanding of this poem, next to the analysis based on literary and cutural studies, is provided by different translated versions.
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The purpose of the paper is to analyse the poem The Octopus that Would Not Die by Modernist Japanese poet Sakutaro Hagiwara based on a reader-response approach. This approach is further completed by textual analysis, knowledge of Modernist literature, knowledge of specific features of Japanese culture, such as indirect communication and reliance in their traditional poetry on the visual means of expression, as well as pragmatic competence, which refers to the way in which literary works are similar to dialogues between authors and readers. The poem by Hagiwara is an example of experimental work specific to Modernism, challenging the every known form of the poem, the borders between poetry and prose, literary and figurative language, abstract and concrete meanings, as well as real world and fantasy world.
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Ion Stratan is an unserialized, a difficult poet. He is the poet least adherent to eighties poetics, because he lacks the defining marks of the eighties spirit (realism, everyday life, objectualism), but uses lyrical humor, playful spirit, intertextuality. Considered "structural, a modernist poet", situated at the beginning in a "poetics of Mallarmée and Barbian origin", associated with "two epic masters" - Nichita Stănescu and Leonid Dimov -, close to Urmuz or Bacovia in certain creations, Ion Stratan will build a polyphonic vision that tries to express the inexpressible, to capture the essence, to draw the contours of absence, to imagine the unseen from a position hermetic, not devoid of playful inclination. In this sense, we propose that through this work to evoke the particularities of postmodernism through Stratan's impressive work.
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Herta Müller's writing is characterized by the prominent use of intertextuality. She draws on a variety of literary and cultural traditions, myths, and literary traditions, as well as references to historical events and political realities. By using intertextuality, Herta Müller explores themes related to trauma, memory, culture and identity, while challenging established norms. This article presents the role of intertextuality in Herta Müller's writing, which allowed her to engage with diverse literary and cultural traditions and to create complex, multi-layered narratives.
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This article analyses Lucian Blaga’s volumes The Wondrous Seed (Mirabila sămânță, 1962) and November Summer (Vară de noiembrie,1962) through the ecocritical lens, It discovers in a large number of poems in the respective volumes Greg Garrard’s ecocritical tropes, alongside with Jane Bennett’s ‛vital materialism’ and animism, Serenella Iovino and Serpil Oppermann’s ‛material ecocriticism’ and, beings’ ‛porosity’ and Stacy Alaimo’s ‛transcorporeality’ of nature. It also identifies ecocritical neo-religious terms of the ‛reenchantment of David Ray Griffin’s and the desacred’ David Abram’s ‛more-than-human’ and JeffreyCohen’s ‛inhuman’. It discovers a number of hyperobjects corresponding to Timothy Morton’s work on the matter. It also finds out that Blaga uses the baroque oxymoron in quite a large number of poems. The translation of the quoted poems has been done by the author of this article.
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Nichita Danilov's work captures the idea of man as a machine that functions on its own rules. The trilogy deconstructs various instances, presenting their physicality as a collage of images as the reflections of the individual subjectivity. Through this exploration, this paper aims to analyse how the subconscious mind and self-censorship contribute to the ambiguity of situations, resulting in a world woven with irrationality and delirium. The concept of living is constantly linked to the genesis and it is influenced by the omnipresent evil within things. However, the representation of existence using mythical rituals remains uncertain given the cognitive limitations of the universe. In a world constantly evolving and embracing change, the author emphasizes freedom, rebellion, duplicity, and the assertion of identity as desired outcomes. The surrealist image explores the connection between thought and reality by using illicit language and by exploiting external objects - an expedition that leads to an immense literary universe. The induced reverie blurs the boundaries of awakening, dreaming, reality, reasoning and madness since any event revealing a desire is considered a hazard.
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The genre of fantasy literature has gained ground in the fields of the arts, being included in the making of film art and visual electronic game designs. There is that influence of myths, legends whose presence is evident in the concept of fantasy. Initially, this type of fiction was synonymous with children's literature and seen as an escape from reality. The presence of magical elements and supernatural phenomena were considered standard points for highlighting the youthful side of fiction. The fantasy was a distant realm even if in a way connected to the real world and the characters attracted to magical and imaginary events and happenings. Wizards, witches, dragons, monsters, castles and caves, swords and black magic, talking animals and humans turning into beasts, undiscovered mysteries, impossible journeys, epic battles with supernatural beings, deities and demons: an endless list of to those popular elements with fantastic content. Fantasy has many manifestations in modern society. Although fantastic elements can be traced to the dawn of civilization, the form of fantasy we recognize today began as literature in the late 1800’s. The popularity of this type of imaginative fiction has greatly increased in the past hundred or so years, rising to become one of the most dominant genres in the literary world. Largely due to its growing success, fantasy blossomed into other mediums over time. No longer contained solely in literature, fantasy began to spill over into film, role-playing board or card games, and eventually into electronic gaming. Specifically in movies and video games, fantasy was able to assimilate to the electronic age, morphing its ancient motifs and values with the technology of modern society in order to reach an audience more diverse than it had ever achieved. However, literature, where fantasy began, remains its most important and farthest reaching instrument. Accordingly, the majority of discussion in this paper will focus on literature, but not to the total exclusion of other methods of fantastic transmissions, which remain crucial in their own right.
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Paul Valéry is a central figure in the reflection on art and literary creation, recognized as one of the most representative intellectuals of the modernist turn in Europe. Rooted in the Symbolist tradition while distancing himself from it, he dedicated much of his work to exploring the artistic creation process. A poet, essayist, and thinker, Valéry distinguished himself through a methodical and introspective approach to the act of creation, which he terms "poïétique," a concept borrowed from Aristotle but redefined by him. Poïétique becomes a systematic investigation of the mechanisms behind artistic production. In parallel, his aesthetic vision—focused on beauty and the artwork—reveals a pursuit of harmony and perfection, leaving room for the viewer's interpretation. His works, marked by a continuous quest to understand creative processes, rest on a close relationship between poïétique and aesthetics. Far from adhering to a purely contemplative or technical view, Valéry envisioned artistic creation as a discipline where theory nourishes practice and vice versa. Valéry’s poïétique, as expressed in his Cahiers, challenges the romantic myth of inspiration and portrays creation as a rigorous, almost scientific process. His approach to art blends intellectual rigor with an acute attention to form, where every word, rhythm, and structure is meticulously crafted. Through his poetry and theoretical work, Valéry invites readers to engage actively in the creative process, viewing the work of art as a dynamic interaction between the artist’s intentions and the spectator’s interpretation.
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The aim of this paper is to present the phonetic particularities within the Coresian Apostol, seen as premises of unique future supradialectal norms, in other words vocalism, consonantism, similarities with the actual dialectal configuration of Dacoromania.
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This article contains a poem dedicated to the professor Ioan Dănilă.
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In this paper, I offer a critical review of Russophone academic research published in 2022 focusing on the Ukraine-Russia crisis. As part of this study, I have examined a selection of articles that appeared in peer-reviewed journals in March – November 2022. Where appropriate, I pay special attention to the rhetoric and the context of published research, taking into account the personal circumstances of the authors and editors and their communicative actions outside scholarly work. I chose to analyse articles deposited in cyberleninka, a Russian Open Access electronic library. Texts analysed in this paper are freely accessible in Russia, so the Russian audience (academic or not) can read and share them without restrictions, complying with the Russian legal system and the sanctions imposed from outside. Hence, by familiarising themselves with some of the material that Russian academics publish and read, the readers of this article will achieve, to some extent, an insider’s view of the Russian academic environment in 2022.
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The present study investigates 06 YouTube triads of communications on/by Easterine Kire (the Naga-Norwegian Anglophone author) on YouTube for writing back the Naga indigenous identity. The 06 triads, if examined and analysed, might reveal Kire’s performative roles in building trans-local bond with digital participants to shape Naga literary articulations and representations in terms of Naga indigeneity vis-a-vis to build a literary market for Naga Anglophone literature. Applying netnography, the study examines her cultural representations and individualizations as a jazz poet and an interviewee on the YouTube channels. The representations accumulate further significations as critical thinkers, publishers, bookstores, readers, and researchers respond (at various levels) to Kire within the culture groups. The study is unique as it uses netnography as a research tool to ‘surface read’ the significant but under-noticed interface between a Naga Anglophone novelist from a diasporic subject position, the YouTube owners, and the YouTube audience in the context of Naga indigenous cultural production and reception. Moreover, it might be used as a blueprint for researching on the most obscure under-noticed digital data on the most culturally suppressed problem areas amidst the most uncertain fieldwork plans (for example, during and after the Covid-19 pandemic).
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This article tries to describe in rich semiotic detail the work that’s involved in ‘naming’ ‘what we see’, i.e. in knowing. For this purpose, it introduces in Section 1 a real-life scene that provides rich experiential grounding for the paper’s theoretical claims. The scene is that of a researcher confronted with the difficulty of translating her earlier work into another language. This scene is worthwhile because it helps illuminate the close connection that exists in practice between (i) paying attention to particulars, and (ii) bringing to articulation the forms that transpire through those particulars. In Section 2, the article relies on semiotic terminology drawn from the tradition of C.S. Peirce and John Deely to tease out more rigorously the relationship between the general and the particular in the act of knowing: neither splitting them nor positing one as ‘more real’ than the other. Finally, the paper situates the notion of philosophical inquiry, as a habit of critically re-visiting our objects of experience, in the pragmaticist tradition by mobilizing C.S. Peirce’s distinction between ‘idioscopic’ and ‘cenoscopic’ inquiry.
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