![Поетическото творчество на Елисавета Багряна в превод на румънски език](/api/image/getissuecoverimage?id=picture_2012_27123.jpg)
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This article presents a few most significant interventions from the media of 1990 regarding Eminescu and his creation. In spite of the fact that the poet had died a century before and some tendentious interpretation of his work had been thoroughly amended, the public “atmosphere” and the tensions generated in the society reabsorb him, projecting him in the middle of a real “cyclone”, unforeseeable by manifestations or consequences. On the background of two years full of homage meanings (1989-1990), the interest in studies referring to Eminescu seems dominated by the prevalence of Eminescianism, a term that has not been established semantically yet, which indicates the orientation of the debates on the poet, from the sphere of philology to that of the “state of mind”, which differs from a soul to another.
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This article paid a special attention to influence of circumstances on the creativity of the poet and the laboratory of the translator. It presents the points of contention in the canonized translations of the poem "Luceafărul" by Mihai Eminescu related with the historical and socio-political conditions of the epoch. The research is focused on the problem of distacing the interpretation of the poem as a fairy tale which limits the translation. The poem "Luceafărul" is mostly associated with the author's worldview, with the allegory and mythological structure of the poem. In the article are presented the motivation and criteria of the translating, the different intercultural relations as well as the canonization of the translation versions.
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Marketing quality translations in view of advertising local cultures has become increasingly difficult in the context of the omnipresent electronic means of getting the message across. Today, intercultural mediation via translation has added the machine element to the traditional actors involved in the procedure. Machine translation – whether rule based, transfer based, dictionary based, example based, interlingual or statistical – is ideally intended to assist human translators, yet it frequently seems to be the only preferred alternative in accessing texts produced in a foreign language, bypassing the services of a qualified translator, especially for time and money related reasons. Under the circumstances, the tremendous threats that machine translation poses to the quality of the translated text, especially if it is a literary one, need special consideration. Along these lines, the present paper focuses on a case study presupposing the translation of a famous poem by the Romanian nineteenth century poet Mihai Eminescu through Google Translate, comparing and contrasting it with an authorized version by a nineteen-year old translator-genius who died in the 1977 earthquake, published posthumously. It is available in print, as well as on the internet – as written text and as subtitling to poetry reading.
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“Retro-modernism” is a concept coined by critic Paul Cernat (Modernismul retro în romanul românesc interbelic [Retro-Modernism in the Romanian Inter-War Novel], Art Publishing, 2009) in view of defining a type of novel developed during the inter-war period as an alternative to prospective modernism, excessively used at that time. The “retro-novels” identified and analysed by Paul Cernat possess a distinct aesthetic physiognomy, marked by nostalgia for the atmosphere at the end of the nineteenth century, despite the modernist techniques employed at the level of the narrative discourse. Little known in the present day cultural space, Ștefana Velisar Teodoreanu (Lily Teodoreanu) tackles the question of the peripheral and provincial environments, suffocated by the lack of perspective in the characters’ destinies, especially in the case of feminine characters. Viața cea de toate zilele [Daily Life] (1940) may be described as retro-modernist, as the writer moderately approaches the theme of the woman’s condition, avoiding the excesses of militant and declarative feminism. The novel’s protagonist overcomes an identity crisis by assuming a superior understanding of the idea of commitment to her family. The reference points of the patriarchal organisation of the world are imperceptibly shaken by the heroine’s drama.
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An effect of the interwar cultural modernity, the visibility of the women-writers in the space of Romanian literature was also possible through the assimilation of the patterns of feminine writing, already outlined in Western literatures. French writer Sidonie- Gabrielle Colette influenced the Romanian feminine prose of the interwar period with her meta-feminine writings, freed from prejudice and canons, in which the depth of introspection is combined with the incandescence of sensations. Similar features may be traced in the subjective-lyrical prose that characterizes Hortensia Papadat-Bengescu’s literary debut, which determines a certain stylistic and thematic resemblance between the two congeneric writers, beyond their inherent discontinuities. However, Hortensia Papadat-Bengescu intertextually reveals her dialogue with “the great Colette” only in her last novel, Străina, a work considered lost for a long time, recently recovered and published.
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Pendant les années 30 il y avait déjà une crise généralisée de la culture européenne moderne. Cʼest pourquoi Al. Dima propose lʼélaboration théorique dʼun prototype local dont la function culturelle obligatoire soit celle de courroie de transmission. Il sʼagit du concept de localisme créateur qui deviendra une réaction consolatrice par rapport au chaos culturel determiné par lʼimitation sans censure des formes occidentales marquées des idéologies contradictoires. Dans le premier numéro du bulletin édité par le groupement intellectuel Thesis, activant à Sibiu, au cours des années 1932 – 1933, ce sont les communication interdisciplinaires qui dominent, plaidant pour lʼassociation de lʼesthéthique à la biologie, la psychologie, la sociologie, la philosophie, la médecine etc. La formule du localisme créateur fonctionne comme validation de lʼauthenticité de beau roumain en tant que lieu géométrique unissant le typique (le local, le spécifique) et le caractéristique (lʼoriginalité esthétique) – repères dominants dans sa thèse de doctorat intitulée Le concept dʼart populaire (1938). Le spécifique national, hérité du romantisme, a été temporairement résuscité, en tant que nouvelle formule du tradionnalisme, par le groupement intellectuel Thesis de Sibiu. Ce qui particularise lʼidéologie de Thesis est la décantation de lʼélément originaire (natif), formatif (implicite ou explicite) régressif et la révendication du localisme créateur en tant que manifestation dʼun ensemble de traces nationales objectives („Eigenart”) que la nouvelle réalité littéraire des années 30 met énergiquement en évidence. Malheureusement, lʼobéissance à lʼIdée, à la Thèse, présentée de manière légère et souvent contradictoire dans les pages de la revue La Provence Littéraire, de lʼAnthologie THESIS et des deux bulletins édités par le groupement intellectuel Thesis ne sera pas confirmée par/dans lʼécriture littéraire de ses membres, préoccupés surtout par la (ré)traditionnalisation.
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Les rapports entre les phénomènes culturaux et le contexte socio économique d’une époque, des instances qui influencent, qui définissent qui déterminent le visage de la littérature nationale, la construction du canon littéraire au fil des temps, sontautant des problèmes agissant sur l'institution des études littéraires. Si le canon littéraire a un double véhicule, celui des promoteurs, conditionnés par les effets économiques, et celui du goût publique, marqué par la dimension ethnique ou par lesmodes du moment, alors on peur parler de la transformation du canon, de sa rélative indépendance.
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Victor Papilian’s work represents one of the many key moments of the Romanian literature between the two World Wars. His writings are fundamental for a better understanding and view upon both the social and artistic contexts. This paper aims to offer a wider perspective upon Victor Papilian’s short prose, by establishing two important milestones: the irony and the grotesque. These modern aesthetic categories play an outstanding role in identifying the singularity of the epoch’s mentalities: the modern man, who is always searching, always doubting, always criticizing the world. Our paper aims also to present, from a different point of view, the inner mechanisms which animate a modern writer’s artistic point of view. For this purpose, we have selected several examples of short prose, from Victor Papilian’s work. Our analysis consists in revealing the means by which the irony and the grotesque are built throughout the text. From a fine irony, up to a sarcastic tone, the author uses all kinds of means to illustrate his ideas and feelings. For example, all types of comics and characterization, interior monologue, up to the portraits illustration. Victor Papilian’s short prose, despite the lack of approach, remains one of the key milestones in illustrating the main artistic concepts of its times.
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This essay is an approach to a defining element of the literary of Octavian Paler, one of the most representative names of posttotalitare literature, a representative of contemporary Romanian literature essays area. Combining the memories, the confessions, the travel journal and the letter in boundary formula of the essay, Octavian Paler shapes an universe dominated by myths, but reflected in his inner world and contaminated with his existentiale obsessions. Whatever places he travels (Greece, Egypt, Italy or Mexico), his eye is always turned to himself. His universe, faithfully translated in his books, is a world of pure subjectivity in which myth and biography meet. Thus, a symbolic space is born, a place of birth and becoming . Regarded as a symbol of genesis, this topos is shaped both as a relief area, the mountain, and toponymy suggestion , Lisa. Octavian Paler aims not so much to the remembrance of an age, that of childhood, but to reshaping a world, a space of eternity. ("Something of a peasant in the urban luster I have left until now and, perhaps, in the depths of my melancholy, I kept the rain flavor of Lisa, remained like moisture in old trees grown in places far from the sun "- Desert forever)
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Dumitru Ţepeneag’s novel Hotel Europa (1996) and Matei Visniec’s Despre sindromul de panică în oraşul luminilor (2009) have as protagonists writers that left Romania for France before 1989 and that become aware of the impossibility of either building a literary career in their adoptive country or returning to their native country after the 1989 Revolution. This paper sets out to examine a double experience of failure: personal (analysing the identity splits the experience of exile determines) and professional (both Hotel Europa and Despre sindromul... have a strong metafictional dimension, musing over the painful process of writing... in one’s mother tongue). However, I will argue that the two novels are the expression of a paradoxical come-back, as they mark the return of Ţepeneag and Vişniec to writing in Romanian.
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Défini par Mikhail Bakhtine comme „l'interdépendance intrinsèque des relations temporelles et spatiales qui sont artistiquement exprimée dans la littérature”, le chronotope est intimement liée au développement des personnages, imposer leur statut. J’ai décrit et explique les chronotopes dans le roman de Cărtărescu: la rédaction du manuscrit, en regardant la fenêtre, à explorer l'univers intérieur, de la communication, la ville, la compréhension, la construction de l'identité des personnages par le biais de la mémoire et l'histoire du signes, le travail de l'histoire. Dans la littérature postmoderne, le chronotope et l'évolution des personnages sont connectés à la teory des fractales et nous ne sommes pas surpris de constater que tous ces elements sont subordonné à la langue et dépendent de l'interprétation. Les aventures des temps et des espaces sont des constructions linguistiques, qu’il doit être interprétées, pour trouver le sens du texte. Les formes mixtes, l'intégration mutuelle des chronotopes, l'hybridation impliquent une perspective différente sur la vie avec de profondes implications dans la définition de l'individu comme un être dialogique, dont l'existence est un Art de la Fugue.
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Parmi les écrivains roumains dans l’entre-deux-guerres (Anton Holban, Camil Petrescu et autres) qui ont écrit des chroniques musicales, Mihail Sebastian est le plus actif et le plus substantiel. Entre 1935 et 1939, c’est-à-dire pendant quatre saisons musicales complètes, il rédige pour le quotidien bucarestois de langue française „L’Indépendance roumaine” un nombre considérables de textes sur la musique classique, à savoir des chroniques de concert, chroniques de disque ou chroniques sur les artistes présents en Roumanie. Ses articles s’arrêtent juste avant le début de la Deuxième Guerre Mondiale, mais dans son Journal les notations concernant la musique continuent même jusqu’à la fin de sa vie. Le présent essai désire analyser le lien entre les chroniques musicales (avant la guerre) et les notations du diariste juif (pendant la guerre) sur la musique et les artistes allemands qui jouaient à Bucarest ou ceux que Sebastian écoutait lors des transmissions radio.
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Si les Gender Studies s’inspirent du féminisme, elles sont aussi penchées sur la problématique de l’altérité – coloniale, exotique et autre. En élargissant ce champ de vision au domaine de la littérature francophone et balkanique, j’ai choisi l’œuvre de Cartarescu pour retracer l’histoire de la féminité, de la sexualité et de la rencontre. La rencontre de l’Autre, l’Autre féminin, et du récit qui en découle. Désirant situer l’écriture de l’écrivain francophone roumain dans son intertexte, je vais regarder comment s’inscrivent les modalités du savoir esthétique et érotique contemporain dans le texte de fiction. Celui qui regarde est toujours impliqué dans un rapport dialectique avec l’Autre, vers et à rebours d’une différence qui est à la fois envoûtante et incompréhensible. C’est ce va-et-vient continuel du « Je » masculin par rapport à l’« Autre » féminin dans le récit littéraire de Mircea Cartarescu que je vais analyser, à savoir : l’idée de l’Autre féminin avant la rencontre, le jugement esthétique sur l’Autre, le rapprochement avec l’Autre, l’union avec l’Autre (réelle ou imagée), et le destin final
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N.B.: Aveţi o temă pretenţioasă. Dialogurile ideologice - m-au sunat deja la un mic interviu şi le-am spus deja că - şi cultura e ideologie. Deci e un sistem de idei. Din păcate, marea presă ideologică, dacă vreţi, politică, sociologică, nu prea se ocupă de cultură, cum nu s-au ocupat nici guvernele în ultimii 20 de ani. Vedeţi că bugetul culturii este penibil, 0,13 – 0,16, din care, mare parte merge la patrimoniu, nu merge la cultură, unde sunt licitaţii etc. Şi ceea ce e grav e că, şi asta o critic eu de multă vreme, după Revoluţie, faptul că statul român s-a retras din susţinerea financiară a culturii. La o întrunire, acum vreo 15 ani, l-am incitat pe un fost ministru a spune că ar vrea totuşi ca statul să intre in edituri, să susţină una, două edituri direct pentru a facilita apariţia acelor serii de scriitori naţionali, din literatura clasică română, literatura modernă, dintre războaie. Ţările din nordul României, foste comuniste, Ungaria, Cehoslovacia, Polonia, au astfel de interese, şi guvernamentale, să nu se piardă, să existe la îndemâna studenţilor, a profesorilor, a publicului larg, să existe ceea ce comuniştii chiar făceau - serii de mari scriitori.
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Ce papier se propose de faire une courte présentation de la personnalité d’un grand roumain, Dimitrie Bolintineanu, connu également comme un écrivain, diplômât et patriote, profondément impliqué dans les mouvements révolutionnaires du milieu de XIXème siècle. Fondateur du roman dans la littérature roumaine, Bolintineanu a été un publiciste passionné, en tant que directeur et éditeur de quelques journaux. Pourtant, l’objet de notre investigation se trouve dans la galerie des personnages féminines qui ornent l’univers du roman Manoil, publié premièrement en feuilleton (dans un seul épisode, malheureusement, à cause de la situation du journal en question) et, puis, un peu plus tard, dans sa forma définitive. L’introduction présente les directions d’investigation de l’œuvre de Bolintineanu et les deux sections suivantes, Dimitrie Bolintineanu in the Romanian culture et Dimitrie Bolintineanu as a novelist donnent des informations sur la position qu’il occupe dans la culture et la littérature roumaine. On présente ensuite les versions des romans sur lesquelles se base cette approche, même si la littérature roumaine possède plusieurs éditions de l’œuvre de Bolintineanu. Finalement, on fait un inventaire des personnages féminins et des techniques de narration utilisées par l’auteur dans la création des portraits respectives.
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George Branković (Gheorghe Brancovici, Đorđe Branković, 1645-1711) was the brother of the Greek Orthodox bishop of Transylvania, Sava Brancovici (1615-1683). Initially, he was Apafi’s envoy and interpreter in Constantinople. Later, he became secretary to the Prince of Wallachia, Şerban Cantacuzino (reigned 1678-1688). Emperor Leopold I granted Branković the title of baron in 1683 and count in 1688. In 1690, imperial general Ludwig Wilhelm von Baden arrested him because he believed that Branković was inciting the Serbs against Vienna. After his arrest, Branković remained in prison for the rest of his life: he was imprisoned in Vienna until 1703 and then in Egger in Bohemia until 1711. During his imprisonment, he even composed an anti-Catholic and anti-Calvinist catechism. It was Emil Turdeanu who, during research carried out in 1936 and 1937 at the Library of the Royal Serbian Academy in Belgrade, discovered three religious works by George Branković. At the time, these three texts by Branković were in two different manuscripts. One, designated by Turdeanu as A, carried the number 168/8. The contents of this manuscript were as follows: 1. Book of holy prayers; title: Carte aciasta a sfântelor rugăciuni. 2. Catechism, in questions and answers, including 44 chapters (untitled) 3. Advice for true travelers; title: Cătră adevărați călători, comprising thirteen paragraphs. The other manuscript named by Turdeanu B, bore the number 236. According to him this manuscript presents the same texts as manuscript A except that it omits from the end of the Book of Prayers a brief biographical note, deletes the incomplete text from the end of manuscript A, that is to say Advice for true travelers. On the basis of two short autobiographical notes contained in the text of manuscript A, Turdeanu was able to establish precisely that the said manuscript was completed in October 1690. Manuscript B being a copy of manuscript A was written later and must have been made by one of those men with whom Branković came into contact during his stay in prison in Vienna: a certain Jovan Aleksijević, dvornik pisar with the despot, or Jovan Lipovskí, a relative of Branković, who accompanied the prisoner in his exile to Egger in Bohemia, and who collected the last confessions. It is thanks to him that, after long efforts with the Austrian authorities, the literary heritage of Georges Branković was returned to Serbian circles. Shortly after the publication of Turdeanu’s article on the discovery of Branković’s religious works, World War II broke out. Thus, Turdeanu no longer had the opportunity to make a more in-depth study of this subject, nor to edit these three works of Branković. Especially since even Turdeanu believed that during the bombing of Belgrade in April 1940 by the German air force, the two manuscripts containing Branković’s three texts had been destroyed. Fortunately, this is not the case, because during the bombing only manuscript 168/8 was destroyed. The other manuscript bearing the number 236 was preserved and can still be found today in the archives of the Library of the Serbian Academy (Српска Akadемија наука и уметности, SANU) under the same symbol. This manuscript is not autograph and contains only the prayer book and the catechism. Relevant literature has so far only registered the existence of the catechism, but the text has not yet received proper scholarly treatment. In the catechism, Branković defined Eastern Orthodoxy in opposition to Transylvanian Calvinism and the pressure of Catholic cultural colonisation emanating from the Viennese court. Branković’s work is a particularly important piece of cultural heritage because it deals with topics that are not usually discussed in contemporary catechisms: witchcraft, oath-breaking, popular religiosity, etc. In my study, I would like to make a brief comparison between some chapters of Branković’s catechism and between the other catechisms of the time (Ștefan Fogarasi, Varlaam, Cyrille Loukaris) and between the prefaces written to the different books of the New Testament text of the New Testament of Bălgrad (1648). I will treat first of all the chapters in which faith, good works and fasting are discussed.
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Herta Müller's literature narrates liminal life experiences, results of a tragic story, which bursts into the biographies of the protagonists with overwhelming violence. The author's biography finds a particular resonance in this specific fact of her narrative world, in which the sources of trauma are revealed to be multiple. Călătorie într-un picior by Herta Müller offers a profound exploration of interculturality through Irene's personal journey of migration, adaptation, and identity formation. The novel portrays the complexities and nuances of cultural encounters, highlighting both the challenges and the opportunities for connection and growth that arise from navigating multiple cultural identities. Neverthemore, orality plays a significant role in conveying the protagonist Irene's inner world, struggles, and interactions within the context of her cultural displacement and adaptation.
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Mircea Ciobanu is a valuable writer, poet, prose writer, essayist, and an unparalleled editor of his time – and his work must be appreciated at its true worth. Not enough has been written about Mircea Ciobanu and his creation. Literary criticism has often referred to him as a forgotten poet, a writer who has faded into obscurity. Nevertheless, efforts are being made to bring him back into the spotlight (for example, in 2020, the magazine "Familia" dedicated a triple issue to him, with over 300 pages devoted to his work).
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Without having access to the past, the poetic instance senses and is doomed at the same time to an increasingly violent wave of death, and not only at a physical, organic level, but also implicitly at the level of creation, the latter having to follow an uninterrupted trajectory, without further interference or inadvertence. One of these acknowledgements is the work called Steaua Zimbrului – another kind of creation built fragment by fragment in prison on the finest and most insightful filament of the brain, a performance that only Valeriu Anania was truly capable of. A faithfiul observer of the work, Lucian Vasile Bâgiu notices in this context a sense of lightness on the side of the writer, a relentless separation from the past that represented ultimately the source of a fluid composition – a quite rare occurrence. Desiring to be an epistemic and focused dramatic work, Valeriu Anania seems to have hidden an intimate reluctance to follow the vein of mythological works that are more famous in the history of Romanian literature, such as those written by Lucian Blaga, for example, such as the myth of the Blind Man (t.n.) – mitul Orbului (1921) in the work entitled Zalmoxe or even the emperor of the Jews, Jesus Christ in the work entitled Disturbing the Water (t.n.) – Tulburarea apelor (1923).
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