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Scholarly article about the evolution of literary criticism at Babes-Bolyai University.
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Essay on the topic of the Communist manifesto.
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Romanian vanguard brough important changes both at literary, but also at social and political level. At the beginning of the 20th century, Romanian culture, although apparently late, is in general synchronized with Europe. During the first decade, when the great movements for the renewal had not yet appeared, there were already present the revolutionary roots, through a number of representatives that will actively participate in the European vanguard. In the vision of the literary critic Constantin Emilian, we are entitled to research the activity of these writers, in order to better understand their works. It should be remarked “the formal virtuosity and artistic intelligence of Mr. Voronca, Fundoianu, Tzara, and especially Vinea, in a few isolated productions. Otherwise, the entire impetuous revolution of the extremist lyric consists of a single manner: the brutal association of bitter words and the abrupt juxtaposition of forced images. The dissolution of the lexis and syntax, the annulment of logics and feeling, far from highlighting the subconscious substrate of the human soul, have proved only the unconsciousness of the authors. We are faced with clownish stunts executed with such difficulty by these pseudo-literates and are recording as curious documents of the times”. (Anarhismul poetic, 1932: 105-106, 125-126)
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Review about the book ”Prisoner in teh mirror” by Lidia Vianu.
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Literary review by Lucian Scurtu about thepoetry book of Nicolae Prelipceanu, Funa maro.
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The becoming of Christian culture, revealed by a Romanian phenomenological philosopher, aroused the cognitive interest for the elaboration of this study. The values and their evolution were the pole of interest present in the philosophical work of Camil Petrescu. The adaptation of value entities to the dynamics of social realities proves to be permanent, which leads us to believe that in the process in which cultures appear, develop and disappear we are dealing with a significant transformation of human values. They reset so that they become compatible with the needs of the historical period in which they exist, manifest and act. Relevant is the following statement: The 21st century has started with significant changes such as “the European Union’s economic dynamics that standardizes the ethical and religious behaviour of European citizens, in the sense of internalizing the set of common values accepted by the European and / or Euro-Atlantic integrated states”. Phenomenology is that philosophy that reduces the distance between the idea and the concrete, thus achieving a thorough knowledge of the problem within and in the multitude of its dimensions. The essence of the work, which is found in all its manifestations, has been sought and highlighted by phenomenology throughout its evolution, from Edmund Husserl to today’s phenomenologists. It is not what is accidental, fleeting, insignificant that interests scientific and philosophical knowledge, but only what necessarily manifests itself under certain conditions. Therefore, the analysis from a phenomenological perspective of Christian culture, which has at its centre the Christian religion, clarifies many of the social problems of the beginning of the third millennium. In the current social turmoil involving the European space and not only “we are interested in the existence of a religious basis of moral rules and morally established standards”.
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In Ana Blandiana's narratives, the perception of the real is reloaded to grasp its fantastic profile, overwhelming in its affective, sensorial and symbolical intensity. The text entitled La țară points out an extraordinary archetypal-focused image of people and the space signs usually defining the village so as to symbolically approach Time.
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The paper expands upon Lazăr Zăhan’s volume of poems Labirintul din vis, approached via Bachelard’s aestheticism which will be turned into account with a view to highlighting the dialectics between the inner and outer worlds depicted in his poetic imagery. We will also explore Popa’s hermeneutic uncertainties and Sandu’s semiological perspectives on transmodernity in order to bring into focus Zăhan’s double status as poet and philosopher.
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Although located beyond the mountains, Banat was in permanent connection with the rest of the country, Caransebes, a center of culture, education and faith, being similar to the Junimist spirit. The permanent connection between the intelligentsia here and that of the Country was maintained thanks to Bishop Ioan Popasu, through whose care a printing house and a bookstore were established in Caransebeș, among others, where books by authors from all the Romanian provinces were printed and sold. Let's also mention the role of the teaching staff from the Pedagogical-Theological Seminary in promoting the works of Romanian writers in literature classes, through the manuals they prepared. We propose to present the ways in which the work of Ion Creangă, a reference personality in Romanian literature, became known in Banat at the end of the 19th century and the beginning of the 20th.
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In the novel „Baltagul”, Mihail Sadoveanu reconstructs an entire pastoral civilization, unfolding since immemorial times, in parallel with the different forms of life of the Romanian people. The subject of this research starts from the idea that this novel represents a magnificent illustration of the force of ethical norms in a traditional society, and the mythical echo of the event recreates its correspondence with the „Mioriţa” ballad. It could be said that there is even a line brought to the ballad, the emphasis falling not on resignation, on reconciliation with fate, but on the human effort made to make justice triumph. From „Mioriţa”, Sadoveanu takes the symbol, the epic structure, the conflict between the three shepherds and the face of the main character, which he fills with that of the brave shepherdess from „Şalga”, who punishes the captain of thieves, doing justice, realizing a fundamental ethical principle for Romanian people. However, the relationship between „Baltagul” and „Mioriţa” is quite controversial in contemporary criticism, especially in the context in which Alexandru Paleologu surprisingly pleads for the total short-circuiting of the relationship with the popular ballad. Placing itself in that general-anthropological antithesis plane of the collective human imaginary, Paleologu demonstrates that „Baltagul” deals, in its subtext, with a symbolic theme related to one of the great myths of humanity, being a book dedicated to the Osiris theme. Found in the subtext of „Baltagul”, the myth of the search for Osiris by his wife, Isis, would therefore be concealed by the introduction of the interpretation on the false track of „Mioriţa”, Paleologu admitting that references to the Osiris myth can also be made in relation to the ballad.
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In order to continue the effort of systematizing the Caragialian literary legacy, initiated in the book One Century of Caragialism, the present paper aims at adding to the post-Caragialian literary corpus the publicistic essays written by Andrei Pleșu. In his volumes Faces and Masks of Transition (Chipuri și măști ale tranziției), Comédies at the Gates of the Orient (Comèdii la porțile Orientului), The Public Obscenity (Obscenitatea publică), essential components from the paradigm of Caragialism, such as the “grand chatter”, the chaotic discourse, Mitică and the demagogue politician, the irony and the sarcasm - are reactualized and revalued, in a network of clear allusions that allow us to consider Andrei Pleșu a worthy literary descendant of I. L. Caragiale. Besides the discovery of numerous intertextual trades in these volumes, the decisive proof of Andrei Pleșu’s belonging to the Post-Caragialian literary trend, is the observation that some of his essays are deliberate “hypertextual” transformations of various Caragialian “hypotexts”.
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The purpose of this article is to present a new perspective on Ion Minulescu's poem, Urban Rain, from the point of view of the features of the Symbolist poem, but also of a parallel with the haiku poem. The parallel is legitimized by the same visual power of the images, as well as by the elements related to the allusions, and by the possibility of moving from the literal, concrete meaning to the figurative and abstract one. As the images, both visual and auditory, are being perceived by the reader as being so alive, through the lens of W. Iser's reader response theory, in Minulescu's poem, they can remind of the haiku poem, practiced not only in Japan, but also in the Western world, in adapted form.
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Reading Theola Ioana Luțoiu’s book, I asked myself at the end of some pages: how can we learn today the authentic gesture of resting, at least once, a hand on a shoulder shaken from the inside by endless loneliness? Or to BE ourselves, in the moment called now, a shoulder to rest serenely or a gentle gaze for a forsaken and wandering thought, for a bleeding pain?! For the bitterness of the fallen in the deep weight of the terrible clouds that seem insurmountable... When will we decide to stop, even for a moment, from the rush of years and place our heart next to the tear of another heart, located in the abyss? When will we understand the depth of the meaning of the unforgettable Word of LOVE:”weep with those who weep” (Romans 12: 15)
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The success of the Romanian language and literature teacher in becoming a model, consists in the success of the didactic approach, which requires a good specialized training, a competent knowledge and application of the novelties of the psycho-pedagogical sciences, the desire to continuously enrich your repertoire of didactic strategies, keeping pace with innovations in the field, but applying them selectively and creatively; I will be able, thus, to reach "Pedagogical mastery" or "The art of teaching", I.E. To acquire certain "Teaching qualities" (skills) such as: the ability to present clearly and convincingly; brevity and precision of wording; the plasticity of the vocabulary; "Pedagogical tact", I.E. "The sense of measure in everything". (cf. V. Goia, 2000 p. 15).
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This article analyses the intellectual and literary activity carried out by poets Juan Octavio Prenz and Omar Lara as promoters both of Latin American literature in Central Europe -especially in Romania and Yugoslavia- and of these countries’ literatures in Latin America. The timespan covered goes from 1977 -when Prenz and Lara first met- to more recent times. More specifically, the article focuses on the works published with KOV, Vršac’s publishing house, on the different stages of the journal Trilce -directed by Omar Lara- and the establishment of LAR (Reunited American Literature) publishing house.
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Two of the novels which are deeply related to the experience within the limits of the totalitarian regime in the Eastern blocs are The Joke, by the Czech writer Milan Kundera, and The World in Two Days, by the Romanian writer George Bălăiță. Both Kundera and Bălăiță present in their novels the stories of individuals who pay the price of their destiny for the mistake of deviating from the imposed norms. Even if these two works present differences at the level of the narrative style, The Joke falling mainly within the modernist one and The World in Two Days in the postmodernist one, having allegorical characters, they have a series of common elements at the content level. Thus, the two novels propose a common theme, which reveals the collapse of a sacred world that falls prey to individuals obsessed with controlling other individuals' lives.
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