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Acest capitol cuprinde articole care vin să valorifice colecţia de carte a Bibliotecii Ştiinţifice USARB.
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UVODNA REČ, Đura Miočinović: Terorizam sa raskrsnice; Joana Prvulesku: NEDELJA, 28. DECEMBAR; Vlad Zografi: POLJUBI ME!; Katalin Gomboš: SKICE; POEZIJA: Radu Vanku, Adrijan Zalmora, Elena-Gabrijela Lazara, Leticija Ilea
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In a world subject to constant change and reconfiguring, societies, previously understood as mono-cultural, have incontestably been refashioned multicultural. The permeability of frontiers made individuals realize that, as denizens of the world, rather than citizens of a country, we live in and through the cultural encounter. Survival is about learning to live at the border, or rather across the borders, where the essential skill is to sense and value diversity and thus cherish the cultural dialogue. Fiction in dialogue with other art forms; fiction as an act of resistance; fiction across cultural borders; cultures in contact; the cultural clash; identity and the cultural and linguistic conflict and dialogue; migration and its linguistic challenges have offered the authors the chance to meet and exchange ideas.
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This volume focuses on the problem of literary and cultural paraellisms between the Romanian and the Hungarian cultural and literary phenomena. Beyond some general aspects related to the topic, the first part is dedicated to the problem of intercultural communication between the Romanian and the Hungarian cultural milieu in the inter-war period, with a special emphasis on the issue of Transylvanianism. We try to identify the reasons for which this ideology failed to become one of the main facilitators of open communication between the Romanian and the Hungarian cultures. We also hint at some contemporary echoes of Transylvanianism and the changes that have occurred over the past few decades. We wanted to make a presentation of the main regional ideologies of the Transylvanian cultural and spiritual life in the inter-war period. The Hungarians’ Transylvanianism and the Romanians’ creative localism or ardelenism alike offered a wide range of key concepts and ideas that shaped/and were shaped by the cultural context of the time. Both regionalisms – Romanian and Hungarian – shared many of these concepts and ideas, although they had never really sustained an open and efficient communication, due to a series of causes. The shifts that occurred in the self-defining strategies, the communication breakdowns that characterized the relationships between the two cultural milieus and intellectual circles, the identity discourses that can be spotted in the media of that time, and the movement known as Transylvanianism are all approached with the purpose of identifying the causes that hindered (and perhaps still hinder) real and efficient communication between Romanians and Hungarians. We also attempt to offer an overview of the effects of the cultural and spiritual flourishing that marked the turn-of-the-century Vienna on the Romanian and the Hungarian cultural discourse. We focus on the most important phenomena that the Romanian and the Hungarian cultural discourses borrowed from the Viennese modernity at the turn of the century. Among these, one can cite the types of writers, literary topics (such as the theme of the Family, of strong women, the emergence of the human psyche in literature, the figure of the estranged, etc.). The second part of the volume is dedicated to the most important thematic parallelisms between the Hungarian and the Romanian prose writings, by analysing topics and/or motives like war, womanhood, wealth, freedom and the symbolism of the mountain, etc.
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Jacques le Fataliste by Diderot represents an original reply to Laurence Sterne's novel, The Life and Opinions of Tristram Shandy. The author resorts to a multiplicity of points of view, to the narrative solution of the interior stories and of the puzzle, while illustrating his remarks on the abstract game of destiny and free will. Throughout his (anti) novel, Diderot implements new strategies of irony destined to the reader (mechanisms of destabilization and misguidance, narrative leaps, exasperating digressions), to the conventions of the genre (revelation and disqualification of sentimental novel clichés) and to social conventions (criticism of bigotry and fatalism). An ironic pact of reading is thus established; these ingenious procedures of rewriting will seduce the Moderns, from Unamuno to Kundera. In Romanian literature, I.L. Caragiale practiced dialogical writing and the game of narrative virtualities. In the end, the reader has to rethink the literary space and to establish surprising intra-narrative complicities. The legacy of Diderot will include this biting irony of the author who, while attacking literary clichés, cultivates parody, counter-fiction and metadiscourse.
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During the XXIth century, many writers show an important interest in rewriting the fairy tales. One of them is Joël Pommerat, a French contemporary stage director and playwright who, in 2011, reinvents on stage the very famous fairy tale of Cinderella. The paper below analyses the irony’s metamorphoses, important aspect of the traditional fairy tale’s scheme. Our main inspiration source is the study of Muguraș Constantinescu. She analyses the irony in Charles Perrault fairy tales and describes it as a “playfulness” writing way. Our purpose is to show how and why the irony identified by Muguraș Constantinescu transforms in the contemporary play of Joël Pommerat, Cendrillon. This new irony pick on the contemporary individual and contemporary reality but also the text’s lector.
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Tudor Arghezi is a great poet who chose to put his talent at the service of translation too. He gave the fables of La Fontaine Romanian variants remarkable for the strength of the story and the humor. He considered the rhyme and the rhythm as very important poetic elements and translated the message of the French poet keeping the aesthetic form of the original. The dialogues of the translations are remarkable for their orality, their richness of images and their perfect adequation to the characters created by La Fontaine. He translated each fable as an entire poem and maintained the networks of meaning and images.
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The formative role of reading is obvious in today's society marked by unrest of all kinds. Reading can and must become a moral support in the turbulent times we live in. All generations can find in reading a continuous life partner, a necessary and surprising way out of the daily labyrinth. From a formative point of view, reading literary texts develops thinking, imagination and the ability to communicate, offering themes and topics for discussion and debate, so encouraging the act of reading must become an imperative of contemporaneity.
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Gheorghe Sarău (Romania - Bucharest, born in 1956) has been since 1992 a professor doctor at the department of Romany Language and Literature, at the Faculty of Foreign Languages and Literatures (University of Bucharest). At the same time, he has been a counselor for Romany language and Roma at the Direction for Minorities - Ministry of National Education (1992-present). After graduating from university (University of Bucharest, Faculty of Foreign Languages and Literatures - Russian and Hungarian languages Departments; Bulgarian and Spanish as optional courses) in 1983, Gheorghe Sarău began to study Romany individually, language which he taught at the Normal School of Bucharest from 1990to 1994, to a group of future primary school teachers. On 28 September 1998 he became a Doctor of Philology at the University of Bucharest. The doctorate was obtained under the guidance of prof. Lucia Wald in the Indo-European studies field, on the subject of Tinsmiths Roma Language. Gheorghe Sarău attended several training programmes (1990-2000) in the field of Romany Language, under the guidance of Prof. Marcel Courthiade (professor at INALCO Paris) and of Prof. Rajko Djurić -poet and the President of National Roma Union, in Finland (1991), Italy (1992), France (1993 1994, 1995), Germany (1998). He was also invited by Professors Courthiade and Djurić to teach with them Romany courses in Germany (1999 and 2002), at the International Courses of Romany Language, Literature and History. Gheorghe Sarău published his first article in 1982, as a student, and his first book was published in1992 (the first Romany dictionary in Romania - Mic dicționar rom-romîn, Kriterion Publishing House). Over the years, he has published over 70 titles, most of them individually, but also as collective works. He has also played an important role in the standardization of Romany language in Romania, in the organization and development of the Romany studies at the pre-school, school, high school and university level. In October 1992, he introduced the first Optional Course of Romany Language at the University of Bucharest and in 1997 he created the Department of Romany Studies at the Faculty of Foreign Languages and Literatures in Bucharest. He also founded the Distance Learning Department for Romany Language, which helped training over 600 Romany Language school teachers. He has also managed the developing and implementation of strategic programmes of the Ministry of Education in Romania. In recognition for his outstanding contribution to promoting constantly the Romany Language -through writings, through the introduction and consolidation of the Romany language education and through the initiatives regarding the general education of Roma - he has received several awards(Hidalgo Award - Spain, 1999; The Republic of Italy President's Award - Italy, 1999; Decoration and diploma on the occasion of the celebration of 25 years from the founding of the Hindi Language Department in Romania, awarded by HE the Indian Ambassador, Rajiv Dogra, on 29 March 2000, etc.).
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The gesture of leaving a given environment/milieu or an exteriorization of "interiority" and "subjectivity" is as risky as that of suicide to understand death. Forgetting, ultimate sincerity, exaltation, deconstructive memory could be quite unexpected and unwanted forms of death by anchoring in an unknown port marked by anxiety, or eviscerating an eye, that is, restricting vision, vision and creative imagination under the tyranny of the ideas. I added three individual models. "Notebooks" are a threshold, e.g. a space for intermediation, exit or entry, or stumbling. The warning in the pavilion would sound like this: We can be guided by utopias and generous ideas, but they can degrade, becoming ideologies that lead to dystopias, nihilism, disasters, frustrations and self-frustrations, regrets. "Let's leave the door open for us," Theodor W. Adorno urges us somewhere in A Message from The Bottle, that is, to leave neither hope nor the possibility of returning to ourselves, that is, after the beautiful Romanian saying of "come to our senses", to return to our (human) nature.
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The present research deals with he poetic works of Bogdn Ghiu from the perspective of examining the chromatic symbolism of ‚black’. The poet’s imaginary images become elements-concepts of his writing: the page, the period, the letter, etc., all these being attributed a chromatic scale. ‘White’ and ‘black’ are two essential colours used by the poet to construct images in his poetry. The black colour by symmetry postulates the existence of white and vice versa; thus, a poetic image is being created in the colours of the chess game – black and white. This chromatic opposition may serve as inference to the coal drawing or engravings, or even to the arts of graffiti. As a veritable artist, the poet uses basic signs, such as the dash and the dot to obtain complex images, and harnesses the plain and economical sign – the dot (white and black) – to express profound imageries. From the point of view of semiotics, white and black constitute a system in the poet’s chromatic code, where the white period stands for the creation of the divine world while the black one – the poet’s creation.
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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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Investigations by: Âgoston Hugo, Anavi Âdâm, Balâzs Imre-Jôzsef, Biro Béla, Mircea Cărtărescu, Demény Péter, Paul Drumaru, Läng Zsolt, Mircea Martin, Carmen Mușat, Anamaria Pop, Ion Pop, Mircea Popa, Szilâgyi Julia, Szonda Szabolcs, Geo Șerban, Vallasek Jûlia, Daniel Vighi, Visky Andrâs.
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Analogia sugerată de titlu a mai fost făcută. Potrivit lui Kundera, relația aceasta nu este întâmplătoare, ci consecința unui proiect: „Europa Centrală tânjea să fie o versiune concentrată a Europei înseși”. (II, 223) Mai mult decât atât, habsburgii au modelat Europa prin chiar eșecul lor, încât așa se explică asemănarea: „...nu au reușit să construiască o federație a unor națiuni egale, iar eșecul lor este răspunzător de dezastrul întregii Europe”. (II, 226) Jean Clair, în schimb, este atent la proiecția inversă, dinspre prezent către trecut. Creatorii vienezi fuseseră cunoscuți în Europa unul câte unul, dar fenomenul global al culturii vieneze n-a intrat în conștiința continentală decât atunci când s-a ajuns la un nou sfârșit de secol. întrebarea pusă de Jean Clair e retorică: „Oare trebuia, pentru ca să luăm cunoștință de această extraordinară unitate culturală a lumii vieneze [...], să atingem noi înșine sfârșitul secolului?” (I, 46-47)
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Revista noastră evocă activitatea unui grup de cercetare, ilustrată deocamdată printr-un număr de sesiuni de comunicări științifice, cărți, traduceri. Ne-am propus să redescoperim „cea de a treia Europă”, pusă în umbră de superstiții politice, culturale, literare, ocultată de fanaticii naționalismelor de pretutindeni. E greu să descoperi relațiile adevărate, reale, profunde care s-au creat în spațiul Europei Centrale în ultimele două secole ; dar și mai greu este să studiezi aceste relații din unghiul de vedere al unui spațiu deseori considerat unilateral - spațiul Banatului, al Transilvaniei, al României. O impresionantă cantitate de documente se oferă cercetării : de-a lungul timpului, acest spațiu s-a constituit ca un model de conviețuire. Pentru Lumea de mâine, acest spațiu oferă enorm. Deci nu numai studiu pur și simplu, ci o încercare de a interveni în agitata lume de azi cu o propunere de Model ; o încercare de a defini și de a fixa un șir de repere. Activitatea intelectuală se complinește cu acțiunea, în tentativa de a solidariza un șir deforțe cărturărești, capabile a inaugura un comparatism recuperator și, prin aceasta, modelator. Cei care scriu revista sunt, în marea lor majoritate, tineri sub treizeci de ani. Vrem ca revista să afirme un spirit tânăr, dezinhibat, viu, dinamic. Nu în ultimă instanță, un grup- -model, pentru care cercetarea să însemne creație. în rest, despre proiectele grupului A TREIA EUROPĂ (bibliotecă central-europeană, dicționare ale literaturilor central-europene, traduceri, simpozioane, conferințe ș.a.) s-a scris. Revista e, în felul ei, documentul, mărturia, liantul, manifestul. Apariție semestrială, ea dă sens și ritm unei acțiuni - sperăm - de durată. Să fie într-un ceas bun.
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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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The Price of Gold is an emotional play-testimony about the coming of age of a child who grew up dreaming of becoming a sports dance champion. A child for whom the bodies of the dancers he watched represented both rigor, discipline, freedom and courage. "The Price of Gold" is a vulnerable confession in which memories from the dance hall, from trainings and camps become a subjective map of detachment from formative moments. Remembrance is a transformative act, which gives fragility the power to move forward.
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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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Written in French and Romanian, Vintilă Horia’s autobiographical work dedicates an important amount of space to the recounting of dreams: memorable nocturnal dreams, as well as poignant daytime reveries of the self that tells of itself are transcribed, often commented upon and interpreted. The writer pays extreme attention to signs, that is to say, in baudelairian terms, to the forest of symbols he traverses. On the other hand, the experience of exile and wandering, so painful to the author, have elevated the Home Country, in his view, to the status of an absolute, mythical and heavenly place, and thus have created inside his subconscious a parallel geography of the world. However, sometimes, this particular type of experience, which is situated on the plane of the “imaginal world” (Henri Corbin), increases in intensity with lightning speed: a certain oneirical threshold is crossed without warning; and then we readers find ourselves, in the company of the subject expressing himself but also through him, immersed in the midst of a visionary space. These are some of the most important aspects that we aim to briefly analyse in this paper, browsing through a remarkable autobiographical body of texts, comprising some 1500 pages, that this great exile and Goncourt winner (1960) has left behind.
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The French poet Paul Verlaine belongs to classicism from the point of view of poetic form and to modernity from the point of view of semantic content. His poems question the created artistic universe, just as modern poetry does. His lines are noticed by order, rigor and symmetry. The poets Dimitrie Anghel and Șt. O. Iosif tried to translate them in such a way that their variant has on the Romanian reader the same effect as the original on the French reader.
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