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The Jewish slum of the Capital, before and during the Second World War, is depicted in the process of passing from its calm, serene atmosphere to a turbulent and full of hate one. If, at the beginning, there was a feeling of identity, of belonging to
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No matter how desperately society tries to conceal them, taboo topics are still visible in people’s lives and especially in literature. This study aims to make a comparison between two male characters, André from Raduan Nassar’s Ancient Tillage and Horia from Mihail Victus’ toate păcatele noastre. By discussing their religious background and their (sometimes incestuous) feelings towards their sisters, this study shall demonstrate that, although they come from distinctive pieces of literature, André and Horia share a similar experience.
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The proposed text is an excerpt from a larger study devoted to the writings of Panait Istrati. It aims to highlight the importance of literary history for a more accurate understanding of the reception of Pa- nait Istrati in Romania, especially in the interwar period, taking a critical distance from the thesis of the author’s “marginalization” in Romanian and French literature. By researching Istrati’s articles from several decades and his correspondence with Romain Rolland, the study describes the contradictions of the author, the process of fictionalization of his biography, the invention of “roles” and the construc- tion of a “personal myth”.
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The paper focuses on the ideological shift after 1989 that determined the nature of the debates over the role of Ana, the female character of the Legend of Master Manole, and her sacrifice. Until 1989, her perspective was widely ignored because the canonical interpretation of the ballad emphasized the male perspective of Manole and his sacrifice for the act of creation. After 1989, the feminist discourse argued that the symbolic structures perpetuated by this myth were reinforced in Romania by the com- munist regime. The main aim of the article is thus to present how the newly formed feminist critique employed one of the canonical Romanian texts to show the functioning of the model of a self-sacrific- ing woman in the social imaginary.
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András Ferenc Kovács's poetry is unique because it stands at the threshold of a significant era, not only from a poetic but also from a historical-political perspective: the turning point of 1989 significantly reshapes Transylvanian Hungarian literature as well. In this rather complex situation, a new, highly fruitful lyrical discourse is born. This poetry is made unique by the peculiar historical-political-social situation stemming from minority existence. In the paper, I examine whether these texts contain mere role-playing, irony, and imitation, or if behind the texts emerges an authentic discourse stemming from the unique Transylvanian situation. I believe that poetry reclaims Transylvanian Hungarian poetry's place in both Hungarian and global literary canons through its distinctive form and content. Behind the intertexts and masks, András Ferenc Kovács's Transylvanian consciousness reflects an authentic poetic identity.
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I drew attention, on the occasion of the last editions of the “George Enescu” International Festival, to the fragile representation of the national musical classicism. Only a few isolated works (signed by Paul Constantinescu, Tiberiu Brediceanu, Mihail Jora) had the gift to consonate with our assertion. From our point of view, we noticed, with regret, the absence from the posters the names of some Banat composers too, who were once adored on the most important concert stages in the country and even abroad.
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Poems by Adrian Alui Gheorghe - "Cercul poeților dispăruți, reloaded", "Tigrul din Times Square", "Happy-end", "Alfabetul cu o singură literă", "Poezie la Chicago", "Sala de jocuri în Las Vegas", "Căutând mormântul lui Mircea Eliade, la Chicago".
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Review of: Retroversiuni. Antologie de proză scrisă de femei, coord. Cristina Ispas, Pitești: Paralela 45, 2023.
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Review of: Elena Dragomir, Opoziția din interior. România și politicile CAER față de CEE (1957-1989) (2 vol., Cetatea de Scaun, 2020) Elena Dragomir, O relație asimetrică. România și piața comună (1957- 1989) (2 vol., Cetatea de Scaun, 2022)
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Dosarul de față a fost gândit în tandem cu cel de anul trecut, astfel încât poezia și proza scrise de femeisă se completeze și să se lumineze reciproc și să redea imaginea cât mai fidelă a acestui îmbucurător fenomendin literatura autohtonă contemporană. Incontestabilul reviriment al literaturii scrise de femei a fost probat prinapariția a două importante antologii, care mi-au și ghidat demersul realizării celor două dosare tematice: Un secolde poezie română scrisă de femei, vol. I, 1990-2019, (Editura Cartier, 2019), coord. Alina Purcaru și Paula Erizanuși Retroversiuni. Antologie de proză scrisă de femei (Editura Paralela 45, 2023), coord. Cristina Ispas.
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Critica privind scriitura feminină contemporană a narativei românești are indiscutabil datoria să analizeze romanele deja cunoscute semnate de Lavinia Braniște.
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Review of: Liviu Chiscop, Podul de flori. Consubstanțialitatea ideatico-stilistică în creația poetică a lui Nicolae Dabija. Cu o prefață de acad. Theodor Codreanu, Editura Alma Mater, Bacău, 2022
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