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Marek Kwiek, Dlaczego postmodernizm?; Tadeusz Komendant, Na dwie strony; Jakub Barełkowski, Jakub Żmidziński, Rozmowa z Andrzejem Stasiukiem; Jerzy Borowczyk, Wiesław Ratajczak, Rozmowa z Krzysztofem Koehlerem; Bogumiła Kaniewska, Portret Izabeli F.; Tadeusz Żukowski, Dwa lustra świata: negatyw–pozytyw; Marek Wilczyński, Opowieść o dwóch miastach; Piotr Sliwiński, Lekkość, znośność, przemijanie; Marek Wedemann, Niebo czy literatura?; Piotr Kępiński, Wiesław Ratajczak, Rozmowa z Mariuszem Grzebalskim;
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Krzysztof Siwczyk, Mariusz Grzebalski, Dobra nowina a rebours…; Natasza Goerke, Natasza Stelmaszyk, Jak Natasza z Nataszą; Elżbieta Winiecka, Gdy kończy się zima…; Dariusz Sośnicki, Fortuna i fatum. O poezji Andrzeja Sosnowskiego; Justyna Zimna, Język do oclenia...; Wojciech Hamerski, SF: struktura lodu; Tomasz Mizerkiewicz, Wirtualny odbiorca wirtualny...; Jerzy Borowczyk, Michał Larek, Rozmowa z Jerzym Pilchem; Justyna Zimna, Parafarmaceutyki kultury; Michał Larek, Katolicy, apostaci i poeci;
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Rozmowa z Marcinem Świetlickim, Emilia Kledzik, Joanna Roszak; Poznań New Roman, Jerzy Borowczyk; „W jaki sposób ułożył pan swoje książki?”, Jerzy Borowczyk; Prawdy, w które wierzymy, Elżbieta Winiecka; Panteon czy zbiorowy grób?, Cezary Michalski;
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Czas kultury globalnej, Marek Wasilewski, Michał Larek; To był najlepszy czas, Piotr Kępiński, Michał Larek; To była świadoma polityka, Rafał Grupiński, Jerzy Borowczyk, Michał Larek;
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The paper explores the relationship, at different levels, between the Romanian interwar drama and the French one in a comparative manner. The starting point is the fact that, for the first time, between 1920 and 1945, Romanian drama shifts direction in an effort of alignment with European drama, and French drama in particular. Writers such as Victor Ion Popa, Camil Petrescu, and Mihail Sebastian propose a national theatrical policy of European inspiration. In this period,Romanian drama reaches its maturity in the sense of a separation from its French model. Thus, the French precedents are now regarded as (re)sources. The paper uses several texts to define a number of types of different relationships between the Romanian and European models of drama.
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The paper makes a brief characterization of the dystopian novel. It refers to dystopian prose in the Republic of Moldova,with references to international literature. The author concludes that, in this country, while dystopia is not represented by whole novels, it does feature in many novels in a fragmentary manner.
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The presence of the dreams in literature is a very generous topic and this paper aims to draw a comparison between the French and Romanian literatures in this regard. It is a pragmatic approach based on the direct analysis of a series of texts.
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There is a relationship between the structure of literary text and the cultural conditions of the society that generates it. In turn,the cultural conditions cannot be reduced to the social andeconomic environment; they also include aesthetic andideological concepts. This paper aims to identify the nature ofthese relationships and the terms of representation,corresponding to the level of cultural development of the Frenchnation, in humorous literature. Another aim is to observe theevolution of the forms, or subcategories, of humour.
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Bessarabian cultural territorial complexes were based on sociopolitical circumstances of each period, the factors that led to the change of publisher and literary discourse alike. The third discourse is a speech of middle, a symbiosis of western andautochtonist directions of the discourse, which has the intentionto support integration into Romanian and European culturalspaces. Cultural/and literary magazines are independentstructures that promote this type of speech, opting forinteresting materials, for promoting European values through literary and cultural innovations. Along the tenth decade of the last century, the literary magazines from Bessarabia haveconfigured an individual profile, trying to answer to culturaland civilizational requirements of the European and Romanianspaces.
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This paper aims to explore the principles of classical tragedy and, implicitly, classicism, as formulated by Racine in the Forewords to his plays. Concepts such as reason, verisimilitude, truth, bienseance, balance, and catharsis represent the main focus of this analysis.
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The appearance of the volume Poetic Meditations (1820)written by Alphonse Lamartine determined the promotion of a style with iradiant effects in the most lyrical areas of the Europeof those times. Very soon, the lamartinian model is imposed inthe european literature as a founding model generating after1830 a modification of register in the Romanian literature whichas is known was at an initial stage. Tangencies with the Frenchromantic poetry can be easily detected in the forty-eighter lyricera. The sensibility of Ion Heliade Rădulescu, Vasile Cârlova,Grigore Alexandrescu, Dimitrie Bolintineanu and others resonated at the pulsations of the lamartinian verse, with its nostalgic inflections , an augmented sense of the nature and the cosmic. One thing is certain, that the lamartinian recipe became more and more useful for the above-mentioned Romanian poets who recurred to it in the absence of a vernacular poetic model.The promotion of this lyric concept ocurred due to the translation by Ion Heliade Radulescu of a number of meditations from the lamartinian volume, which accelerated the adoption of the stylistic formula by the Romanian poets of the first romantic wave and the rapid evolution of meditation which compared to some pre-modern compositions is contouring its form,amplifying the themes and multiplying the imagistic structures.Right from its inception, the Romanian meditation followed the dominant paradigms of the lamartinian model, productive to the extent that one author or another learned and accepted it. The strong resonances which the volume Poetic Meditations has produced in the artistic awareness and the sensitivity of the forty-eighters poets were felt immediately: Le Son, L’isolement,Le Lac, Le Golfe de Baya, L’ Automne and others became models for Romanian authors, the poets taking the lyrical schemes, thematic and image registers, the mood, the manners of artistic representation, the musicality of the forms etc., which led to the imposition of a meditative formula in the pre-eminescian lyrics, illustrated by the experience of profound melancholy, the mood of sorrow and pain. The contemplative predisposition of the the lyrical instance, this position of a damned ,the subjectivity that addresses the landscape elements often made up by mountains, forests and water – all descended explicitly in Lamartine.
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This paper illustrates the view that literary history is not a compact linear construct that comes from the past and goes into the future evenly. It is a sequence of moments of uneven meaning, showing periods of change or stagnation. This paper aims to identify some significant moments in the history of Romanian-French collaboration. While it is typically mediatized as an evem and glorious process, this very tradition is questionable. Despite some rebellious voices – e.g. Nicolae Iorga, who would not stand for the imitative condition of Romanian culture, or Benjamin Fundoianu, who urged Romanian writers to become artistically independent – there were some instances of genuine collaboration (e.g. interwar surrealists such as Gherasim Luca and Gellu Naum). And then there came the eighties with the shift towards the English vein.
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Paul Miclău is a Romanian writer of French expression,characterised by deep sensitivity and rich imagination. He is the author of more than 2400 sonnets, an oustanding translator and a dedicated researcher. This article will reveal his significantcontribution – both in Romanian and French – within the Romanian culture. Unfortunately, such accomplishments are quite rare in the Romanian space nowadays. The spirituality pervading his work is expressed with such an intensity that the author seems to strive hard in order to counterbalance the vastness of his theoretical and applied research.
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The Romanian poet Aureliu Busuioc is one of those artists whorely on the connection between intellect and imagination in order to render a very specific view of the world. His poems show a preference for artistic and cultural personalities, and his lexical choices go beyond the borders of the Romanian language,or the contemporary language.
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The term polyphony is used with different senses in literary studies, linguistic pragmatics and discourse analyses. Our aim is to briefly examine the particular significance with which the term is employed in M. Bakhtin’s writings on literary genres and on the polyphonic novel. A separate section is devoted to tracing the perceivable markers of voice polyphony, as well as some markers of the implicit dialogism of oral narratives, as theycan be found in the incipit of Diderot’s novel Jacques le Fataliste et son Maître. The final section focuses on the way in which these specific markers of dialogism and polyphony are transposed in the Romanian translation of Diderot’s novel.
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This paper aims to show that Charles Baudelaire’s aesthetics,that of Stéphane Mallarmé, Arthur Rimbaud, and generallyspeaking the entire French poetics and aesthetics have had agreat influence upon Romanian modern poetry. In the light ofFrench poetry dominated by experimentalism, dehumanization,obscurity, absurd, limitation, fragmentation, and dreams,Romanian poets such as George Bacovia, Tudor Arghezi, Lucian Blaga, and Ion Barbu develop a new kind of modern poetry. A parallel analysis between the four Romanian poets will show different approaches to the dichotomy identity-alterity, where the poetic I is sometimes separated from, sometimes associated with the other. While modern Romanian poetry was directly influenced by French poetry, it grew into new visions coming from an archetypal Romanian spirituality.
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In Eminescu’s work, the motif of smell is a leitmotif which, together with plastic images, auditory, and kinaesthetic elements, achieves a poetic atmosphere of great beauty. In the semantic field of p
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This paper analyses the friendship from the linguistic point of view (as the feelings of sympathy, of esteem, respect, of reciprocal commitment between two people who have the same aspirations and involving an attitude of goodwill) but also from the philosophical point (presenting the friendship as a feeling,beautiful and delicate, or as a connection of one or several souls,through a harmony). The literary quotes will lead to the conclusion that the true friendship must be distinguished from simple courtship.
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