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Date: 26-27 April, 2002; Place: Sofia University St. Kliment Ohridski, Bulgaria
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I. СЪПОСТАВИТЕЛНИ ИЗСЛЕДВАНИЯ, II. ДИСКУСИИ, ОБЗОРИ И НАУЧНИ СЪОБЩЕНИЯ, III. ИЗ ИСТОРИЯТА НА ЕЗИКОЗНАНИЕТО В БЪЛГАРИЯ, IV. ИНТЕРВЮТА С БЕЛЕЖИТИ ФИЛОЛОЗИ, V. РЕЦЕНЗИИ И АНОТАЦИИ, VI. ГОДИШНИНИ, VII. ХРОНИКА, VIII. БИБЛИОГРАФИЯ
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Many of Nichita Stănescu's poems have the vibration of a poetic creed, the lyrical images exposing a conception of art, poetry, incompleteness, but also a poetics of the fragmentary, the scenario of creation being energized by the idea of sacrifice, self-sacrifice and communion through love. Existence itself is perceived under the sign of paradox and antinomies, whereby the multiple, the spiritual and the corporeal, the dynamic and the static seem to be devoted to the complementary and fascinating meanings of existence, the relation of the self to being ambiguous, insofar as affirmation and negation, essence and phenomenality, come together in the combinatory games of consciousness and language. Fragmentary writing meets the fragmentary world, major meanings dissolve, they reflect the disintegration of the coherence of things.
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Ana Blandiana's narratives depicts special possible worlds in which the imaginative textual strategies and resources build up a symbolic network mythically endowed so as to readjust the palimpsest reality by using autobiographic data and culturally representations.
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“Atonement” definitely strikes as a complex, intricate narrative structure. Ian McEwan –the narrator, in fact - constantly plays with the readers, manipulating, deceiving, misleading them until the very end of the novel. Briony Tallis, an ailing, aged novelist finally owns having been the author all along. As a last, surprising ‘stratagem’ she even gives two completely different endings to her story, the fictitious one but also the ‘real’ one. Thus, “Atonement” is no longer just the story of guilt and expiation but a masterfully wrought novel about misinterpretation. This article endeavors to trace back the two threads: the fictitious and the ‘real’ one, which, in fact, is fiction as well.
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One of the most important Romanian memorial novels about the last years of the communist regime in Romania and the immigration of the Romanian musicians in western countries, the book of Gina Sebastian Alcalay, ”Rapsody in black and white with Leonard Bernstein” published in 2010 is a gift for Romanian culture. Eugen Alcalay, her sun, began playing piano at the age of two and composing at the age of eight. At fourteen he was winning a Romanian National Music Competition. In 1980 Eugen Alcalay’s compositions were brought to the attention of Leonard Bernstein, who requested a personal meeting and audition in Israel, and after that decided to supervise and sponsor his musical education. Under his sponsorship, Eugen Alcalay began studying piano and composition in Tel Aviv. After that he continued his musical studies in America. Eugen Alcalay was a professor of piano at Azusa Pacific University School of Music. He has graduated The Juilliard School, D.M.A., Piano Performance in 1998 with a Doctoral Document: Thematic Transformation/Continuous Variation in Brahms’ Late Piano Cycles, with Implications for Performance; The Juilliard School, M.M., Piano Performance in 1993; The Juilliard School, M.M., Composition in 1993; The Curtis Institute of Music, Diploma, Composition in 1990; Indiana University School of Music, B.M., Piano Performance in 1988; Indiana University School of Music, B.M., Composition in 1988. Eugen Alcalay had an important teaching experience at: Azusa Pacific University School of Music, Professor between 2015-2019 teaching Applied Studio Piano. Chamber Music. Instrumental Collaboration and Applied Composition. Keyboard Ensemble. Keyboard Literature; at Crescendo Summer Institute, Tokaj, Hungary, Piano Faculty between 2015, 2016 teaching Applied Studio Piano. Chamber Music Coaching; at University of Wisconsin Platteville, Professor between 2005-2015 teaching Applied Studio Piano. Chamber Music. Piano Literature. Piano Pedagogy and Piano Ensemble. Accompanying Class. Piano Techniques. Applied Composition; at Masterworks Festival, USA (Indiana, Ohio) Piano Faculty between 2002-2016 teaching Applied Studio Piano. Chamber Music Coaching; at China Three Gorges University, Yichang, Hubei, China in 2013 as a Visiting Professor of Piano Master Classes, Applied Studio Piano; at South Central University for Nationalities Wuhan, China between 2013, 2014 in a Short-term residency working with undergraduate piano students; at Universidad Nacional de Colombia Conservatorio de Musica, Bogota, in 2009; at Colombia Artist-in-Residence. Short-term residency working with graduate piano performance students; at Fundacion Universitaria Juan N. Corpas, Bogota, Colombia in 2004 as a Fulbright Senior Specialist. Short-term residency sponsored by the Fulbright Commission. Applied Studio Piano. Chamber Music and Composition. Master Classes; at Masterworks Festival Europe, London, UK Piano Faculty in 2004 teaching Piano Master Classes. Applied Studio Piano; at Universidad Nacional de Colombia Conservatorio de Musica, Bogota, in 2003; Colombia, Fulbright Scholar. 5-month position as Visiting Professor of Piano sponsored by the Fulbright Commission. Applied Studio Piano forgraduates and undergraduates. Chamber Music Coaching. Master Classes, Coordinated M.M. Piano Degree Program; at Sixth International Music Festival and School, Bogota, Colombia, in 2000, Piano Faculty, teaching Applied Studio Piano. Chamber Music Coaching; at Geneva College, Beaver Falls, PA, Assistant Professor of Piano between1999-2005, teaching Applied Studio Piano. Keyboard harmony, form and analysis and Composition. Accompanying. Theory. Chamber Music Coaching and Piano Literature. Piano Pedagogy; at The Juilliard School, Piano Teaching Fellow between 1997-1999.
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Faulkner’s “ A Rose for Emily” and O’Connor’s “Good Country People” have already been compared or read together quite a number of times, especially in terms of their portrayal of character and community, insanity and other psychological features of the female protagonists, the uses of irony in their “Southern Gothic” settings, symbols, morality and religion, or style as such. Our own paper looks at structural elements, organization, the role of space and setting, the heroines themselves and the two villains, other characters and the role of the two communities, vision and language use, and the grotesque tongue-in- cheek lessons offered by the two great authors. However, let it also be said that the comparative effort behind this paper is less important than the occasion it offers for a parallel interpretation of two excellent stories, whose theme places them at the very heart of literature.
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In this study, we aim to bring to readers the figure of a highly controversial writer: Albert Wass. The Hungarian writer is still banned from Romanian public discourse and still questioned by some in Hungary, as he is often considered solely a war criminal, and not a writer of fiction. Not many Romanian readers are aware that, on the one hand, Wass is a Sadoveanu of Hungarian literature in Transylvania, and he is, on the other hand, a man who lived a personal and a collective drama which, of course, influenced the narrative voice he adopted. We also approach the issue of judging the creation of writers by what they write and decide upon their value only based on aesthetic criteria, as extra-aesthetic issues should not interfere in this process. We are aware that we cannot find complete truth in the case of this disputed writer. Nevertheless, we investigate one of his most famous and popular novels, The Witch of Funtinel, to find out whether he indeed fits the profile of a xenophobic person who hated the Other (in this case Romanians). We also highlight some aspects regarding the touch of magical realism that can be spotted in this novel.
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Octavian Paler is a successful writer, his books enjoyed, and still enjoy, an enviable bookstore success. He is a popular author, and his memorable formulas have become intellectual folklore. The great success with the public is paradoxical, like the oxymoronic title, which has become an emblem, like the author himself a paradoxical being. Octavian Paler didn't give lessons, didn't launch appeals to anyone, lucidly assumed his vulnerability. But this encapsulated vulnerability becomes a formidable weapon. "The danger of civility" is more ferocious, as a revelation, than ever before, for a world in which lies are not less, but more cynical and diverse, a world in which we live our freedom badly.
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The present study aims at telling the story of Virgil Wounded Horse and his nephew, Nathan, as it is presented in David Heska Wanbli Weiden’s novel entitled ”Winter Counts” focusing on the spiritual dimension of the book. They are two Native Americans from Rosebud reservation. At the beginning Virgil is the avenger of the reservation and he seems to be heartless in his jobs, reckless, without a sense of belonging. But gradually we discover his weakness as well as his strength – family. Spirituality and nature are two main recurrent issues in the novel. Both Virgil and Nathan get spirit names. Nathan got his spiritual name for his bravery in front of death. Throughout his spiritual journey, Virgil finds his true love, he finds a son, a family, a community. In his quest, he also finds his spirituality and his ancestors. In his fight against the outside evil, he managed to overcome the evil inside him, the evil within, and let the spirits heal him and help him protect his community.
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The present study analyzes dreaming as the approach of the sacred in David Heska Wanbli Weiden’s novel entitled ”Winter Counts”. For the Native Americans, dreams represent a medium that connects people with the spiritual realm especially if there is an animal or bird communicating with the person. The novel lays emphasis upon the importance of dreams and dreaming for the Lakota people through the protagonist Virgil Wounded Horse who no longer believed in the values of his tribe due to the losses in his family: his father, mother and his sister, Sybil. He lives with his nephew, Nathan, Sybil’s son, a highschool teenager. Throughout the novel, both Virgil and Nathan are caught in the middle of two rival gangs who sell drugs on the reservation they live.
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The present study aims at analyzing the relationship between the Lakota Native Americans and the White people in David Heska Wanbli Weiden’s novel entitled “Winter Counts”, how things evolved, what changes may appear with time and the reasons for which there is so much tension and conflict between them. This work lays emphasis upon issues, such as: justice for the white people versus justice for the Natives, the differences between their institutions, their ways of doing things, their beliefs, cultures and history. The relationship between the Natives and the White people is complex tackling every aspect of their lives and connecting with other issues both groups face. There are a lot of things that could improve their relationship, but unfortunately there is little desire to try and fix things. Both sides just go on doing what they used to do, none of them stopping for a second to try to communicate and find a solution that would make everything better. There are issues, such as: substance abuse, crimes that go unpunished, starvation, poor education, poor health, lack of acceptance and lack of opportunities. With a little patience, the two groups could fix some of these issues, but instead, everything just gets worse and no one claims responsibility for the people’s suffering.
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The purpose of the present paper is to understand haiku poems not from the perspective of expected rules, but, instead, from the way these rules are broken. This phenomenon is visible in present day haiku, as a means of experiment, but also as a means of showing that we can be the product of several cultures, and that our perception can be influenced by our previous education and experience, while we can also acquire new ways of seeing life. The haiku poem is very adaptable to all ages and cultures, which is why it is so popular.
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In this article I sought to find the connection between the theoretical and fictional part of the work of one of the best known American professors of Romanian origin, Thomas Pavel, emphasizing the interpretation of parallel series of concepts in literary theory, comparative literature or classical French literature, all three being the fields of competence of the literary critic and theorist, who, immediately after his emigration to France and then Canada and the USA was forbidden to Romanian readers, but who managed to return to the forefront of the local literary phenomenon, especially through translations its. He is now quite well known to Romanian specialists and often returns to his country and to his Alma Mater University of Bucharest, in order to meet with students, masters and doctoral students of the Faculty of Letters and to present the various projects he develops as professor emeritus of the American university.
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The methodological and theoretical framework of imagology gives us the opportunity to understand the way in which the images of some or others are concretized in the form of literary tropes related to certain places/ topos or representative people of these places. Such cultural representations, called in imagology imagotypes (self-imagotypes/ heteroimagotypes) offer us the opportunity to know peoples/ regions/ countries from another perspective, much more varied and multidisciplinary. The image of the city of Cahul can be described as being particularly varied, combining historical, cultural, geographical and social elements. Therefore, Cahul is perceived as a city with a rich history, a strong traditional culture and hospitable people. The city is known for its picturesque countryside with green hills and fertile soils. Also, the Prut River, which passes by the city, is an important element of the image of Cahul, providing a vital source of life and being seen as a symbol of unity and fraternity between the Republic of Moldova and Romania. On the other hand, the history of the city and its cultural heritage are highlighted through the old monuments and buildings, through folk dances and songs, which play an important role in the cultural identity of the city. In general, the image of the city of Cahul is a positive one, being associated with picturesque nature, rich history and culture, but also with welcoming and open to everything new people. The corpus of imagotype texts proposed for analysis (George Coșbuc, Dimitrie Bolintineanu, Teodor Nencev, Leonid Nuzbroh and others), highlight a set of imagotypes that will directly complement the Romanian cultural heritage in general.
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The focus of this paper is to outline the main themes of the contemporary christian poet Răzvan Codrescu. The author enumerates some recurring motifs such as love, sin, the spiritual struggle, the earthly temptation, the longing for eternal salvation, all these being developed from the perspective of the praying human being, beyond his lyrical hypostases.
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It would be impossible to analyse and even to read the novels of Réjean Ducharme without taking into consideration the extremely rich context they provide. When we speak about context, we understand the entire system of social changes, of political events, of sociological and linguistic transformations that happened during the creation of ducharmean novels. Canadian society offered plenty of such changes during the last decades and this is precisely what gives the flavour, the power and the astonishing originality to the making of Canadian literature and to that of Ducharme in particular. What singularizes his creation, so original among the other francophone literary productions in Canada, so singular also among the other Québec literary writings, is the partial abolition of linguistic and poetic rules within its fictional reality.
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The two writers are very much alike, in their biographies and in the way they see the literary work, as a mean to escape, as a virtual place of truthfulness, of authentic values in the middle of a world of painful perfidious realities. They offer their characters an embelished fictional life, rich in hopeful dreams, directed by an unleashed imagination, sometimes close to pathological extremes. They choose to give a name to their characters permanent search for happiness; it is the generic theme which will finally reveal the subliminal part of the text: the call for innocence.
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Adaptation refers to the process of transforming a literary work from one medium to another, such as from a book to a film or a play. Appropriation, on the other hand, involves taking elements or themes from one work and incorporating them into another, often with a different purpose or perspective. In the case of "The Posthumous Papers of the Pickwick Club," there have been various adaptations and appropriations over the years, showcasing the enduring popularity and cultural significance of Dickens' work. Through the adaptation of literary forms and the appropriation of characters and social issues, Dickens crafts a unique narrative that satirizes and comments on the society of his time while entertaining readers with its humour and wit.
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