Poezia realității în formule cinematografice (Autor Dumitru Olărescu)
Review of: Poezia realității în formule cinematografice (Autor Dumitru Olărescu) 2020, 200 pag.
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Review of: Poezia realității în formule cinematografice (Autor Dumitru Olărescu) 2020, 200 pag.
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Alexandru Vlad's prose is distinguished in today's Romanian literature by its expressive force, distinction and refinement, the writer also exhibiting, in novels, novellas and publicistic interventions, a very distinct style. A style of living and creation alike, a style that does not accept useless ornament, relying rather on sobriety, direct exposition, precise capture of the behaviour, speech and existential logic of problematic characters with symbolic imprint and dilemmatic identity.
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For approaching Radu Vancu’s volume of poems entitled “The Flowery Rope,” where the poet is travelling back and forth between “the dramatic death of his father” and his emotional and mental reconciliation and acceptance of the event, Gaston Bachelard’s aesthetics and Savu Popa’s hermeneutic uncertainties, namely those certainties without a finality, will be employed as methodological devices to decode its intricate meaning.
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Richard Osman’s second novel, “The Man Who Died Twice”, a sequel to “The Thursday Murder Club”, is as surprising as the title itself. Although the leading theme of the novel is the solving of several crimes by the four restless septuagenaries, Elizabeth Best, a former MI5 agent and her friends, Joyce, Ron and Ibrahim, what really drives the foursome is their wish to escape the realities of old age, and their fear to be isolated and forgotten by society. Although they are exposed to dangerous, life-threatening situations, a sense of real jeopardy is entirely absent. The novel proves to be superbly entertaining, full of sparkling humor and witty comments. This article aims at concentrating on the comic side of this crime story and at discovering the sources and means of achieving sparkling humor.
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The present study aims at examining the symbols and the connectivity with the traditions in Rudolfo Anaya’s novel entitled ”Bless Me, Ultima”. The rural context of New Mexico is a place rich in culture, having a multitude of myths and traditions. The narrative is reflected in the collision between indigenous ancestry and Catholicism and the internal dispute of the two themes is connected by nature and divided by dogmas, the spiritual universe vs the religious doctrines. The study shows how Ultima demonstrates to Antonio how every being and element are interconnected through a hidden force. The main symbols present in the novel are analyzed delving deeper into their meanings and finding new facets. The connections which exist between indigenous folkore, spirituality and family customs highlight the preservation of traditions despite the changes in environment and society as well as their impact on the characters’ beliefs and actions. Ultimately, the present analysis contributes to an in-depth understanding of how Anaya’s novel preserves the pure spirit of innocence and purity within the narrative.
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The article addresses the issue of theatricality, especially the way of creating this cultural phenomenon in the dramaturgical text and in the narrative artistic text. Th eatricality understood as a cultural and aesthetic aspect is combined in some types of speeches with theatricality in life, especially in prose. If in the dramaturgical text its structure (dialogue — stage directions) constitutes a fi rst element of theatricality, then the theatrical techniques from the show (ad spectatores, the monologue, the actor’s corporeality, etc.) are elements that can also be found in the narrative literary text in the form of authoriality, of various forms of psychology, etc. In this context, an important role in the creation of theatricality is played by intermediality as the interaction of codes specifi c to certain artistic or non-artistic discourses. We investigate the relationship between theatricality and intermediality from a theoretical and methodological point of view, with some examples from artistic texts or performances.
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The purpose of the present paper is to compare Virginia Woolf’s and Graham Swift’s essays, On Being Ill and Santa’s Clinic, respectively, in order to discover a new type of essay, from a formal point of view. These two essays selected for thorough analysis are not the usual, realistic, argumentative essays. Apparently, both argue in favour of their opinions on fiction and its relevance to the readers, but this meaning of their essays comes at a second level, which is the result of the deepening arguments and of the readers’ interpretation. Both essays start reflections which lead to this deeper level interpretation from the subject of illness, in general, in Woolf’s essay, and from the specific case of the polio vaccine, in Swift’s essay. The genre to which these essays belong can be seen as a mixture between argumentative essay, personal opinion essay, diary writing, free associations method from psychoanalysis, and metafiction, or writing about the very process of writing.
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The purpose of the present paper is to look at the essay Making an Elephant by Graham Swift from the point of view of connections between external and internal realities. Various objects, places, and landscapes are connected by Swift to the memories of his father and of his relationship to him. The father is presented in the larger family context and life. Physical, concrete objects are there as substitutes for the loss of the loved person, at least to some extent. Free associations help create the connection between objects, emotions, and perceptions of the relationship with loved persons. Through reader response criticism, we can understand that readers can not only emotionally relate to the experience of the author, but they can also start making free associations themselves with their memories of Swift’s other works. Their minds work in the same way as Swift’s in this essay, since they can remember similar elements such as objects invested with emotional meaning in his fiction.
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„Zburătorul” is considered by George Călinescu to be the masterpiece of Ion Heliade- Rădulescu's poetry. The starting point is the myth of a fantastic being, named „zburătorul”, a daimon who comes to girls' houses at night, tormenting them with the fires of love, a myth widespread in Romanian mythology, legends and fairy tales. The demon, which usually appears at night, tempting and tormenting young girls, is often associated with an illness, and in many ways the experience is devastating for the human being. This myth, in its cultural aspect, reflects the fundamental problem of sexuality among Romanians, this mythological being can be compared to a beautiful demon, an adolescent Eros, who gives pubescent girls the turmoil and yearnings of first love. His demonic attributes are evident, especially in the consequences it has on the victims it haunts. Not having a literature analyzing love, it was natural for Romanian poets to descend to the primitive moment, to the myth of the invasion of the erotic instinct in girls. Characteristic in all these compositions is the total irrationality of the crisis. The myth that explains the emergence of feelings of love has been elaborated in many cult literary works, this poem being just one of them. In this poem, the mysterious invasion of love is captured in full aggression, the girl, in crisis of puberty, being brought down by a mysterious disease, mythologically explainable and magically curable. The ultimate message of this poem, beyond the presentation of a character from Romanian folklore, remains the emphasis of one of the deep ideas of the popular collective mind, namely the fact that the fire of love can lead to a total psychic destruction, unsolvable by magic or faith, and up to, finally, accepted by the mentality of the village as such.
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Born in 1970, the Basque writer Karmele Jaio is considered in the present as one of the most famous women writers from Spain. Until the present, she is known in the literary landscape as the author of three story books and four novels that made her famous not only in Spain, but also abroad. The present article aims to analyze “No soy yo”, a collection of 14 short stories which was published the first time in 2004 in the Basque language, the author 's native language. Karmele Jaio writes in Basque and also translates her work in Spanish. In 2014, she translated her short stories into Spanish. All the stories are about women. Karmele Jaio centers her interest in describing the feelings and the experiences of middle aged women that hardly find their place in a society that still blames old age.
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In this critical essay I have beeen trying to underline and deconstruct one of the most important myth of the Universal culture, the myth of Faustus, and also its appearances in Romanian and European philosopher s and essayist works, like Goethe and Kit Marlowe and Thomas Mann, Lucian Blaga or Constantin Noica to Panait Cerna.
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In this critical essay I have been trying to prove the relationship between Vasile Voiculescu’s fantastic novellas and short stories and Carl Gustav Jung’s theory or archetypes, focusing on Ioan Petru Culianu’s research in order to create a bridge between phychoanalisis and literature, filling the gap between theory and a a close reading analysis.
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La 1 septembrie curent, în cadrul Salonului Internațional de Carte BOOKFEST 2022 — un festin editorial de zile mari — au fost lansate 5 volume de autor, apărute în condiții grafi ce și tipografi ce excelente, la prestigioasa editură EPIGRAF (director — Oleg Bujor), o instituție culturală, care, în fond, și-a făcut un titlu de noblețe, plasând în circuitul public lucrările științifi ce elaborate în cadrul Institutului Patrimoniului Cultural (IPC).
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It is the communion between men that does not allow any Christian to rise above others, like a lord. Such a communion above laws, interests, clericalism, dominion, subordination, and qualitative differentiations, is achieved only through love. Such an approach, experience, and expression of Christian teaching can be found both in the great Russian novelist, Feodor Mikhailovich Dostoevsky and in the "Greek Father", Saint Paisios of the Aghios. In Orthodoxy, one speaks not only of the sacramental priesthood of the clergy but also of the priesthood of the faithful (universal), because in a broad sense the term "priesthood" refers to the calling of every human being, the priesthood being intrinsically linked to the human structure. In other words, the depth of human thought and feeling must be found inescapably within the principle: we are all equal brothers in the freedom of good about our fellow men and to God. The true freedom of man is not proud because man is not God. The strongest of men does not exist unless God also exists. True freedom is that which chooses the good, the free good that is not imposed by necessity, the good done out of pure love that sets the man, who arrives on this hard-to-reach path, to fulfill this senselessness and to walk in the footsteps of God and thus also to see, feel and receive salvation.
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This article is devoted to the study and analysis of illustrations for poetry and short prose in the works of the graphic artist Dumitru Trifan. The genre of short prose includes short stories, parables, short tales, essays and literary sketches. In the current period of increased dynamism of human activity, short prose acquires new value assessments, which is confirmed by the results of international competitions in this field. Anthologies of short prose, in terms of their richness, complexity and the variety of topics covered, often compete with impressive novels in terms of volume. Just as drawings or short sketches are important for the creative development of artists, so, short prose offers good opportunities for development and growth for writers. Dumitru Trifan illustrated literature of a different nature. The elegance of linear plasticity, the conciseness and the casual operation with the spatial effects of the chiaroscuro decorative configuration determine the originality of the artist’s works. Illustrations for short prose created by the artist are formally and stylistically often close to his satirical graphics or illustrations for other literary genres, such as poetry, etc. The selection and disclosure of interesting of subjects and the chiaroscuro decorativism, combined with author’s original technical principles reveal the axiological side of the artist’s creation.
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As in Eugen Ionescu's drama, the heroes pathetically and lyrically state the falsity of a world, its decadence, and above all the fact that man, in the sublime sense of the word, has not and will not have a place of his own in this chaotic microuniverse. The plot, perceived in the classical sense of the word, is non-existent; that's why the narration, or representation of a play, becomes quite difficult. And yet, the skill of the playwright and especially of the director Virgil Tănase speaks for itself: ambition, lucidity, analysis, refuge in the search for a true identity, transparency and meticulousness; this is what it takes for the artist to define his work in one way or another.
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The article addresses the specifics of the monodrama at the level of text and performance, the main objective being the ways of expressing the identity dimension of the character in such an artistic form. Considering the protean character of the monodrama, some aspects of the evolution of this type of artistic communication are exposed, highlighting its specific features: the combination of the epic with the lyric at the level of structuring the subject, the monologue as a way of creating conflicts and of developing inner action, the improvisational character, etc. Emphasis is placed on the typology of the character at the level of monodrama - psychodrama relationship, thus revealing the ways of affirming and manifesting the character’s identity/identities in the text and in the performance. The analyzed dramaturgical texts and the theatrical discourses reflect the specificity of monodrama in the Romanian space.
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Review of: Violeta Tipa. Constantin Bălan: ipostazele artisticului. Chişinău: S. n., 2023 (Notograf Prim). – 247 p. : il. color. ISBN 978-9975-84-187-0
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The present article aims to explore Butler’s notion of precarity in Williams’s The Glass Menagerie. Agencies that induce precarity in characters of the play, Laura in particular, reaction to the repercussions of precariousness and the ways it leads to a new identity are also put under scrutiny. In the last decades, feminist and gender studies, with all their subcategories and subdivisions, have been one of the main concerns and interests in literary criticism as well as in social and cultural studies. A highly influential scholar in feminist and gender studies is Judith Butler. Normative power and gender related issues are sustained motifs throughout the study, which addresses the following questions: What are the roots of Laura’s feeling of precarity? How does her precarity affect and inflict those around her? How does she cope with or respond to her sense of precarity? To answer these questions, the researcher will draw upon Butler’s conception of precarity and precariousness and will focus on such key terms as femininity, patriarchy, pipe dreams, physical impairment, regulative system, and financial insecurity. This section of the article is divided into three main parts, namely, “Introduction,” “Theoretical Framework,” and “Analysis,” which comprises “Femininity” and “Disability.”
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This article localizes the treatise On the Sublime in the Hellenistic culture of the 3rd century. It is by some scholars attributed to Cassius Longinus, while others reject this attribution and cultural context completely. We argue that On the Sublime is by Longinus written and a document that is both a piece of evidence for the cultural change of a decline in the practice of rhetoric and also exemplifies the transformation and subordination of rhetoric to newly emerging concepts in the Hellenistic culture of Late Antiquity. We interpret the changing rhetorical culture its author observes as a state of rhetoric at the end of the movement of the Second Sophistic. The historical frame and the name of the author of the treatise, Longinus, is documented by the Suda and other sources. On the Sublime itself puts rhetorical devices into a new framework exceeding the limits of traditional treatises called rhetorike techne. ‘The sublime’ is present in nature, in god, in humans, and in artifices like writings of rhetoricians, philosophers, poets, and historians. With this contextualization as a universal principle, the sublime, previously used as a criterion of style and thinking, is by Longinus established as a universal concept.
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