Anatomia simbolului în romanele lui Max Blecher
Our study analizes Blecher's narratives by focusing on his major symbols.
More...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.
Our study analizes Blecher's narratives by focusing on his major symbols.
More...
-
The questions proposed to the young poets by Vatra Literary Review aims to sort out the influnece of Angela Marinescu's poetry upon the young generation of Romanian poets.
More...
-
The essay aims to follow the violent imagery of Angela Marinescu; s poetry, from her debut to the volume which best expresses, according to the critics, the essence of her revolt, Blindaj final (1981).
More...
-
This study engages into a reflection upon the particularities of the poetry signed by Angela Marinescu, mainly the metaphysics of negativity as a way of coping with the fractured and spasmodic existence. There is a certain embodiment of adhesiveness to a poetics of fear and trauma through the rebound of Neo- Expressionism visionary perspective.
More...
The illustration of a world, apparently drifting, the (de)mystification of the transcendent and of the act of creation, as idea and textual strategy, seem to Alexandru Sever (1921-2010) a means for another beginning. The impossibility of action in Înger bătrîn/ The Old Angel (1977) and the pact-making in Îngerul slut/ The Miscreated Angel (1982), imply metamorphosis in essence, supported by the dialogue with the great texts of the world, by intertextuality (the biblical text, Shakespeare's texts -Hamlet -Yorick, texts written by Göethe, Beckett, Marlowe, Dostoevsky, J. P. Sartre, Mikhail Bulgakov and others). The projection of Auschwitz, as a Siberia of the spirit, and that of Faustianism, result in a detailed analysis of the human, both as individuality and as community, in an attempt to illustrate the (in)intelligible inaction, death involving catharsis in the mundane and the theatre alike.
More...
Bacovia's work ranges within the evolution of Romanian symbolism reached at its maturity having Al. Macedonski, Mircea Demetriad, Traian Demetrescu, Stefan Petica, Dimitrie Anghel, Ovid Densusianu, Ion Minulescu as reference points. Bacovian works constitute the fourth stage, the stage of authentic symbolism, and the use of authentic and spontaneous symbols, of chromatic suggestions through intermediary hues in order to preserve the idea of impression, the conversion of musical instruments into poetical motifs as well as the special expressive structures create a specific unique universe. Bacovian lyrics continue to impress through the poet's effort to adopt a direct language with meaningful values capable of rendering human experience, be it at a certain period of life or overwhelmed by a sinister usually irremediable mood. In poetry, the bacovian atmosphere distinguishes itself through the harmony of inner and outside scenery and above all through the complementarity of space and colour.
More...
A literary magazine having a distinct character among all Romanian publications is Antilethe. Its name remind us of the Lethe River (the river of oblivion in Greek mythology) because the main purpose of the founder – Mihaela Albu – together with the editorial board - is an act of restitutio. In short – to bring into attention of the contemporary readers the cultural activity of the Romanian intellectuals from exile. Each issue has a specific subject - Vintilă Horia (no. 1), Mircea Popescu (no. 2), Ștefan Baciu (no. 3) and Camilian Demetrescu (no. 4). Our presentation is mainly focused on the life and activity of the great artist Camilian Demetrescu.
More...
“Anton Pann” (1945), Lucian Blaga’s last drama is highly autobiographical. When writing about the popular poet, musicologist and composer Anton Pann, about his love for life and his sacrifice for his literary work, Lucian Blaga is writing, more than ever, about himself. “The Story of the Word” is to be made up out of the people’s proverbial sayings brought together by Anton Pann. The book becomes an artistic expression of the Romanian apriorism, of the ethnical genius in a balance realm. This is possible for the autochthonous “mioritic” space has preserved its connections to the magic even in the modern prosaism. The contacts with the age of the superstition, of the myth are not lost forever. The poet finds himself in a tragic state, caught between vow and denial. Just like Manole the Master Mason, he has both the awareness he is predestinated for the daimonic mission to create and the intuition he cannot dissociate the act of creation from the most specific feeling of human life, which is to be sacrificed, the love. On the night he creates “The Silent Song” the poet gives away everything for his work. The poet is anchored both in the near horizon and “beyond”, bearing both the human bit and the daimonic predestination in his genius nature, leaving from history and making a halt, eternally, into the story.
More...
Starting from a brief, chronological presentation of some significant views on translation, the present paper enlarges on possible approaches to translating cultural and historical aspects in literary texts. The text chosen to illustrate these approaches is Fred Nădăban‘s translation into English of Ioan Slavici‘s Moara cu noroc (The Lucky Mill), because this translation proves an interesting and useful illustration of the way in which a series of aspects specific to the 19th century Romanian culture and history were transferred into a significantly different cultural and historical space, namely the English one.
More...
Literary works are a constant topic of commentary.Literary texts carry specific metalinguistic and metapragmaticelements and require metalinguistic and metapragmatic codesand competences in order to prevent misunderstanding. Ourpaper aims to highlight the reasons for attaching themetatextual label to Eugène Ionesco’s dramatic work.Ionesco’s plays can be viewed as some sort of comment onprevious dramatic texts defying the traditional theatricalconventions. Remarks on literature and art appear all throughhis life : in critical texts, as well as in his characters’statements. Metatextual comment is deeply embedded in theproduction of dramatic text itself and is placed at the naturalconfluence of the playwright and the reader, that is of the onewho writes the plays and the one who watches his writing.
More...
The vision of this article’s author on the psalm is that Tudor Arghezi’s psalms are read, in this case, differently than other scholars would normally read. The Romanian poet could manifest himself in both a contemplative and pragmatic manner on the very basis of an organic synthesis between the cultural-stylistic influences of the East and those of the West. Freely sitting on his own writing, the creator of the right words experiments with something absolutely new: ostensionating/ ostensiologizing of his own lyrical discourse (a shown structure). (I.P. – B.).
More...
-
The article aims to present two Romanian poets, the well known, especially to the public, Ana Bladiana, and the less known Angela Marinescu, belonging to the same generation, but quite different in vision and style. The poetry of revolt and expressionist touches made her a role model to the young generation of poets.
More...
The article proposes a phenomenological view on the negative consequences, following the interaction with the sacred. If in the Judeo-Christian space, the supreme form of demonic attack is represented by the possession, in the Romanian folk tale it is replaced by the curse. The curse in the popular sphere is the direct formula of hatred projected on the victim who undergoes the actual transformation into a wild animal or a hybrid, zoomorphism radically changing its way of being. Relations with the relatives are broken down as soon as the metamorphosis is possessed by the archetypes. Bad metamorphosis remains the fairy tale variant for demonic possession.
More...
Any text is a mirror and any mirror is a question. Thus, face to face with the text, that is, somewhere beyond and beyond him and us, lies, in a labyrinth of successions and simultaneity, the questions it generates, the possible answers and, again, questions in the answers. To illustrate the possibility of playing with parallel mirrors, we chose two interpretations of the main character in Marin Preda's Intrusul, for the explicit challenge of re-casting. Putting them face to face is, at the same time, challenging the boundary of the relay through a new interpretation, determined by the intention of a new mirror. The result of this approach was not meant to be a (categorical) answer, but a test of the boundaries through a resumed interrogation on the meaning (/) of the destiny that is present in the universe of Preda's character Călin Surupăceanu.
More...
The approach proposed through the textual-discursive analysis of some samples selected from Ion Minulescu’s poetic universe (especially the Romanţe [Romances] series) aims at highlighting elements expressed in the world of signs, which conveys different cultural connotations (the study achieves a short history of perfume and the influence of perfume houses on Romanian poetic space: for instance, the line from a poem by Minulescu “Here is why I love Rosine”, which refers directly to the French perfume house Guerlain). The devices employed to express different textual networks (as they are defined in the model of iceberg texts) – networks that may be of an intonational-melodious kind (identified on the level of rhythm, refrain, and so on) or of an intertextual one (realised by means of direct citation or indirect allusions) – overlap and/or blend with the synesthetic effects in which various sensations (olfactory, colourful, and aural) “communicate” on the affective level and contribute to the construction of meaning.
More...
-
This text analyzes the critical reception of the Maitreyi novel which follows, in a diachronic fashion, a euphemistic route alongside the author is forgiven for the male conjure of the conqueror because the myth is paradigmatic and intangible.
More...
