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This is a segment of a novel signed by Daniel Vighi
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This is a fragment of a prose signed by Virgil Ratiu
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This is a short prose fragment signed by Cornel Dimovici from „Crucile de fier”
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This literary fragment is a collection of short stories signed by Paul Tumanian, Mircea Pora and Dan Gradinaru.
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This paper aims to discuss the last play written by B.M. Koltès, Roberto Zucco, where the eponymous character incarnates a bloody serial killer from the 80s, for whose image Koltès had an extreme fascination transmissible to the readers and spectators of the time. The interpretative grid we applied to this text lies in the perspective of the power relations between the character and his environment, as well as explaining the attraction that Zucco brings about, thanks to a refraction force of the character that creates a mirror of the world's violence he shows right in front of everyone.
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The interview taken by Laura Dan focuses on the intellectual background of the Romanian poetess Magda Carneci.
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The text represents a fragment from a novel in work, written by Nichita Danilov.
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This entry of Vatra Literary Review is dedicated to promoting Romanian novel, thus in almost every issue we publish fragments of novels in work, belonging to different Romanian novelists.
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The present text is a fragment from Alexandru Vlad's work that was not published before his death.
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The paper focuses on the issue of research of the genre of biography in historiographical perspective. The key material is the book series „Legacy of the progressive personalities of our „past”, which was published from the year 1961 to the year 1991 in Czechoslovakia. The goal of the text is to present the book series itself, but it mainly aims to demonstrate the opportunities and limits of the historiographical research of the genre of biography.
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In the context of twenty-first century global conservatism, where antiimmigrant sentiment is everywhere apparent, the importance of Ishiguro’s writing arguably lies in its on-going challenge to this perspective’s faulty logic and its capacity to reveal the radical violence behind nationalist political attacks on minority and immigrant populations. In this article I explore this challenge explicitly through a politically-oriented reading of The Remains of the Day (1989), highlighting this novel’s joint critique of Thatcherite nationalism and late twentieth century global entrepreneurialism. While this focus obviously represents a response to an earlier sociopolitical moment, defined by its own unique amalgam of ideological anxieties, nevertheless what emerges most prominently through this reading is the novel’s topical condemnation of cultural essentialism and its attendant hierarchies, concerns which remain of utmost critical significance within the twenty-first century. Thus, by making this assessment explicit, highlighting British conservatism’s devastating psychological and material implications for affected individuals, ranging from repressed and traumatised psychologies to radical economic precarity, this novel can be seen to register Thatcherite prejudice in a poignantly relevant manner. Indeed, the pseudo-respect granted to the ‘genuine old-fashioned English butler’ in this novel might also be seen as comparable to Trump’s pseudo-populism or Brexit nostalgia, both of which likewise ignore the pressing reality of imperialism’s historical violence.
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Przyjęte jest, że z okazji Nowego Roku składamy sobie życzenia szczęścia i pomyślności, a ja chcę was zwymyślać. O co chodzi? Do czego doszliśmy! Dawniej człowiek przejrzał „Ogoniok”, rozwiązał krzyżówki i koniec. Na to wystarczył jeden wieczór, a gazetę – na makulaturę.
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I Punkt wyjścia. „Idzie nowe!”– sarkastycznie ironizował kiedyś Krynicki. I rzeczywiście spełniają się diagnozy poetów: niezmienna w swej zmienności jest skóra nowego wspaniałego świata; znowu pobito demonstrujących w Warszawie, Krakowie i Gdańsku studentów. Tym razem w 20. rocznicę Marca ’68, o którym tak między innymi pisał jego uczestnik i bohater tego szkicu: „… / i naprawdę nie wiedzieliście czego chcemy, / oprócz poszanowania ludzkich praw i prawd [...] i naprawdę nie wiedzieliście, że prawa człowieka mogę się okazać / sprzeczne z interesami obywatela”.
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In her essay, the Author proposes to cast a glance over the world picture that emerges from the works of Kornel Filipowicz, one of the greatest – albeit still little-known – Polish prose writers of the 20th century. The image of the world, as depicted by the writer, is shown from the perspective of existential issues, the centre of which is constituted by the following categories: freedom, hope and death. The Author presents these themes in the context of literary and philosophical creations of Albert Camus and Jean-Paul Sartre. Her analyses indicate that the Polish writer not only polemicises with existentialists, but also forges his own theories while waging a discourse with their conjectures. The article consists of seven parts, each of which is separately titled. In the first one – “World Picture as a Means of Escape”– the Author focuses on the approximation of the Heideggerian idea of the world picture, perceiving in it a form of modern man's quest for his own identity. This was a particularly poignant subject in the period following the World War II. The Parallel Worlds of Freedom – set against the background of the ideas contained in The Myth of Sisyphus by Camus, serve to depict the way in which the category of freedom is realised within the works of the Polish writer. A “Lie with a View of Hope is a chapter indicating Filipowicz's polemic with the idea of rejecting illusions and adopting an attitude of steadfastness against the struggles, which had been promoted by Camus to little avail. The next part entitled “Nike of Samothrace” shows the way in which the Polish writer chose to adapt the myth of Sisyphus and how he transformed it into a metaphor of hope. What emerges from the analyses instead of the indefatiguable rebel, is an image of the statue of the mutilated, yet victorious goddess. The chapter “Idée Fixe and Tipasa's Experiences” constitute an attempt to further highlight Filipowicz's discursive references to the works of Camus. In the “Twin Dimensions of Death, the Author defines the line of understanding and presentation of the issue of death by the Krakow-based writer. On the one hand: these constitute different variants of biological death or variants of facing it. On the other hand: what emerges here is an exemplification of existential agony, which a person can experience an infinite number of times before reaching the complete and utter death. The last part, entitled “Doxa as the Principle of Discernment in the World”, sums up the whole article. It also serves the Author to expose the polemics between Filipowicz and Sartre. Praxis-projects – proposed by the French existentialist as forms of self-creation of a person adequately to a given situation – get juxtaposed here with Filipowicz's doxa-projects. They are inextricably linked with phenomena – the subjective beliefs of man about the world. As pointed out by the Author, according to the Polish writer, any existential world picture (as adopted by a given man as his own) may be classified as a doxa-project. The attitude of Sisyphus, Nike of Samothrace and the perspective of the "myth" of a man condemned to the freedom of his own choices, are all valid options therein.
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Alina Nelega is a Romanian playwright, translator, director and the artistic manager of the Liviu Rebreanu Company of the Târgu-Mureș National Theatre, a professor at the Târgu-Mureș University of Arts she also leads playwriting workshops. Her drama entitled Kamikaze appears for the first time in Hungarian, in the translation of István Kovács. The text is a kind of Balkan revenge-play. A man and a woman confront each other during a bizarre wedding night, in a clash of their doubly common past lives, the third character both linking and separating the newly wed couple. Two monologues follow each other in a space haunted in memories by the invisible and silent dead participant of the love triangle. The opposition between man and woman is not merely emotional: the possibility of a life with bourgeois values and the rebellion against them, as well as the impossibility of uncompromising rebellion turn into aesthetic and philosophical questions in Nelega’s text.
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The Roma actress and playwright Alina Șerban has gained international recognition with her text and performance entitled I Declare at My Own Risk – The Best Child in the World, which was directed by David Schwartz and premiered in 2011, starring the writer herself. The text of this play has been a work in progress ever since the beginning, and it can now be read in Hungarian in Beáta Adorján’s translation. Alina Șerban was born in 1987 in Bucharest. She graduated in 2009 from the National University of Theatre and Film of the Romanian capital, continuing her studies in New York and London. As a Roma woman from Romania, social activism and engagement is an organic part of her work as a performer and writer struggling against the many phenomena of discrimination, such as sexism, racism, and homophobia. Her I Declare at My Own Risk – The Best Child in the World is a biographically inspired text, reconstructing on the basis of diary fragments and first-person accounts the basic experience of how the existing caste systems and the everyday forms of stigmatization permeate our image of ourselves and our identity construction. Șerban’s work confronts us with all these issues through its captivating and heartbreaking humour. The theatrical staging of her childhood and maturation is built on a rhetoric that considers the personal involvement of the reader and spectator an integral part of the testimony.
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