Serban Codrin - Neomodernisme
The literary critic Ion Pop is the author of a text underlining the Neomodernism of the poetry of Serban Codrin.
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The literary critic Ion Pop is the author of a text underlining the Neomodernism of the poetry of Serban Codrin.
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The essay analyzes two patterns in the evolution of the Romanian novel, the political novel and the anti-communist novel.
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This section contains a number of letters from Dan Culcer's personal archive signed by Romanian writers, before 1989.
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The text is an interview taken by Laura Dan to poet Viorel Muresan.
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The essay refers to three Romanian poets, who were formed in the creative atmosphere of the Echinox movement, but developed their unique poetic styles, thus seeming nonconformists and difficult to classify. The three poets are: Ion Muresan, Aurel Pantea and Viorel Muresan.
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This section of Vatra offers the reader the possibility to read reviews of the latest, most interesting literature books.
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This interview was taken by Marian Ilea to Gheorghe Iova, one of the most representatives writes of the 80's.
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The article is a meditation upon the paradoxes of Romanian culture and its complexes as related to the Western civilization.
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The essay was written at the anniversary of 40 years since the creation of the Monday Cenacle, which gave some of the main poets of the Romanian postmodernism.
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This paper follows the various metamorphoses of the American poetic influences in the poetry of Traian T. Cosovei. The main emphasis is that Traian T. Coşovei does not feature a consistent model of influences appropriation, but rather there are cosmetic reminiscences whose presence / reception seems to be motivated more by a cultural attachment.
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This section of Vatra Literary Review contains various reviews on contemporary Romanian books, written mostly by critics belonging to the young generation of exegetes.
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This interview taken to the Romanian literary critic Luminita Marcu refers mainly to her professional achievements and convictions as related to the way she perceives literary value.
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This section of Vatra Literary Review contains literary reviews written by contemporary Romanian critics.
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The text is an essay on the poetry of Andrei Bodiu, written by Iulian Boldea.
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The following reviews focus on two authors, originated from Tg. Mures, and bring to the public s attention the books of two young local writers.
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This section of Vatra contains book reviews signed mostly by critics belonging to the young generation.
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Considered by the critics the writer whose works are representative for the level at which our modern literature was at that time and for the capacity of the Romanian language and the artistic language to express the ideas and feelings of an artist, Grigore Alexandrescu has also the merit to impose in our literature species like meditation, epistle or satire. In the summer of 1842, Grigore Alexandrescu, together with his friend Ion Ghica, travels to the River Olt Valley and Subcarpathian Oltenia. Under the influence of the beauty of landscapes and monuments, of those places full of history, he wrote a Travel Journal, but also some poems, which, in fact, remained representative for his artistic creation, such as Umbra lui Mircea. La Cozia (The shadow of Mircea. At Cozia), Răsăritul lunei. La Tismana (The Moonrise. At Tismana), Mormintele. La Drăgășani (The Tombs. At Drăgăşani). Our work intends to be a presentation of these three poems written under the influence of the travel impressions, remarkable is the fact that, born at Târgoviște, the citadel that has known glory in the past, Gr. Alexandrescu often renders in his creations the image of ruins filled with spiritual charge, seen not with a desolate feeling of the irreversible change of time, but as a glorification of the past and a model for the next generations.
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Contemporary with the political events that took place on Romanian territory at the beginning of the 20th century, major events of vital importance in the evolution of the Romanian nation, Ion Agarbiceanu, cultural personality established by his contributions to "Astra" and "The Romanian Writers' Society", militates in favour of the accomplishment of the secular national ideal through his publications. His academic and political experience helps him understand and involve in the difficult moments in the country's destiny. Endowed with a special creative energy he creates an ample "chronicle" of Romanian contemporary society at the beginning of the century. The trilogy "Times and People. New World (1943, the first two books "Home" and "On Roads" had been censored), brought down to a single volume, was published during his refuge in Sibiu, when the Writer withdrew for a period from public life, period appreciated later on by literary critics for the writer's important writings. The common element of these writings is the beginning of the narrative thread that stands under the dome of the Union. The realities of the epoch were rendered with sobriety, with the awareness and willingness to convey the anxieties of society, even if sometimes they were not wrapped in "art transfiguration" but resignation. Rich in ongoing events, the texts of this trilogy sustain "the historical" through the power of generalization, and the confrontations in the political world are often pointed out by emphasizing their errors and consequences on social and ethical levels, specifying the Transylvanian environment, through different aspects of the Romanian soul and love for people. The striking character is sustained by the immediate reality emphasized by the writer, by the abundance of details to the detriment of subtlety, of heavy narration and psychological analysis. It can be regarded as an anticipation of modernism in prose, materialized in the diminishing of harmony and musicality of the text, rendering his characters' " rhythm of the soul movement".
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The essay follows the theoretical framework of the fantastic as settled by TzvetanTodorov and aims at identifying the place of the Romanian novella within this classification. For the fantastic as strangeness the essay identifies within the novella: the hesitation of the reader between the reality and the imaginary, the events as a result of one’s imagination due to madness or to dream; the hesitation of the reader between the reality and the illusion, trying to find a reasonable explanation for the events, the possibility of an illusion of the narrator (delirium as a result of malaria) or of a hoax played to the narrator. The essay considers all the same the presence of pure strangeness within the novella, mastered through the infusion of fear. For the miraculous, the acceptance of the supernatural, the essay illustrates the presence of the ghosts within the story of the novella; the essay points out stylistic reasons for placing the novella within the exotic miraculous. In the end, as a result of endless exemplifications for the constant hesitation of the narrator, the essay proves that the Romanian fantastic novella serves as a good analytical material for the theoretical approach of TvetanTodorov.
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The main objective of the article is to investigate the way in which the national language is perceived in the poetic imaginary of the nineteenth century Romanian writers. Having been studied inconsistently by the critics so far, this issue is, by contrary, from our point of view, one that is worth analyzing systematically. In the first place, a panoramic, wider study of this subject unwraps us a substantial perspective of the way the poets characterize the poetic language in the epoch. If features such as uniqueness, harmony, beauty and noble origin are the most common arguments advanced in the polemical debates that have at the core the question of language, then, we asked ourselves which are the features of the poetic language? Secondly, studying the national language from an aesthetic lookout as a poetic idiom, enable us to get an insight into the transition from an objective, ideological language to a more subjective, personal, creative facet of it. The immediate question that arises is how the conversion is done? Are the two alternative forms of language part of the same idiom or not? If at the dawn of the national literature the writers find language as a burden, once with the generation of poets belonging to the 1848 revolutionary wave the distrust became strong belief in the pragmatic force of words. For instance, the poetic language, as seen by Cezar Bolliac is a magic idiom, which has the power to reform the society and the individual, while Dimitrie Bolintineanu thinks that the language created by the poets has the duty to wake up in people the national awareness, making them realize that are one, united by their common past, history, traditions and will for independence. For Ion Heliade Rădulescu, the national language is an harmonious idiom that has a noble and superior origin: Latin. Taking everything into account, it is our belief that a history of the way poetic language has been viewed by its creators in the nineteenth century revolutionary uprising movement reveals the many dimensions the language is imagined in order to consequently shape the identity of a nation in its struggle for independence.
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