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Serban Foarta
Traducerea textelor străine (nu mai puţin aceea,-n vers şi rimă, a basmului lui Charles Perrault) îi aparţine autorului antologiei, Şerban Foarţă • Excepţie fac, în ordinea intrării în scenă, fragmentele din Sei Şōnagon, Însemnări de căpătâi, trad. Stanca Cionca; Rudolf Kassner, Vrăjitorul, trad. Mihnea Moroianu; E.T.A. Hoffmann, Părerile despre viaţă ale motanului Murr, trad. Valeria Sadoveanu; Eric-Emmanuel Schmitt, Viaţa mea cu Mozart, trad. Lidia Bodea; Michelangelo Buonarroti, Sonetul V, trad. Eta Boeriu; Alan Brownjohn, Poem cu pisică rea, trad. Denisa Comănescu • La tălmăcirea poeziilor maghiarofone (şi anume, Pisicuţa-Piticuţa de Móricz Zsigmond, respectiv O cheamă Pis-Pis de Eszteró István) şi-a dat concursul Ildikó Gábos-Foarţă • Întreaga noastră gratitudine, în fine, tuturor celor care ne-au acordat copyrighturile de rigoare. Coperta: ANGELA ROTARU Ilustraţia copertei: ANDREI GAMARŢ ISBN 978-973-50-5054-2 Descrierea CIP este disponibilă la Biblioteca Naţională a României. Dario Bellezza, Miosotis, Sfortunata, La gattità din volumul Io, Arnoldo Mondadori Editore, 1983 © Heirs of Dario Bellezza Jorge Luis Borges, Beppo, A un Gato © Maria Kodama, 1995, used by permission of The Wylie Agency (UK) Limited Alan Brownjohn, A bad cat poem © Alan Brownjohn Maurice Carême, Le chat et le soleil din volumul L’arlequin; Il a neigé din volumul La lanterne magique; Si seul din volumul A cloche-pied © Fondation Maurice Carême, toate drepturile rezervate Robert Desnos, Le chat qui ne ressemblait à rien din volumul Destinée arbitraire © Editions Gallimard, Paris, 1975 Colette, Le petit chat noir © Anne de Jouvenel Eleanor Farjeon, Cats © The Estate of Eleanor Farjeon Eugène Ionesco, Rhinocéros (fragmente), din volumul Théâtre III © Editions Gallimard, Paris, 1963 Rudolf Kassner, Der Zauberer (fragment) din volumul Der Gott und die Chimäre. -
Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
Ion Luca Caragiale
ION LUCA CARAGIALE ▪ 1852-1912 ▪ Romanian playwright, short story writer, poet, theater manager, political commentator and journalist ▪ leaving behind an important cultural legacy, he is considered one of the greatest playwrights in Romanian language and literature, as well as one of its most important writers and a leading representative of local humor ▪ works: • Conul Leonida (1879; “Mr. Leonida”) • O noapte furtunoasă (1880; “A Stormy Night”) • O scrisoare pierdută (1884; “A Lost Letter”) • Năpasta (1890; “The False Accusation”) • O făclie de Paște (1889; “An Easter Torch”) • Păcat (1892; “The Sin”) • Kir Ianulea (1909) • Momente and Schițe MIRCEA ELIADE ▪ 1907-1986 ▪ Romanian historian of religion, fiction writer, philosopher, and professor at the University of Chicago ▪ leading interpreter of religious experience, who established paradigms in religious studies that persist to this day ▪ his theory that hierophanies form the basis of religion, splitting the human experience of reality into sacred and profane space and time, has proved influential ▪ works: • Maitreyi ("La Nuit Bengali" or "Bengal Nights"), • Noaptea de Sânziene ("The Forbidden Forest"), • Isabel și apele diavolului ("Isabel and the Devil's Waters") • Romanul Adolescentului Miop ("Novel of the Nearsighted Adolescent"), • Domnișoara Christina ("Miss Christina") • Tinerețe fără tinerețe ("Youth Without Youth) • Secretul doctorului Honigberger ("The Secret of Dr. Honigberger") • La Țigănci ("With the Gypsy Girls"). MIRCEA ELIADE ▪ 1850-1889 ▪ Romantic poet, novelist, and -
Textual Transpositions and Identity Games in I.L. Caragiale's Late
Textual Transpositions and Identity Games in I.L. Caragiale’s Late Writings ∗ Doris MIRONESCU Key-words: cultural identity , irony , ambivalence , Balkan literature , textual transposition The first critical edition of I.L. Caragiale’s Works , initiated by Paul Zarifopol in 1930 at “Cultura Na ţional ă” Publishing House, opens with the famous photo of the author taken in Berlin, in which Caragiale sits cross-legged, oriental-style, on a similarly themed rug, dressed in Balkanic garb, wearing a fez and white long socks, posing evidently for the camera with his chin resting on his closed hand and his eyes gazing intently to the right. But, even in these carefully asorted Levantine surroundings, one cannot fail to notice that behind the posing artist there is a heavily stacked library, filled with thick manuscripts that seem to overflow. The image is, therefore, twice symbolic: on the one hand, because in it Caragiale seems to claim to be returning to the “ethnic roots” that he often reclaimed polemically, orally and in writing, precisely to contradict the partisans of a ridiculous and violent Romanian nationalism; on the other hand, because this return takes place in the foreground of a library, or better yet of literature 1. Caragiale’s entire work is characterized by a frequent use of intertextual procedures, but these appear to become even more often in his last period of creation, in Berlin (1905–1912). The critics have long remarked that “Caragiale drew a character face for himself” (Tomu ş 1977: 340) but he exploited it especially now, in the later years at Berlin, to present himself under the largely known name “nenea Iancu” ( Ţal!.. -
Intercultural Fantasies of Female Cruelty: Reflections on Gender and Power
DOSAR SPECIAL: EGALITATE, LIBERTATE, FEMINITATE INTERCULTURAL FANTASIES OF FEMALE CRUELTY: REFLECTIONS ON GENDER AND POWER Marina CAP-BUN Ovidius University of Constanţa, Romania Prezentul articol reprezintă o analiză exhaustivă a aspectelor interculturale bazată pe imaginea femeii în literatură, şi anume unele reflecţii asupra puterii feminine. Autoarea confruntă un număr impunător de opere pentru a scoate în evidenţă trăsăturile puterii şi luptei lăuntrice a Femeii. By the beginning of the twentieth century Ion Luca Caragiale (1852-1912) was already a well-established artist, aware of the fact that he had reached his artistic ma- turity. His plays were translated in many languages and successfully played in France, Germany, Italy, Hungary, and Russia, and his tragedy Năpasta (The Scourge) was even plagiarized by the French dramatist André de Lorde, provoking a huge scandal in both Romanian and French literary magazines. Caragiale refused to sue his French plagia- rist who, in fact, was making him more famous in Paris, as he acknowledged that his play was already entering the gallery of inciting universal themes, and it was by now provoking responses.1 In Romania, the controversies around his theatre were some- how diminished (although they never ceased to exist up to the present day), his texts were regularly reedited, his plays often staged, and the young scholar Horia Petra-Pre- descu was already conducting serious research about his life and career while writing a monographic doctoral thesis on the subject, which was to be published in 1911.2 So, in spite of his active enemies, he was generally recognized as a classic of Romanian literature. -
Communication Interculturelle Et Littérature
Centrul de Cercetare Comunicare Interculturală şi Literatură, Facultatea de Litere, Universitatea “Dunărea de Jos”, Galaţi COMMUNICATION INTERCULTURELLE ET LITTÉRATURE NR. 1 (28) / 2019 Volum I Coordonatori: Simona Antofi, Nicoleta Ifrim, Oana Cenac Daniel Gălățanu, Elena Botezatu, Iuliana Barna Casa Cărţii de Ştiinţă Cluj-Napoca 2019 Editor : Centrul de Cercetare Comunicare Interculturală şi Literatură, Facultatea de Litere, Universitatea „Dunărea de Jos”, Galaţi Director: Prof. univ. dr. Doiniţa Milea e-mail: [email protected] Redactor-şef: Prof. univ. dr. Simona Antofi e-mail: [email protected] Secretar de redacţie: Prof. univ. dr. Nicoleta Ifrim e-mail: [email protected] Redactori : Prof. univ. dr. Nicoleta Ifrim, Conf. univ. dr. Oana Cenac e-mail: [email protected],, [email protected] Rezumat în limba engleză / franceză : Prof. univ. dr. Nicoleta Ifrim, Conf. univ. dr. Oana Cenac, Prof. univ. dr. Simona Antofi, Prof. univ. dr. Daniel Gălățanu Administrare site şi redactor web : Prof. univ. dr. Nicoleta Ifrim Corectură: Prof.univ. dr. Nicoleta Ifrim, Conf. univ. dr. Oana Cenac, Prof. Marian Antofi Difuzare: Prof. univ. dr. Nicoleta Ifrim Consiliul consultativ: Academician Eugen Simion, Prof. univ. dr. Silviu Angelescu, Prof. univ. dr. Mircea A. Diaconu Adresa redacţiei: Centrul de Cercetare Comunicare Interculturală şi Literatură, Facultatea de Litere, Universitatea Dunărea de Jos”, Str. Domnească, nr. 111, Galaţi Cod poştal: 800008 Telefon: +40-236-460476 Fax: +40-236-460476 ISSN : 1844-6965 Communication Interculturelle et Littérature Cod CNCSIS 489 / 2008 Abonamentele se fac la sediul redacţiei, Str. Domnească, nr. 111, Galaţi, cod 800008, prin mandat poştal pe numele Simona Antofi. Preţurile la abonamente sunt: 3 luni – 30 lei; 6 luni - 60 lei ; 12 luni – 120 lei. -
Curriculum Vitae
CURRICULUM VITAE VICTOR V. PAMBUCCIAN |ADDRESS, E-MAIL, TELEPHONE | Work: School of Mathematical and Natural Sciences Arizona State University - West campus, P O Box 37100 Phoenix, AZ 85069-7100 | e-mail: [email protected] Tel.: (602)-543-3021 |EMPLOYMENT | Professor of Mathematics, ASU West, Fall 2007 - | Associate Professor of Mathematics, ASU West, Fall 1999 - Spring 2007 | Assistant Professor of Mathematics, ASU West, Spring 1994 - Spring 1999 | Teaching Assistant at the University of Michigan (9/89-5/93), and Lecturer in Mathematics (9/93-12/93) | French and Mathematics teacher at the \National Sports Academy in Lake Placid", Lake Placid, NY (9/88-6/89) |EDUCATION |University of Michigan (9/89 - 8/93) Ph. D. in Mathematics (August 1993) Major Area: Logic, Foundations of Geometry Dissertation Title: The Axiomatics of Euclidean Geometry Thesis Adviser: Prof. Andreas Blass | University of Bucharest, Faculty of Mathematics (1978-1982) Master of Sciences in Mathematics, June 1982 M.S. Thesis Title: The problem of the axiomatic foundation of Euclidean geometry (120pp.) Thesis Adviser: Prof. Kostake Teleman | \Deutsches Lyzeum", Bucharest, Rumania (1974-1978) Baccalaureat (\Abitur") diploma, September 1978 |ACADEMIC AWARDS and SCHOLARSHIPS | 1st; 2nd prizes of the \Gazeta Matematica" (Bucharest, 1975; 1976) | 3rd; 1st; 2nd; 1st; 2nd prizes at the \Bundeswettbewerb Mathematik" (West German Mathematical Competition) (Bonn, 1976; 1977; 1977; 1978; 1978) | Two prizes at the \Prindle, Weber & Schmidt Undergraduate Math. Competition" II -
Ion Creangă Clasic Al Artei Naive
Apare sub egida UniuniiExpres Scriitorilor din România cultural Anul III, nr. 6 (30), iunie 2019 • Apare lunar 24 pagini Aproape de aproape Aproape de aproape în rădăcina asta ceva se străduie să redevină iar noi rămâne să ne întrebăm dacă să trecem cu Homo vederea blândețea lui nimicitoare academicus urmează o rostogolire și poate o zguduită claritate sub vremi care falsifică și uită atunci cu greu mai recunoaștem grația electrică a vechilor bărbați pe care îi văzusem mai demult cum își cărau cămășile coclite pag. 4 prin mlaștina care îi dogorea și se plantau cu brațele în cruce cu un condor pe fiecare umăr Alexandru ZUB bărbații care vroiau să moară și își zdrobeau și oa- sele ca mama mamei lor și ies în ploaie să-mi dezleg frânghia de care sunt legat Gellu Naum Liviu Ioan STOICIU Al. CISTELECAN Nu e de ajuns talentul, trebuie să aibă și... Radu FLORESCU, Dan Bogdan HANU pag. 3 O fată fericită (Raymond Han) Constantin COROIU POESIS pag. 7 pag. 12,13 G. Călinescu și „fapta văzută din viitor” Christian W. SCHENK pag. 5 Florin FAIFER Rainer Maria Rilke - poezie universală pag. 15 Îndrăgostiți într-o lume de minunății Adrian Dinu RACHIERU pag. 5 Constantin DRAM Un histrion mediatic. Adrian Păunescu (I) pag. 18 Catharsis! Theodor CODREANU pag. 6 Gellu DORIAN Numere în labirint (IV) pag. 21 De ce n-au devenit Ipoteștii și Botoșanii... Victor DURNEA pag. 7 Al. CISTELECAN Radu Rosetti pag. 23 O poetă „miss România” (sau invers) Constantin PRICOP pag. 9 Magda URSACHE Direcția critică (XXIV) Proletcult după proletcult - .. -
Gellu Naum in Heterotopia
НАУЧНИ ТРУДОВЕ НА РУСЕНСКИЯ УНИВЕРСИТЕТ - 2009, том 48, серия 6.3 Gellu Naum in Heterotopia Brînduşa Dragomir Abstract: The paper relates the concept of heterotopia, created by Michel Foucault, with Avant-garde, surrealist poetry, and with Gellu Naum’s poetry in particular. Michel Foucault’s concept provides a means of approaching the avant-garde literature from outside the literary ground, rejected by the Avant-garde writers. Transfered to literature, this concept makes it possible for the Avant-garde to preserve its particular characteristics, opening new, interesting perspectives for the analysis of these obscure texts. Key words: heterotopia, Avant-garde, Surrealism. In an article published in 1984, reproducing the text of a conference in 1967, Of Other Spaces, which was translated in Romanian by Bogdan Ghiu, Michael Foucault – phylosopher, literary analist, historian and sociologist, formulates and proposes the concept of heterotopia. Discussing the obsessions that mark the collective mentality, Michael Foucault affirms that the epoch we live in is an “epoch of space”, just as the nineteenth century belonged to history. “We are in the epoch of simultaneity: we are in the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed. We are at a moment. I believe, when our experience of the world is less that of a long life developing through time than that of a network that connects points and intersects with its own skein.” The author underlines the fact that the concept of space does not represent an innovation, but it has a history of its own, and he gives as an example the case of the Middle Ages – period in which space was regarded as “a hierarchic ensemble of places: sacred places and profane plates: protected places and open, exposed places: urban places and rural places (all these concern the real life of men). -
Dialectica Imaginarului În Opera Lui Gellu Naum
Dialectica imaginarului în opera lui Gellu Naum Titlul eseului nostru critic, Dialectica imaginarului în opera lui Gellu Naum, sintetizează, întro formulă tehnică, intenţia de a investiga textul poetic al unui mare scriitor român suprarealist din perspectiva deschiderilor semantice proprii conceptului de ,,imaginar”. De aceea, incursiunea în opera poetului a presupus, mai întâi, actualizarea reflexelor dominante ale acestui termen, marcate de cercetătorul Jean Burgos, conjugate cu cele ale lui Gilbert Durand şi ale lui Gaston Bachelard. Acceptarea imaginarului nu ca o structură de imagini, ci ca o structurare, o devenire a acestora, niciodată finită şi definită, reactualizată prin actul lecturii, al receptării operei, nea creat spaţiul unei ample cuprinderi a operei lui Gellu Naum, în sensul configurării specificităţii acesteia. Raportarea imaginarului la estetica suprarealismului, curent literar de avangardă din secolul trecut, ale cărui ecouri surprind şi astăzi, a relevat ideea că, în ansamblul său, acest concept suportă abordarea ca un posibil reflex al doctrinei suprarealiste, prin caracterul său deschis, discontinuu, supus intuiţiei şi viziunii creatorului său. Având în vedere aceste delimitări, am învestit structura ,,dialectica imaginarului” cu valenţele unei metode hermeneutice, opţiune ce nea orientat structurarea demersului nostru analitic în cinci părţi, structurare impusă şi de vastitatea şi plurisemantismul operei lui Gellu Naum. Prima secvenţă a lucrării, Profilul biobibliografic adnotat (cu opinii ale autorului şi ale -
EURESIS 1-200 C1 12/2/10 8:36 AM Page 1
EURESIS 1-200 c1 12/2/10 8:36 AM Page 1 Le postmodernisme roumain, alors et maintenant Romanian Postmodernism, then and now EURESIS 1-200 c1 12/2/10 4:45 PM Page 2 Sur la couverture: Dessin de Vasile Kazar Illustrated by: Vasile Kazar EURESIS 1-200 c1 12/2/10 8:36 AM Page 3 EURESIS no. 1–4/2009 cahiers roumanins d’études littéraires et culturelles Romanian Journal of Literary and Cultural Studies Le postmodernisme roumain, alors et maintenant Romanian Postmodernism, then and now TABLE DE MATIÈRES Le postmodernisme alors/ postmodernism then… MIRCEA MARTIN – D’un postmodernisme sans rivages et d’un postmodernisme sans postmodernité . 11 VIRGIL NEMOIANU – Notes sur l’état de postmodernité. 23 IOANA. EM. PETRESCU – Modernism/Postmodernism: A Hypothetical Model . 26 DAN GRIGORESCU – Modernisme/postmodernisme: un processus de continuité?. 33 ANGÈLE KREMER°MARIETTI – La postmodernité: achèvement ou commencement? . 40 LINDA HUTCHEON – Postmodernism Goes to the Opera . 54 AMELIA PAVEL – Le postmodernisme et l’historiographie de l’art . 67 VALENTINA SANDU°DEDIU – Points de vue sur le postmodernisme musical . 72 *** ALEXANDRU MUØINA – Le postmodernisme aux portes de l’Orient. 85 ION BOGDAN LEFTER – La reconstruction du moi de l’auteur . 99 GHEORGHE CRÆCIUN – Entre le modernisme et le postmodernisme. 103 LIVIU PAPADIMA – Postmodernisme littéraire et modèles culturels. 117 ION MANOLESCU – La prose postmoderniste et le textualisme médiatique . 125 ANA°MARIA TUPAN– The Rhetoric of Displacement . 131 RODICA ZAFIU – Postmodernisme et langage. 136 AUGUSTIN IOAN – Le postmodernisme dans l’architecture: ni sublime, ni complètement absent . 145 MAGDA CÂRNECI – The Debate Around Postmodernism in Romania in the 1980s . -
Gellu Naum Centenary Issue
VOL. IX, NO. 2 (autumn 2015) GELLU NAUM CENTENARY ISSUE !!! MAST HEAD Publisher: Contra Mundum Press Location: New York, London, Paris Editors: Rainer J. Hanshe, Erika Mihálycsa PDF Design: Giuseppe Bertolini Logo Design: Liliana Orbach Advertising & Donations: Giovanni Piacenza (To contact Mr. Piacenza: [email protected]) Letters to the editors are welcome and should be e-mailed to: [email protected] Hyperion is published biannually by Contra Mundum Press, Ltd. P.O. Box 1326, New York, NY 10276, U.S.A. W: http://contramundum.net For advertising inquiries, e-mail Giovanni Piacenza: [email protected] Contents © 2015 Contra Mundum Press & each respective author unless otherwise noted. All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, or any information storage and retrieval system, without permission in writing from Contra Mundum Press. Republication is not permitted within six months of original publication. After two years, all rights revert to each respective author. If any work originally published by Contra Mundum Press is republished in any format, acknowledgement must be noted as following and include, in legible font (no less than 10 pt.), a direct link to our site: “Author, work title, Hyperion: On the Future of Aesthetics, Vol. #, No. # (YEAR) page #s. Originally published by Hyperion. Reproduced with permission of Contra Mundum Press.” Vol. IX, No. 2 — GELLU NAUM CENTENARY ISSUE Curated by Guest Editor VALERY OISTEANU 0 Valery Oisteanu, Gellu Naum: Surreal-Shaman of Romania 16 Petre Răileanu, Poésie & alchimie 25 Petre Răileanu, Poetry & Alchemy 36 Sebastian Reichmann, Ici & Maintenant (de l’Autre Côté)..