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The paper follows the evolution of the concept of historicity from the positivist ambitions towards all-encompassing knowledge to the postmodern scepticism about the possibility of reliable cognizance. Wilde’s opposition to normative history and scientific approach to art is reflected in “The Portrait of Mr. W.H.”, a text which can be categorized as a story, literary discussion and philosophical treatise. In his reading of Shakespeare’s Sonnets, Wilde plays with binary oppositions of forged and authentic art, fiction and faction, literary and historical, religious and scientific, and employs a trademark melodramatic plot to create a critical fantasy as a demonstration of interpretative liberty at the time when it was limited by the norms of the positivist literary science. The problems of the authority of authors and theorists, history, science, theology and gender politics permeate Wilde’s ambivalent expression, while the arbitrary nature of the text ready to erase what has been written opens up as an aesthetic principle and creative strategy in defying the repressive epistemological apparatus of the Victorian ideology.
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A Forgotten Figure of the Romanian Exile: Luc Badesco. Luc Badesco’s name is not among those generally retained by those who dealt with the Romanian cultural exile in France in the last century. References to this literary historian, who became the first Romanian professor of French literature at the University of Sorbonne, are rare. He became known through his research in the field of French literature, but his presence in the specific activities of the Romanian exile was quite low, which explains the lack of interest of the Romanian researchers towards his personality and his work. I am trying to bring some light on less known aspects of his work in France, insisting on the role he played in the life of prominent figures of Romanian exile, like Emil Cioran, Virgil Ierunca and Mircea Eliade.
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The article is an attempt at a literary perspective on the Bibianna Moraczewska’s creation, a political and social activist who also tried her strength in the field of art. Her works are patriotic and religious with a love theme, they belong to a group of popular texts addressed to all those interested in women's issues and the fate of the motherland. The uncomplicated compositional patterns of these works did not require in-depth interpretive measures, revealing hidden meanings. The author knew the truth and wanted to pass it on to the reader. She showed national heroes and strong, independent and resourceful women.
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This section comprises a selection of poems belonging to five contemporary poets.
More...Literary Translation as a Workshop for Creative Writing
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Folktales are not only a rich repository of the collective imaginary and of the social myths of a community, but they also harbor the political and social tensions that have marked the history of nations. Such tensions usually veiled under the guise of symbols and other forms of literary representation end up weaved into narratives that voice the common man’s yearning for justice and empowerment. This paper attempts to draw a parallel between some of the Portuguese folktales and one of the most important 15th-century historiographic accounts, Crónica de D. Joāo I – written by royal chronicler Fernão Lopes, dubbed Portugal’s first historian – where, in his quest for the truth, the “people” acquire narrative density and challenge the powers that be. The conceptual framework for this comparative study draws on Fredric Jameson’s notion of political unconscious, according to which texts are to be regarded as political fantasies, resulting mainly from repression and contradicted impulses. Two examples of folktales where these tensions are resolved to the benefit of the common man are provided.
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This paper describes how a multidisciplinary comparatist approach can bring the chaplinism research to shed light both on the multifaceted nature of the Avantgarde and the close interconnections between avant-garde artists across the continents, reaching the level of “networking”. In the thematisation of Chaplin and his art, our artists hold a prominent place.
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This paper is devoted to a comparison between the avant-garde and the traditional vampire image, using Louis Feuillade’s serial film Les Vampires (1915) as a case in point. Les Vampires are important both because of the time when they were created, as a literal vanguard, and as a polemic with commonplaces and traditional views of the vampire motif. By establishing a link with Fantômas, Feuillade’s previous serial, Les Vampires inherit and develop, to a certain extent, the aura of the masked avenger, the merciless robber, as well as connections with popular novels of the XIX century, which served as a template for both films. The paper also discusses the basic ties between the popular novel and film, on one side, and the Surrealist movement on the other, and singles out some elementary similarities: black humour, one of Surrealism’s most important legacies, and sensationalism, representing the common inheritance of the popular novel and Surrealism.
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