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The article is dedicated to the prose works of two contemporary Bulgarian Bessarabian authors. The first part of the paper presents biographical and thematic details about the authors, and the second part considers their common fiction books.
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Parable of the White Duck from the collection Peyzazh s Kuche (Landscape with Dog). It is considered an ironic allegory of the past (before and after 1990). References are made to the texts of Yordan Yovkov, Emiliyan Stanev, Yordan Radichkov, Nikolay Haytov, etc. The introduction of Odata na radostta (Ode to Joy) as a main marker in an attempt to entice the duck to be happy is interpreted in two ways: as a negation of the time of totalitarianism on the one hand, marked by restrictions and domestication of wild rabbits, and, on the other hand, as a sarcastic allusion to the new time of freedom, reproducing a snobbish way of thinking, of complete union with the golden calf, a time of desecrated moral values, the change of elites and the naive illusion for change.
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The scripts of the East-Slavonic manuscripts modify significantly in the 15th and 16th centuries. New types of scripts and styles of handwriting are appeared in that time. The multiplicity of the patterns makes up many scribes to master several styles of handwriting and to vary them depending on their goals. They often use another style of handwriting for the scribe’s note. It allows a scribe to differ the main text from the information about him. Various styles of handwriting, belonged to the same scribe, were used for coding different types of text and different genres. It led to the forming in the 16th century of the close connection of the style of the script not only with the genre of the book, but with its destination also. So appearance ofnew styles of scripts and variation of them testifies about shifts in the attitude to the culture heritage in East-Slavonic region. The ability of scribes to write in various handwritten styles poses the question of attribution of handwriting to researchers. Currently, there is no methodology for solving this applied problem. To date, studies of the functions and structure of the scribal manner, its relationship with the genre and purpose of the text are more promising. For example, to create a book the copyist takes into account the height of the line, its ratio to the proportions of the sheet, the mirror of the text, the width of the margins and even the thickness of this book. It is important not only the time and region of the appearance of new handwriting, but also their transition to those handwritten books whose writing had previously been standardized. Any changes in the design and appearance of the book – for example, the use of unusually small and dense handwriting, the appearance of pocket books that are copied into an eighth part of a sheet – speak of new functions of the book and the formation of new traditions.
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The current study extends past research on Cocea’s journalistic work by outlining new perspectives on stylistics and rhetorical techniques as part of an approach to pamphlet art understood as negativity and polemic struggle in the field of journalistic debate. The mainstay of the paper is formed by an analysis of articles published by Cocea in the journals of his time. The study addresses the issue of diverse realizations of irony as a provocative rhetorical strategy in Cocea’s journalistic work taking into account the fact that his press texts add new meanings to understanding his entire atitude towards essential issues such as monarchy, social deficiencies, class injustice. The purpose of the research is to stress the specific of Cocea’s modalities to construct the pamphlet notes in his journalistic work, and the study closelly follows the specialized bibliography dedicated to interpreting the ways in which pamphletary modalities function in the press text.
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Defying the preconceived ideas of the Islamic world, physician, writer and psychiatrist Nawal El-Saadawi (1931-) was born in a small village in Egypt. Ever since she was young, she has clung to writing as the only way to survive mentally. Thus, in 1944, the author signed her first novel Memoirs of a female child called Su'âd as the demons of writing inhabited her even as a child. In 1955 Nawal completed her medical studies at the University of Cairo. In spite of education quite open to the values of the West, Nawal suffered much in his childhood because of the inequities of a traditional society. Her first marriage to a medical colleague lasted only two years. The period when practicing medicine in their native lands - Kafr Tahla village - comes in contact with the daily suffering of women who had to suffer domestic violence and a tortured life especially in the rural area where lack of access to education was obvious. Her career begins to emerge when she was appointed director within the Ministry of Health. This is where she meets the next husband - Sherif Hatata - physician, writer and communist and translator of some of her novels. Her first book is a collection of novels, I Learned Love (1957). In the following years the author signed other short stories and novels A Moment of Truth (1959), Little Tenderness (1960), The Thread and the Wall (1972), Ain El Hayat (1973), She was the Weaker (1977), Death of an Ex-minister (1978), Adab Am Kellet Abad (2000).
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Like all the masterpieces of the world, Celestina possesses an undeniable power to surprise and confuse the reader even over half a century after its publication. This paper aims to show that the book in question owes this profound, resounding resonance to the fact that its author knew how to capture a culminating historical moment and to respond to it by another human and artistic culmination: creating a new vision of man and inventing new ways of expressing it.
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99 emerald rosaries; a novel that stands out for its language with personal and impersonal references; a novel that creates from universal themes, harmonious with the life of the author, the people around him, with the real culture of Kosovar natives; is built by different types of characters, making them dynamic. The protagonist of novels is also the author and the people who tend to interact with him by connecting the texts with each other to create a whole story full of emotions. The author of the novel, Zejnullah Rrahmani, in the Albanian literature is known as an author who writes prose, short stories and novels; he deals with grand national topics, but also those overpass its boundaries by writing about life cycles, individual efforts towards a specific goal, love, coping with difficult situations, but also discovering the world around; from birthplace /village, to the city and new horizons, that are known as universal themes.
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Ch. Baudelaire is the poet that tried hallucinogenic experiences. He wished to achieve the absolute in poetry creation, the consumption of opium and hashish had helped him to give birth to Poetry, that rere flower of the Haven. Consumption of narcotics overcomes all limits, George Bacovia also uses hallucinogenic effects of alcohol to escape freem sick universe in which he feels more and more solitary. In this material I wish to analyze the works of the two poets to identify in their lyrics the hallucinogenic elements that create artificial images. I will highlight that hidden side that is also reflected in the work of the two writers: the consumption of narcotics to sink into the mistery of poetry and overcome the boundaries of a common man.
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The present paper aims at highlighting the factors that contributed to Slavici's approach to folk creation, as well as the theoretical folklore and ethnographic preoccupations of the Transylvanian prose writer. A decisive moment in his work on the realm of folklore is the period when Slavici was the editor of the Tribuna magazine in Sibiu, succeeding through the program of this magazine to unleash the potential of folk literature. As a theoretician, Slavici has written some studies on folklore issues, succeeding in gaining a vast folk culture that we can find in the beginning of his literary creation. An important contribution in the field of folklore is represented by his Folk Literature (Literatura poporana) course, published in the "Educatorul" magazine, Slavici considering the folk heritage as important in the development of a nation.
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This work is a brief account of its author’s PhD thesis, which will be held and published in October 2020. It synthesises Eliza Biță’s intentions to undertake a rigorous research as to the multiple cultural identities of two authors, a Romanian-born one, Panait Istrati, and an Indian-born one Ŕ Salman Rushdie, whose literary paths are similar up to one particular point, namely the country they finally choose as their homeland: in nuce, both Istrati and Rushdie are born in countries located closer or further to the east than the country in whose language they publish and which appears to be their real homeland. The author exposes here in a few lines her way of reflecting on the matter of multiple identities and selves and of analysing the two writers’ works from this particular point of view their being both Oriental, in feelings, and Occidental, in thought. Relying on previous research from French and Romanian critics and on works written by modern-lifestyle philosophers and sociologists who experienced similar disruptions in their lives and literary expressions, such as Tzvetan Todorov, as well as on modern several narratologists’ studies, Biță concludes such cosmopolitism is inevitable nowadays and will probably become a rule in the future.
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The following paper aims not only to identify and justify the meanings behind the elements regarding prison or imprisonment, encapsulated in Tudor Arghezi’s volume Flori de mucigai, but also to clarify and testify that the content of the above mentioned collection of poems subsequently draws and traces step-by-step the most important events, characters and actions that have crossed his path, creating therefore a vital biography of the time spent in prison by one of the most controversed and moreover, gifted writer of all times. When reading Arghezi we encounter, on one hand, ailing elements that may disturb or may distort our perception, and on the other hand there are key-elements that once understood can enlighten us. Although Arghezi’s universe may seem incomprehensible at first, his poems promise to summon thorough ideas by bringing the reader in the middle of the action and giving him the opportunity to carve and to sculpt the meanings behind the words.
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Camil Petrescu is one of the most controversial figures in Romanian culture. The sinuous route of his life will be deeply reflected in the subject of his literature or journalism. The childhood marked by the absence of parental figures, the youth touched by material deprivation, the drama of the war or the infirmity are some of the experiences that will grind his artistic personality, represented in numerous facets: playwright, novelist, poet, journalist or philosopher. The lucid vision and the absolute of his convictions make his creation a continuous space of suggestion and representation.
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The fascination of island space is a defining feature of Western culture. The significance of the island has evolved in time, both in the mental pattern of each era, and in literature. By analyzing comparatively the representative writings of the twentieth century and the beginning of the twenty-first century, I have identified the evolution of the gender dynamics and the subtle relationship established between the island space and the evolving characters within its boundaries.
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The artistic struggle of a people for whom the art of writing represented, at times, a crime, for whom the power to create valuable artistic works was seen as biologically impossible, and which, for several centuries, was perceived as one without a language, without writing, and without history started to take shape as a collective enterprise in the first half of the 20th century and still continues today. In the attempt to gain a better understanding of what the concepts of African American literature and Roma literature mean today, and, most importantly, to identify the stages of their formation as well as their permanent relationship of mutual influence with the socio-historical reality from the United States of America and the Romanian territories throughout time, the present paper will provide a non-exhaustive presentation of the directions followed by the various forms of African American and Roma cultural expression both as part of the oral tradition and of the written literature of these two minority groups. The focus of the paper will be to comprehend, through the comparative method, the degree to which the formation and the evolution of ethnic literature created by writers of African American and Roma origins was influenced by the legal and social position of each minority group inside the host nation and, in this way, to trace the similitude as well as the differences between the literary contributions of the two groups in certain moments of history.
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Alecu Russo writes memorial pages in "Memories" because they are subjectively excellent, giving him the opportunity to express himself freely, unconstrained by rules, depending on his spiritual and moral coordinates. Alecu Russo, being essentially a lyrical and meditative person, appeals to means of expression which are specific to the memorialist literature, because on the one hand they do not emphasize the details, the real and the concrete elements, the objective narrative, but the reactions of the soul, the affective states generated by the contact with the actual and concrete elements, the echo in their sensitivity; and on the other hand they allow them to introduce in their content of psychological, sociological, philosophical and ethical natures. The appropriate ways of memorialistic prose provide him the freedom to use collectively in the same writing the short notation, the returns, the contrasts, to suddenly go from one idea to the other, to impart the phrases to various rhythms, to use different tones in accordance with the internal needs of the content. A sensitive person is revealed to us in "Memories," recalling his childhood and adolescence, in delicate notation, with a discreet melancholy, with the nostalgic shudder that regretted the lost happiness: "It is right to remember: nothing can be for a man more beautiful than the past, because the past is youth and youth is happiness! "
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By the writer Liviu Rebreanu Romanian literature gained a novelist who departs from the pages of his work in order to make free way to the characters of his fiction. His novels make up serious processes in which nothing stays unchanged, in which a world is usually broken apart, both the world of the conscience and that of action. In Pădurea Spânzuraţilor, the inner conflict between A. Bologa’s duty as a Romanian citizen and his obligation to obey the laws of the Austrian-Hungarian state generates a progressive and deep crisis in the conscience of the young intellectual who vacillates between the limits of war subjective morality and the inner freedom gained by the substance of a complex inner life synchronized by a psychological mechanism which characterizes responsible personalities. Thus, Liviu Rebreanu achieves an ample analysis of the condition of the restless Romanian intellectual confronted with the terrors and injustices of the war, and contributes to the formation of the psychological novel by a subtle analysis of the characters’ spiritual states facing exceptional situations.
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Miguel Delibes, one of the prodigious Spanish novelists of mid-20th century, places great emphasis on his characters whom he considers as the axis of the narrative. Through his characters, Delibes gives us the pulse of an era, and the way to see it is through their actions and the spaces in which they develop thoroughly. His favourite characters are children of all types and ages. Starring a child was something new for the time and an act of courage if we think that he used them to indirectly present the problems of Spanish society, his thoughts and concerns, which otherwise couldnřt be possible due to massive cenzorship. One first typology of his children characters is that according to their social background, situation in which we can talk about urban or rural children. Within this classification, however, his children characters acquire different meanings and roles, which will turn them into narrative archeypes such as the orphan, the friend, the wise, the spoiled, the victim or the mediator. The present study emphasizes that the simplicity and sensitivity with which these children characters are described or presented, transform them into unforgettable characters who are represantative of Delibesř novels.
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Our study aims to capture and analyze the most relevant aspects of the cultural and literary life in the post-war period, i.e.1968, as they were reflected through the eyes of „Tomis” magazine editors.
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The purpose of this paper is to examine the role of the fairy-tales in novels with respect to the way characters think about their life experiences. The experience can be explained by metafiction and by script theory.
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In this paper we will try to present the stylistic values of the anthroponyms in Vasile Alecsandri‘s work . The function of the proper name is that of reference and denotation of a certain object. Proper names, by their appearance in a literary text, in comparison with names outside the domain of literary communication, had received a special status.
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