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The interpretation discusses some of Gadamer’s remarks about the relation between intuition and image, starting from the definition of the intuition as a representation of the imagination. Because the intuition gives something to see, that is an image of an absence which signifies without concept, it is a transcendental function of an unforeseeable. As for the image, it opens a perspective which does not show something, but guides the intuition towards that what is showing itself: the possible of its own world. Understood between the sign and the symbol, the image is an ontological process in which the being gives itself in a visible manifestation gifted with meaning.
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In this article we aim to present an intriguing literary parallelism between the prose of the Romanian novelist Mihail Sadoveanu and that of the Hungarian writer Kós Károly. We have in mind the topic of history in the writings of the two authors, namely Sadoveanu’s Fraţii Jderi/The Jder family, and Kós’s A Varjú nemzetség/The Varju family, translated into Romanian by Aurel Buteanu and Paul Drumaru. Amongs the most important common elements, motifs and themes between these historical novels we mention the obsession for the mountain and higher lands, the mountain as the space of inner freedom, the special human type of the mountaineer, the intertwinning between the course of history and human destinies.
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The author presents, shortly, the educational system in Romania. The teaching system should adapt to the real life’s needs, as well as to the current issues of the society. Unfortunately, the Romanian curriculum, which suffered too many changes is now ignoring it’s basic principles , resulting in a chaotic education.
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The paper aims to identify the intertextuality of "One Red Paperclip" (by Kyle MacDonald) and analyze its literary features. This literary work has a stated theme (trading a paperclip for a house, through a game called Bigger and Better) and other implied themes (relativity of material goods, attractiveness of the game, human wishes and belief, Internet power/force) and contains some motifs common to several literary works (e.g. Dănilă Prepeleac, by Ion Creangă; Jack and the Beanstalk). Literature and life are interwoven continuously here. We find both literary elements and proofs of authenticity in a realistic way. We also identify several formative valences that place the work in the literature for children and teenagers.
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The study “Eminescu and Théophile Gautier-from the “Avatar” to “Sărmanul Dionis”- between unsleeping and dream” constitutes an application on the literature field. The thesis in which direction is argued is the following: The fantastic prose finds a new beginning, both in Romanian literature and in the French one through Mihai Eminescu and Théophie Gautier. In his cultural assimilation, Mihai Eminescu reads the works of Gautier and even imitates a fragment from “Avatar”, at the end of the novel “Sărmanul Dionis”. Both of them have in common the passion for the Indian philosophy and for the fantastic, evidence which can be noticed from the two works observed in the title. Conclusion: The influence of Théophile Gautier upon Mihai Eminescu cannot be proved actually, but can’t be excluded either. A comparative look upon the novel “Sărmanul Dionis” and “Avatar”, indicates similes, but also a difference of construction of the narrative plan, a better knowledge of the Indian philosophy by Mihai Eminescu and a bigger elegance in swinging among the real and the imaginary plan, between reality and dream.
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Inspired by the cultural and ideological environment of post-revolutionary Russia, The Wonderful Adventures of Tailor Fokin (personal translation) subtly belongs to the new adventure novel described in the first three decades of the 20th century by theorists such as Jacques Rivière, Jacques Copeau, Edmond Jaloux and others. The trivial adventure of little Fokin, who decided to abandon his Pavlodar tailor shop full of military tunics and wonder around Europe in search of civil fashion alongside peace and justice is basically depicted as a parody. Therefore, in a universe dominated by confusion, uniformity and indoctrination, fashion metaphors overlap the political life of the time. Fokinřs story revolves around Ŗhomo sovieticusŗ, an ideal pretext for adventure to unfold from different angles: the traditional perspective of adventure fiction featuring a courageous and dynamic character involved in a series of escapades, experiences, accidents and dangers, but also the modern perspective of an inner, psychological and especially esthetic adventure. The aesthetics of the adventure novel is based on a story and especially on how the story progresses through novelty, surprise, hazard, and the unknown. The hero is rather an antihero while the action tends to take place in the authorřs office rather than out there in the world.
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Given the fact that one of the objectives of history is to study the context, forms, causes and effects of how a historical era has left its mark on the next one, the mechanism of artistic and cultural transfer in different historical periods and geographical areas represents a topic of great importance in the current century. The cultural models crossed centuries, but in particular countries and continents. The impact of a historical period can be seen by the very popularity in which is perceived by ages. We take into consideration a phenomenon in the area of interest of the theme, namely Transylvania under the suzerainty of the House of Habsburg, a province that was a long time a space of confluence of European civilization, in its various aspects. The Habsburg Empire now expands to the East, imposing its own administration. We can see a deep attention that the Viennese Court attaches to cultural and artistic infusion. The program followed was represented by the Baroque style because it had a unique way of rendering sacred mysteries so that every Christian can understand the theological doctrine. Our research is based on finding the connection between the ecclesiastical architecture from Tîrgu Mureș and the ones from Europe built up in the Baroque era, being a time of artistic blooming in the up mentioned city. The eighteenth century also brought in the heritage of Tîrgu Mureș, a church for every Christian: Roman Catholic, Greek Catholic, Orthodox and Reformed, all built under the influence of Baroque. The existence of a barrier-free Europe where borders were only a natural element, gave the city of Tîrgu Mureș the opportunity to acquire a valuable cultural heritage, included in the universal art. One can speak, therefore, of a Universalist style, of a Baroque Empire which reaches a vast territory. This style reflects in a pure manner the well-established link between West and Central Europe and the city we have in attention, Tîrgu Mureș. We manage to salvage the baroque heritage from Tîrgu Mureș, showing its impressive similarities with churches like the Jesuit Church from Vienna, the one from Trnava.
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The purpose of this research is to formulate a definition and a set of criteria for defining the concept of ŗfigureŗ. The research method is two-fold: 1. diachronic historical reconstruction of the concept; 2. synchronous logic reconstruction of the concept of typological figure. Starting from the concept of figure etymology, then, considering that always appears in the context meaning, it proceed to the concept in a historical context and explain it in a different historical context at present. The concept is explained in which the man is underlying the concept is understood. Finally, it defines three taxonomies: a) a taxonomy of simple figures (rhetorical style, language, thematic, hermeneutic, symbolic), b) a taxonomy of complex figures (six types of figures are included in three classes: projection, perception, molding) and c) a hyper-figures taxonomy - critical figure or figure of creative spirit. However, for revealing hyper-figure of creative spirit ten criteria are defined.
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For Arghezi a space of the metaphysical hypothesis, as stated before, does not exist or of onirical and evocative nostalgias. The poetsř dreams are actually real nightmares, hallucinations, conflicting states between the lucidity of the consciousness and the fears of the unknown. Argheziřs drama is that of a courageous, restless and lucid consciousness, although always contradicted by a mundane reality. At the origin of the argumentative, nonconformist attitude of the poet, resides an overuse of the perceptions, on a general basis of understanding. The horrible sight and the exaggerated sensitivity equally fuel up the poetřs art, but also the pamphleteerřs. The satirical writerřs laughter always triggers the moment when he captures the ridicule or the grotesque, borderline states of the human condition.
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Stylistic levels are manifested in connection with what we call traditional linguistic (phonetic, morphological, syntactic and semantic) levels, i.e. the levels of phonemes, morphemes, sentences and meanings. Nevertheless, these units are not construed hierarchically upon each other, they are rather concurrent structures, displaying parallel and horizontal rather than vertical conformation, and contributing jointly and equally to the stylistic pattern of texts. When analysing the semantic implications of news textsř style, we must rely on this model of linguistic levelling. Keywords
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The disappearance of the two cousins Nora and Olivia Atkins on the night of 31st of August 1936 plunges the small community of Griffin Creek into despair and doubt. Consumed already by unlawful secrets and desires, the entire community sinks into heavy silence. But since it is impossible to quiet the cries of women taken by the sea, the shores of Griffin Creek are haunted: voices long forgotten travel with the waves, rise up from the sea foam and creep into the abandoned houses and the souls of men. The charactersř lives are dictated by the turmoil of the elements, by the water turned into a sanctuary for women, by the air of Griffin Creek, which drives men into insanity, and by the earth, which symbolizes these womenřs fruitfulness. The fire takes shape as the presence of divinity, but it also materializes evil, becoming a symbol of lust and malice. By reestablishing the symbolic nature of the elements, Anne Hebert sizes a primordial sacred which allows her to name and explore the passions and desires of her characters.
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The story of Faust is a part of European culture and mythology for five centuries and modified and reflected looking of the society upon some key questions in various transformation. Faust has never been alone in his effort to reach an absolute knowledge and power, even at the expense of his own execration. Other iconic beings of folk literature or folk imagination and fiction following their own ambitions were ahead of him and followed him. The aspect of power as a dominant determinant of not only Faust’s effort became determining element of investigation in submitted article. Author accesses the problem of power in wider social-cultural contexts and looks for matter, origin and symptoms of its attraction following its transformation and possible aesthetical influence on the individual in the work reception and even in personal acting and creating of aesthetical preferences of the recipient.
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Hasan se osjećao kao da je postao vjetar. Ovo selo sastoji se od trske i vjetra koji ruje po njoj, pomisli on. Sjeća se putovanja u autobusu: usta su se opasno stiskala blizu njega, tijela ga gurala naokolo. Ženama, pomisli on, bilo je lakše, one su se mogle sakriti ispod marama. Držao je ruku malog brata. Ta ruka se znojila u njegovoj ruci. Mali brat bio je prilijepljen uz njega.
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Miris starog ormara tjerao me je da opsesivno zatvaram vrata i preturam po ladicama u potrazi za starim slikama koje sam jednom brižljivo složila: slikom moje majke kako u dvorištu trese usamljeno drvo limuna dok ja sjajnih očiju stojim kraj nje; slikom oca u vojnoj uniformi, svježe obrijanog, strogog pogleda; slikom moga brata Hisama u školskoj odjeći, nasmijanog, kako nosi mog mlađeg brata Hammama povijenog u plave pelene; slikom na kojoj sam ja, okruglog lica, u crnoj dugoj odjeći, tijela potpuno stopljenog sa zatamnjenom pozadinom...
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Vjerovatno. Kiko se već popeo na kantu za smeće i držao govor pod uličnom svjetiljkom. Nije mi se slušala Kikina apokalipsa. Danas, ne. Pošao sam samo do Rocka na piće, i nije mi se dalo da opet stojim i čekam drotove dok svi ostali bježe, da odlazimo u stanicu milicije Stari grad i dajemo izjavu, i da me drot stoput pita “A zašto ti nisi zbrisao?”. “Ja, jednostavno, NE ZNAM POBJEĆI.” Okrenuo sam se i pošao od Rocka.
More...Maupassant fétichiste ? De l’érotique à l’écriture
Guy de Maupassant has often been diagnosed as a fetishist: the German doctor Max Nordau, who associated madness and artistic genius, met Maupassant and wrote an article accusing him of corrupting the young girls with his sensual texts. At the turn-of-century, fetishism is a trendy sexual perversion, linked to the importance of the objects in the new bourgeois society. Theorised by the psychologist Alfred Binet in 1887, it fast becomes a way of medicalising the sexuality and controlling the intimacy. This paper analyses Nordau’s diagnosis and then discusses how Maupassant’s texts integrate fetishist behavior to construct a new erotic philosophy.
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Edward Said in Reflections on Exile states that exilants have a simultaneous awareness of at least two cultures, two contexts, two homes. He also suggests that the displacement or relocation brings a sense of homelessness and a ruptured identity. Despite having that simultaneous awareness of two cultures, the characters from the novels The Museum of Unconditional Surrender and Ministry of Pain by Dubravka Ugreshikj, who are exilants, refuges, immigrants, expatriates, instead of feeling they have two homes, they feel they have none. This text examines the attempts of the narrators of the both novels to recreate their lives as a whole, by narrating their lives in fragments, and thus to overcome their feeling of discontinuity in their lives, and their sense of homelessness.
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