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Images of the body and sexuality and the construction of representations about the state and corruption in European and Romanian decadentism.
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A collection of text signed by women authors as a response of the question „why do we love men?”
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The Romanian terminology of traditional salt exploitation is less studied. This article aims to provide some Romanian terms and terminological phrases which are not recorded so far in the general dictionaries of Romanian, adding, where necessary, data referring to the earliest attestation of the word. The Romanian terms of traditional salt exploitation can be classified as follows: terms referring to the form in which the salt extracted from the deposit is presented, terms referring to the salt extraction, terms designating trades in traditional salt exploitation, and terms referring to the management of salt exploitation. Apart from the terms that develop among their meanings a specialized one (brazdă, bătător, coteț, găleată, etc.), there are also terms specific only to the salt exploitation domain, such as maglă “forced labour in a salt mine”, attested in some Slavonic documents, and formal “salt stone with dimensions and weight between the standard limits”, borrowed from Latin.
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This study traces the steps that led to the lexicon-semantic change for the indication of "left" and "right" from Latin to modern Romance languages. With the partial exception of Italian, starting from the Middle Ages, the main Romance languages begin to come up beside the words derived from the Latin etymology SINISTRA with other terms that designate the same meaning, but which have non-Latin origin and similar semantic root (idea of what is curved and imperfect). The cause lies in a complex phenomenon of tabooistic interdiction, which leads to the progressive disappearance of the previous forms and the generation of new ones. The change in the way of expressing the "left" would also seem to determine by analogy a new mode of expression of the "right" in most of the Romance area, no longer derived from the Latin ethymon DEXTRA, but from the Latin DIRECTA.
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The group of the Slavonic-Romanian lexicons from the 17th century comprises six bilingual dictionaries, which have as a model, directly or through an intermediary, the Slavonic-Ruthenian Lexicon of Pamvo Berynda (1627). These texts, which represent the most consistent part of the Romanian bilingual lexicography of the time, are less investigated. One of the aims of this study is to provide new data on the Slavonic-Romanian Lexicon kept in the Russian Archives of Old Documents from Moscow.The Moscow Lexicon contains 282 leaves, in a single column, with about 14–16 rows per page, written by the same hand. The lexical inventory comprises two lists, the first one between fol. 1r and 259v, and the second between fol. 260r and 283v. However, scholars have so far discussed the Moscow Lexicon via just a few words reproduced by Ciobanu (1914). Implicitly, this practice has led to some erroneous conclusions. We aim to establish the place of the Moscow Lexicon among the 17th century Slavonic-Romanian lexicons, based on the comparative study of the entries under the letter g. Compared to Berynda’s Lexicon, the compiler of this lexicon uses the same “lexicographical” technique followed in the other Slavonic-Romanian dictionaries from the same century. Therefore, the Moscow Lexicon shares similarities to Staico’s Lexicon and another lexicon comprised in Ms.3473 (Romanian Academy Library). By comparing the list under g, as well as the alphabetical layout of these three lexicons, we have found that the Moscow Lexicon is closer to Ms.3473; however, instances are suggesting that Staico’s Lexicon could be one of its sources. However, the comparison indicates a complicated relationship between these three bilingual dictionaries, which can be clarified only based on the exhaustive study of the texts, in a comparative edition.
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A series of text about the Romanian literary historian Nicolae Manolescu.
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In her study entitled ”Don Quixote in the critical mirror and beyond”, Rodica Grigore presentsin a systematic way, the most relevant critical opinions related to Cervantes’ masterpiece, underlin-ing the fact that the Spanish writer is a combination of Renaissance and Baroque spirit, but also a great„prophet” of modernity, his novel being the first modelof the modern realistic novel.
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