EDITOR-IN-CHIEF Florica Bodiştean EDITORIAL SECRETARY Adela Drăucean EDITORIAL BOARD: Adriana Vizental Călina Paliciuc Alina-Paula NemŃuŃ Alina Pădurean Simona Redeş Melitta Roşu GRAPHIC DESIGN Călin Lucaci ADVISORY BOARD: Acad. Prof. Lizica MihuŃ, PhD, “Aurel Vlaicu” University of Arad Acad. Prof. Marius Sala, PhD, “Iorgu Iordan – Al. Rosetti” Linguistic Institute Prof. Larisa Avram, PhD, University of Bucharest Prof. Corin Braga, PhD, “Babeş-Bolyai” University of Cluj-Napoca Assoc. Prof. Rodica Hanga Calciu, PhD, Charles-de-Gaulle University, Lille III Prof. Traian Dinorel Stănciulescu, PhD, “Al. I. Cuza” University of Iaşi Prof. Ioan Bolovan, PhD, “Babeş-Bolyai” University of Cluj-Napoca Assoc. Prof. Sandu Frunză, PhD, “Babeş-Bolyai” University of Cluj-Napoca Prof. Elena Prus, PhD, Free International University of Moldova, Chişinău Assoc. Prof. Jacinta A. Opara, PhD, Universidad Azteca, Chalco – Mexico Prof. Nkasiobi Silas Oguzor, PhD, Federal College of Education (Technical), Owerri – Nigeria Assoc. Prof. Anthonia U. Ejifugha, PhD, Alvan Ikoku Federal College of Education, Owerri – Nigeria Prof. Raphael C. Njoku, PhD, University of Louisville – United States of America Prof. Shobana Nelasco, PhD, Fatima College, Madurai – India Prof. Hanna David, PhD, Tel Aviv University, Jerusalem – Israel Prof. Ionel Funeriu, PhD, “Aurel Vlaicu” University of Arad Prof. Florea Lucaci, PhD, “Aurel Vlaicu” University of Arad Prof. Monica Ponta, PhD, “Aurel Vlaicu” University of Arad Prof. Corneliu Pădurean, PhD, “Aurel Vlaicu” University of Arad Address: Str. Elena Drăgoi, nr. 2, Arad Tel. +40-0257-219336 e-mail: [email protected], [email protected], [email protected] ISSN 2067-6557 ISSN-L 2247/2371 2 Faculty of Humanistic and Social Sciences of “Aurel Vlaicu”, Arad Volume V, No. 1 (9)/2014 3 4 CONTENTS Research Articles THEORY, HISTORY AND LITERARY CRITICISM / 7 The Poetry of Defiance, the Defiance of Poetry. A Special Case of the “Lost Generation” , Sorin Ivan / 9 The Literary Icon of the Byronic Hero and Its Reincarnation in Emily Brontë’s Wuthering Heights , Ecaterina Oana Brîndaş /25 Le dynamisme du triangle féminin amoureux – Ion , écrit par Liviu Rebreanu , Liliana Danciu /35 Mythical Elements in Lucian Blaga’s Poetry , Mioara Lavinia Farcaşiu / 65 LINGUISTICS, STYLISTICS AND TRANSLATION STUDIES / 79 Presumptions of Intercultural Communication. Between Symbolic Interactionism and Postmodern Society , Regis Mafteiu Roman /81 Some Considerations on the Genitive Case in Romanian and German , Alina Pădurean / 89 Slang Elements in the Journalistic Style , Carmen NeamŃu / 97 Some Considerations Regarding the Case System of the Preposition “contra” (Against) , Cristina Corla (HanŃ) / 103 From the “art” of meaningful forms to the “science” of cultural discourse in translation theory , Daniela Ene / 111 SOCIAL AND EDUCATIONAL STUDIES / 121 „Foaia învăŃătorilor poporului” („Blatt der Volkslehrer“) (1868–1874) – ein pädagogisches Periodikum in Österreich-Ungarn? , Daciana Marinescu /123 Sustainable Brains: Deep Ecology and Dawn of the Dead , Craig Finlay / 131 Interpretative methodology and social constructivism , Matei Şimandan / 145 Review Articles Dictatorul hispano-american. RealităŃi sociale şi problematizări literare , Emanuela Ilie /161 5 6 THEORY, HISTORY AND LITERARY CRITICISM 7 8 THEORY, HISTORY AND LITERARY CRITICISM The Poetry of Defiance, the Defiance of Poetry. A Special Case of the “Lost Generation” Sorin Ivan ∗ Abstract: The “war generation”, also known as the “lost generation”, marks a moment of rupture in Romanian literature, by denouncing the literary tradition and the aesthetic canons and by the wish to renew it. A particular case of the “lost generation” is Ion Caraion. The poet expresses a structural existential apostasy, an aesthetic revolt, historically circumscribed, and an iconoclastic attitude toward everything “old” and “outdated” in existence, mentality, and literature, in the name of the new and of the future, driven by messianic ideals. In resounding manifesto texts and fulminant poems, he pleads for the separation from tradition, for an aesthetic revolution, for the new literature, for a new poetry, inspired from the original sources of existence, close to the genuine and intense life, for authenticity and originality. In his conception of literature context, under the auspices of the “new poetry”, Caraion writes poetry of defiance, defying, in this way, the poetry in “traditional” vision. Through his poetic work under the sign of rebellion and renewal, but also through his tragic existence, Ion Caraion is an exemplary poet of the “lost generation”. Keywords: the lost generation, literary canon, aesthetic revolt, iconoclastic attitude, renewal, the new poetry The “war generation” – the “lost generation” A particular place in Romanian literature of the early ‘40s, a space defined by an extraordinary aesthetic diversity, is occupied by the so- called “war generation”, also known as the “lost generation”. It comprises mostly young poets grouped around the “Albatros” magazine, led by the poet Geo Dumitrescu. Among the best-known names, there are: Constant Tonegaru, Ion Caraion, C. T. Lituon, Victor Torynopol, Mihail Crama, Sergiu Ludescu, Iordan Chimet, Sergiu Filerot, to which others of greater or lesser importance in the history of this generation are added (Manu, 1978). They are defined by an attitude of rebellion, on the ∗ Associate Professor PhD, Faculty of Social, Political and Humanistic Sciences, “Titu Maiorescu” University; Faculty of Foreign Languages and Literatures, University of Bucharest, [email protected] 9 one hand, to the social and moral order, compromised of falsehood and hypocrisy, to the absurd of existence, under the sign of hazard, and, on the other hand, to the literature tributary to an “obsolete” vision and worn out patterns, in the spirit of a tradition that sang its “swan song”. The war offers the poets a broad thematic framework for expression, in lyrics out of the aesthetic canons of the time. They cultivate an anti- poetic, anti-aesthetic and anti-rhetoric poetry, inclined towards the “non- poetic” areas of existence, to the day-to-day, simple and essential aspects of life, to the prosaic, trivial, ugly and promiscuous. In the context of their attitude to literature , essential and renewing on the level of the vision and aesthetics, their contribution to the evolution of poetry lies in recovering the themes without lyrical glory, the daily, the common, the gray, the ugliness and the sordid and in their integration among the poetic topics, in a new, innovative aesthetics. Irony, sarcasm, humour, often black humour, cynicism make their way into the new poetry. The discourse is deconstructed in a variety of stylistic formulas, free and creative, the writing is freed of common figures and aestheticized schemes, giving free course to ideas, transcribed without calligraphy and rhetorical fireworks. With the poets of this generation, poetry descents from metaphysical to physical, from the heavens of the “high thoughts” in the daily routine, in the bleak and sordid existence. The poets of the “war generation” will not have time yet to implement their vision of literature and develop the process of renewal of poetry remarkably began. The end of the war brings on the scene of history another nightmare, a political and ideological one, which will last half a century: communism. After the ending of the global conflagration, in Romania, following the cynical bargain of the great powers, the Bolshevik regime is gradually and decisively installed. It starts the annihilation and subjugation of the society through political terror, by imposing a new ideological and axiological order, by abolishing the elites and forcibly promoting new values and models. It is a time of crisis, still in its beginning, established by a regime of terror, which shortly will show, in a paroxysmal way, its criminal essence. The war generation’s poets are silenced by the new regime, which will take possession of everything, forfeit any and all freedoms and rights, turn the society into a huge concentration camp and individuals to political prisoners. Only those who will make compromises will survive. Or those who will conclude the pact with the devil. The “war generation” will thus become the “lost generation”. 10 THEORY, HISTORY AND LITERARY CRITICISM A tragic existence in a tragic history A special case of the “lost generation” is the poet Ion Caraion, through his attitude towards literature, through the intensity of his aesthetic revolt, but also through his own existence, a tragic existence in its essence. His poetics, the radicalism of his attitude, the complexity and versatility of his aesthetics, the strength of his writing, his existential track, his literary work, his tragic destiny, anthumous and posthumous, his critic aesthetic reception make Caraion a special case of this literary era and of Romanian literature of the interwar and postwar periods. The poet’s life and work are situated, from the very beginning, under the sign of revolt and of an iconoclastic attitude. For the lyrics protesting against the war, his first booklet of poems, Panopticum (1943), is withdrawn from bookshops by censorship, and the poet threatened with a revolver by a representative of the political authority. (Caraion, 1998b: 29). A rebellious spirit, Ion Caraion (pseudonym of Stelian Diaconescu) acts, during and after the war, under the auspices of protest, through his poems and through the articles he publishes in the