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The idea of linking Matei Visniec's poetry to that of Mariana Marin was triggered by the statements that Mircea Cartăsescu makes in The Romanian Postmodernism. He attempts to make an organization of the eighty poetry according to several defining criteria. Thus, the nucleus of the eighty poetry will be given by the poets of Bucharest Literary Circle who write a prose, biographic poem, which is recording the real photo, while at the opposite pole are the poets who report themselves in a parabolic way to reality. Here, Mircea Cartărescu includes Matei Visniec and, surprisingly, Mariana Marin. I have thus considered it a challenge to mirror the two poetic paradigms, that of Matei Visniec and Mariana Marin, in order to see how close they are to each other and how different they are. It is true that Matei Visniec offers a highly-chosen elected poetry, based on obvious symbolic elements – the dog, the horses, the ship, the park, the city, the king/Emperor, the poet/philosopher/wise – and which, joined together, make up a coherent story with an obvious subversive film. Mariana Marinʼs poetry is also trying a parabolic report to reality, but the symbols that are used, although some of them are also found in Matei Vișniecʼs poetry, no longer have the same force to make up a story, so create more fragmentary images, but with an immediate impact on readerʼs conscience. Like Matei Vișniecʼs poem, Mariana Marinʼs poem, too, though much more incisive and aggressive, develops an ethical side, showing the frond character of her book. Therefore, the trait that brings the two writers undoubtedly closer together is the ethical attitude in front of the reality, the social and political context of the moment, but also the consciousness that the poet must sometimes assume a social role that goes beyond the esthetic sphere.
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Zoia is Virgil Tănaseʼs most complex character, a strange woman who fights against her destiny, against the society and, in the end, against herself. Beautiful like a fairy, brave and fearless like a warior, she constantly wants to escape a prison – her family, her country or her own identity. Imaginative, she always creates a different story about her past, trying to become somebody else. She manages to fascinate every single man she meets, changing her loversʼs lives by making them addicted to her. There is only one person she does not succeed in creating a good relationship – her own mother that she hates because of her ethernal absence from her daughterʼs life. Zoia remains in the readerʼs memory due to her strong personality and the power of her acts.
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Gellu Naum is a complex writer whose work bears autobiographical elements. For the surrealists it is a usual to access the memory and the dream space. Thus, for a full understanding of the writer's work, it is necessary to know his life. But a tedious biography that hints at a series of events in Gellu Naum's life would not encompass the true creative spirit. For this reason, Simona Popescu's essay is best suited to talk about the author. On one hand, she does not stop only at the cerebral notation of the words, but it goes on and gives them her own interpretation, she gives them a subjective interpretation. Further more, Simona Popescu is not only a critic in the search for textual meanings, but she also becomes a friend and crumbles the barrier between the interviewer and the interviewee showing a more human figure of the writer.
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The purpose of this work is to follow the dynamics of the poetic image in Eminescu's sonnets. We will first try to delimit a few steps and identify the most prolific interval for sonnets, the diachronicity of the Eminescian creation. Then we will open a discussion about the originality of the sonnets (at least two are translations). And finally, we will review the thematic registers and thematic axes of the sonnets, demonstrating the versatility of this species, despite the prejudices associated with the fixed form. Studying the fixed prosodic forms, we have the opportunity to clarify ourselves regarding the Eminescian creative mechanism. Experiencing the sonnet, the poet encounters a form of poetry that pushes the demands up to quantitative determinations, namely 14 verses in endecasilab, grouped into two chains and two thirds. What is the strength of this pattern? First it should be noted that the rhymes of sonnets are seen from the first versions, thus further limiting the possibilities of variation, of modification of the content. We can argue that the rhymes play a special role here, they support the elements of the inner universe, revealing a kind of still frame, within which the possibility of combinations-limited-obliges to deepen the senses.Thus, in this process of creation, the Eminescian rhyme is shifting its focus; it changes its function of formal determination, into a content one. As St. Augustin Doinaş sustains: "... the Eminescian sonnet is revealed as a spontaneous crystal, which the poet does not make - in his many variants - rather than grinding his faces, in order to browse, from any angle, we looked at him, the size of his emotional universe. .”To what extent the rhyme loses its corcitive function, providing a true circuit of the poetic idea or image, over the edges of the verse, proves it, especially the sonnet "The years have passed(Trecut-au anii)", here the first two verses form a single unit, even from a grammatical point of view – an extremely rare situation in the history of sonnet and that we may encounter in Shakespearean sonnets. Finally, at the level of the sonnets, the bottom-form dialectic game reveals its inextricable connection; these two elements are called and mutually reinforcing, lucidity having only the role of extracting from the ore of the spontaneous emotion the precious crystals.
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The present article aims to reveal the way in which waiting is seen by different characters who, without any sense, are waiting for something that never will come. So, the action of the plays is replaced by an expectation of the characters. As space of intertextuality, Matei Vișniec’s writings reorganize time and space of human existence, the characters are engaged in a continuous dialogue, but without any solution. The characters can’t explain their presence in a closed space, they want to leave, but they are not able to do that. They live in constant fear. What are they waiting for? The end of their lives.
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After many other incursions, some of them pseudo-critical, insidious speculations of the biography, this work tries to sound our National Poet’s love correspondence from insight, by a literary modern perspective, that one of Eminescu and Veronica’s correspondence-novel, part of frontier literature. Thus, we reconstitute love’s philosophical message resorting to the multitude of letters which were retrieved from these two lovers, most of Eminescu’s love letters being found only in the present millennium. With this end in view, this research uses Greek philosophy about Love, namely the concepts of Eros (with the derivate Latin amor hereos) and Agapè – the same ones used in our other researches – identifying the phases of this legendary love, love’s rituals, the heroes’ type, as well as the reasons for what Eminescu and Veronica’s yearning for Agapè remains only in the stage of project, never complete fulfilment.
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The diaristic notes of Al. Busuioceanu are gathered under the paradoxical title Midnight Note-books, being elaborated, literally, during the night, because of the extreme insomnia and of his unclearly diagnosticated malady. Moreover, the diary of this writer represents the unique confessor, and one of the few allies, of this misanthrope professor, who willingly stays away from the madding crowd, in order to get closer of himself, in a sustained effort of auto-definition. In this regard, the difficulty and the obscurity, up to a point, - in the sense of partial indistinction of the auctorial figure –constitute prominent marks of the autobiographical discourse. The professor of Hispanic civilization disguised, in a premeditated way, the features of his personality, preferring the formula of a severe, and yet open diary, respecting the discipline of the most well-known conventions – the clause of regularity, the relative sincerity, the principle of simultaneity -, and renouncing the literarised perspective, more generous in expressivity, from the outset. This complicated and original strategy, and even ritual, could be integrated, from our point of view, in the content of the expression the troubled intimacy (in a wide sense).
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This year, 2020, marks two hundred years since the passing to the eternal ones of an important Romanian writer and scholar of the Transylvanian School Ion Budai-Deleanu (b. 6 Jan. 1760 - d. 24 August 1820, in Lemberg, Austria Empire), author of the only successful Epic poetry in Romanian literature, Țiganiada, a work that could be printed and integrated into the circuit of our culture only over a hundred years after its elaboration. The Gypsy Epic was capitalized by literary critics especially in terms of the comic dimension, as a burlesque work, with allegorical and parodic features. But in our opinion, this Epic also has a tragic and prophetic substratum. Revealing this substrate is the purpose and originality of our approach.
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The rural world is, in Pavel Dan's prose, archaic and at the same time infused with elements of modern civilization and mentality. People live acutely uneasy and traumatic, are animated by metaphysical interrogations, summaries addressed to the transcendent, questioning the deep springs of existence, while myths, archaic rites and even religious institutions have limited operational coherence in the rural area, even if the members of the rural community constantly refer to them, because religiosity, mystical, ecstatic living, is ignored, superstitions have greater power. Rather than religion, the rituals are desacralized, taking place mechanically or even in a parodic key, so that the original senses undergo a symbolic mutation, they become providers of profane significance.
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Published in 1993 in the United States, a country where its author, Matei Călinescu, lived and taught Comparative Literature since 1973, Rereading was translated in Romanian in 2003. Its topic and angle of approach were somehow surprising for the Romanian academic community, who knew Călinescu as a literary critic and intellectual historian, secondly as a writer, and less as a literary theorist. Our paper discusses Călinescu’s major concept of “rereading”, in an intercultural (American-Romanian) context, insisting on what the author calls “the autobiographical dimension of rereading”. We remind the fact that, after 1990, he wrote three major autobiographical (non fictional) books in Romanian: a volume of memoirs, in the form of a series of letters exchanged with his close friend, Ion Vianu, another volume containing selected fragments of his diary, and, last but not least, Portretul lui M, an impressive text dedicated to his son, Matthew, who died at the age of 26 and was affected during his short life by a form of autism (the Asperger syndrome). Each of these books contains various ideas, reflections and recollections that reflect the above-mentioned “autobiographical dimension of rereading”. Investigating their rich intertextuality leads us to the conclusion that the concept of rereading is much more than an(other) abstract theory belonging to a certain academic field.
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The concept of children's literature itself arouses much controversy among researchers. Is there a genre dedicated exclusively to young readers or is it the same literature, equally valid for both children and adults? Viewed through the eyes of a grown-up, the Mary Poppins series, which enchanted the childhood of many generations, does not seem to outline the naive universe of little pranks, but rather to manifest itself as a plea for saving the souls of adults.
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The article analyzes, in comparison, the novels „Kinderland” and „The Glass Garden” of the writers Tatiana Țîbuleac and Liliana Corobca, in which they approach the theme of childhood from the perspective of two little girls deprived of parental care, who must to face the hardships of life since early their childhood. In addition to the similar narrative techniques, the novels also develop a series of common themes and subjects: demystifying the universe of childhood, family and parents; the worlds in crisis. Although they have many points of interference, the novels still fall into two different thematic areas: „Kinderland” develops the theme of migration, and „The Glass Garden” the problem of identity crisis.
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The Satanic Verses is one of Rushdie’s most complex works, capturing the postcolonial’s varying attitudes in the newly discovered world, while questioning tradition and modernity in a rather dangerous manner. The multilayered issues emerging from this novel make it the postcolonial novel among Rushdie’s many: it does not content itself with glorifying plurality, but also exposes its tragic consequences.
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This study aims to highlight some elements of the very broad discussion about posthumanism. The first idea under discussion is that posthumanism can be researched in both the area of reality, of science, and in that of fiction. The second idea concerns the human body, biological and modified, because there is no longer a clear demarcation between the two. In real life, there are many people who accept medical procedures that consist in implanting devices to support or improve their lives. It seems that the transition to cyborgs (that are mostly artificial bodies) can no longer be considered a long way off. We are moving into the field of fiction, where we find that the themes related to posthumanism are frequently addressed by Romanian authors of speculative fiction (fantasy and science fiction).
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Arghezi’s jorurnalistic work is an extraordinary sample of a titanic work that may be said to have begun with his art as a craftman of words in poetic ways of manifestation. Some of his short journalistic proses take the form of the columnist’s tablets (Tablete de cronicar). Reading Arghezi’s short proses gives us a comprehensive and distinct idea of his journalistic language and cognitive universe. We may speak of a stylistic matrix that reveals an interest in renewing the journalistic writing, by enriching it with complex aesthetic traits. In a specific interwar cultural milieu, Tudor Arghezi is an unique author both on account of his peculiar style, and also as a writer with a vast journalistic work. The paper is an attempt to sketch some general coordinates to define a certain stylistic profile of Arghezi’s journalistic work within the theoretical framework provided by various theories of metaphor or studies on the convergence between literature and journalism.
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This study points out how literary aesthetics like Gothic writing evolved in its relationship with bourgeois politics and the family unit as an ideological theatre where revolutionary history and its various conservative rewritings aimed at a moralistic warning, in a sense, a defanging of Romantic images of revolt. In popular culture, Frankentein, Mary Shelley’s 1818 novel, is usually regarded as a cautionary tale against the dangers posed by technology in a hands of a narcissistic mad scientist isolated from his family and whose creation threatens the society at large, however, if we are to observe Slavoj Žižek’s reading, the novel is a picture of the dawning of modernity and how individuals escape the shackles of traditional society to become free actors able to bend societal rules or even to revolt against them, while its author is trying to grapple with the aftermath of the French Revolution, when public opinion viewed Mary Shelley and her family as dangerous radicals who proliferate ideas that threaten the established order. This fear of implicit revolt has softened the novel into a general text that works as children’s literature and also as an introduction into the study of English literature, by means of robbing the monster of his voice, thus stifling his biography and his reasons for revolting against his creator and the outside world symbolized by the body parts stitched in his peculiar anatomy. Although Gothic fiction breaks social and aesthetic conventions, it has a shape-shifting characteristic that enabled a bourgeois public to portrait this fiction as a warning against corrupting influences like superstition and evil aristocrats, therefore society needed to be restored in the aftermath of a Gothic scenario.
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Historiographic metafiction is defined as that form characteristic of the postmodern literary phenomenon, which incorporates in itself history, literature and literary theory. The features of Filip Florian's text stand out by the complicated, quite difficult phrase with many words specific to the period of time presented. Historical documentation in “The King's Days” is carried out carefully, with many details about the history of those times. Published in 2008, the novel focuses on the reign debut of Carol I, from the perspective of dentist Joseph Strauss, who accompanies him in the Principalities: the King’s days only begin at the end of the narrative, which is an unprecedented cut. Through foreign eyes, Bucharest and Romanian society are marked with detachment, and the passage of time and power, as subsidiary themes, loads the narrative with bitter melancholy. Filip Florian’s style is baroque, with long phrases, with a historical-colored lexicon, with a calculated dosage of the communicating vessel principle.
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