Felix Aderca – Mãrturiile Unui Mãrturisitor Al Unei Generaþii
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Between Worlds Contents
BETWEEN WORLDS CONTENTS 14 Acknowledgments 16 Introduction Timothy 0. Benson and Eva Forgacs SECTION 1: STYLE AS THE CRUCIBLE OF PAST AND FUTURE Chapter 1: National Traditions Germany Carl Vinnen. "Quousque Tandem," from A Protest of German Artists [1911I Wilhelm Worringer, "The Historical Development of Modern Art," from The Struggle for Art (1911) Czech-Speaking Lands Milos Jiranek, "The Czechness of our Art," Radikatni iisty (1900I Bohumil Kubista, "Josef Manes Exhibition at the Topic Salon," Prehled ii9ii) Poland Juliusz Kaden-Bandrowski, "Wyspiariski as a Painter-Poet (Personal Impressions]," Przeglqd Poranny I1907] Stanistaw Witkiewicz, Excerpts from Jon Matejko (1908) Jacek Malczewski, "On the Artist's Calling and the Tasks of Art" I1912I Wtodzirnierz Zu-tawski, "Wyspiariski's Stained Glass Windows at the Wawel Cathedral," Maski (1918] Hungary Lajos Fulep, Excerpt from Hungarian Art I1916I Yugoslavia Exhibition Committee of University Youth (Belgrade], Invitation Letter (1904) Chapter 2: New Alternatives Prague Emil Filla, "Honore Daumier: A Few Notes on His Work," Volne smery (1910] Pavel Janak, "The Prism and the Pyramid" Umeiecky mesicnik (1911] Otto Gutfreund, "Surface and Space," Umeiecky mesicnik (1912) Emil Filla, "On the Virtue of Neo-Primitivism," Volne smery (1912) Vaclav Vilem Stech, Introduction to the second Skupina exhibition catalogue (1912) Bohumil Kubista, "The Intellectual Basis of Modern Time," Ceska kutturo I1912-13] Josef Capek, Fragments of correspondence I1913] Josef Capek, "The Beauty of Modern Visual Form," Printed [1913-14I Vlastislav Hofman, "The Spirit of Change in Visual Art," Almanoch no rok [1914) Budapest Gyb'rgy Lukacs, "Forms and the Soul," Excerpt from Richard Beer-Hoffmann 11910) Karoly Kernstok, "Investigative Art," Nyugat (1910) Gyorgy Lukacs, "The Ways Have Parted," Nyugat [1910) Karoly Kernstok, The Role of the Artist in Society," Huszadik szazad (1912) Bucharest Ion Minulescu, Fragment from "Light the Torches," Revisto celorlaiti (1908) N. -
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De Styl 2x2 <rH IRH & Weimar Biflxelles OER STURM L'ESPRIT Berlin £ Wlan NOUVEAU 3 o CO a LA o .6 VIE o s £ D E Paris PQ S IU LETTRES DIE AKTION ET DES ARTS Paris ZEMIT Berlin Berlin InternaclonAIlt akllvlsta mQv^ssetl foly61rat • Sserkeutl: KattAk Uijof m Fe- leldssievkesxtO: Josef Kalmer • Sxerkesxtds^g £• klad6hlvafal: Wlen, XIIL Bei* Amallenstrasse 26. L 11 • Megjelen^s dAtuma 1922 oktdber 19 m EUfflrctM Ar: EOT £VRE: 3S.OOO osztr&k kor^ 70 ssokol, lOO dlnAr, 200 lei, SOO mArka m EQTE8 SZXM XltA: 3000 ositrAk korona, 7 siokol, lO dlnAr, 20 lei, SO mArka MA •b VIE 6vfolyam, 1. tx6m • A lapban megJelenO clkkek6rt a weriO felel. Drackerei .Elbemflfcl", Wien, IX., Berggtue 31. a sourcebook of central european avant-gardes, 1910-1930 CONTENTS 14 Acknowledgments 16 | Introduction Timothy 0. Benson and Eva Forgacs 49 Germany 50 Carl Vinnen, "Quousque Tandem," from A Protest of German Artists (1911) 52 Wilhelm Worringer, "The Historical Development of Modern Art," from The Struggle for Art (1911) 55 Czech-Speaking Lands 56 Milos Jiranek, "The Czechness of our Art," Radikalni tisty (1900) 57 Bohumil Kubista, "Josef Manes Exhibition at the Topic Salon," Prehled [1911) 59 Poland 60 ; Juliusz Kaden-Bandrowski, "Wyspianski as a Painter-Poet (Personal Impressions)," Przeglad Poranny (1907) 61 Stanistaw Witkiewicz, Excerpts from Jan Matejko (1908) 64 Jacek Malczewski, "On the Artist's Calling and the Tasks of Art" (1912) 66 Wiodzimierz Zutawski, "Wyspianski's Stained Glass Windows at the Wawel Cathedral," Maski (1918) 70 Hungary 71 ! Lajos Fulep, -
ART REVIEW AS REFLECTED by the ROMANIAN PRESS (1900-1914) - Abstract
ART REVIEW AS REFLECTED BY THE ROMANIAN PRESS (1900-1914) - Abstract - The doctoral thesis is structured according to five major units: Introduction, the six central chapters, Conclusions, References and Appendices. The paper has a total of 260 pages, of which 216 pages are the text itself, with 891 footnotes. In the Introduction I presented the reasons for choosing the subject of the paper, reminding the most important studies and research previously developed in the relevant historiography. Also, I mentioned the methods used and I listed the main cultural magazines analysed for the period between 1900 and 1914. The analysed Romanian press included both cultural magazines from the former kingdom (“Convorbiri literare”, “Noua Revistă Română”, “Sămănătorul”, “Viața Românească”, “Furnica”, “Flacăra”, etc.), as well as magazines from Transylvania (“Luceafărul”, “Transilvania”, “Țara Noastră”, “Telegraful Român”, etc.). On the other hand, I attempted a comparative analysis of the Romanian press and the western press in terms of art reviews. For this purpose I chose prestigious foreign art magazines of the time, consulted on the occasion of the mobility period spent in Italy, such as “Emporium”, “Vita d’arte”, “Il Giornale d’Italia”, “Il Marzocco”, “La Stampa”, etc. Also, I studied the funds of the International Exhibition in Rome in 1911, in which our country participated as well, the delegation of which was conducted by Al. Tzigara-Samurcaș, found in the central state archives in Rome. The second part of the thesis includes the actual research, where Chapters 1-6 are the original contribution of the author. In I. Social and Cultural Context in the Early Twentieth Century for the Romanian Elite I presented briefly the cultural and social framework in which the Romanian artists lived, were educated and created, as reflected in the press. -
„Partizanatul Fanatic”. O Interogaţie Despre Obsesia Modelului În Critica Literară
sincronizare durabilitate FONDUL SOCIAL EUROPEAN Investeşte în Modele culturale OAMENI EUROPENE Modele, continuităţi şi rupturi în poezia română contemporană Autor:Anca-Raluca I. PERŢA Lucrare realizată în cadrul proiectului "Cultura română şi modele culturale europene - cercetare, sincronizare, durabilitate", cofinanţat din FONDUL SOCIAL EUROPEAN prin Programul Operaţional Sectorial pentru Dezvoltarea Resurselor Umane 2007 – 2013, Contract nr. POSDRU/159/1.5/S/136077. Titlurile şi drepturile de proprietate intelectuală şi industrial ă asupra rezultatelor obţinute în cadrul stagiului de cercetare postdoctorală aparţinAcademiei Române. * * * Punctele de vedere exprimate în lucrare aparţin autorului şi nu angajează Comisia Europeană şi Academia Română, beneficiara proiectului. DTP, complexul editorial/ redacţional, traducerea şi corectura aparţin autorului. Descărcare gratuită pentru uz personal, în scopuri didactice sau ştiinţifice. Reproducerea publică, fie şi parţială şi pe orice suport, este posibilă numai cu acordul prealabil al Academiei Române. ISBN 978-973-167-334-9 SUMAR Cap. I. Partizanatul fanatic. O interogaţie despre obsesia modelului în critica literară 1. O introducere…………………………………………………….................................. 4 2. În aș teptarea „marelui poet, poate nenăscut”..................................................................... 6 3. „Anxietatea influenţei” – o teorie a Modelului? ................................................................ 9 4. Critica literară, Sublimul şi Modelul. „What could a literary -
Rez Eng Postescu
RETROVERSIUNE Emil Giurgiuca - Monografie Unquestionably, those who know the literary life from Transylvania, as little as possible, will not consider a futile effort to remove a writer from the undeserved shadow where the history placed him. Emil Giurca’s cultural activity, because about him we are talking about, is a significant “brick” from the wall which was created along with the vast process of clarifying the literary and spiritual Romanian literature and culture. Creator of literature, respected educator, he was in the same time an important fighter for national ideal but also a great entertainer, a cultural advisor to generations of writers from the interwar and postwar period. As many researchers of the aesthetic values observed, it seems that in any literature are important writers, widely recognized from the valuable point of view “as others who fall slightly below, but on different places in the hierarchy of values, enriching and diversifying artistic landscape from their period of time”1. Originally poet from his homeland, as Dumitru Micu noticed in “Romanian Literary History”, he became later the national poet of the whole national space, Emil Giurca cannot easily be integrated in any current or cannot be said that he belongs to any literary school and “if he installed in the classical formula, adopted by traditionalists (as Ion Barbu, a Paul Valery writer), he did it of course, because this formula and only it suited to his sensibility”2, Dumitru Micu said. Each poem in consistent with the requirements of the art is organize by an act of inner balance, a sense of the extent of composition; this is what we call Emil Giurca’s modernism. -
Romance Languages 506 LITERATURE
506 Romance Languages LITERATURE By Mircea Anghelescu, Professor of Romanian Literature in the University of Bucharest 1. Works of reference and of general interest Last year’s main event in the field of reference literature must be the publication of: Dict¸ionarul esent¸ial al scriitorilor romaˆni, ed. M. Zaciu, M. Papahagi, and A. Sasu, Albatros, 920 pp., in collaboration with a team of 48 authors, mostly well-known academics. Elaborated by the group which since 1994 has been publishing the still unfinished Dict¸ionarul scriitorilor romaˆni, the dictionary benefits from first-hand information: the 332 entries, most of them on modern and contempo- rary authors, have a short introductory text briefly characterizing the author, and a brief biography; and each entry ends with a biblio- graphy of the author’s work and of its critical reception. Among those featured in the dictionary, there are 20th-c. writers who began their career as Romanian authors but then made a name for themselves in foreign literatures: Fondane, Ionescu, Istrati, Tzara. However, none of the old literary authors who wrote in other languages — Slavonic, Latin, or Greek — is included here. Several regional literary or cultural dictionaries have been published in this period. George Vulturescu, Cultura˘ ¸si literatura˘ ˆınt¸inuturile Sa˘tmarului: Dict¸ionar 1700–2000,Sa˘tma˘rean, Muzeului, 297 pp., presents the authors, periodicals, and literature-oriented institutions of the county of Satu- Mare, in the Hungarian, Ukrainian, and other languages, as well as in Romanian, together with biographical and bibliographical data and short characterizations. The dictionary favours the modern and contemporary epoch. -
The Identity of the Romanian Pre-Avant-Garde
Études et articles THE IDENTITY OF THE ROMANIAN PRE-AVANT-GARDE Dr. Paul DUGNEANU “Ovidius” University of Constanţa [email protected] Rezumat: În evoluţia şi dialectica fenomenului literar de la sfârşitul secolului al XIX-lea şi începutul secolului al XX-lea, se observă o perioadă de declin artistic, de confirmare a curentelor şi a mişcărilor literare, perioadă care neagă tradiţia şi care, prin intermediul unor elemente importante, vine să anunţe avangarda istorică. Ne referim aici la o serie de curente literare şi artistice ce conţin un set de trăsături similare, cu un fetiş pentru noutatea care şochează şi un suport oferit valorilor generale şi în mod normal acceptate, fără să conţină forţa de penetrare, agresivitate, coerenţă sau împrăştiere a avangardei actuale: fauvism, cubism, futurism, imagism, vorticism şi altele. Cuvinte cheie: Pre-avangardă, anti-tradiţionalism, manifest poetic, post-simbolism, program- articol, arhitext Abstract: In the evolution and dialectics of the literary phenomenon at the end of the XIX century and the beginning of the XX century we can note a period of artistic fizzle, of confirming literary currents and movements, that vehemently deny the tradition and which, through some important elements, shall announce the historical avant-garde. We are referring to a series of artistic and literary currents, with a set of similar features, having a fetish for the shocking novelty and bracketing of the established and generally accepted values, without having the force of penetration, aggressiveness, coherence and spreading of the actual avant-garde: the fauvism, cubism, futurism, imagism, vorticism and others. Keywords: Pre-avantgarde, anti-traditionalism, poetic manifest, post-symbolist, programme- article, archi-text. -
Perpessicius-Mentiuni-Critice.Pdf
PERPESSICIUS MEN|IUNI CRITICE CUPRINS Not[ asupra edi\iei .....................................................................2 Tabel cronologic ..........................................................................3 MEN|IUNI DE ISTORIOGRAFIE LITERAR{ +I FOLCLOR LOCUL LUI DIMITRIE CANTEMIR }N LITERATURA ROM~N{ .... 11 LA CENTENARUL LUI ANTON PANN ......................................... 29 EMINESCIANA PROZA LITERAR{ A LUI EMINESCU ......................................... 64 EMINESCU +I TEATRUL .......................................................... 107 POSTUMELE LUI EMINESCU .................................................. 132 EMINESCU +I FOLCLORUL ..................................................... 140 ALECSANDRIANA POEZIA LUI VASILE ALECSANDRI ........................................... 170 ALECSANDRI +I LIMBA LITERAR{ .......................................... 191 VASILE ALECSANDRI, DUP{ 75 DE ANI .................................. 208 MEN|IUNI CRITICE BOGDAN PETRICEICU HASDEU .............................................. 215 CARAGIALE — }NTEMEIETORUL REALISMULUI NOSTRU CRITIC ..................................................................... 244 NOTE DESPRE ARTA PROZEI LA CARAGIALE .......................... 248 GEORGE CO+BUC .................................................................. 262 LIRISM +I NARA|IUNE }N OPERA LUI MIHAIL SADOVEANU 265 CARTEA POEMELOR NE-”OSTENITE” ..................................... 270 ACTUALITATEA LUI BACOVIA ................................................ 274 CAMIL PETRESCU +I -
From the Italian Futurism to the Romanian Integralism
I N T E R N A T I O NA L CO N F E R E N C E RCIC’17 Redefining Community in Intercultural Context Bari, 5-6 June 2017 MIGRATION OF IDEAS: FROM THE ITALIAN FUTURISM TO THE ROMANIAN INTEGRALISM Daniela NAGY Department of Fundamental Sciences and Management, “Henri Coandă” Air Force Academy, Brașov, Romania Abstract: The current paper aims to illustrate the manner in which the Romanian literature of the Avant-garde managed to find its place in the European literary landscape, after numerous fluctuations between synchronicity with similar European literary movements, marginalization, independent manifestations or architecture of the Art Nouveau. The influence that the Italian futurism had on the Romanian literature of the early twentieth century was not a direct one, but its ideas and spirit migrated toward this fertile literary space in continuous waves, leaving behind original creations and contributing to the birth of a purely Romanian literary movement – the integralism. This literary movement, atypical of Western Europe, represents the only Romanian avant-garde manifestation that managed to melt together futurist, Dadaist, constructivist or surrealist influences, in a creative Romanian synthesis, although it is not a homogenous, unitary movement that occurs artistically and literarily. Futurist reverberations were present in all Romanian publications of the literary avant-garde and they included the telegraphic style, alert pace, abundance of neologisms (especially inspired by technology), whereas futurist manifestos were published almost at the same time with the Italian ones. On this background of melted ideas, Western literary avant-garde movements, occurring before the Central ones, found in the Romanian cultural space both a place for possible convergences and one for discovering the old under the veil of the new. -
Ion D. Sîrbu Mama Africa
Revistă de cultură, informaţie și atitudine editată de Teatrul Naţional „Marin Sorescu“, Craiova nr. 1 (43) | Ianuarie – Aprilie 2021 Nicolae COANDE „Ultimele” Ion D. Sîrbu Andrei ȘERBAN în dialog cu Nicolae Coande „M-ar bucura să colaborez cu Teatrul din Craiova” George BANU Andrei Șerban – Inteligența inimii Marius DOBRIN Mama Africa HEKTOMERON1 „VĂRUL SHAKESPEARE“, CLAUDIU BLEONŢ, GEORGE ALBERT COSTEA © FLORIN CHIREA Peter Brook: „Între actori și spectatori nu există decât o diferență de situație și nici o opoziție fundamentală“. Nicolae Coande „Ultimele“ Ion D. Sîrbu ........................................................................................................................................................................................................... 4 *** Vărul Shakespeare în varianta engleză ....................................................................................................................................................... 5 Marius Dobrin Cap! Cap! Cap! ..................................................................................................................................................................................................................................... 6 Andrei Șerban „M-ar bucura să colaborez cu Teatrul din Craiova“ ...................................................................................................................... 11 SUMAR George Banu Andrei Șerban – Inteligența inimii ................................................................................................................................................................... -
Engaged in Action As Character
MINISTRY OF EDUCATION, RESEARCH, YOUTH AND SPORT “1 DECEMBRIE 1918” UNIVERSITY OF ALBA IULIA FACULTY OF HISTORY AND PHILOLOGY Ph. D. THESIS Summary SCIENTIFIC COORDINATOR: Professor Doctor Mircea Braga Ph. D. Candidate Maria Spătariu ALBA IULIA 2010 MINISTRY OF EDUCATION, RESEARCH, YOUTH AND SPORT “ 1 DECEMBRIE 1918” UNIVERSITY OF ALBA IULIA FACULTY OF HISTORY AND PHILOLOGY REPORTAGE AND LITERATURE: DISSOCIATIONS AND INTERFERENCES IN THE ROMANIAN LITERATURE Summary SCIENTIFIC COORDINATOR: Professor Doctor Mircea Braga Ph. D. Candidate Maria Spătariu ALBA IULIA 2010 Content Foreword………………………………….……….…...…………………….……..….p. 5 Chapter I. The reportage, literature and journalism triangle..........................................p. 8 I. 1. Reviews and controversies in defining reportage........................................p. 9 I. 2. Reportage and journalistic writing.............................................................p. 11 I. 3. Reportage and literature............................................................................p. 14 I. 4. The features of reportage as literary and communication act ………......p. 19 I. 5. Author - character, author - narrator and narrator – lecturer relations ..... p. 20 I. 6. Interferences between literature and journalism……................................p. 22 I. 7. The typology of reportage .........................................................................p. 29 Chapter II. Foreshadowing reportage (from chronicles to travel notes)…..............… p. 32 II. 1. Elements of reportage in the Romanian -
The First World War in the Memory of Romanian Poetry
IDEAS • BOOKS • SOCIETY • READINGS © Philobiblon. Transylvanian Journal of Multidisciplinary Research in Humanities THE FIRST WORLD WAR IN THE MEMORY OF ROMANIAN POETRY * CORINA CROITORU Abstract: Starting from the observation of the canonical periodisation of Romanian literature into antebellum, interbellum, and postbellum, this study aims for a critical recovery of the taboo segment, on bellum poetry, with a focus on Romanian poetry inspired by the First World War among war veteran writers. The goal is to prove that the careful analysis of Romanian war poetry can reveal not only the profile of a minor genre that is meant to record the seismic clash between man and history, but actually trace the path of a major search for language that is capable of expressing the magnitude of such a clash. Keywords: First World War, Romanian poetry, Memory, Combatants, Stances, Irony If the most traumatic events, as proven by research studies in Neurology, make for the most deep-seated memories, intensively stretching the human brain’s capacity to encode,1 then literature and by extension poetry, as the representation of the individual affective memory included in the patrimony of a people’s cultural memory, could never avoid the thematisation of the experience of World War I in the context of Romanian culture, as is the case for several cultural areas. It would have been nearly impossible for the Great War, as it has been known in Francophone and Anglo-Saxon areas, or the War for the Nation’s Reunion in the case of Romania, to irrigate with its unforeseen violence the imagination of poets who lived through it as combatants or civilians.