”Scriitorul ar vrea să fie auzit...”
Interview offered by Simona Grazia Dima to Kocsis Francisko.
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Interview offered by Simona Grazia Dima to Kocsis Francisko.
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This article uses quantitative methods to show the evolution of the translation of French novels in communist Romania. The author argues that the period between 1949 and 1989 can be separated in three different periods, according to a distant reading of the translated novels: 1949–1964, the period of socialist realism, which mainly features novels from the 19thcentury; 1964–1975, a “synecdoche translation,” in which French renditions recreate the exhaustive image of the French novel between 1830 and the 1960s and 1970s; 1975–1989, a period when the French novel in translation shifts from the modernist and existentialist core to genre fiction and award-winning French novels. The article uses Andrei Terian’s concepts of “compensation” and “cultural dumping” in order to better explain how interferences between cultures often create visible chronological delays or fast-forward synecdoche translations.
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The present article highlights the interpretation of Panait Istrati’s (1884–1935) literary work from a double perspective: its identity and its universality. Pointing out the fact that the writer’s life and work represent a special case, where the hazard intervened decisively, the following aspects defining Panait Istrati’s work and destiny shall be presented and discussed in connection with the concepts of identity and universality: Panait Istrati’s literary status (considered to be a French writer, but only a Romanian storyteller), the opportunity he had of making his literary debut in a language and a culture of great circulation, the Romanian themes and motifs, his style and, last but not least, the cultural impact which brings him back into actuality and proves him as a visionary writer, whose great achievements are better known in the European cultural space than in his native country.
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An analysis of the reception models of writer Marin Preda (1922-1980) and his literary work, right after the December 1989 Revolution, provides a model of perceiving all changes triggered by turmoil—in this case, the revolution—and their subsequent impact on literature in particular and culture in general. His writings have endured due to some kind of internal barometer that has stood the test of time and survived the ongoing evolutions subject to inherently emerging controversies that contributed, paradoxically, to a revival of the meanings of his work of art.
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and computerization, and the new possibilities brought about by information technology in order to achieve the academic project entitled “Preservation and Capitalization of Romanian Literary Patrimony by Means of Intelligent Digital Solutions for Data Mining and Systematization” (INTELLIT). According to the new theoretical and methodological perspectives opened up by digital humanities, the main rules that the digitization project of the General Dictionary of Romanian Literatureshould closely observe are those governing the information networks: decentering; modularisation; permanent connection; transdisciplinarity; participation and interaction.
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This section of Vatra issue contains a series of articles dedicated to Romanian contemporary literature.
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This section is dedicated to a Romanian contemporary poet, belonging to the Echinox literary movement, Viorel Mureșan.
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Lo studio dal titolo L’aspetto “utopico” della letteratura antiturca in Italia e in Polonia alla metà del XVI secolo occupa un posto del tutto a sé nella produzione scientifica di Angiolo Danti.
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Nato a Verona nel 1942, dopo la maturità classica Pietro Marchesani studia all’Università Cattolica di Milano, laureandosi nel 1965 con Raffaele De Cesare con una tesi sul Teatro di Albert Camus e l’esistenzialismo francese.
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Intervista inedita a Pietro Marchesani di Anna Małyszkiewicz (Genova, 8 giugno 2011) / Unpublished interview with Pietro Marchesani by Anna Małyszkiewicz (Genoa, June 8, 2011).
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L’essere umano esiste in notevole misura attraverso il linguaggio. Il personaggio pubblico esiste attraverso il proprio linguaggio pubblico. Lech Wałęsa è una persona pubblica. I suoi discorsi vengono sottoposti ad analisi e interpretazioni, vengono deformati ed estrapolati dal contesto, vengono citati e utilizzati come parole d’ordine. I discorsi di una persona pubblica diventano da questa indipendenti e formano la sua immagine. Non si può dire neppure se si tratta di un’immagine vera o falsa. È con l’immagine e non con la persona che noi abbiamo a che fare.
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The article presents the fall of ancient Greek cities - Mycenae and Tiryns. The author describes various causes of fall indicated by archaeologists and historians, such as: the Dorian invasion, internal conflict, fires, drought and invasion of pirates. The agony of the Mycenaean world lasted for many years. Most likely, we will never get a reliable answer to the question: why the Mycenaean civilization collapsed suddenly and finally.
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Potrebbe sembrare che negli ultimi anni l'attenzione degli studi verso i linguaggi totalitari sia decisamente scemata, o perfino svanita. Ma non è così.
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In questo distico, l'autore de La mente prigioniera' aveva assegnato, non per la prima volta nella sua opera, ìl ruolo di strumento di potere del Terzo Romano Impero e di altri Stati ad esso assimilabili al linguaggio che il filosofo ideologo italiano G. Gentile aveva definito nel 1924 con il termine ''totalitario''.
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A partire più o meno dalla metà del secolo scorso la traduzione (l'attività del tradurre e il suo prodotto) è divenuta oggetto di un'attenzione crescente da parte di specialisti di diverse discipline.
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Potrei dire che la mia Polonia inizia con il suono fatato della parola Est, ma dovrei correggermi subito dicendo: la mia Polonia comincia a ovest della "mia" Russia, quella terra di uomini e libri imparata ad amare a tredici anni.
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The focus of the article – two generations of the Belarusian experimental drama. First generation – those authors, who came into literature in the late 1980-s – early 1990-s and were named «тутэйшыя». This name was borrowed from the name of the literary association Тутэйшыя, which emerged in this period on the wave of growth of the national-cultural movement, attention to the Belarusian language and culture. The playwrights, who represented of this generation, – Sergey Kovalew, Peter Vasyuchenko, Galina Bogdanova, Nikolay Aranowski, Igor Sidoruk. Their plays are well known to the reader and viewer, staged in various theaters, attracted the attention of scientists. If the midddle 1990-s – early 2000-s a new generation of authors is coming to the Belarusian drama. Many of these authors represented the movement Бум-Бам-Лiт, actively established themselves in poetry (Victor Zhybul, Jeti, Olga Gapeeva, Valzhina Mort, Zmiter Wishnow, Anna Tihonova), prose (Zmiter Wishnow, Adam Shostak), but their dramaturgical practice have remained on the periphery of the modern literary process: only some of plays were put on amateur stage, the book, named Нетутэйшыя, was never published. It’s name is using in our article as the title of young generation of Belarusian playwrights.
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Khristina Krotkova is recognised as a representative of the First Wave of Russian Emigration, she was also a member of literary association “Skit”. Krotkova’s Italian Sonnets form crown of sonnets consisting of 14 poems. Only the title of the cycle concerns the Italian theme, as the crown is formally composed of English sonnets. Italian culture, architecture monuments, masterpieces of literature and painting as well as Italian nature inspired Krotkova and became the pretext to existential and epistemological deliberations.
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