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The Romanian writer George Dorul Dumitrescu arrived at Chișinău in 1933 and workedfor a time as a substitute teacher of Romanian at the „Regele Ferdinand I” Military High School. In1944, a memoir about Chișinău appeared in Bucharest, entitled The City of Remembrance. Thanks tothis book, we have the opportunity to recover the image of Chișinău from the interwar period with allthe urban and cultural acquisitions, acquired in more than half a century under two political regimes.The author of the memoirs takes us imaginarily through a representative urban space of Chișinău. Oneby one, as the reading progresses, the center of a „special brilliance”, the wide boulevards and the cleanstreets with tree salong, the massively built building sand the elegant gardens take shape. For anyonewho wants to see this literary representation imaginarily reconstructs, like current digital technologies3D, a true „western city”. From The wanderers in thekidnapped land by Dumitru Moruzi, George DorulDumitrescu created perhaps the widestand most amazing panorama of the city in the literary space.
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This study touches upon the projections of Chișinău, as these result from Gala Galaction’spublicist activity, scattered in “Viața Basarabiei” (Life of Bessarabia), “Dimineața” (Morning),“Izbânda” (Victory), “Adevărul” (Truth), “România” (Romania) etc. The social, cultural, imagologicalaspects and transformations that Chișinău underwent during the two interwar decades are captured.It reflects the urbanistic aspect, the relief marked by vineyards and coasts, the cultural life and the wayof being of Chișinău inhabitants. The publicist outlines the image of a heteroclitic Chișinău, built onenthusiasm and stagnation, optimism and slowdowns, ascendancy and provincial complexes. However,a strong attachment and a deep involvement in the spiritual life of Chișinău results from all theevocations.
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The portraying of the subjects in front of the looking glass is a literary topic in which the body is involved in a range of possibilities. From the corporeality of the “other” reflected by/in the narcissistic or self-critic perspective about the appearance of oneself, the mirror offers to Spanish contemporary poets a fruitful frame to explore all the variations of anagnorisis and dis-cognition. The text develops a theoretical and cultural episteme in order to read the work of a number of Spanish poets, in which the body analysed in the looking glass could adopt the form of grief, complaint, egotistical exposure, cultural references (e.g. Alice or Narcissus), or technological exam.
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The article concerns the place of corporeality in the poetry of a Maurician francophone poet Umar Timol. One can distinguish four main attitudes towards the human body in Timol’s texts: body as an object of worship or – on the contrary – of disdain and condemnation, body as a humanitarian challenge and as an object of self-reflection. The absence of typically Western dualism of physical versus spiritual in Mauritian poet’s philosophy procures a new and exotic perspective for European readers. The author ponders the purpose and motifs which could stay behind such standpoints mainly by analysing the poems in the context of Mauritian culture and comparing them to other Muslim or Indian texts.
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Until recent times, the representation of desire and erotics in Spanish poetry was quite scanty. Even now, there are few poets who explicitly deal with sex in their poetry. In this article, I analyse the work of three poets with different outlooks on desire: a homosexual male (Rafael-José Díaz), a heterosexual female poet (Ada Salas), and a heterosexual male poet (Eduardo Moga). Taking into account, among others, the theories of Roland Barthes (A Lover’s Discourse. Fragments) and Anne Carson (Eros the Bittersweet), I attempt to emphasise the originality of the language treatment of bodies in love.
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The body is a way of being in the world and to contemplate it. The body limits, interacts and enjoys while gender captivates and creates. Geography confines, epoch determines and circumstances may be decisive. The work exposes such aspects in the poetry of four women who belong to the same generation, but to different geographic areas. More specifically, it shows writing as a projection of the woman; the body as lyrical subject and object and hand as part and symbol of the fullness and the collapse of corporeality, especially female corporeality. The topics dealt with in the paper will be, on the one hand, how the body inhabits the world and what its relationship with the writing is, and on the other hand, the study will analyze the hand as a metonymy of the female body and the changes due to the passing of time.
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The body, although not presented in a direct way, connects the two main themes of Rendicción (2013), the second volume of poetry by Mario Martín Gijón. Based on the theory of José Enrique Finol (presented in the work La corposfera. Antropo-semiótica de las cartografías del cuerpo, 2015), I carry out an analysis of how the corporeality is depicted in the poetry of Martín Gijón. In the said poetry book, the body has not only obtained the status of the object (linked to the themes of love and eroticism), it has also become an assistance of the artistic activity. In this way, the poetry is embodied (Merleau-Ponty, 1993), the word is a living body with all its creative powers.
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The article focuses on the study of the representation of time and temporality in contemporary Mexican poems about eroticism-love. Recreating the moment of the union of lovers, a situation that does not conflict the concept of transcendence, plays a fundamental role in such a poetry. Similarly to what happens during mystical ecstasy, this union affects the perception of the individual identity, usually reduced to dualist and exclusive terms such as body/soul, outside/inside, form/essence, etc., as well as the time-space categories involved in its building process. In an attempt to communicate this transcendence, poems resort to figurative and symbolic wordings including, for example, “heaven,” “paradise,” or “golden years,” which seem to be restored since ecstasy enables participation by suspending the chronological time and its course.
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The two seemingly opposing realities: the body and the spirit, have always been the source of the inspiration for the artists of the different times and cultures. In Colombia of the 1940s the new poetry group was developed and called “Piedra y Cielo.” The group redefined the Colombian poetry of those times by introducing numerous changes and innovations. The name of the group (which literally means ‘the Stone and the Sky’) alludes to the two dimensions of our life: the corporeal and the spiritual. Hence, the naming suggests that the poetry created by the group would seek for and demonstrate the relationship between the two dimensions. Thus, this article is to analyse the way that the “Piedra y Cielo” poets understood the role of the relationship in question while working on their poems ‒ in accordance with their theoretical commentaries and how they reflected this understanding in their poetry.
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The founding texts of the French-language women’s literature in Algeria, both of its traditional and reactionary society, and of the colonial occupation, is indeed the Histoire de ma vie of Fadhma Ait Mansour. The autobiographical narrative reports, with striking words and without detour, the condition of the woman as it took place in the 19th century until the second half of the 20th century, through the characters of Fadhma and particularly that of her mother Aïni, who proves courage and daring by protesting against the established order and selfaffirming against the adversity of tradition and colonial contempt.
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Today, Bjørnstjerne Bjørnson’s name does not seem as familiar to Hungarian readers as Henrik Ibsen’s, although Bjørnson was the first of them to be known in Hungary and his wide popularity can be traced in the Hungarian press from the second half of the 19th century. Mainly due to Bjørnstjerne Bjørnson’s prosecutions in the international press against Hungary’s minority policy in 1907 (known as the “Björnson-affair”), he unexpectedly falls out from the Hungarian canon. However, Henrik Ibsen’s plays are essential pieces, his fame is uninterrupted to this day. The aim of this paper is to reflect on the contextual factors and limitations which determine the Hungarian reception of these Norwegian authors, and also to interpret what kind of stereotypes related to national characterology organize the Hungarian reception of Bjørnson and Ibsen.
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Chinese Avant-garde stands as a literary avalanche at the economic dawning of the Reform Era. The shaping of postmodern texts depoliticized, and fragmented, is somewhere along the line the ontological transaction to a post-ideology literature where the permanent struggle is not anymore between classes, but within the frame of personal identities. The narrative moves from socialist realism to experimental writing, from realism to abstract expressionism, forging a literary paradigm alternative to the dominant one. In this sense, Chinese Avantgarde stands as the narrative re-enchantment of Chinese fiction.
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Like many other oral traditions, the Japanese one also has a tiny hero who fights against fantastic enemies. “Momotaro”, a folk tale about the Peach Boy, emphasizes the national identity of Japanese people. It was very important during the creation of folklore studies in Japan. At the time of the samurai class domination, the folk tale emphasized loyalty, justice and filial piety. With the restoration of monarchy, it was used for the purpose of propagating the mythical roots of Japanese people, as well as of loyalty to the emperor. In times of war Momotaro’s opponents were shaped according to the situation, with the support of Japanese nationalists. Demons (oni) became bearded Russians or corrupted British soldiers, and American president was depicted as a leader of a demonic nation. Moreover, in the “Momotaro“ folktale Japanese authorities found the justification for their colonialist efforts to appropriate the natural resources of other states.
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This article focuses on two cartographically estranged places which continue to be historically concomitant—lower deltaic Bengal and Burma. The aim of the paper is to do a comparative ‘pizza effect’ study using contemporary Anglophone writings by Amitav Ghosh. Within the methodological perspective, the theoretical framework of the paper stems from the discussions of ‘self-orientalisation’—a phenomenon in which a community’s comprehension of native culture is determined by its acceptance in foreign lands. The paper argues how the writings of Amitav Ghosh have triggered a ‘pizza effect’ in two modes: on the one hand, they have led to the re-discovery of ‘folklores’ by a new generation of Anglophone readers for whom these were lost, on the other hand they have led to the re-finding of a shared history between Bengal and Burma. The first of these modes of ‘pizza effect’ is studied through the literary analysis of a folktale from the Sundarbans—Bonbibi͞r Johura͞nama͞—and its representation and adaption in Amitav Ghosh’s novel—The Hungry Tide (2004). The second case of ‘pizza effect’ is evaluated by comparing Padma͞va͞ti, a seventeen-century composition by A͞la͞ol, a Bengali poet in the Arakanese court and representations of Burma and Arakan in contemporary works of Amitav Ghosh—The Glass Palace (2000), Sea of Poppies (2008), and Dancing in Cambodia, At Large in Burma (1998).
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The article proposes an approach to the topos of the city, illustrated by the city of Balți from the interwar period. The evocations of the interwar scholars who visited Balți and offered edifying testimonies are analyzed, among which Geo Bogza, Dimitrie Iov, Leon Donici, Neculai Macarovici, G.C. Lecca. They record the essence of the city through the lens of their own subjectivity. The result is a multi-perspective game of projections of a provincial urban space, gloomy, lonely, monotonous, which cultivates a kind of defensive resistance. The authors perform a series of (self)imagological exercises, from which results the way of being of the people from Balți and especially the way in which they are reflected in the lenses of the visitors. A special presence in the urban landscape is the woman from Balți who cultivates the moral enigma of silence. The city is an accomplice of the woman, and she becomes the symbol of the urban sight. A space of imagination and representation, the city is not just a functional place, but especially a cultural construct
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This article analyzes the contribution of different ethnic groups to the development of the city since the year of the annexation of Bessarabia to the Russian Empire (1812). Emphasis was placed on the basic occupations with which they contributed to the development in various aspects (economic, political, social, religious, but also ethnic) of the city of Chișinău. Several sources have been researched, which describe the basic economic branches in Chișinău at the end of the 19th century and the beginning of the 20th century, and the preponderant presence of representatives of different ethnic groups in these economic activities was established.
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In this paper, we bring together Victorian literature, primarily Alice in Wonderland by Lewis Carroll and the poem about a wounded deer by Emily Dickinson, and Roger Fenton’s photographs from the Crimean War and his photographs of deer. Thereby, a parallel is drawn between the powerful symbolism of the deer and its transformation in Victorian literature on the one hand, and the depiction of a wounded soldier in Fenton’s photographs. By comparing scenes from war photographs, deer photographs, and the photograph of a wounded soldier, with scenes described in Victorian literature, we try to penetrate deeper into the photograph itself, using the richness of the literary language. We also discover that which photography and its visual language make very clear to us, which literature has either missed or needs too many words to achieve a similar effect. Considering that the relationship between literature and photography, in the context of the so-called photo-literature, is extremely complex, we try to shed some light on it using a modest sample of segments drawn from a few works of literature, and photographs by Roger Fenton.
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