Vasile Alecsandri în tinerețe.
The article reflects Vasile Alecsandri’s 195th birthday. Writer’s activities. Are described who has been lived in the tumultuous Romania period of building an independent nation.
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The article reflects Vasile Alecsandri’s 195th birthday. Writer’s activities. Are described who has been lived in the tumultuous Romania period of building an independent nation.
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In this article it is highlighted the problem of recepting the literary work by the student-reader. First of all there are maken some references to the following authors and their creations: jean-paul sartre, umberto eco, hans-robert jauss , w. Iser, t. Vianu, paul cornea. They analyse this problem, so there are defined literary-theoretical guidelinies of reception process. Especially, they lay stress on the type of reader, on the reception phases and levels, on the typology of tasks stated by the professor, on the reader aspect as a text producer.
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In the aftermath of World War II, the Eastern European cultural space is dominated and controlled by the Stalinist ideology of the communist regime. Postwar Romania is, consequently, profoundly traumatised by the repressive apparatus of this totalitarian regime, whose quintessence was the myth of Securitate – an occult, all-powerful organisation manipulating the individual and collective consciousness.Taking advantage of his condition as an exiled writer, Mircea Eliade publishes in 1955 the novel Noaptea de Sânziene (The Forbidden Forest), a vast historical fresco of the interwar and postwar Romania, in which he infiltrates the character of the Securitate officer in a literaturised form, through the image of “the robotic tormentor”, face to face with “the fanatic tormentor”, both doubled by the image of the “deceptively seraphic investigator” who inquiries into the case of the failure defector, the philosophy teacher Petre Biriș.
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Duiliu Zamfirescu succeedes through his letters to deliver the whole expression of his personality .Through his informal ,personal letters we can notice a real , first order ,brilliant artistic personality.The interest of Duiliu Zamfirescu correspondence is not only in the historical-literary nature ,but also prevails with different kind of satisfactions than stern documentation. A writer’s correspondence reveals secrets he doesn’t want to be found but they are part of moral and intelectual climate which has conditioned the conception the artistic work. .When you read a writer’s correspondence is like passing into his work laboratory ,following him without being noticed ,is like indiscreetly, intrusivly reading his mind.
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A poet, essayist, playwright and prose writer, Marin Sorescu publishes in 1999 the volume Jurnal. Romanul călătoriilor (A Diary. The Novel of Travels), although he openly rejects the diary “as a direct authorial expression and as a bastard genre” without rules. The volume is soon followed by Marin Sorescuînpatrucontinente.Jurnal II. Inedit(Marin Sorescu on Four Continents. Diary II. Unpublished), published by George Sorescu, who retraces Sorescu’s voyages from illustrations and travel notes found in the writer’s notebooks. Fascinated with travel, Sorescuis fond of describing settings that he did not actually see but to which he travelled in his imagination. The volume consists of a Berlin diary (1973-1974) and a number of telegraphic notes from England, Ireland, Mexico, the Netherlands, Greece, etc. Although he is not interested in “the diary become literature”, promising that, provided that he writes one, it would be “salty” - he declares an adept of TituMaiorescu’s diary, a telegraphic form which records numerous details – his writing is, nevertheless,loaded with the feelings of a curious traveller, haunted by anxieties, who turns his experience into endless, tireless knowledge, being constantly on an initiatory journey. The discovery of a new cultural space makes him also discover a new self within. This raises the question as to whether are there two entities in the diary, a foregrounded one, as an assumed authorial mark, and another one to be read between the lines, or whether the authors identity is recomposed behind the iciness of this diarist.
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Identity is a polymorphous concept, defined in the current theoretical approaches as an ongoing process and as an always dynamic report between the ipse and idem poles - according to Paul Ricoeur’s terminology in Soi-même comme un autre. From this point of view, the self pluri-identity stances are closely related to otherness, because self-affirmation requires a constant reference to the other. A careful observer, penetrating to the essence of things, Octavian Paler performs in his travel journals a series of reflections, reviews and cultural considerations, comparisons between cultures and civilizations. One such text is Caminante, which is not just a travel book, as it may look at the first glance. Assuming that the work is a confession of the writer’s experiences in the distant lands of Mexico, an analysis of the contradictions, of civilizations clashes, of different cultures, or of differences in mentality, this paper aims to follow how is the other perceived in relation to his own identity and cultural formation.
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The paper, intended as an analysis, at the level of plot, characters, diction and the reality-fiction relationship, of Marin Sorescu’s appropriation of different elements of the Shakespearean canon (especially of Hamlet and A Midsummer Night’s Dream) in his play Vărul Shakespeare/ Cousin Shakespeare, aims at demonstrating Shakespeare’s everlasting actuality in our postmodern world, along with considering Sorescu’s resourcefulness in recreating his spirit in a remarkable play.
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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.
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Approaching a topic yet unexplored in Romanian literature – a lesbian relationship – the novel Legături bolnăvicioase/ Love Sick opens the path for an interest stirring analysis on its thematic and narrative construction, but obstructed, nonetheless, by prejudice and prudishness. The love story between the narrator and Alex (her girlfriend) is, ultimately, a pretext for a piece of écriture féminine, typified by language and imaginative specificities. While following a feminine, autofictional pattern, the novel enters an intertextual dialogue with a series of texts belonging to the (male) canon of erotic literature. If the title alludes to a novel of “sentimental education”, reminding of de Laclos’s masterpiece, Les Liaisons dangereuses ou lettres recueillies dans une société et publiées pour l’instruction de quelques autres, the novelesque discourse displays the intertextual game in an autofictional key, occasionally subverting male patterns. Along these lines, the present paper aims at analysing the functioning of intertextual mechanisms as means of subverting the male discourse, but also the manner in which the feminine discourse challenges canonical conventions and traditional reception.
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With his paper, we shall debate on the intricate matter of human language creativity, paying a special attention on the linguistic devices employed in the present day advertisement in order to manipulate the buyer / consumer.
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The Fantasy Literature, even if enlightens the Antiquity myths,represents, in the same time, an echo of the cultural evolution that started during the Renaissance and took other shapes during the Romantic Period.Despite the fact that this genre flourished under the influence of J. R. R. Tolkien and C. S.Lewis, the most important representatives of the kind, the critics have faced, since the 60`s ,at least two issues that demanded relevant solutions: the definition and the recognition of the fantasy paradigm. This Fantasy Literature approach reveals an incursion into the fantasy patterns through the enlightenment of its representative texts, the critical vision, the Fantasy Nominated Awards and its echoes in the Romanian language.
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This study analizes Voiculescu's religious poems and their critical impact on the contemporary reader.
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Volumul lui Lucian Boia aduce în discuție delicata, controversata și complexa chestiune a alterității, pe care o așează, într-o istorie particulariza(n)tă a structurilor imaginarului și, implicit, a autocunoașterii omului, ca o modalitate de autodescoperire permanentă, prin reflectarea imaginii de sine în Celălalt (și el o proiecție identitară malgré soi).
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Volumul lui Lucian Boia, Capcanele istoriei. Elita intelectuală românească între 1930 și 1950 (Humanitas, 2012, ediția a doua, revăzută și adăugită) măsoară, cu instrumentarul istoricului, impactul pe care l-a avut, asupra vieții socio-culturale românești din intervalul menționat, succesiunea de regimuri politice și, implicit, presiunea ideologiilor legitimatoare.
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La phraséologie est identifiée avec le discours répété. L’expérience de vie d’un peuple est concentrée dans les formes du discours répété. Les proverbes, les expressions phraséologiques ont le rôle d’élogier les qualités et de critiquer les défauts humains. L’œuvre d’Ion Creangă présente des défauts humains comme: la méchanceté, l’avarice, la peur
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Po prvi puta pišem brojku nove godine: 1937. Prošao sam kroz Staru godinu bez ikakvih osjećaja, bez očajanja i, čini mi se, bez nade. Mnogo sam pio, ali bez ushita. Proslava Nove godine kod Mircee bila je prilično bezbojna. Prije bih puno svečanije prelazio iz jedne godine u drugu. Još jedan znak starenja? U četvrtak navečer - posljednjeg dana u godini - posjetio sam Naea, kojega nisam dugo vidio. Slučaj bez ikakve simbolike. Pitam se ne gubi li Nae sasvim kontrolu nad sobom. Napadaj megalomanije, sujete koju su raspirili porazi ili naprosto faza akutnog misticizma? Nekoć sam ga, u sličnim situacijama, smatrao osebujnim; sada pak postaje zabrinjavajuć. Čitav mi je sat, koliko sam ostao kod njega, govorio samo o vanjskoj politici: - Eh, sviđa li ti se kako su nas preveslali Srbi?
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My proposal aims to investigate the changes in the Romanian literary discourse on nature and the effects of industrialization following the 1989 revolution in comparison to the ideological discourse of the post-war era. If Romanian post-war literary discourse is firmly tied to the underlying ideology of Communism, then any attempt to investigate the discourse on nature in this period must be made alongside a reading of the Communist discourse on nature. In this respect, the situation of Romanian post-1989 prose that contains aspects of the influence of Communist industrialization on nature provides an interesting case study on the effects of the post-industrial era on literature itself. Thus, my proposal will focus on a number of novels written after 1989 in an ecocritical mode of reading.
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Due to the presence of the Romanian term drum(path, road, way, trip) in numerous expressions, the aim of this paper is to look back on the semiotic patterns of this lexeme. This paper presents an overview beginning with the concept of the road and its configuration in folkloric understanding, and then includes basic segments of taking a path, undergoing seminal journeys, and their constant repetition through ritual. The paper then looks at the ways in which cultural products conserve a certain vision and perception of the mystical nature of the journey and the dimensions and goals of undertaking it, all of which confirms or challenges existing theoretical views. It is concluded that forms, frames, representations, and acts that stem from archaic ways of thinking have preserved their function, importance, and influence over people’s basic actions.
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Various studies, monographs, encyclopedias and dictionaries, where there are data about Alexei Mateevici, does not offer authentic information about the death of the poet, whose poem "Limba Noastra" became the National Anthem of the Republic of Moldova. Some sources claim that he died during military campaigns of World War I on August 13th 1917, others that the poet catched a disease, which brings premature end to Mateevici on 26 August 1917, others argue that he died at Chisinau by abdominal typhus, but not exanthemum. Conflicting informations were the basis of this study of the medical expert in Moldova
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In our brief study compares the poem of the famous Moldovan poet Dumit-ru Matcovschi and mundane miniature classic literature in Yiddish Ihila Şraibman. It should be noted that we do not set ourselves the task of identifying their political positions and ideologies. In our text from the same village of the tragic history of Vadul-Raškova appear as countrymen and creators of their own artistic worlds. Creativity, unique sense of humor and masterly skill of the artists words please the eye of grateful readers and awaken in their hearts the desire to live a full life, read, laugh, empathize and thank God for the talent he has given to our countrymen and contemporaries
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