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Fascinated by Transylvania, Mihai Eminescu (1850–1889) sought to come into contact with its outstanding personalities and with the land itself, whose image would later leave an imprint upon his work. His contacts included Aron Pumnul, on whose death he wrote an ode, Andrei Mureşanu, and somewhat later Iosif Vulcan and the Metropolitan Bishop Andrei Șaguna. The present article looks at Eminescu’s travels across Transylvania. The author analyzes, on the one hand, the relations between this enlightening experienceand Eminescu’s debut as a journalist, and, on the other, the emergence of a particular sensitivity towards essential experiences, in a word, the foundations of Eminescu’s ideology.
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In his novel, “The Deadline”, Horia Liman depicts the history of an authentic world governed by unwritten laws belonging to the morality of the common man, especially to the honour code. In a poor isolated community from Oaș, placed on a rocky hill, where only the nettles grow, the knapsack and the knife are held in high esteem. The atmosphere of the novel, its characters and their features, the difficult life and the unwritten laws are gradually unveiled through significant events.
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Beyond their psychological realism and questionable symbolism, some of A. P. Chekhov’s plays also manifest a self-referential and metadramatic/ metadramaturgical component of implicit theatrical po(i)etics. This is an aspect rather ignored by Chekhov’s critics and linked to the crisis which, according to Peter Szondi, occurs in European drama around 1880. Matéi Visniec draws attention to it and exploits it in his own creation, in plays such as “La machine Tchékhov” [The Chekhov Machine], “Nina ou De la fragilité des mouettes empaillées” [Nina or About the Fragility of Stuffed Seagulls], in close connection with the postmodern preference for intertextual and self-referential writing.
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Starting from their basic role as elements of literary, cinematographic and theatrical description, light and shadow develop a close relation in all these three arts. They exceed their primary purpose and become involved in the process of narrating the events and setting the mise-en-scène. Even more, they are also engaged in changing the atmosphere, visualizing the images, modifying the reader’s or viewer’s attention, increasing or diminishing the dramatic intensity, conferring dynamic effect, accumulating meaning and revealing symbolic, philosophical, psychological and metaphysical significance to literary, cinematographic and theatrical artworks. Transferred from literature to cinematography and theatre, light and shadow have to adjust their means of expression so that to correspond to the specificity of each art. Taking after the techniques in the art of drawing, naming the tree-dimension perspective and chiaroscuro, light and shadow bring new aesthetic values to theatre and cinematography. Regarded as instruments of creating literary and visual metaphors, light and shadow highly influence the perception of the images outlined by them. The study aims to take into discussion the manner in which light and shadow may be employed as instruments of creating literary as well as visual metaphors. At the same time, it analyses the transposition of a metaphor generated by light and shadow from literature to cinematography and theatre as in Liviu Rebreanu’s “The Forest of the Hanged”.
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This essay examines the corpus of contemporary American and Canadian poetry translated into Romanian in stand-alone volumes between 1990 and 2017 and argues that translators had a deciding impact on the selection of authors, as well as on the configuration of the overall translation network. Romanian poet-translators engaged in an outward cultural movement that galvanized both their own writing and the national literature in general. In doing so, they developed various types of agency covering a wide range of translating patters, from no agency at all to full self-reliance, and a poetics of fecundity that testifies to their engagement with global events and with the microcosm of local literature. Engendered by an assumed material precariousness and by an overt desire for permanent change and synchronous alignment with world literature, these practices should be seen from a micro-centric perspective, that is, paramount in establishing positive relationships with U.S. and Canadian poetries and energizing the local literary scene, rather than simply reflective of a ‘minor’ mode of existence in the global and geopolitical arenas.
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The present article was written as part of the PhD dissertation entitled “An analysis regarding the evolution of James Joyce’s writing style in ‘Dubliners’, ‘A Portrait of the Artist as a Young Man’ and ‘Ulysses’ and the strategies of translating it into Romanian”. The research starts from the hypothesis that a perfect rendition in a different language of a literary text of this type is nothing more than a utopia. However, a translator should always intend to achieve an equilibrium between the author’s intentions, the form, the content and the target culture. In “Ulysses”, James Joyce experiments with language, abandoning the definition of sense and revolutionises the art of expressing thoughts through words. The current work will concentrate on the thorough analysis of adjectival and adverbial collocations conceptualized in the ninth chapter of “Ulysses”. Our purpose is to investigate how Mircea Ivănescu’s Romanian translation deals with collocations and especially with those that typically represent Joyce’s authorial style. Mircea Ivănescu (1931-2011) is a Romanian poet and the sole translator who accomplished the difficult task of translating the entire novel, although there had been various attempts at translating only chapters of it. It is an approved work of translation, having received both praise and critical appreciation. After more than three decades from this chapter’s translation, our research aims for a further exposition of the similarities and distinctions between the source language text and the target language translation.
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This review presents a recently published book authored by Cătălina Iliescu Gheorghiu, an academic actively involved in Romanian studies and a translator of Romanian literature. As the title suggests, it is a study that falls under the scope of Descriptive Translation Studies implying the polysystemic model posited by Lambert and Van Gorp for the comparative analysis of drama. The corpus under scrutiny is made up utterances extracted from the play A treia țeapă (The Third Stake) by Marin Sorescu and the corresponding utterances from two of its translations into English. The analytical part is backed up by a solid theoretical framework with its latter section lending the overall structure of the analysis. The categories subject to investigation are (i) preliminary data, (ii) the macro-level structures, (iii) the micro-level structures and (iv) the systemic context. The methodology experimented with drama translation and the findings deriving from it have proved their validity and are valuable input for other similar and possibly more comprising research that can use these findings as hypotheses to be tested further.
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”The Summer when my Mother had Green Eyes” is Moldovan writer Tatiana Țîbuleac’s first novel and it was praised by both readers and critics. We examine the Spanish version of this novel, which was published in 2019 by Madrid-based publishing house Impedimenta and has reached its fifth edition in less than a year. The design of this novel alternates short chapters and micro chapters consisting of a sole phrase, as well as sarcastic and poetic tonalities, and reconstructs the narrator's relationship with his dying mother during the last summer they spend together in a French village close to the ocean.
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Les recherches antérieures consacrées à la langue et au style des œuvres de Liviu Rebreanu ont affirmé que ceux –ci n’ont pas une valeur artistique particulière. En continuant les études publiées par l’auteur jusqu'à présent qui ont analysé la configuration de l’épithète chromatique dans les romans représentatifs, cet étude est consacré aux nouvelles. On a examiné l’apport de l’épithète, de l’ensemble des figures de style et de sa riche typologie, est approfondi l’épithète chromatique, qui après le sixième rang des 16 variantes de celui-ci, sont recherchés et examinés successivement l’origine, les catégories de l’épithète chromatique, le comportement lexico-gramatical, les valences et les fonctions stylistiaues, l’apport prépondérent à côté de la comparaison, à l’amplification de l’expressivité du langage artistique de la prose de Liviu Rebreanu.
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The presentarticle proposes a quantitative analysis of the evolution of the novel in Romania. The study de factocompares, based on the data provided by Dicþionarul cronologic al romanului românesc(Chronological dictionary of the Romanian novel, abbr. DCRR) and by Dicþionarul cronologic al romanului tradus în România(Chronological dictionary of the translated novel in Romania, abbr. DCRT) for the period between 1845 and 2000, the evolution of the number of domestic novels and that of the number of translated novels in Romania, as well as the ratio between these values, which, dubbed the “index of literary autonomy” (ILA), serves as a measure of the degree of (in)dependence of the Romanian literary system. Starting from the aforementioned data and concepts, the present research delimits four phases in the development of the novel in Romania (1845–1917; 1918–1947; 1948–1989; 1990–2019) and attempts explanations of the diverse variations in novelistic production—especially its “rises” and “falls”—based on the various political, economic and cultural factors which caused them.
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The present article highlights the interpretation of Panait Istrati’s (1884–1935) literary work from a double perspective: its identity and its universality. Pointing out the fact that the writer’s life and work represent a special case, where the hazard intervened decisively, the following aspects defining Panait Istrati’s work and destiny shall be presented and discussed in connection with the concepts of identity and universality: Panait Istrati’s literary status (considered to be a French writer, but only a Romanian storyteller), the opportunity he had of making his literary debut in a language and a culture of great circulation, the Romanian themes and motifs, his style and, last but not least, the cultural impact which brings him back into actuality and proves him as a visionary writer, whose great achievements are better known in the European cultural space than in his native country.
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“Vagabond,” “nomad” or “marginal” are the key terms in almost all studies on Panait Istrati’s literature. This paper aims to overview the multiple and complex meanings of the “vagabond” typology, based on stories like Kir Nicolas, Sotir, Mikhaïl, Bakâr, La Maison Thüringer, Le Bureau de placementor Méditerranée, in which the “vagabond” is the central character. The theoretical framework of our investigation is shaped by concepts like “migrant literature” and “marginality,” but our study also encompasses a strand that implies an imagological analysis.
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An analysis of the reception models of writer Marin Preda (1922-1980) and his literary work, right after the December 1989 Revolution, provides a model of perceiving all changes triggered by turmoil—in this case, the revolution—and their subsequent impact on literature in particular and culture in general. His writings have endured due to some kind of internal barometer that has stood the test of time and survived the ongoing evolutions subject to inherently emerging controversies that contributed, paradoxically, to a revival of the meanings of his work of art.
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and computerization, and the new possibilities brought about by information technology in order to achieve the academic project entitled “Preservation and Capitalization of Romanian Literary Patrimony by Means of Intelligent Digital Solutions for Data Mining and Systematization” (INTELLIT). According to the new theoretical and methodological perspectives opened up by digital humanities, the main rules that the digitization project of the General Dictionary of Romanian Literatureshould closely observe are those governing the information networks: decentering; modularisation; permanent connection; transdisciplinarity; participation and interaction.
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A way of highlighting and promoting the most important and significant components of the national heritage is to harness them through Internet-based technologies. This paper presents the proposed digital solution for the promotion and preservation of collections of information from the Romanian literary patrimony using intelligent digital solutions for the extraction and systematization of knowledge. This digital solution, a platform, will offer advanced, intelligent semantic search and analysis services and prediction forms concerning Romanian literature. This paper presents several important platforms, systems and projects that are linked to the Literary Heritage. Then, a comparative analysis of the functionality, limitations and opportunities of the most relevant online platforms is presented, followed by the description of the main features of INTELLIT platform.
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This paper argues that the translation of Romanian literary criticism, as a field of its own, requires the development of terminological databanks meant to provide the terminological standard, not in the sense of a “standardized” glossary of terms, but in that of “harmonized” terminology, organized in community-specific technolects, as defined by the promoters of socioterminology and the sociocognitive theory. This argument is supported with evidence derived from the research results of a case study focused on several samples of Romanian literary criticism originally published in Romanian and subsequently translated into English in Romania in the late twentieth century and the early twenty-first century, before and in the wake of great social, political and cultural changes. The analysis of the research results shows that dynamic terminological “harmonization,” as opposed to mere “standardization,” is not only possible but also a sine qua nonrequirement, given its potential to trigger improvements in the quality as well as in the quantity of translations of Romanian literary criticism into the lingua francaof today’s world.
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This section is dedicated to a Romanian contemporary poet, belonging to the Echinox literary movement, Viorel Mureșan.
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