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The interwar period was dominated by the efforts of major intellectuals to create a great Romanian culture of universal value. Living in difficult times, Professor Eugen Todoran endeavoured, both as a critic and as an academic concerned with the construction of university structures, to impose the models of excellence of the interwar generations, in a process of continuity that has considerable significance for our recent history, which can be discovered a posteriori.
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We are trying to present a first "documentary" - extremely incomplete for the time being, but we hope to be able to cover it in a future issue - about the entrance of Tîrgu Mureş in Romanian literature.
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Since he was a high school student in Bucharest, Constantin Noica was fascinated by Lucian Blaga’s philosophical, poetical, and dramaturgical evolution.Between the Two World Wars in Romania only few people managed to understand theexpressionist vision in Lucian Blaga’s theater. More notable is the precise intuition with which the young Constantin Noica noticed the extraordinary value of Master Manole,which was played both in Romania and in Switzerland. Later on, this was considered to be Lucian Blaga’s most outstanding dramatic play. In the decades to come, Professor and Academician Lucian Blaga kept Constantin Noica in a high esteem.
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The identification, in the private collection of Nicolae Vasilescu-Capsali, from Bucharest, of several new fragments from „A Travel Journal to the Western World”, of the Moldavian noble Iancu Prăjescu, dating from 1857, 1860, 1862, 1864, 1867, adds some more parts to an interesting travel journal, from the period comprised between 1846 and 1869, through various towns, resorts and lands of Europe. The journal belongs to the literary genre of memoirs written during the XIXth century and it reveals the waz a member of the Moldavian nobility, still on the way towards modernization, perceived various aspects of the European culture.
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Y a-t-il un spécifique de la littérature de voyage des Roumaines? La réponse àcette question peut venir de la double comparaison de cette littérature à celledes Occidentales et à celle des hommes. La prééminence donnée dans la cultureroumaine – du fait de sa position géopolitique – au thème de l’affirmation del’identité nationale, a rendu plus facile la réception des relations de voyages desfemmes. Les Roumaines entendent également garder le spécifique de leurgenre, le choix d’un pseudonyme féminin en étant la preuve la plus évidente.Seule différence notable par rapport aux hommes, le voyage est pour certaines,comme pour les Occidentales, une réappropriation de soi. La littérature devoyage féminine du XIX siècle a plutôt une fonction psychosociale, celle duXX siècle étant orientée davantage vers l’esthétique. La forme épistolairesemble également en être un trait particulier
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The present book, a collection of older articles, opens solemnly and programmatically with texts about Călinescu and Vianu, underlining the tradition of the author. The local-universal dilemma persists in our culture. Martin seems to admit that literature is „from and about” a certain geographical and cultural space.
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The meeting point between the Romanian playwrights L. M. Arcade and M. Sorescu seems to have been, just as it happened with other creative voices, the Literary Circle of Neuilly, which ‘became not only a gathering point for the exiled writers, but also a starting point for many new comers. Above all, the circle enabled the contact between the visiting writers from Romania with those in exile, this way being a unique meeting place. Thus, during their visits in Paris, writers such as Marin Preda, ȘtefanBănulescu, Marin Sorescu, Ana Blandiana, Ion Caraion or DumitruȚepeneag, but also scholars such as AlexandruPaleologu, PetruComarnescu, Cornel Regman or NicolaeManolescu showed up rather conspiringly for lectures or read their own writings.’ (Eva Behring). The meeting of the two writers who were on the two sides of the official border can also be noticed at a deeper level of the two texts we shall refer to in our paper (ScrisorileluiCondurică [Condurică’s Letters] andDesfacereagunoaielor [Garbage Sales]), in the network of intentions and ideas which could produce what we call ‘dissident literature’. The two theatre plays we have in mind share the same allusive style, the criticism as towards the ruling system, the message more or less in disguise to the readers who were used to the realities of the Communist regime, the faulty communication between and amongst people, the irony and sarcasm, the comic in monstrous forms. The realities registered by the replies of most of the characters have the most complex shapes: from tragic to comic, through grotesque, from clear ideas to ideas in disguise (intertextually). The reading key requires deciphering several parables or allegories. Put together, the two plays seem to complete each other as if they were one, both sharing a core of life sequences lived in Communism.
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Teacher and priest, Ioan Tincovici was an erudite of the XIXth century, who dedicated his life and his work to the community he was a part of, but especially to the young people around him. This fact is proven by one of his books, Wise teachings or Rules for correcting behavior to the benefit of children, printed at Buda, in 1815. Is a book that draw attention due to its moralizing content. There are benchmarks of moral and civic behavior, designed to form the moral profile of a young person's personality. Ioan Tincovici focuses in particular on the teachings on interpersonal, human relations, and thus seeks to reach the refining of the social-moral behavior of the young generation. The topics covered are varied, but all are focused on moral values, honesty, honor, kindness, generosity, wisdom, respect for others, which are some of the most frequently brought to the attention of young readers.
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V. Voiculescu's position on the relationship between art and faith is clear: art is a confession, while faith is revealing. If we bring the scientific aspect into question, its position is even more evident: science that does not host the Spirit (Freedom, Love) is detrimental to humanity, building a unidimensional, uniformized, depersonalized society. This study follows how the author camouflages the main Christian motifs in the totalitarian ideological field in the form of an antiutopia in which the Spirit remains free despite the attempts of the totalitarian system to capture it.
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Pesnik nemačkog jezika, a jevrejskog porekla Paul Celan uobičajeno se shvata kao hermetičan pesnik. Ta hermetičnost izvire, sa jedne strane, iz veoma složene simbolike koju Celan aktivira u svojim pesmama, i koja ima duboke korene u nemačkoj i svetskoj književnosti, mitologiji, jevrejskoj religijskoj i teološkoj misli, specijalnim znanjima, kao i pesniku i njegovom čitaocu vremenski bliskim istorijskim događajima.
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Our approach follows two dimensions of the text The Gypsy Epic Poem (Țiganiada) by Ion Budai-Deleanu. On the one hand, we focus on the French Enlightenment model present in this epic of the Transylvanian writer, in the line identified by Ioana Em. Petrescu in her critical studies. The heroi-comic poem Țiganiada is the first Romanian writing to bring Enlightenment ideas into a parody, and some of the texts to which it relates are La Pucelle d'Orleans by Voltaire, Gli animali parlanti by Casti, or Vergil’s Aeneid. On the other hand, we use the French theoretical model in the analysis of the epic poem, namely the “architextural” system designed by Gérard Genette (presented in the The Architext: An Introduction). We identify the textual levels of the poem, concluding that Budai-Deleanu’s purpose was not only related to founding a literature in the Romanian language, but also to the bliss of playing with literature and textual strategies.
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This part of the issue contains numerous hermeneutical interventions which analyze the impact and importance of the literary activity and works of the critic Al. Cistelecan.
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The 1960s and 70s are an interesting period in the literary history of Romania. The present paper is a part of more extensive research on Romanian novels from this period with regard to time, space andopposition strategies therein. The novels disclose secrets about thecommunist rule of the 1950s fraught with concentration camps,repressions, rigid censorship and ideologisation of culture at alllevels. Authors faced the challenge to try and slip in critical remarksabout the new ruling class along with criticism of the past. Duringthe period discussed in the paper there was a significant number ofliterary texts in Romania which were characterized by documentary features and bold socio-political criticism.
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The text is concentrated on the semantic net of a few main topics: face, difference, and indifference (ataraxia), personality and impersonality, following and spying. Three novels which represent different totalitarian versions are in the focus of the analysis. The parallels point out the propinquity between the novels and their conception of the human “being and time”, and especially the phenomenon of the face. The face never marks only its physical manifestation. It is an essential divine mark of infinite love and grace. It is a place of supreme ordeal and supreme feast. The place where the man has to do the most important choice in his life.
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The article highlights key philosophic notions that presented special scientific interest for the classic of the Romanish literature Mihai Eminescu and of the classic of the Ukrainian literature Taras Shevchenko. Based on the fiction of M. Eminescu and the poetry and fiction of T. Shevchenko, phenomenology of such philosophical categories as soul, time, love are comprehended.
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In this paper we analyze the poetics of two writers, Ivo Muncan and Veljko Petrovic, through a comparative approach to their stories and poems. We investigate the themes and motives interweaving of two poetics aimed at the problem of national identity and the identity of the individual in contact with a modern times. Special attention will be devoted to finding similarities in meaning motives of the country, villages, tradition.
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В XIX веке большое влияние на румынскую литературу оказала французская проза, а в XX веке румынские писатели проявили глубокий интерес к русской прозе, и в особенности к русским романам XIX века, первое появление которых в Европе, английский литературовед Джилберт Фелпс сравнивал с эффектом бомбы замедленного действаия.
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This article aims to present the specifics in the illumination of four liturgical manuscripts, written and decorated on the territory of Romania. This topic includes only few of the manuscripts written in the Balkan workshops during the 17-th and the beginning of the 18-th century. The features of their decoration make all of them part of the group of the so-called luxury codeces. The focus of the article is a phenomenon found in the decoration system of these four manuscripts. It consist in the extending of the function of the initial letter which adds new connotations to its initial meaning. The initial letter in the given manuscripts works as a decorative element strongly related with the meaning of the liturgical text that begins with it. This process took place in the Principality of Wallachia and was a result of the work of two Greek clerics on the territory of the Romanian principality – metropolitan Matei from Mira and bishop Luca from Buzău both of them were and skilled illuminators and authors of text, who left several well prepared dicipals who continued to work in principality of Wallachia and Moldavia.
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