Manuscrise Vasile Alecsandri în colecţiile Bibliotecii Centrale Universitare din Bucureşti
Autorul prezintă cinci manuscrise autografe ale lui Vasile Alecsandri, demonstrând că trei dintre ele sunt prime variante ale textelor respective.
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Autorul prezintă cinci manuscrise autografe ale lui Vasile Alecsandri, demonstrând că trei dintre ele sunt prime variante ale textelor respective.
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The Great Union of December 1st, 1918 was followed by profound changes in the social, economic, political, cultural, literary and artistic life, thus opening a path to new perspectives of the Romanian culture, literature and journalism from the very next period. First of all, what is characteristic of inter-war culture people is the solid intellectual formation. This allowed unlimited access to the most diverse knowledge areas.
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The present paper focuses on the myth of Oedipus as presented in the Romanian folk tale Lostrița. Although the two narratives run in parallel for the main events, there are some distinctions worth mentioning in the attempt to see how West meets East over a universally acknowledged myth. At closer reading, we are bound to discover that some of the differences present in the Romanian story have a universal aspect as they transcend limits that might be imposed by geographical boundaries or cultural belonging. From this point of view, we can say that the Romanian variant is profoundly rooted in the universal wisdom shared by both the ancient and modern man. By capitalizing on this aspect of universality, the paper attempts to shed light on a Romanian folk creation that might otherwise go unnoticed.
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The body of the article goes on to disclose an autobiographical essay of the major author in the German-speaking area, Gregor von Rezzori’ “Flowers in the Snow” in terms of its genre specific ambiguity. After writing hypothetical autobiographies endlessly, Rezzori dare write an apparently autobiographical novel. Critiques considered him to reach the top of the most-exciting-authors list of the German literature.However, researchers have not determined Rezzori’s Blumen im Schnee so far as an undoubtedly autobiographical book as the genre of classic autobiography. The purpose of the given academic research is to define clear boundaries of its genre model. The problem of Defining the genre becomes far more complex because of representation of ironic pathos.Ironic charades ferment and disguise its real genre format. The author’s astounding ability to arrange his thoughts with insight and poetry enables him to do so while remaining a few paces away from the threshold of historical chronicles. The Outlined perspective is highlighted by the methodological framework of such poetological branches as time space theory and genre forms, structural and semantic hermeneutics-receptive areas of a present day history of literature, and the works of foreign adepts of Rezzori’s works.Taking into account the receptive capacity of the work, it can be determined in the sense of connotations of its genre parameters. The findings lie in the idea that Rezzori’s conventional autobiographical novel appears equally as education novel and might be considered as a synthesis of the two genres subtypes. Firstly, individuality establishing occurs in the biographical time, passing through the unique individual stages.Secondly, a personality self-making is portrayed in close connection with the historical development, it is a historical reality. Noteworthy, the text balancing on the verge of several varieties of genre should be considered as the author’s attempt to find a balance, so its composing is a main obvious “auto-therapeutic” purpose.
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This paper in focused on some important considerations on Romanian national identity, conscience, language, traditions and arts, according to the national poet Mihai Eminescu. His constant and very important activity in the major journals of the 19th century is well-known, but there are several fields that must be analyzed constantly because his opinions and his very confident attitude about the national identity can be considered a good definition of our contemporary historical stream of conscience. The weak points and the main important moments in Romanian history were placed in the middle of his articles published especially in „Timpul” journal but not only, in the historical moment when the Unification of all the Romanian Principalities was promoted by those intellectuals who believed in the unity of our values as a European nation.
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Literature is known to have a very important role in cultural dynamics, many of the post-communist novels reflecting the recent past, in the form of its remembrance.As Andreea Mironescu shows, literature is an environment of the memory culture in post-communism, both in East Europe and Romania (http://www.cesindcultura.acad.ro/images/fisiere/rezultate/postdoc/rapoarte%20finale%20de%20cercetare%20stiintifica%20ale%20cercetatorilor%20postdoctorat/lucrari/Mironescu_Andreea.pdf, p. 6). According to Paul Cernat, the novel Provizorat by Gabriela Adameşteanu comes into prominence both as a "great novel of «relief» and a novel of couples in totalitarianism and their impossible intimacy" (cover IV, Gabriela Adameşteanu, Provizorat, second edition, Iaşi, Polirom, 2011).The duplicitous life of the protagonist, Leticia Arcan, with the feeling of permanently lived fear, is the duplicitous life of any Romanian in the communist era. The adulterous love story of Leticia and Sorin represents both the axis of the novel, and an opportunity to rebuild past epochs, especially Communism during Gheorghe-Gheorghiu Dej and Ceausescu. The novel creates and puts forth fictional representations and "possible worlds" of the past, thus influencing its representations at individual and collective level. The novel offers for the generation born after 1990 an alternative image of communism to the historical information in school textbooks, and for previous generations, the novel becomes a collective memory environment, relying on a participatory acceptance that does not necessarily imply nostalgia for the old regime but identification with (fictional) experiences and forms of everyday life in socialism.Starting from these premises, the present work aims to analyze the way in which Gabriel Adameşteanu's novel mediates access to the past, influences the collective images of communism, putting concurrent histories on the stage.
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Our paper aims at presenting Zoe Dumitrescu-Bușulenga’s rich journalistic activity and, in the same time, applying a novel reading grid to her essays published in the most important Romanian cultural journals of the 20th century: „Secolul XX”, „Scânteia”, „România literară”, „Contemporanul”, „Revista de Istorie și Teorie Literară”, „Luceafărul”, „Tomis”, „Cronica”, „Argeș”, „Ramuri”, „Magazin istoric”, „Steaua”, „Caiete critice”, „Convorbiri literare”, „Viața românească”, „Analele Universității București” etc. Being considered a prominent figure of the last century, truly involved in the Romanian social, cultural and literary climate, Zoe Dumitrescu-Bușulenga was often seen as a literary critic situated between “old” and “new” or caught between two worlds. Therefore, we studied more than 150 articles trying to put in the spotlight her main areas of interest mirrored in the seven directions that we do consider her journalistic activity can be divided. More than simple articles, Zoe Dumitrescu-Bușulenga’s writings bring into attention the imperative need of “human becoming” oriented towards moral values in life.
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In the case of Ioan Alexandru poetry, the option for the so-called patriotic poetics- that is a lyrical discourse focused on the home reality or on subject with a national specificity, treated at its highest, as well as taking up the hymn formula, they are all linked to a firm interior structure, genuinely peasant, upon which there is a well-structured intellectual model, forged and refined through the thorough and direct contact with the European poetry and philosophy and especially the German one. It seems that the direction of taking up and accepting the national as a spiritual model and creative pattern stems, in his case, from the universal.
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The Interwar period generated a spiritual environment that also had certain effects upon the intellectual communities in smaller towns which were geographically placed farther from the visible cultural "centres". Consequently, in Aiud (Alba County), a town with a strong spiritual tradition, certain magazines were published („Zorile”, „România literară”, „Aiudul”), which, even if they were printed only for a short period of time, had a great importance in the cultural life of the area. All of them bore, one way or another, the mark of Ovidiu Hulea, an intellectual well-known in Aiud and Blaj. Our paper aims to present a religious magazine which the town of Aiud owns to Ovidiu Hulea, i.e. "Inima lui Isus", while we underline its themes, contributors, and the literary fragments published on its pages.
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This paper Comparative study between folktale and fairy tales cult presents the similitudes between popular Romanian folk tales and Romanian cults tales. Its purpose is to revealing the most important aspects about stereotypy of formulas which characterized Romanian folk tales in general. Even if the interest in this subject is manifested since ancient times, this discussion is still on focus.
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In Doina Rusti’s work one may perceive fragments of her own life which fall into place like jigsaw puzzle pieces.The reader is invited to enter a kaleidoscope in order to decipher the mysteries of books written in an original style,similar to a lightly allegorical palimpsest which will always reflect a part of the novelist‘s life.In the reflective mirror of the text, the informed reader feels the biographical references and the writer‘s personality is enhanced by interpreting the characters and the symbols in her previous books as well as the souls she has met throughout her lifetime.Doina Rusti, the original, imaginative and subtle novelist voluptuously goes through the stages of creation and conceives an epic weaving which does not leave out the temptation of playfulness through which she facilitates the passage towards an imaginary world abounding in echoes, meanders and multiple avatars.Doina Rusti’s work is fascinating in itself as well as enchanting the reader through the novelist’s amazing ability to recover matrix images,paradigmatic symbols and echoes of the originary creation.Her prose is defined by aromas of her autobiography and presents places full of nostalgia,places or objects with strange or ritualistic facets as presented in „The ghost in the mill”.The childhood space becomes, in this respect, a maze in which the living being’s past is hidden away.The woman of letters recreates a time filled with multi-mythical smells and oneiric reflections which could be connected by methodically examining her novels.On balance, the author‘s books allude to realism in observation and to fantasy in representation.
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In all Fănuș Neagu’s stories the field became a tutelary space. Borne in the middle of the plain, exactly in Grădiște, the grandparents’ house became his first space of writer being, interferences between ludic, magic and tales. The writer refers all his stories at Brăila, this small town becoming a constant attendance, a place where the reality meets the fiction, a kind of space outside from a concrete existence. The most important town from Bărăgan is considered by author a gate to the Orient, because “the Levant begins from lowland of Danube.” This space is a kind of gate to Bărăgan, the huge Romanian plain which become in post-war literature a privileged space, dynamic and very productive. VasileVoiculescu, Ștefan Bănulescu and Fănuș Neagu are Romanian writers which transform the Bărăgan field in a very known literature space, projecting here bizarre stories, full of magic realism, or using Balkan or South - Est subjects. On the other side, Alexandru Ivasiuc, Nicolae Breban and Augustin Buzura require the northern space in Romanian post-war literature. In approximatively two decades - from 1946 to 1966 - Vasile Voiculescu, Ștefan Bănulescu and Fănuș Neagu wrote over 60 stories which had Bărăgan plain as privileged space. It’s a space which enshrines a new literary identity and giving a complicated image of the man who live in this magic field. He is an ancient man, able to live in a magical situation, between reality, dreaming and wizardry. This land of Bărăgan will become a kind of unique space, with a special mythology, with Christian beliefs braided with magical beliefs, full of people who talked a strange language with ancient words which have secret and deep meanings. The genesis of these myths created by Fanuș Neagu is similar with the Gabriel Garcia Marquez’ stories genesis. The both writers found their fiction roots in folk beliefs and stories listening since childhood telling by their grandmothers, all kind of miraculous happenings which put together, in a unique way, the real with the supernatural.
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The aim of this article is to present different aspects regarding Mircea Eliade′s exilic experience. It is a well-known fact that immediately after the Soviet occupation, the communist regime was established in Romania. Freedom of the press (the power of making yourself heard), freedom of expression (the power of using words to express your own personality and thoughts) and many other freedoms were vehemently denied. This regime intended to destroy Romania′s cultural identity. During the exile, Mircea Eliade edited different publications – his own „weapons” against the communist regime. The cultural manifestations of exile are considered to be, in fact, political manifestations. However, the creative act is autonomous and shows the freedom of the human spirit that proclaims the struggle for culture. Thus, writing becomes a liberating mission, because this way of communication was, on the one hand, a form of anti-communist resistance, on the other, a duty as the exiled were free and safe: Eliade speaks in the name of all those at home, because he subtracts himself from censorship. This way the Romanian culture continued to be connected to universal values. The main purpose of the press was to fight with the political party’s worst aim: to obliterate the Romanian spirituality. Even if Eliade was forced to live outside his motherland, he communicated with people, by means of literature, about what was important to them, so that they could enhance the positive experience of having knowledge about their own identity. Through involvement in cultural activities, Eliade shows that he still belongs to the Romanian spirituality. He thinks that spirituality reflects itself in the cultural manifestations of a nation. The cultural contributions of the exiles are aimed at defining national identity and revealing the traditional values of a country.
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V. Voiculescu's stories, written between 1946 and 1954 and published posthumously in 1966, induced a feeling of uncertainty to the writers who were sure until then of the place occupied in the hierarchy of Romanian literature, having at the same time a positive, motivating and enthusiastic effect for the lovers of literature attracted by the recently rediscovered fantastic prose.Although rational and miraculous competition does not work in all stories, it is worth noting the disorderly abundance of the collection of subjects. If he were an ethnographer concerned with "studying" some old customs and magical practices, the writer would have become systematic and boring. He also collects information in the sphere of the picturesque, irrelevant ethnographic, mixing the epochs, as in a temporal paradise, confuses the written culture with the oral one. The presumptive indifference of the reader is always attacked from another angle. Nicolae Manolescu is the first to note the high degree of artistic expression of voiculescian stories and hence proposed a new way of reading them. We can delight not only in pursuing the perceptions of the author, but also in the ingenious way in which he presents the story, by resorting to various tricks to create the impression of reality. The writer only makes the ‘official’ introduction, then quickly disguises himself in a non-writer telling what happened to him. He sometimes contradicts the narrator, accusing him of exaggerating or inaccurate dating. A descriptive fragment, painting or portrait is usually placed in the incipient stories, which contains many forward-looking suggestions, which predict the evolution of the characters during the course events. It is also about the transition from the civilized world and from the concrete, chronological time to the ancestral space of the mountain village, at the cyclic, repeatable time of some ancient rituals and magical practices. Some stories have a serious content, placing the subject in a permanent opening to mythical and magic, investigating the depths of the human spirit in connection with the universal one, in other stories Voiculescu accentuates the playful note with hints of humor and irony, and the issue no longer is under the sign of the undecipherable mystery, but in the objective light of reason, which often dispels the magical atmosphere or ambitions to emphasize its lack of pragmatism. Vasile Voiculescu remains a topical writer, whose work can inspire the interest of the reader today, pointing it to the fundamental meanings of the stories and the novel, by pursuing some symbolic and metaphorical nuclei provocative due to the novelty of the construction, the narrative games and the complexity of the meanings contained.
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In the present article, we aim to analyse the symbolism of the various topoi represented in Sadoveanu̕s short stories, uncovering the secrets they hide and revealing the meanings and typologies of the topoi. We aim to enter the universe of Sadoveanu’s short stories collection Valea Frumoasei (Valley of the Beauty) and Sadoveanu’s short story Dumbrava minunată (The Wonderful Grove), revealing the significance of legendary or marvellous spaces. The theoretical frame of the article will be based on ideas found in the specialized texts of writers such as M. Bahtin, Gaston Bachelard, Gilbert Durand, Jean-Jacques Wunenburger or Jean Burgos. We will also consider the transition from universality to autochthonism in terms of space theory, through the studies of some theorists such as Lucian Blaga, Mircea Eliade, Ernest Bernea, Lucian Boia. All of these writers have approached the problematics of space, of its theory and poetics, and also that of the imaginary and the image. In the second part of the study, we will uncover the types of space present in Sadoveanu’s works, focusing on the legendayr and marvellous ones.
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The imaginary is an independent reality that has its own structures and its own dynamics, being closely related to the creative imagination. In order to reach the originality, the artist's imagination must deny the real, break the connections in which he presents himself to an ordinary perception, and try to propose other connections.Virgil Ierunca is a special case, an erudite intellectual, because of the vicissitudes of his agitated biography. Therefore, the imaginary of his writings is closely related to the social, political and cultural evolution of the time. As a writer, he was a great lover of French literature. He shows a very good knowledge of the French writings, which he read in the original, adopting the same principle formulated by George Călinescu, remainding us that it is important to know the work of a writer in the original.All the articles of the writer demonstrate the density, the erudition and the intense readings both from the Romanian writings and from the French literature. French debutants such as Thibaudet, Rémy de Gourmont, René Lalou, Edmont Jaloux and Paul Hazard are quoted in the debut articles. He is also inspired by the writings of Marcel Proust or Bergson. From this point starts the aesthetic creation of the famous critic Virgil Ierunca.The volume Piteşti Phenomenon, published in 1981, is based on radio texts written between 1975 and 1976 on the experience of torture rehabilitation at the Youth Penitentiary in Pitesti from December 1949 to August 1952. The idea of re-educationwith the help of prison is not only specific to communist regimes. In the USSR, this experience of the genocide of souls, of absolute violence directed against the body and soul, had already taken place through torture and obsession of confession, which characterizes the interrogations and trials of the 1930s. Also, the idea of re-education is also presented in the Stalinist regime, but it will occupy a more prominent place in China's Mao Tzedun, according to Jean Pasqualini author. There is a great similarity between Chinese-style re-education and Pitesti re-education, but in Romania all these things were unbelievable, because here the suicide of the personality meant that the prisoner had to be like others, to think like others and to dissappear in mass.The historian François Furet, a member of the French Academy, the one who carries the translation into the preface of the Pitesti Phenomenon, describes the book as "one of the most terrible experiences of dehumanization that our age has ever known." Unlike other writers, Virgil Ierunca had the courage to deal with this inferno called by some analysts the lab of the devil, and to become his historian for the clarification of future generations, according to him: "No one is allowed to forget that between 1949 and 1952, it happened in Romania the experience which we tried to describe, and that, from an archipelago of horror, one of the most odious islands was called Pitesti. "Thus, Virgil Ierunca judged the unfortunate world of communism and preserved its free and non-neodogmatic spirit. The book has helped us to find our dignity and honor as Professor Mircea Popa declares: "Such a book was absolutely necessary, because without memory, a nation and a literature can not find itself."
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The German colonization was done in several stages. A first group of settlers were brought from Flanders, as documented and called "flandrenses," then decades later they were brought from the region between Rhine and Moselle, and they were called "teutonic," and the most numerous arrived at the end of this century on the right hand of the Rhine, namely in the present-day Niedersachen, Lower Saxony, but also in the eastern and southern regions of Thuringia and even Bavaria, and were known as the saxons - a name not necessarily a a clue for the region from which they came, being a name worn throughout medieval Hungary by colonists holding privileges.
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Original writer, Ruxandra Cesereanu searched and continues to search the inovation of poetic art by the power and capacity to imagine the real in such a way that this is comunicated by words and by the deepest feelings of the human being, feelings that are part of the unexplored parts of the subconcious mind.In her case, aquatic simbolism comes from the deep state of mind of the human being, without allowing a fast understanding of the real meaning, as if the symbol should be accessed only after an intellectual effort of the metaphor.
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In the field of primary education in Romanian language in Serbia, special attention is given to learning the Romanian language and literature, due to the contribution of this subject to the correct learning and usage of literary Romanian. Literature texts (originated from Romanian language, translations from Serbian and world literature, as well as the works of Romanian writers from Serbia), included in the manuals used in the period primary education, have the purpose of increasing the interest of knowing the reality through artistic images and to form communicative competences in the field of artistic-literary education. Since that literature for kids is first of all an art of the word and only afterwards literature for kids, in the presetnt work we decided to put some light on aspects referring to the pastels which are included in the index of the manuals currently used in the primary cycle, in Serbian schools where in Romanian language is learnt as mother tongue. In this context, we will present opinions regarding poetry themes, aesthetic quality of creations, their accessibility, educational message, methods of approach to texts in primary classes.
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„Există nervi” este o parabolă distopică despre captivitate și constrângere, în care codurile aluzive, încifrarea mesajului în niveluri de semnificație și interpretare variate, procedeele esopice, ironia și diferitele forme ale ambiguității fac din prima piesă a lui Marin Sorescu un iniţiator al literaturii subversive, un model de exprimare a rezistenței la totalitarismul comunist.
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