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n its traditional sense, hermeneutics has been understood as being the theory of rules which govern the interpretation of text and wich should permit us to establish their possibly original or objective meaning. This paper tries to identify those structures of fractals hermeneutics through Vasile Lovinescu claims his literary attitude.
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The aim of this paper is to define the concept of myth, in order to analyse the bound between myths and archetypes, more specific to identify the archetypes which influenced Brancusi in creating the well-known and appreciated Endless Column, which symbolize the infinite sacrifice of the Romanian soldiers, being considered the top point of the modern art.
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The dramatic political situation of the Romanians in Transylvania, especially after the year 1867, imposed on them finding new ways and means to promote the national values. One of these ways was impelling the development of the household industry, therefore of the Romanian national costume. The articles published in Transylvania magazine, the press corps of ASTRA written by George Bariţiu, insisted on the necessity of maintaining this industry within the context of the major economy. Through this, they are preserved both the pure Romanian values and the national consciousness. Preserving the national identity is connected to the developing and the promoting of the household industry.
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We construct and represent ourselves to others through language, therefore language plays a crucial role in displaying ourselves as gendered persons. The present article tackles the topic of gender-neutral language, trying to answer the questions: ‘Does society have to change before language can?’ or ‘Can language bring about changes in society?’ ‘Is a gender-neutral language a myth or a reality?’
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The question we aim to answer in the present paper is the fallowing: it is possible for a single individual to change the course of universal history? We want to provide a comparative approach following the writings of two great authors from different cultural areas (Goethe and Tolstoy), concerning what we might call the "Napoleon Bonaparte" case. In this purpose we will discuss the particular meaning in which Goethe employ the term “Daimonic” for describing the French emperor personality. In parallel we will study the opposed explanation provided by Tolstoy his the novel "War and Peace", regarding the war leaded by Napoleon against the Russians. Finally, we wish to suggest a resolution to this dilemma based on the principles of Hegelian philosophy of history, which appears to reconcile the two opposing viewpoints.
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Telling stories is the best way to teach, to persuade, and even to understand the culture of peoples, very similar and different in their tradition. The story of childhood is written by two national symbols of Danish and Romanian literature. The power of reading a story change the way in which life could be understood. The present study about The life and the power of stories: Hans Christian Andersen and Ion Creangă (A case study) underline the fact that the magic of great literature has the power to transform the meaning. Defining the childhood universe from the inside part of its knowledge, through the fairy tales and the subjectivity of their memories, Ion Creangă and Hans Christian Andersen are two reference authors for the knowledge of the classical literature from their country. In the history of Romanian and Danish culture, the two writers who lived in the nineteenth century remained famous grace to the fact that they are the creators of the childhood’s fairy tales from everywhere. Although they never met, Hans Christian Andersen and Ion Creangă have experienced the grace of writing and of reliving childhood years through writing, recounting with talent that all their experiences happened really in their time of wonderful world stories, "in the great, wonderful, time of fairy-tale." (Andersen, The Dryad). This study is a comparative approach which focuses on their personal mythology of the birthplace, of their family and teachers, of their first readings and their passion for theater and writing.
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Written press from Timisoara has been carried out in the course of years of a prolific journalistic activity, concretized in appearance of a number of newspapers and magazines, with very rich and varied themes. Through all of its components, the society from Timisoara was extremely fertile for carrying out an intense journalistic activity. Cultural level and, in particular, the wide variety of professional activities, some which were imposing inherently a current and professional information, have created the most favorable conditions for asserting the journalism as a true profession.
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During the nomadic period of the gypsies, Romanys settled at the margin of the locality, being very skilled with the knowledge of medicinal plants and witchcraft, with a strange lifestyle. That’s the reason why they were named ‚atinganoi’, in old Greek meaning "hard to reach, sinner", thinking that they belonged to a particular sect.The word "atigan", later on "tigan" derived from the word ‚atinganoi’ through history transition. According to Miklosich, he himself a Romany, the great Romany migration occured in a trifurcation: with three branches: „lom”, „dom”, „rrom”. Their laws are combined in „Romanipen”. In Romania they were slaves for a long period of time.
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This paper approaches Jedediah Berry’s short novel, Inheritance, a piece of magical realism novelizing the eternal matter of oppressive parental authority in a metaphoric story about the ”beast” in the basement from the perspective of New Criticism.
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About proletarian literature were written many books, there flowed rivers of ink and then used hundreds of toners to give the reader a clearer picture of what it meant literature and culture in general, after the Second World War. The Steaua Magazine from Cluj played a key role in the release under the cupola of proletcultism literature because, in a time when there were widespread mystification ideas such as reading and brochures promoting Leninist principles, Steaua had the merit to sense the dangers which threatened the normal movement literature, suffocated by official propaganda and struggle to overcome the nightmare.
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Camil Petrescu’s play is relevant for the fervor thinking of the author under the sign of an ideational absolute in thought and in act. He substantiated the theory of „necessary noocracy” according to which the intelligence never mistakes, all the mistakes are historical. The character’s portrait and evolution through life is presented by means of family, affective, ethical and itself antinomies. Ruscanu’s drama grows from the interior; it manifests in his consciousness and represents the consequence of the antinomy between the idea of absolute justice and its possibilities of concrete application in social real life. He, thus, dramatically understands that he is an inadequate from a historical, social and moral point of view because of his beliefs that will bring him to his moral dissolution. He finds suicide as a lucid act of consciousness, the strength to stay alone in front of the thought of death and not as an act of surrender in front of the society.
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Our study focuses on the critical reception of the poetic imagery of Mariana Marin’s poetry. Refering to the theoreticians (Gaston Bachelard, Jean Burgos, Călin Teutișan, Eugen Negrici) we shall explore the structure of the imagery in correlation with the narcissism-erotism corespondence (in its self-directed form). Thus we will create the possibility of analysing some symbols, strains and ideatic contents peculiar to her poetry.
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At the beginning of the 1960s, Romanian literature was under the influence of the Communist Party. In order to be accepted, a literary work would have to choose its theme, characters and language from the working or rural environment. This was a literature for and about workers and peasants. Thus, novels were, at that time, inspired by such elements and Radu Tudoran’s Dunărea revărsată is not an exception. However, he does try to offer his readers a customized version of socialist realism, in a novel that combines the ideological demands of that time and the literary style that he was known for: a typical tudoranian female character will get entangled in a timid love story, mingled with sensational episodes, all on the background of the socialist construction at which she takes part. The result, although of no artistical value, is still a notable example of a writer’s efforts to keep his artistic integrity in difficult times.
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The study analyze the fundamental concepts of Islamic metaphysics, besed on literary sources (Najm al-Din Kubra, Adab al Suluk, Abunaser, Al- Madinah al-fadilah, Al Halladj, Muhyi ad-Din Ibn Arabi). The real or imaginary borders were the result of defining a political and religious structure with identity valences. The Islamic Metaphysics has combined the constant overpassing of the own political limits with a spiritual evolution, mandatory from the religious perspective.The meaning of some concepts in antique and medieval islamic philosophy indicate the directions of a type of thinking, the modalities of self-defining in dependence with mistical thinking.
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In this study we aimed to highlight the concrete conditions of initiation and organization of a support group dedicated to the parents of children with autism. Also we aimed to investigate the effects of the support group over the parental anxiety and stress. The intervention we refer to in the present study combines the principles of support group organization and psycho-education techniques, with the tools of psychodrama techniques . The combination of therapeutic techniques, psycho-education and psychodrama had positive effects on parents of children with autism, the downside levels of anxiety and stress. The size of these effects were conditioned parent involvement beyond the therapeutic approach, the child's chronological age and period when it makes specific therapy, ie , the period when the parent lives in autism issues. The therapeutic intervention and support for the parent are early (reported at the time of the child diagnosis), the best results are expected in managing anxiety and parental stress .
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Lately, translation was stated as an autonomous discipline, leading experts to approach different research directions, of which the most numerous relates, generally, to the translation of literary texts. In this case, the translator of the dramatic texts is disadvantaged compared to a translator of poetry or narrative fiction. On the one hand, the translation of plays is different from other translations; on the other hand, because theorists are questioning whether the same theory can be applied to both theater translations and the translation of other genres, especially what may be this theory. Dramaturgy and translation are practices that have in themselves the image of their interpretation, developed in the silence of a practice, of identical types of affinities, of a history. In the 60s it was remarked the first theoretic interest for the theatrical translation, but we cannot speak about a real concern for the theatrical translation theory before the 80s. It was only in 1985, when the first studies and seminars devoted to theatrical translation appeared. Our proposal aims at an overview of the theoretical debates, focusing on the difference, when it refers to theater, text translation for reading and the text translation for stage.
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The paper expands upon Kafka's “Metamorphosis” as the extreme representation of alienation neurosis caused by “the arbitrary character of the infinite and by existential absurdity” (Chira, 183). From a methodological point of view, we will turn to good account the concept of “time's thermodynamical arrowˮ which reveals “the sense of time where disorder or entropy increases” (Hawking, 113). In order to properly approach the individual disorder and the mental and spiritual dislocation of Kafka's character, Jung's psychoanalytical theory, Bachelard's aesthetics and Chira's interdisciplinary studies will be also taken into account and closely observed in our analysis of the dramatic effects of the extreme form of alienation described in “Metamorphosis”.
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The functions of linguistic units labelled as ‘interjections’ are both to express affection, to share emotive or will emphasis between the participants at the conversation, and/or to monitor and organize the discourse. Folding traditional interjection classifications on language functions, this paper proposes a taxonomy that tries to maintain both idiomatic shades offered by Romanian grammars and discursive, spoken-performance features emphasized by English grammars classifications. The most important characteristic that makes a word an interjection is considered its inner referential source, the fact that through an interjection the speaker transmits something of the idiomatic inner self. Due to phonological resemblance, to frequent pragmatic gains of expressivity, the open-class of onomatopoeia is also included within the area of research of this paper, together with those discourse markers that are not conventionalized, with an inner referential source. This classification proves useful in conveying as precisely as possible the overall message of an utterance in translations.
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Gerard de Nerval’s whole work, and especially Aurelia, is the result of two forces, the unconscious and conscious, but the manifestation space, too, for two types of imaginary: mythic and mystic. The entire text of the part intitled Aurelia is a repetead pass from dream to reality and reverse. The dream, the visions have an important role in the epic thread’s economy and in the initial path, on which the nervelian hero goes over. The nervelian visionary is remarked through the narrative techniques used, and this is the automatic dictation method specific to surrealism, which Nerval anticipates
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Whether theorists call them translations, adaptations, ekphrases or reversed ekphrases, transpositions or interpretations (and the enumeration is far from exhausted), such processes, implying comparisons between media, are considered to represent a “transgenerational phenomenon” and to rely on the source text’s cultural continuity and, implicitly, on its susceptibility of being further replicated in target texts. It has also been noticed that most adaptations appear to perform a shift either from a literary source towards a visual target text or vice-versa, an operation that, nonetheless, does not impose boundaries as to transpositions from and towards other media. When such adaptations are carried out from the “telling mode” to the “showing mode”, the insistence on imagination is assumed to be replaced by the attention given to ocular perception, and the symbolical and conventional signs of literature are superseded by the indexical and iconic visual signs.
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