Guillaume, le poète et l'administrateur (extraits)
Poetry by Virgil Mazilescu ("ALEXANDRIE"; "LE POÈTE SE CONFIE À GUILLAUME (dans une lettre)"; "FIN DE LA LEÇON D’HISTOIRE (professeur guillaume)"; "LE SECOND RÊVE DU POÈTE")
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Poetry by Virgil Mazilescu ("ALEXANDRIE"; "LE POÈTE SE CONFIE À GUILLAUME (dans une lettre)"; "FIN DE LA LEÇON D’HISTOIRE (professeur guillaume)"; "LE SECOND RÊVE DU POÈTE")
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Poetry by Bogdan Ghiu ("ART POÉTIQUE"; "LE LIEN ENTRE NOUS"; "EN ESSAYANT DE TE METTRE AU MONDE ENCORE UNE FOIS"; "LE MOINDRE SENS"; "THÈME"; "À LA MAISON"; "VACANCES. EMPRUNT"; "DANIEL, VIRGIL")
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The Jewish slum of the Capital, before and during the Second World War, is depicted in the process of passing from its calm, serene atmosphere to a turbulent and full of hate one. If, at the beginning, there was a feeling of identity, of belonging to
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The article, part of a larger study, is an analysis of the different values that the tenses can have in Ioan Alexandru’s poetry. The present tense, some of the past tenses and the future tense are all used in order to underline the significance of the verses. Ioan Alexandru chooses between literary and popular forms, in order to achieve the deepest sense and the most musical form of the literary construction.
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Dominé par le désir d’écrire „une epopée de la vie roumaine”, Liviu Rebreanu a réussi, en analysant la vieille civilisation agraire, à mettre en évidence l’image rude du paysan anéanti par „la voix de la terre” et il l’a décrit de la perspective objective du réalisme dur. La prose de ce grand écrivain – cette source translucide” (Northrop Frye) – nous présente le village comme un univers stable qui se déploye et qui évolue selon ses propres règles, ses propres coutumes et ses propres traditions, tous maîtrisés par l’époque, avec un étalon de pensée et d’expression particulièrement pronoçés. Liviu Rebreanu a débuté dans sa carrière de prosateur en faisant publier ses nouvelles (Culcuşul)(La couche), (Răfuiala) (La querelle) et a continué à se faire remarquer par son talent de romancier d’entre les deux guerres, en illustrant des fresques appartenant au domaine rural (Ion, Răfuiala, La querelle etc.). Les œuvres qui l’ont consacré ont été realisés en introduisant des principes esthétiques spécifiques à son style (Cred (Je crois), (Caiete) (Cahiers), (Mărturisiri) (Confessions), (Jurnal) (Journal), l’aspiration vers un réalisme „des essences générales”: “L’art signifie la création de gens réels et la création de vie toujours réelle”. (L. Rebreanu).
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A particular ignored trait of A. E. Baconsky’s poetry is the negative expression. It is rendered through the negation of predicates, mainly in the first volumes. The expression develops in maturity volumes. Starting with Hymn to Dawn and Flux of Memory we encounter many compound nouns and adjectives using the prefixes un-, in-. Corpse in Vacuum is a negative cosmogony of the world realised through symbol. The poet uses series of negative structures emphasised by negative adverbs. Sebastian’s Ship is a parabol of the modern society in which values are abolished and myths turned upside down. A vision of a modern apocalypse locks people on a ship that goes nowhere.
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Toute connaissance, toute prise de conscience, est tragique par essence. Même sans la noirceur gnostique, elle comporte un risque majeur : elle révèle l’omniprésence de l’illusion mais non sa nécessité. La connaissance négative, l’esprit critique poussé à son point de rupture est le mécanisme même qui démonte les illusions et peut conduire à la conviction que la vie n’a pas d’intérêt et ne peut être comprise que comme une erreur, un mirage. Cioran se fait un devoir de percevoir l’illusion comme une progression spirituelle quand elle est assumée comme telle : « Qui a raison ? On ne sait. Perdre ses illusions, ce n’est pas être profond. Mais en garder beaucoup, en acquérir beaucoup surtout, cela oui, a quelque rapport avec l’esprit de profondeur » (Cioran, Cahiers, Gallimard, p. 603). Cioran compare le dor roumain au Sehnsucht allemand, au yearning anglais, au saudade espagnol, au cafard et à l’ennui français. Les intentions de l’auteur sont de relier la culture roumaine (ici, sur un plan linguistico-ethno-psychologique) à la culture européenne qui l’englobe.
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L’un des plus représentatif périodique du XX e siècle est la revue „Luceafărul”, consacrée, surtout, à la littérature. Dans ses pages ont débuté des écrivains importants de Transylvanie et, aussi, de toutes les régions de la Roumanie. Dans la période 1902–1914, y ont publié Octavian Goga, Aron Cotruş, Ion Borcia, Şt. O. Iosif, Ion Agârbiceanu, Liviu Rebreanu, Mihail Sadoveanu. L’essai passe en revue les aspects essentiels des œuvres littéraires qui ont marqué la première partie du XX e siècle.
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No matter how desperately society tries to conceal them, taboo topics are still visible in people’s lives and especially in literature. This study aims to make a comparison between two male characters, André from Raduan Nassar’s Ancient Tillage and Horia from Mihail Victus’ toate păcatele noastre. By discussing their religious background and their (sometimes incestuous) feelings towards their sisters, this study shall demonstrate that, although they come from distinctive pieces of literature, André and Horia share a similar experience.
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The proposed text is an excerpt from a larger study devoted to the writings of Panait Istrati. It aims to highlight the importance of literary history for a more accurate understanding of the reception of Pa- nait Istrati in Romania, especially in the interwar period, taking a critical distance from the thesis of the author’s “marginalization” in Romanian and French literature. By researching Istrati’s articles from several decades and his correspondence with Romain Rolland, the study describes the contradictions of the author, the process of fictionalization of his biography, the invention of “roles” and the construc- tion of a “personal myth”.
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The paper focuses on the ideological shift after 1989 that determined the nature of the debates over the role of Ana, the female character of the Legend of Master Manole, and her sacrifice. Until 1989, her perspective was widely ignored because the canonical interpretation of the ballad emphasized the male perspective of Manole and his sacrifice for the act of creation. After 1989, the feminist discourse argued that the symbolic structures perpetuated by this myth were reinforced in Romania by the com- munist regime. The main aim of the article is thus to present how the newly formed feminist critique employed one of the canonical Romanian texts to show the functioning of the model of a self-sacrific- ing woman in the social imaginary.
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András Ferenc Kovács's poetry is unique because it stands at the threshold of a significant era, not only from a poetic but also from a historical-political perspective: the turning point of 1989 significantly reshapes Transylvanian Hungarian literature as well. In this rather complex situation, a new, highly fruitful lyrical discourse is born. This poetry is made unique by the peculiar historical-political-social situation stemming from minority existence. In the paper, I examine whether these texts contain mere role-playing, irony, and imitation, or if behind the texts emerges an authentic discourse stemming from the unique Transylvanian situation. I believe that poetry reclaims Transylvanian Hungarian poetry's place in both Hungarian and global literary canons through its distinctive form and content. Behind the intertexts and masks, András Ferenc Kovács's Transylvanian consciousness reflects an authentic poetic identity.
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I drew attention, on the occasion of the last editions of the “George Enescu” International Festival, to the fragile representation of the national musical classicism. Only a few isolated works (signed by Paul Constantinescu, Tiberiu Brediceanu, Mihail Jora) had the gift to consonate with our assertion. From our point of view, we noticed, with regret, the absence from the posters the names of some Banat composers too, who were once adored on the most important concert stages in the country and even abroad.
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Review of: Elena Dragomir, Opoziția din interior. România și politicile CAER față de CEE (1957-1989) (2 vol., Cetatea de Scaun, 2020) Elena Dragomir, O relație asimetrică. România și piața comună (1957- 1989) (2 vol., Cetatea de Scaun, 2022)
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Dosarul de față a fost gândit în tandem cu cel de anul trecut, astfel încât poezia și proza scrise de femeisă se completeze și să se lumineze reciproc și să redea imaginea cât mai fidelă a acestui îmbucurător fenomendin literatura autohtonă contemporană. Incontestabilul reviriment al literaturii scrise de femei a fost probat prinapariția a două importante antologii, care mi-au și ghidat demersul realizării celor două dosare tematice: Un secolde poezie română scrisă de femei, vol. I, 1990-2019, (Editura Cartier, 2019), coord. Alina Purcaru și Paula Erizanuși Retroversiuni. Antologie de proză scrisă de femei (Editura Paralela 45, 2023), coord. Cristina Ispas.
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Critica privind scriitura feminină contemporană a narativei românești are indiscutabil datoria să analizeze romanele deja cunoscute semnate de Lavinia Braniște.
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