We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
“…At Esterházy the deficiency of work, talent or honour is out of the question, it is simply about the Name as calamity.” Péter Esterházy’s Javított kiadás (Revised Edition) was the greatest sensation in Hungarian literature in the year 2002. In this volume the writer reckons with his father’s past as an informer. Péter Balassa’s present essay is the renowned aesthetician’s last longer essay published in his life.
More...
“What is happening is that we come across the fundamental question of literature as communication.” Zsuzsa Selyem’s study written with great erudition makes an attempt for a comprehensive interpretation of Esterházy’s prose.
More...
About Simona Popescu's book "Salvarea speciei. Despre suprarealism si Gellu Naum" (The Rescue of the Species. About Surrealism and Gellu Naum).
More...
Comments on the opinion poll that stated the institutions most trusted by the Romanians. Among them: the Church.
More...
About the novel of Alina Nelega "ultim@ vrăjitoare" (The L@st Witch), Alina Bodnaru's "Romancierul din Luz" (The Novelist from Luz) and Sorin Stoica's "Povestiri cu înjuraturi" (Stories with Swearwords).
More...
About the monographic essay "Rebreanu dincolo de realism" (Rebreanu Across the Realism) of Ion Simut.
More...
Since at least the beginning of the 20th century located in between word and picture logo−visual forms have a critical charge, which results from the impact of two different media (word and picture) in a single work. This clash provokes the challenge and question of each of them. Modern tradition of typographic poetry comes from the turn of the 19th and 20th centuries. Two factors: changes of media environment and rapid growth of new reproduction techniques were crucial for the development of the logo−visual forms. The multimedia of the 20th and 21st centuries, use technically reproduced word and picture for advertising, ideological or persuasive purposes. Logo−visual art becomes a genre, which call into doubt relationship between word, picture and the meaning. It becomes a philosophical and critical reflection on the systems of representation. Critical reflection on language and systems of representation, when one medium is reflected by the other one in a single work, makes spectator's reception of the work critical and non−automatic. This way of expiring of the work partly results from the twentieth−century experiences, thus the critical reflection on language fluently passes into cultural criticism.
More...
The key point of this article is: on the XX/XXI centuries we more and more often apply heroes, subjects and conventions of the science fiction, particularly when we talk and write about problems of the contemporary civilization. Donna Haraway in the eighties XX century claimed that for the description of the contemporary symbiosis of the human and technology we need new metaphors. In her articles a cyborg is the main character of a new world, and science fiction is an important literary genre, more important than realism genre. Jean Baudrillard claimed that our experiencing reality is shaped through science fiction. In the other words, we are talking about world (technology, telecommunication, techno−science, techno−medicine) using metaphors science fiction. Not only critics of the contemporary culture, but also writers are delivering this opinion, for the example writer Orson Scott Card claimed that we live in the days of the science fiction, and our reality is science fiction. In the article I am presenting arguments in support of these theses. I am concentrating on such phenomena, as technology, telecommunication, techno−science, techno−medicine. The first, I am interested above all in; the second, I am interested how people are describing these occurrences, what words and metaphors they are using to describe contemporary techno−world.
More...
