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Written in Gaul in late 7th century by an unknown author, Visio Baronti presents the journey to the afterlife of a monk’s soul from the perspective of what happens with the soul right after exiting the body. A founding text of the medieval literary (sub)genre visiones animarum, the work has been analysed not only from this perspective, but also as a narrative meant to sort out – from the standpoint of Christian doctrine – the “geography” of the afterlife and the theological beliefs of the period. My intention is to analyse the way in which the author of the text represents particular judgment – which, according to Christian teachings, occurs right after the separation of the soul from the body – and to identify a series of connections between this narrative and its possible sources pertaining to Latin or Greek patristic writings.
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This paper is an exercise imagining an interview with Colombina, the commedia dell’arte character that I had interpreted as acting student during a production of the Faculty of Music and Theatre from the West University of Timisoara.
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L’ouvrage parle de la réception d’une œuvre littéraire qui nepeut se faire sans suivre les traits de style qui laissent l’empreinte del’auteur qui devient parfois reconnaissable précisément grâce à cesparticularités stylistiques. Les caractéristiques stylistiques de l’auteur,sous le principe de la créativité esthétique, peuvent se dessiner à plusieurs niveaux. L’interprétation d’un texte doit donc mettre en évidence, outre les particularités phonétiques, lexicales ou compositionnelles etles constructions qui donnent à des mots neutres, du point de vue deleur utilisation actuelle, un rôle particulier dans la réalisation expressivedu texte.
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The current study seeks to analyse works in which the protagonists are children. Ion Creangă presents Nică’s mischiefs in a humorous way, while Ioan Slavici, as a moralist, not only focuses “on the sin”, but also severely punishes his main character. Dincă is guilty of not complying with the social conventions, acknowledged as moral standards. The two authors recall the same moment, the desire to eat cherries, followed by their theft, but with a completely different ending. Creangă humorously presents how aunt Mărioara runs after her nephew, in order to punish him, while Slavici has Lică berate Dincă, thus making him regret his deed.
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The affinity of romantic literature to music is well known. This is especially true for E. T. A. Hoffmann, who was not only a writer, but also a music critic, conductor, and composer. Music is often a theme in his literary work and the texts are often based on musical structures. The paper examines a single narrative in greater detail, which is relatively seldom treated in the rich and varied Hoffmann research. It will be explained how the individual sound effects and the musical experience are connected to the various states of consciousness of the recipient and how they put him in a state of artistic creativity. At the same time, by analyzing the structures of repetitions, it can be shown how the enthusiast ultimately identifies with what he believes is the ideal Don Juan figure, thereby realizing the structural principle of the work, the mutual interpenetration of reality and imagination.
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The novella "Die Tatarin" (1928/29) establishes the literary fame of its author, Oscar Walter Cisek (1897 – 1966). The success of Die Tatarin is due not only to the choice of the little multicultural port city Balcik on the Black Sea coast as scenery of the novella, but also to the strong female main character, the Tartar Muhibe. Muhibe is not a passive oriental woman, but a fighter: She fights against poverty and hunger, against her lot as an abandoned wife, against the rules of a world where only men can work for a living. She begs, cheats, steals, and fights to survive, not minding any obstacle in her way, any laws, or ethical boundaries. This paper aims to identify how Cisek plays with and dismisses the Western European stereotypes regarding foreign (oriental) women, creating in his Muhibe a monumental strong, wilful, resilient, and unique female character.
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Am crezut că nu văd bine: ce să caute o statuetă a lui Titulescu în sufrageria unei profe de muzică de nici 30 de ani? M-am uitat mai atent: da, Titulescu era./ In 1939, pe cînd ocupa un post de conferențiar la Universitatea din Iași, G. Călinescu a fost vreme de un an directorul Jurnalului literar, revistă pe care a întemeiat-o și a cărei existență, la fel de scurtă ca și directoratul lui, n-a trecut neobservată de istoricii literari – a fost remarcată în primul rînd de Călinescu însuși.
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This essay looks at three samples from German travel writing: Johann Wolfgang Goethe (1749–1832), Johann Gottfried Seume (1763–1810) and Otto Julius Bierbaum (1865–1910), because they represent significant stages in the development of German travel writing about Italy. Goethe’s Italian journey is a hallmark of German literature, and in the German-Italian relationship it has advanced to a proper lieu de mémoire. Johann Gottfried Seume was a Republican author who walked on foot from Leipzig to Syracuse (Sicily) and paid much more attention to social and political realities than Goethe. Furthermore, he reflects on the bodily sensation of walking and thus turns it into an art of observation of self and its (historico-political) environment. The least-known of the three is Otto Julius Bierbaum, a prolific writer who represents the traveler as automobilist reflecting on all kinds of previous journeys to Italy. He also sees the signs of mass tourism and thus his account becomes a bridge between individual travel and modern package tours.
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