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O doktorskoj disertaciji Milivoja Mirze Abdurahmana Malića

O doktorskoj disertaciji Milivoja Mirze Abdurahmana Malića

Author(s): Namir Karahalilović / Language(s): Bosnian Issue: 68-69/2015

Milivoj Mirza Abdurahman Malić is one of the first South Slav Iranianists who were educated in Western European university centres. Malić passed the viva voce examination for his doctoral thesis in 1935 at the Sorbonne, and published it in Paris in the same year. The topic of his thesis was Bulbulistan, the work of Fawzī Mostārī, a Bosnian-Herzegovinian author who wrote in Persian and Turkish languages in the second half of the seventeenth and the the first half of the eighteenth century. This article presents a critical overview of Malić’s doctoral thesis.

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Hrvatski tradicijski napjevi Međimurja na tragu Havelockovih kognitivnolingvističkih koncepata

Hrvatski tradicijski napjevi Međimurja na tragu Havelockovih kognitivnolingvističkih koncepata

Author(s): Lidija Bajuk / Language(s): Croatian Issue: 1/2014

This paper attempts to classify the Croatian traditional songs from Međimurje according to two basic cognitive-linguistic concepts, presented in 1986 in The Muse Learns to Write: Reflections on Orality and Literacy from Antiquity to the Present by American philologist Eric Alfred Havelock. The two categories of traditional songs are: songs passed on by oral tradition, which present the behavior of mythical beings and people in mythical natural or real cultural settings (A), and songs passed on by written word which articulate the "myself" (B). Cognitive linguistics as a contemporary humanistic discipline considers in context the two-way creative correlation between the worldview of the author-performer and the listener – whose personal views reinterpret and redefine the world.

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VI. Малоазийските сектантски формирования (казълбаши, тахтаджи и др. )

VI. Малоазийските сектантски формирования (казълбаши, тахтаджи и др. )

Author(s): Franz Babinger / Language(s): Bulgarian Issue: 21/2014

This article represent textual part of the book of Franz Babinger "Sheikh Bedreddin, the son of the judge from Simav" (translation by the editor).

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A BRIEF HISTORY OF THE ROMANIAN GULAG AND THE PRISON LITERATURE OF FORMER INMATES INCARCERATED IN AIUD PRISON

A BRIEF HISTORY OF THE ROMANIAN GULAG AND THE PRISON LITERATURE OF FORMER INMATES INCARCERATED IN AIUD PRISON

Author(s): Adriana Maria Călugăr (Cutean) / Language(s): Romanian Issue: 40/2025

In the article A brief history of the romanian Gulag and the prison literature of former inmates incarcerated in Aiud Prison, I provided a definition of the Gulag from Ruxandra Cesereanu's perspective, inspired by The Gulag Archipelago by Alexandr Soljenițîn, highlighting the shift of this term from a bureaucratic terminology to a symbolic one. The memories of detention possess a high degree of authenticity, and all the writings depicting the hell experienced in communist prisons, along with all the books belonging to the Romanian Gulag, have created a shock among readers. Numerous books have been written on this subject - essays, journals, prison memoirs, recollections, volumes of poetry, prose, novels, and studies. I emphasized that after the 1989 Revolution, fiction and literature were increasingly replaced by numerous memoirs, journals, autobiographical volumes, and that prison literature began to attract public interest and achieve real success. The testimonies of those who lived through the carceral experience bring forward journals and memoirs that facilitate our imaginary journey to understand the experiences endured by prisoners in communist dungeons. This type of memorialistic writing addresses a closed universe, aims to avoid fictionalization, holds testamentary value, and serves a therapeutic function, as through writing and confession, former detainees seek healing. The testimonies about the carceral experience are written in different styles, with each inmate presenting their experience through the lens of their own subjectivity. This study examines how the carceral imaginary is reflected in the works of writers imprisoned in the Aiud dungeon, as a result of the experiences lived within a space dictated by ideological, political, social, or cultural constraints.

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REBELLION AND CONFORMITY IN JANE EYRE

REBELLION AND CONFORMITY IN JANE EYRE

Author(s): ANCA RUSU / Language(s): English Issue: 40/2025

The present paper explores the tension between rebellion and conformity as central themes that shape the protagonist’s development. Jane’s journey is one of self-discovery, where she frequently challenges societal norms that seek to limit her autonomy. From an early age, Jane defies the oppressive authority of her aunt and the cruel treatment at Lowood School, asserting her desire for justice and self-respect. Her resistance to the limitations imposed by her gender and social status becomes evident as she navigates her first relationship, where her internal conflict revolves around the clash between love and personal integrity. She rebels against becoming subjugated by the man’s power and chooses independence over a life of submission. Brontë also underscores the significance of conformity within a structured society. Jane learns to reconcile her individuality with her social roles, finding fulfillment through her marriage, where she can assert herself as an equal partner. Through this dual exploration, Brontë portrays the complexities of balancing rebellion with conformity in the pursuit of personal freedom, self-respect, and love. Ultimately, the paper will present Jane Eyre as a profound meditation on the role of personal autonomy within the constraints of societal expectations.

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THE MUSICAL METAPHOR IN THE DRAMATIC WORK OF ION LUCA CARAGIALE

THE MUSICAL METAPHOR IN THE DRAMATIC WORK OF ION LUCA CARAGIALE

Author(s): Denisa Elena PETREHUŞ / Language(s): Romanian Issue: 40/2025

As a man of the theatre, Caragiale was almost that "impossible" exception that Craig dreamed of! A total theater man, as Victor Ion Popa tried to be later. He knew the theater as Shakespeare and Moliere knew it, as a man from the inside. "Born" in the theater, I.L. Caragiale succumbed to his family's passion for "dramatic art an absolute qualitative level" 1, as a breather and actor, director and dramatic chronicler, author and theoretician, director and passionate reformer of the theater.

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HUMBLE HOSPITALITY IN CALLIMACHUS' HECALE

HUMBLE HOSPITALITY IN CALLIMACHUS' HECALE

Author(s): Mirela Averikios / Language(s): Romanian Issue: 40/2025

This paper examines the representation of humble hospitality in Callimachus' Hecale, one of the most influential epyllia of antiquity. The poem presents the encounter between Theseus and the elderly Hecale, who offers him shelter in her modest dwelling during a storm. Through an analysis of the fragments, the study explores the poem’s thematic innovations, such as the anti-heroic perspective, the glorification of simple life, and the neoteric reconfiguration of epic motifs. Additionally, the paper highlights Callimachus' sophisticated poetic techniques, including intertextual references, stylistic contrast, and the reinterpretation of traditional epic conventions. By focusing on the central scene of hospitality, the study demonstrates how Hecale serves as both a literary innovation and a response to earlier epic traditions, particularly Homeric narratives. This analysis contributes to a deeper understanding of Callimachean aesthetics and the evolution of Hellenistic poetry.

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LAYERS OF MEANING IN HILARY MANTEL’S “WINTER BREAK”

LAYERS OF MEANING IN HILARY MANTEL’S “WINTER BREAK”

Author(s): Andra Irina Porumbeanu / Language(s): English Issue: 40/2025

It is not seldom that meaning is shaped by the emotional state and past experiences of a person. Any given event is construed through a lens of individual histories. This is artfully exploited by Hilary Mantel in the short story Winter Break. The present paper provides a discussion of the text with respect to the use of ambiguity and how different levels of interpretation can be achieved. Moreover, several examples are employed in order to argue that the story also constitutes a valuable resource for EFL classes.

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LOVE, FALL AND REDEMPTION: A THEOLOGICAL INTERPRETATION OF FRANÇOIS MAURIAC’S WORKS THROUGH THE LENS OF MARIA-OTILIA OPREA

LOVE, FALL AND REDEMPTION: A THEOLOGICAL INTERPRETATION OF FRANÇOIS MAURIAC’S WORKS THROUGH THE LENS OF MARIA-OTILIA OPREA

Author(s): Paul-Cristian Albu / Language(s): French Issue: 40/2025

François Mauriac, a deeply Christian writer, explores the complexities of love in his works, portraying it not just as a human emotion, but as a force tied to suffering, illusions, and, ultimately, spiritual redemption. For Mauriac, love is always entangled with the human condition and the fall from grace. In his novels, characters are often torn between earthly desires and the pursuit of divine love that can purify the soul. In François Mauriac şi fiinţa căzută în căutarea iubirii - Pentru o hermeneutică teologică a operei mauriaciene, Maria Otilia Oprea provides a theological interpretation of Mauriac's works, focusing on the interplay between human and divine love. Oprea highlights how Mauriac's characters, such as those in Thérèse Desqueyroux and Noeud de vipères, embody this search for love, marked by illusions but ultimately leading to spiritual awakening and redemption. Oprea argues that for Mauriac, love is both a source of torment and healing, and through embracing divine love, the characters find redemption and reconciliation, not just with others, but with God. Oprea’s analysis presents Mauriac's work as a reflection on the Christian concept of the fall and redemption, with human love, when disconnected from divine grace, leading to suffering. However, through accepting divine love, Mauriac’s characters experience spiritual renewal. This duality between human and divine love forms the core of Mauriac’s literary exploration of the human soul's journey toward redemption. By engaging with Oprea’s theological perspective, this study aims to deepen the understanding of Mauriac’s work, showing how love, for Mauriac, is not simply a worldly pursuit, but a spiritual journey—one that leads to redemption through divine love. Through this lens, Mauriac’s literature takes on a profound spiritual dimension that Oprea’s hermeneutic approach helps to unravel.

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NORMAN MANEA & MIHAIL SEBASTIAN -THE ISSUE OF JEWISH IDENTITY

NORMAN MANEA & MIHAIL SEBASTIAN -THE ISSUE OF JEWISH IDENTITY

Author(s): Dana Maria Bendriș / Language(s): English Issue: 40/2025

Norman Manea is a writer who lived under the sign of two dictatorships: the Antonescu dictatorship and then the Communist one. The return of the hooligan (2003) is an „autobiographical novel”, which includes the avatars of the writer’s biography, from the pre-war period, to the Second World War, the communist period, to the present. The return of the hooligan is a document with the value of testimony and confession, a book in which is evoked, in an original style, the tragedy of the Jews in Romania from the two terror regimes, illustrating the drama of lack of identity and existential uncertainty, the title and content of Norman Manea’s autobiographical novel can be put in relation to Mihail Sebastian’s book How I became hooligan. At the same time, the book can also be considered as a reaction to the conduct of some intellectuals of the interwar period who adhered to the legionary ideology (Mircea Eliade, Petre Tutea, Constantin Noica etc.). The novel can also be interpreted as a response to Nae Ionescu’s famous preface to Sebastian’s novel of two thousand years. In this context, it can be seen that the return of the hooligan represents a search for his own identity, but also an attempt to understand the inner contradictions of Jewish writers in Romanian literature (Mihail Sebastian, Norman Manea etc.).

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PLOTINIAN SYMBOLIC ELEMENTS IN SHAKESPEARE’S LAST FANCIED SONNETS IN V. VOICULESCU’S IMAGINARY TRANSLATION

PLOTINIAN SYMBOLIC ELEMENTS IN SHAKESPEARE’S LAST FANCIED SONNETS IN V. VOICULESCU’S IMAGINARY TRANSLATION

Author(s): Sebastian Drăgulănescu / Language(s): Romanian Issue: 40/2025

Shakespeare's imagined last sonnets in imaginary translation concentrates in an almost hermetic micro-universe all the concentric energies found throughout the volume, configuring the cosmos of love and reflecting the diffuse religiosity of most Voiculescu’s stanzas. The book is, in a larger context, a polyphonic retort to the divine Brit, an antiphonal response to William Shakespeare, a good-quality pastiche of the Shakespearean sonnets. Beyond the inherent epigonism, it also signifies a singular artistic experience in the European litterature, through the maximum ideational cisellation through the formal optimization of the verses. We can notice, above all, the infusion of the verses with Neoplatonic symbolic elements, found in Plotinus' Enneades, and the originality of the Voiculesian volume consists in the fact that death itself is conceived as a mistress, up to the point of liberation from the contingent, life being, paradoxically, a simple vehicle of transcendence to the world beyond, in which a new kalokagathos containing the necessary good, beauty and truth, becomes the supreme motto.

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QUEBEC THEATER – A CREATOR OF NATIONAL EMOTIONS

QUEBEC THEATER – A CREATOR OF NATIONAL EMOTIONS

Author(s): Roxana Voichița Bobariu / Language(s): French Issue: 40/2025

This article examines the unique capacity of Quebec theatre to evoke and sustain a profound national emotion. Focusing on Michel Tremblay’s celebrated play Les Belles-Soeurs, the study demonstrates how the authentic use of joual and themes rooted in the everyday experiences of working-class women forge a strong emotional bond with audiences. Moreover, the paper explores the reception of Michel Tremblay’s works in Romania, examining how various translations and stage adaptations have enabled local audiences to connect with Quebec’s theatrical language and cultural identity. By tracing the evolution of Quebec theatre-from its early external influences to the emergence of a distinct voice during the Quiet Revolution-this work highlights the role of theatre as both a mirror of collective social experience and a catalyst for intercultural dialogue.

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EMBODIED TRAUMA AND COMMUNICATION IN TITUS ANDRONICUS: A COGNITIVE LINGUISTIC APPROACH

EMBODIED TRAUMA AND COMMUNICATION IN TITUS ANDRONICUS: A COGNITIVE LINGUISTIC APPROACH

Author(s): Zhina Dehghan / Language(s): English Issue: 40/2025

This essay analyzes Shakespeare's Titus Andronicus through one of the central theories of cognitive linguistics, embodied cognition, to establish how bodily experience determines communication, identity, and emotional resonance in the play. The research will focus on Lavinia's mutilation and how her body is a site of communication and meaning-making when her voice is silenced. Her inscription on the dust and body language are in collaboration responsible for an earning interchange of body presence and intellect that can be employed in knowing how trauma is represented and received. The essay also investigates dramatization of bodily torture-bodily maiming of Titus, sadistic savagery, and belly-tearing vengeance against Tamora-and its capacity to create a body response in the audience. By accessing cognitive and sensory dimensions of such motion, the analysis demonstrates how Shakespeare can regulate empathetic and moral assessment on the part of spectators. Extending embodied cognition accounts, including Lakoff and Johnson's embodied theories of body engagement in thinking, this essay adds to a picture of the manner in which Shakespearean tragedy functions cognitively and affectively. This essay concludes that Titus Andronicus utilizes embodied trauma as both a device of character depiction and of addressing the audience, infusing greater profundity in the play's tragic effect.

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THE TRADITION OF JESTBOOKS IN THE 16TH AND 17TH CENTURIES: FACETIOUS WRITING FROM ITALY TO ENGLAND

THE TRADITION OF JESTBOOKS IN THE 16TH AND 17TH CENTURIES: FACETIOUS WRITING FROM ITALY TO ENGLAND

Author(s): Cătălin Bărbunță / Language(s): English Issue: 40/2025

The paper delves into the issues of the facetious transfer from Italy to the rest of Western Europe, particularly to England, in terms of publication of facetiae compilations and their usage in other literary genres, specifically in plays. While Italy is highly receptive to the tradition of facetious writing established during the Renaissance period by Poggio Bracciolini’s Liber facetiarum – a collection of unconventional brief texts characterised by their entertaining purpose and audacious style – England proves more reticent and only fully embraces the genre in the 17th century. The transfer is clearly demonstrated by the large number of English compilations published for the first time during the 17th century – thirty-five titles (Lavie,2020b: 135-136) – marking the emergence of a genre equivalent to the Italian facezia.

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Ризата и смъртта
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Ризата и смъртта

Author(s): Zdravko Dechev / Language(s): Bulgarian Issue: 2/2025

A good starting point for considering the connection between the shirt/clothing and the public presence of the human body is the pre-funeral care of the dead in Bulgarian folk culture. As an attribute of ritualized activity, the shirt can be perceived not only as a boundary, but also as a connection between the world of the living and the world of the dead. Research interests lie in how in death a person remains a person precisely through the shirt/clothing. The care put into the shirt/clothing is particularly indicative of the current context. For our people, the shirt becomes symbolic when it gleams white with purity. In this case, “whiteness” and “purity” transcend physical laws and become a moral and spiritual guide to the connection between the shirt and the human body – both living and dead. The peculiar fusion of the shirt with the body and its perception by our people as a “second skin” also stands out. This notion is tied to the violence against the slave body and the removal of its natural protective barrier. And this unimaginable nakedness of the dead slave's body is an example that the slave's body, even in its death, is deprived of any protection.

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Ženski portreti u Tacitovim Analima

Author(s): Sanja M. Ljubišić / Language(s): Serbian Issue: 2/2024

In his Annals, Tacitus provides female portraits from various aspects of their agency in the Roman Empire. On the historical scene there emerge the characters of mothers, wives, empresses, mistresses, warriors, and heroines. The historian features numerous women of the Empire who played either direct or indirect roles in the socio-political events of their respective periods. Despite an occasional unfavourable stance he takes towards these women, Tacitus saves a prominent position for them. Amongst the characters analysed are Livia, Agrippina the Elder, Agrippina the Younger, Messalina, Poppaea Sabina, Octavia, Boudica, and Epicharis. The female portraits presented can be divided into positive and negative characters, into those the historian shows respect for and those towards whom he shows his contempt. Among the women displayed, the highlighted ones are duces feminae, who are endowed with predominantly male traits. Those are women who not only governed the private sphere of the Roman society, but also the public one, through their husbands or sons, heirs to the throne (Livia, Agrippina the Younger). Some of them were powerful mistresses and affected the course of events in the Empire in that capacity. When depicting such women, Tacitus makes use of the rhetoric technique dating back all the way to Sallust – the use of the woman as a prototype of the man (Messalina, Poppaea). Furthermore, one should mention heroines who, for the sake of their libertine ideals, boldly sacrifice their lives (Boudica, Epicharis). According to Tacitus, death is an act of preservation of honour, as well as a redemption for an ill-conducted life (Agrippina the Younger). Among the positive and idealised female portraits one finds faithful wives and mothers (Agrippina the Younger, Octavia). Agrippina is a symbol of fidelity and fertility, and Octavia a symbol of female passivity and tolerance. In order to bring the female characters as truthfully as possible, Tacitus deploys linguistic and rhetoric devices. By carefully selecting the nouns and adjectives of pejorative meaning, along with the technique of repetition of emotionally pregnant words and phrases, he paints individual portraits. Utilising the rhetoric technique of innuendo, the historian often indirectly hints at certain conclusions, insinuating misconduct and accusing the women of the Empire of various crimes.

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The Adventure Novel – Devaluation and Revaluation of the Adventure: Gallants of the Old Court

The Adventure Novel – Devaluation and Revaluation of the Adventure: Gallants of the Old Court

Author(s): Angelo Mitchievici / Language(s): English Issue: 1/2024

The article aims to illustrate that the entire work of Mateiu I. Caragiale, particularly his only novel, Gallants of the Old Court, recuperates as a horizon of possibility the adventure novel in an embryonic-synthetic, concentrated form, with its progression remaining in a state of suspension. Within the novel lies an inscription of the adventure novel through various established formulas, alongside an implicit reflection on the interplay between the adventure genre and the novel, regarding the trajectory and the selection enacted by the author in the matters of existence, as well as history. Thus, the literary contribution of Mateiu I. Caragiale facilitates a perspective on the adventure novel as an inexhaustible resource and its transcending towards a higher level where the adventure attains an ontological-identity dimension of epistemological significance, as posited by Giorgio Agamben for our consideration.

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La liaison dangereuse entre le sous-genre autofictionnel et l’identité de genre en Roumanie post-communiste : dès son origine française jusqu’à la narration de soi queer-féministe dans le cadre de la globalisation

La liaison dangereuse entre le sous-genre autofictionnel et l’identité de genre en Roumanie post-communiste : dès son origine française jusqu’à la narration de soi queer-féministe dans le cadre de la globalisation

Author(s): Teona Farmatu / Language(s): French Issue: 1/2024

Considering the conventional and supposedly objective perspective that gender’s authors do not influence writing or that “literature has no gender”, my paper seeks to challenge this preconception. The aim of my study is to explore how the subgenre of autofiction is intricately influenced by gender. Deeply intertwined with themes of identity and individuality, Romanian autofiction, which has been significantly shaped by its French counterpart, has developed within a framework of masculine and patriarchal thought and expression. My primary argument is that the pervasive “masculine dominance” (as Pierre Bourdieu called it) within the Romanian literary landscape has both supported and generated self-fictional narratives that reflect misogyny and sexism from various angles, thereby contributing to the emergence, and establishment of autofiction. Additionally, the ethical implications of self-fiction – which have sparked controversies in both France and Romania – extend beyond the obsolete relationship between facts and fiction; particularly in Romania, it is highlighted how male authors have crafted autofiction while perpetuating dominance and authority, often in regard to women. Beginning with the import of autofiction in post-communist Romania, I critically explore how this subgenre has been received, showing up the paradoxes and limitations of local theoretical discourse on autofiction, which tends to overlook the poststructuralist origins of what seems to be an emancipatory form. Subsequently, I delve into the traditional core of Romanian autofiction by examining its development and the reasons why female authors ultimately dismiss and critique this regulated subgenre, by involving in which could be conceptualise as “self-writing”. Finally, I examine the first Romanian queer-feminist self-writing – Dezrădăcinare [Uprooting] by Sașa Zare.

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“Lent Voices”: The Politics of Romanian Migrant Life Writing

“Lent Voices”: The Politics of Romanian Migrant Life Writing

Author(s): Mihnea Bâlici / Language(s): English Issue: 1/2024

This study explores the way Romanian literature written by authors who directly participated in the Romanian emigration to Italy is positioned in the world-literary system, by employing Sarah Brouillette’s concept of “global literary marketplace” and Steven Tötösy de Zepetnek’s idea of “in-between peripherality”. My main argument is that these authors’ marginal position in the literary market is doubled by a reactionary understanding of the function of the literary institution: not as an emancipatory endeavor, but as a site for self-legitimation to the Italian public. Consequently, (semi)autobiographical novels by Romanian badanti in Italy – Lilia Bicec-Zanardelli, Liliana Nechita, and Ingrid Beatrice Coman-Prodan – emphasize migrant exceptionality over solidarity. Their strategies aim to persuade Italian readers by presenting a “special” subset of educated, conformist migrants, while downplaying class consciousness and structural racism. However, these ideological and aesthetic choices cannot be properly understood without a systemic view of this type of literature.

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Bibliografia romanelor memoriei din spațiul românesc (1990–2022)

Bibliografia romanelor memoriei din spațiul românesc (1990–2022)

Author(s): Andreea Mironescu,Cosmin Borza,Mihai Iovănel,Adriana Stan / Language(s): Romanian Issue: 1/2024

This article offers the first bibliography of the memory novels published in the Romanian literary space between 1990–2022. The novel of memory is a literary genre with a global spread, and at the same time a prominent national (sub)genre, spanning from postcolonial societies to post-dictatorial and post-communist cultures. Using lexicographical sources, as well as catalogues and search engines developed by the most important libraries and publishing houses, we identified 230 memory novels released in Romania (and, incidentally, in the Republic of Moldova) during the last three decades. For each item we provide the full bibliographical reference. Additionally, we propose five labels covering the subgenres of the novel of memory: testimonial novel, post-testimonial novel, coming of age novel, transgenerational novel and historiographic metafiction. We use one of these five labels to annotate each item in our list, in order to provide a more nuanced understanding of the formal, thematic, and mnemonic diversity of the memory novels.

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