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The most representative moments from the life and work of the Romanian playwright and novelist Ion Luca Caragiale are reflected in the communication. Also, the most important works of the writer from the collection of the USARB Scientific Library are used.
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In the essay, Polish intelligents were treated as network nodes that as signs in the social system appeared walking, standing and sitting. This symbolic view of their role indicates their importance in giving meaning to Polish national space.
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In Russia Adam Mickiewicz quickly earned respect and a prominent position in the democratic literary society. Konrad Wallenrod, translated in prose by Stefan Shevyriev and published in 1828 a few months after the Polish edition immediately became very popular and by 1834 its fragments had been translated twenty times. The reception of the poem is paradoxical; in a description of the withdrawal of freezing Teutonic Knights defeated by Lithuanians the Russians saw Napoleon’s flight from Moscow. Thus, surprisingly, a picture of the same event captured in a poem about a fight for freedom has a different meaning to two nations. Therefore Konrad Wallenrod confirms Stefanowska’s thesis of “poetry dominating over truth”.
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The title character in Aleksander Fredro’s comedy Pan Jowialski [Mr Jovial] has been a bone of contention for scholars interpreting the work ever since its world premiere in Lwów in 1832. The paper briefly outlines the main threads in these disputes and proposes a new interpretive perspective. An analysis of Act IV, Scene 1 reveals that the allegorical picture sketched by Wiktor the painter is based on entries from Rev. Alojzy Osiński’s "Słownik mitologiczny" ["Dictionary of Mythology"] (Warszawa 1806–1812). Fredro had this book in his reference library. Transformations and modifications of dictionary expressions enable Fredro to create his own allegorical composition engaging all of the stage characters. Jowialski himself becomes this world’s central figure: “Jove”. This scene, usually shrugged off as a “stage gag”, might thus be recognised as the playwright’s instructions explaining the scheme of the whole comedy.
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The title’s “no biography” points directly to the aim of the paper, namely an interpretation of Jarosław Iwaszkiewicz’s Tatarak [Calamus] that suspends the biographical context. This particular work in the writer’s oeuvre seems to require such a construal. When read – most often – as a text that is autobiographical or contains evident references to the writer’s biography, it loses its uniqueness. It thus becomes little more than an excuse for increasingly bold comparisons between the feelings of the protagonist, Marta, and the passion felt by Iwaszkiewicz himself from his infatuation with a much younger man. Meanwhile, the artistic magnitude of this short story by no means lies in any biographical context, but in the system of meanings it creates and utilises. Starting from the composition (including a story-within-a-story structure), through the portrayal of the characters, all the way to the significance of the title’s sweet-flag plant.
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The text “Body of Grochowiak. Turpism or resurrection” is an analysis of Stanislaw Grochowiak’s poetic aesthetics, through the prism of how he describes the human body. The author questions the thesis, well-established in literary research, that Grochowiak was a turpist poet, focused on death, ugliness and pain. However, it shows how important the context in which the poet was creating is. Showing humanity through images devoid of Arcadian beauty is a fuller perspective, thanks to which poetry becomes more human, helps to disenchant the cruel reality by giving new meanings to suffering. It can not only become a companion of everyday life, but also help to find a language to tell about the post-war reality, often filled with pain and lack of hope.
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Apărut în ajunul celui de-al doilea război mondial, romanul scriitorului și jurnalistului maghiar Mârai Sândor este un produs tipic central-european, un fel de manual de inițiere în istoria mentalităților Europei mediane, o carte care se potrivește aproape perfect într-o grilă de lectură pe care cititorul o poate folosi cu același succes ca în cazul romanelor lui Joseph Roth, de pildă. Aceasta, însă, nu o face mai puțin ofertantă sau imprevizibilă.
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Formula „geometrie variabilă” reprezintă unul dintre locurile comune cu care este desemnată Europa Centrală. Sintagmă generoasă, ea poate să migreze și către alte zone ale discursului ; un exemplu în care transmutarea se poate face cu succes ni-I oferă proza modernă.
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Walahfrid Strabo was a celebrated poet and theologian of the 9th century. He lived and studied mainly in Reichenau, a monastery in modern Germany, where he was monk and at some point abbot. His education covered the Scripture, the writings of the Holy Fathers, as well as Latin, Greek, geography, poetry and the liberal arts. Walahfrid’s many works, written in Latin, consist of theological treatises in prose and many poems on different subjects. Among them is a poem on gardening and the medicinal uses of the plants titled „De cultura hortorum” – „On the cultivation of gardens”. The poem has many scientific and poetical sources: Pliny the Elder, Collumela, Dioscorides, Celsus, Serenus Sammonicus, Pliny Valerianus, Apuleus Platonicus, Isidore of Seville, Virgil, Horace, Lucretius Carus. Strabo used his sources creatively, with a view to do more than just another compilation. He used the words and phrases he found as building blocks in order to come up with a new, contemporary concept for both aesthetics and utility. He is believed to have served as a monastery gardener himself, so likely fused his ideas and practical experience with the received literary tradition of his time. He thus created a unique snapshot of a real life cloister garden – his own garden – both authentic and ideal.
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Opera lui Franz Kafka a exercitat asupra exegezei marxiste o atracție aproape hipnotică. Fapt straniu, dacă e să lăsăm deoparte psihanaliza literară sau hermeneutica de redacție mistică, niciunde altundeva interesul pentru acest scriitor nu s-a manifestat atât de intens ca în tabăra criticilor marxiști. Mai mult încă decât opera, biografia scriitorului - sau mai precis comerțul intens pe care aceasta s-a presupus că l-ar întreține cu textele propriu-zise - a devenit un argument teribil, în spatele căruia marxismul literar, dar și alte formule critice abuzive au putut să debordeze.
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Investigations by: Anavi Adam, Pia Brînzeu, Ioan Buduca, Corina Ciocârlie, Livius Ciocârlie, Andrei Corbea, Șerban Foarță, Mandies György, Ilie Gyurcsik, Viorel Marineasa, Adrian Marino, Mircea Muthu, Virgil Nemoianu, Alexandru Paleologu, Vasile Popovici, Ion Simuț, Monica Spiridon, Vladimir Tismăneanu, Daniel Vighi.
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Această selecție a fost realizată încercând de a schița o idee sau mai degrabă, de a surprinde un spirit, spiritul Europei Centrale. Am apelat astfel la textele marilor autori. Ei au desigur primul cuvânt. Fragmentele sunt alese deopotrivă din opere de ficțiune, memorialistice, eseistice sau programatice; Kakania romanescă a lui Musil, manifestul politic/cultural al lui Milan Kundera, memoriile înflăcărate ale lui Stefan Zweig. Un tablou compozit, susceptibil de a fi eclectic : opinii diverse, lansate în momente diferite, de pe poziții la fel de diferite. Premisa noastră este însă căfiecare dintre ei invocă de două ori Europa Centrală. O dată, ni se vorbește despre ea, ca obiect al reflecției sau al evocării literare, a doua oară, în spiritul ei, ca exponent al unei matrici culturale vagi, dar care poate conferi unitate acestei diversități.
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Am fixat ca temă centrală a discuției de față războiul ca eveniment - moment conflictual - al istoriei, mai exact primul război mondial și ecourile sale în două romane generate de spațiul marginal al fostului Imperiu : Transilvania în cazul primului, Pădurea spânzuraților, și Banatul pentru cel de-al doilea, Femeie, iată fiul tău.
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În peisajul geopolitic și cultural al Europei Centrale de început de secol XX, evenimentele primului război mondial coincid cu momentul destrămării unei ordini seculare, Monarhia austro- -ungară, într-un proces a cărui ireversibilitate constituie unul din punctele lucrării de față, proces care se definește prin criza unei identități perimate și, drept urmare, prin căutarea alteia, atât la nivel individual, cât și general (statal). Ultima zi de război dobândește astfel o durată mult prelungită, și în același timp relativă. Unul dintre momentele semnificative ale acestei durate le instituie lipsa de vlagă a unui război prea lung, ilustrată de A. Kusniewicz, care, născut în 1904, e marcat puternic de experiența războiului, așa cum el însuși o mărturisește într-un articol publicat în revista „Secolul 20” : „Am scris Lecția de limbă moartă în decurs de 3 luni, dar ideea se născuse mai demult. Doream să închei într-un fel epoca primului război mondial care mi se întipărise prea adânc în memorie... să închei cu această perioadă atât de puternic fixată în mine”. Apoi, un moment de impas târziu, ilustrat de T. Déry, care, la rândul lui, trăiește din plin evenimentul războiului, chiar dacă nu este recrutat decât spre sfârșit, în 1918. Din toate aceste experiențe se naște ficțiunea, înscrisă în „Marele Text al Istoriei”, și mai precis dintr-o dorință de ordonare a haosului întâmplărilor reale prin filtrul literaturii, așa cum arată și Nemoianu în cartea sa, O teorie a secundarului : „...literatura influențează realitatea creând forme, tropi, imagini, care pot înlocui în mod satisfăcător dezordinea sălbatică a percepțiilor profund discontinue care ne asaltează”.
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Like the myths, the tales challenge our spirit and a worldview historically based on materialism, on the philosophy of the excluded third, on linear temporality and on submission to the laws of causality. The fairy tales, and this Romanian one in particular - Youth Without Age and Life Without Death -, offer us a way out of our customary reductionism, allowing a holistic and metaphysical approach in the broadest sense. What makes the originality, if not the uniqueness, of this tale is that we are dealing with a triple threshold, or rather with three thresholds.
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The State Constitution, the Universal Declaration of Human Rights, and the International Covenant on Civil and Political Rights afford every person the right to hold their own convictions and express them freely. Moreover, these beliefs do not necessarily have to be politically correct. In fact, this freedom does not extend to criminal actions provided for in the aforementioned documents: “incitement of national, racial, religious, or social hatred, violence and discrimination, with slander and disinformation” (Constitution of the RL, Article 25). The differences and emphases of these aspects are very clear: the primary norm of the law is to ensure freedom of belief and its expression, whereas criminal actions are related to secondary and derivative exceptions and limitations of these norms. The practical incompatibility of these aspects and their misunderstanding have recently posed a threat of turning into censorship of conviction expression, at least in Lithuania, as any pejorative or more emotionally coloured expression inconsistent with official ideological doctrines has been marked without a second thought as hate speech prohibited by the Constitution (hate speech, язык вражды). However, seeking to forestall censorship of thoughts and convictions, it is necessary to clearly draw the line between hate speech and constitutional freedom of expression, even if the convictions one holds are generally not accepted, politically incorrect, impolite, or coming from the margins of society. Two paths can be applied to establish this division: judicial (primary) and pragmatic (expert). Hate speech is not identified by emotional criteria (it is impossible to ban one of the main human emotions). It has to be incorporated into the list of legally prohibited actions, and this inclusion is substantiated with the use of pragmatic linguistic tools because of the linguistic nature of the very activity. Due to this, everything linked to the exceptions (not the norms) to the aforesaid laws can be easily divided into three types: a) “must be restricted” hate speech, b) “may be restricted” hate speech, c) “must be protected” hate speech as a means of ensuring freedom of the individual’s convictions and thoughts.
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