Journal articles on the topic 'Romanian Political poetry'
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1
Zamfir, Constantin. "Relațiile româno-occitane de-a lungul timpului / The Romanian-Occitan relationships along the time." Hiperboreea A2, no. 2-5 (January 1, 2013): 63–69. http://dx.doi.org/10.5325/hiperboreea.2.2-5.0063.
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Abstract This article examines relationships between the poetical movement of southern French youngs felibri and the Romanian poets in the nineteen and twenty century. This relationships begin in the year of 1878 when the Romanian poet Vasile Alecsandri receives an award at the great poetry contest organized by the felibrii. These relationships have continued, with some periods of interruption until the beginning of twenty-one century. In this paper is referred and the support that they offered the Occitans to Romanian in political matters (like difficult situation of the Romanians from Transylvania)
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COSTANDACHE, Ana-Elena. "Esprits formateurs et « renaissance » culturelle dans les provinces roumaines au XIXème siècle." Analele Universității „Dunărea de Jos” din Galați. Fascicula XX, Sociologie / The Annals of ”Dunarea de Jos” University of Galati. Fascicle XX, Sociology, no. 16 (March 6, 2022): 147–54. http://dx.doi.org/10.35219/socio/2021.09.
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In the 19th century, the Romanian provinces overcame difficulties at all levels: political, social, cultural. Significant changes were also felt in the processes of reception and assimilation of European values when new aesthetics were integrated into indigenous mentalities according to the artistic, moral end ideological needs of Romanians. As formative minds, the writers wanted at all costs to adapt to the European context; they renounced pattern of ancient writing (neoclassical poetry, for example) and embraced new forms of literary expression. Moreover, by their education made according to the modern European spirit, they gave examples of erudition and education which were grafted on the national culture. Our study offers an incursion into the Romanian cultural space of the 19th century in order to present a faithful image of the cultural “renaissance” in the Romanian provinces of that time.
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Conkan, Marius. "Transgressive Spaces in Contemporary Romanian Poetry: A Geocritical Approach." Caietele Echinox 38 (June 30, 2020): 138–48. http://dx.doi.org/10.24193/cechinox.2020.38.11.
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Transgressivity is a major geocritical principle that is fundamental for the morphology of global spaces. Following this theoretical frame, my paper will map out the images and states of transgressivity that arise in contemporary Romanian poetry. How does poetry create transgressive spaces in the context of a post-communist society? Which are the poetic cartographies involved in the process of cognitive, affective and heterotopic mapping of Romanian postCommunism? Finally, how does poetry become a territory of freedom that subverts a given socio-political geography? These are the starting points of my geocritical approach on transgressivity which can be characteristic to the “chronotopography” of post-communist spaces and their poetic representations.
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Bartosiewicz-Nikolaev, Olga. "O nouă perspectivă asupra literaturii române din perioada postcomunistă. Mihai Iovănel, Istoria literaturii române contemporane: 1990–2020." Romanica Cracoviensia 22, no. 1 (June 30, 2022): 121–28. http://dx.doi.org/10.4467/20843917rc.22.011.15643.
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New Perspective on Romanian Post-Communist Literature. Mihai Iovănel, History of Contemporary Romanian Literature: 1990–2020 The article addresses Mihai Iovănel’s 2021 History of Contemporary Romanian Literature: 1990–2020, the first history of Romanian literature that presents the development of Romanian post-communist prose and poetry. Iovănel’s book sparked a heated debate among literary critics, historians and writers, because it discusses and redefines prevalent concepts in Romanian literary theory and criticism, focusing on the extraliterary (political, social, economic) conditioning of literary production and inscribing Romanian literature into the system of transnational literary interactions. The paper shows thus the most important assumptions of Iovănel’s work and discusses the critical reception of the volume among Romanian intellectuals.
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Croitoru, Corina. "Censure communiste et dérision poétique." Caietele Echinox 39 (December 1, 2020): 50–60. http://dx.doi.org/10.24193/cechinox.2020.39.04.
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"The study proposes a rereading of the Romanian poetry written during Communist regime, in order to see how practices of derision are used in a subversive manner in relation to political power and the realities of that era. The humor, irony, sarcasm or cynicism shown by this poetry are seen as means to circumvent censorship, entering, from this perspective, the field of a particular commitment against historical events."
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Van Dyck, Karen. "Xenitia, the Nation, and Intralingual Translation." PMLA/Publications of the Modern Language Association of America 138, no. 3 (May 2023): 551–66. http://dx.doi.org/10.1632/s0030812923000421.
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AbstractModern Greek poets often imagine interlingual translation as intralingual—that is, as rewording within the same language when two distinct languages are involved. George Seferis and Yannis Ritsos provide two cases, Seferis in translating Ancient Greek poetry and Ritsos in translating Romanian, Czech, and Slovakian poetry. For these poet-translators on opposite sides of the political spectrum, the claim of intralingualism responds to different experiences of exile: Seferis as a refugee from Asia Minor and then as an overseas diplomat, Ritsos as a political prisoner and then as a Communist Party emissary. Intralingual translation assuages xenitia, the pain of not being able to go home, but it also masks interlingual differences that serve other cultural and political functions, whether imagining a national language that continues a valuable cultural past or serving as a transnational vehicle for unifying minor cultures.
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Lambru, Angelica. "Matei Vişniec – del exilio cultural a la cultura del exilio." Swedish Journal of Romanian Studies 6, no. 1 (May 15, 2023): 341–48. http://dx.doi.org/10.35824/sjrs.v6i1.24941.
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This study intends to offer a general overview on one of the most far-reaching aspects of an exceptional literary biography: Matei Vişniec’s story (Rădăuţi, Romania, 1956). Our analysis will focus on the transition of an immense literary work, opening with his political exile in the late 80’s and reaching today’s urbane, all-embracing European literature. Matei Vişniec claims the existence of a “joyful exile” as a concept –a cultural one, soothed by many literary references, deep-rooted in his Romanian educational background. After a brief hunt for a host language for his writing in the early 90’s, Vişniec finally chose French, which he defines metaphorically as his mistress-tongue, as opposed to Romanian, his wife-tongue. Each of these languages’ demands determine his pick, depending on the literary genre to address: French –due to its wider circulation and its morphosyntactic concission– was assigned to his narrative work, and to his poetry, Romanian –thanks to its lexical vastness, containing countless synonyms from various origins. We believe it’s interesting to point out self-translation as one of the essential features of a literary biography saddled between two different languages and cultures, which leads Matei Visniec to describe himself as “a man with his roots in Romania and his wings in France” and thus creating the emblematic, allegorical image of a “winged tree”. Translated into more than 25 languages, his work strives for universality and has been recognized for decades, through many valuable prizes, by today's French-speaking culture. From a diachronic perspective, aspiring to establish some of the specific features of a whole creative universe written in a context of exile and migration, this text approaches some significant moments in Matei Vişniec’s literary biography.
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ROZHCHENKO, Zoya, and Amirreza MOLLAAKHMADI-DEKHAHI. "THE GREAT POET OF IRANIAN MODERNITY SIMIN BEHBAHANI AND SOME INTERPRETING PROBLEMS IN THE TRANSLATION OF PERSIAN GHAZAL INTO INDO-EUROPEAN LANGUAGES." Folia Philologica, no. 2 (2021): 61–74. http://dx.doi.org/10.17721/folia.philologica/2021/2/6.
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Simin Behbahani is the most outstanding contemporary Iranian poet famous for her participation in political actions for civil freedoms such as women’s rights, against cruel forms of punishment and against Iran-Iraq war. She participated in the movement of mothers of political prisoners as well. But she became more famous in Iran for her lyrical poetry written in a traditional form of ghazal and not for her political activities. The aim of the article is to make the analyses of Simin Behbahani’s poetry and to consider the problems of its translation into different European languages. Such problems can be explained by the different ways of poetry in the eastern and western cultures: 1) the problem of keeping the metrics of ghazal; 2) the problem of keeping the sense of ghazal. Ghazal as the form originated in the Arabic literature was spread through the Near and Middle East culture and it was not known in Europe until 19th century. From the very beginning ghazal was performed against the backdrop of playing stringed musical instruments. According to the last researchers, ghazal became a base for the development of European sonnet. The authors of this article make a short review of the rhythmical features of ghazal and define its main components, such as bayt, matlaa, radif and others, that should be present at the translated text. It is important to keep these components in verse while translating because rhythmical characteristics of the ghazal are primary relatively to its sense. Scientific novelty. Simin Behbahani is known as a pioneer, who combined in her poetry genres and style of qasida and ghazal. This article deals with the translation of the ghazals by Simin Behbahani into different European languages, such as English and Romanian. Various poems by Simin Behbahani were translated by several interpreters who based their work on different reproduction principles of the original text. Metric and rhythmic of Persian verses were not kept even by the best translators into English. Farzane Milani used in her adaptation the free verse (vers libre) which had become the national form in the English poetry of the 20th century. This choise is good for translator who was born in Iran and now works at the University of Virinia. She made Persian verse understandable for native English speaker and focused at the main substance of poetry. In conclusion, Romanian translator reproduced metric and rhythmic features of the English translation but not of the Persian original. That’s why Ukrainian translators must take in account such experience and use the original text for reading.
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ROZHCHENKO, Zoya, and Amirreza MOLLAAKHMADI-DEKHAHI. "THE GREAT POET OF IRANIAN MODERNITY SIMIN BEHBAHANI AND SOME INTERPRETING PROBLEMS IN THE TRANSLATION OF PERSIAN GHAZAL INTO INDO-EUROPEAN LANGUAGES." Folia Philologica, no. 2 (2021): 61–74. http://dx.doi.org/10.17721/folia.philologica/2021/2/6.
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Simin Behbahani is the most outstanding contemporary Iranian poet famous for her participation in political actions for civil freedoms such as women’s rights, against cruel forms of punishment and against Iran-Iraq war. She participated in the movement of mothers of political prisoners as well. But she became more famous in Iran for her lyrical poetry written in a traditional form of ghazal and not for her political activities. The aim of the article is to make the analyses of Simin Behbahani’s poetry and to consider the problems of its translation into different European languages. Such problems can be explained by the different ways of poetry in the eastern and western cultures: 1) the problem of keeping the metrics of ghazal; 2) the problem of keeping the sense of ghazal. Ghazal as the form originated in the Arabic literature was spread through the Near and Middle East culture and it was not known in Europe until 19th century. From the very beginning ghazal was performed against the backdrop of playing stringed musical instruments. According to the last researchers, ghazal became a base for the development of European sonnet. The authors of this article make a short review of the rhythmical features of ghazal and define its main components, such as bayt, matlaa, radif and others, that should be present at the translated text. It is important to keep these components in verse while translating because rhythmical characteristics of the ghazal are primary relatively to its sense. Scientific novelty. Simin Behbahani is known as a pioneer, who combined in her poetry genres and style of qasida and ghazal. This article deals with the translation of the ghazals by Simin Behbahani into different European languages, such as English and Romanian. Various poems by Simin Behbahani were translated by several interpreters who based their work on different reproduction principles of the original text. Metric and rhythmic of Persian verses were not kept even by the best translators into English. Farzane Milani used in her adaptation the free verse (vers libre) which had become the national form in the English poetry of the 20th century. This choise is good for translator who was born in Iran and now works at the University of Virinia. She made Persian verse understandable for native English speaker and focused at the main substance of poetry. In conclusion, Romanian translator reproduced metric and rhythmic features of the English translation but not of the Persian original. That’s why Ukrainian translators must take in account such experience and use the original text for reading.
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TUDORACHE, Dan. "Poezia ca parte a rezistenţei prin cultură în spaţiul concentraţionar din România. II. Rezistenţa prin cultură din spaţiul concentraţionar românesc în timpul regimului comunist/Poetry as Part of Resistance through Culture in Romanian Political Prisons. II." Analele Universităţii "Dunărea de Jos" din Galaţi Fascicula XIX Istorie 19 (June 8, 2021): 127–72. http://dx.doi.org/10.35219/history.2020.08.
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This study is the second part of a larger research project, which aims to study poetry as a form of cultural and spiritual resistance in the system of political prisons of communist Romania. The author focuses his research now on the detainees who were arrested after 1945.
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Boltașu, Dorica. "Resemantization of Historical Symbols in the Romanian Poetry of the 1960s–1980s." Trimarium 3, no. 3 (December 18, 2023): 153–72. http://dx.doi.org/10.55159/tri.2023.0103.06.
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In Romanian culture, in the 1960s–1980s, communist totalitarianism went through various stages (Eugen Negrici, 2003, 2019); poets varying in style and creative instincts were active in a social and political context influenced by several factors varying in intensity such as the censorship constraints, party ideology, the resumption of cultural exchanges and translations from great works of world literature, the promotion of aesthetic autonomy, etc. Obviously, the main battle pitted aesthetics against ideology. Throughout this period, poetry was largely ideology- and propaganda-tinged and its themes changed from one decade to the next, moving from the pro-Soviet enthusiasm, which glorified Stalin while criticizing the “corrupt” West in the 1950s, to the tributes paid to the “beloved leaders” Nicolae Ceaușescu and Elena Ceaușescu, in the 70s and 80s. Such poems used significant figures in Romania’s national history to legitimize the new leaders.
In parallel to this type of “poetry”, however, there were numerous formulas that returned to lyricism and intellectualization, word play magic and creative experiment. Among the most important post-war writers of the neo-modernist generation are Ana Blandiana and Marin Sorescu, therefore we will analyze – in the larger context of their work while also referring to other lyrical representations of the same theme -, two poems: Avram Iancu by Ana Blandiana, from the volume Poeme “Poems” (1974), and Biografii [Biographies] by Marin Sorescu from the volume La lilieci. Cartea a doua [Near the Lilac Bushes. Book Two] (1977). Both resemantize history in an original manner that moves away from its official and ideologized versions. Taking as a starting point the dramatic death of a fighter for social and national rights from the nineteenth century, through resemantization and ambiguity, Ana Blandiana creates a poem that could be read, on a deeper level, as a comment on the tendency to give up one’s desire for freedom and the danger of the social and spiritual inertia common during the communist regime. Marin Sorescu, using innovative techniques closer to postmodernism, brings to the fore a complex world, a regional language, another “Macondo”, which deconstructs its mythology while exposing its history through individual stories that become exemplary and counterpose an alternative imaginary to the official culture.
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Buleu, Constantina Raveca. "Două reviste digitale româneşti, publicate în străinătate – provocări, probleme, tipologii –." Romanian Studies Today 5, no. 5/2021 (December 1, 2021): 101–12. http://dx.doi.org/10.62229/rst/5.1/8.
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The presentation intends to focus on two Romanian digital publications currently active today, Asymetria and Alternante, the first one being issued by Dan Culcer in France as part of a personal cultural blog, and the second one by Andrei Zanca, Eugen D. Popin and Vasile Gogea in Germany. Although they occasionally share contributors, the typology of the two publications is different, because Asymetria is conceived to function as a political and socio-cultural platform, deeply indebted to its editor's sociological and even ethnocentric profile, while Alternante mainly focuses on a purely literary and aesthetic approach by sharing especially poetry or prose, and rarely other genres. Their selection pool and organizing principle are also different, because Dan Culcer's publication attracts and selects the contributors by structuring them according to the leading, occasionally militant program of the issue, in a way which does not avoid polemic, while Alternante is built on an open minded "haystack principle", regulated by the liberal profile of the contributors and by their certified literary pedigree. There is also a generational gap between the two publications, which share nevertheless the editors' personal implication in the flow of the Romanian literature and their wish to take part from abroad in the symbolic exchanges of the Romanian literature and socio-political ideas. The paper intends to tackle the challenges experienced by a literary researcher while reading, valuing and comparing these two different types of digital publications.
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Szilveszter, László Szilárd. "Ideological and political horizon shifts in Transylvanian Hungarian poetry during the communist period and after the 1989 Regime Change." Hungarian Studies 34, no. 2 (July 6, 2021): 301–17. http://dx.doi.org/10.1556/044.2021.00135.
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AbstractAlthough the communist regime, in literature as well as in all areas of social life, aimed at uniformity and creating an “art” serving propaganda purposes in the entire Central and Eastern European region, the Romanian Stalinist “cultural project” differed in many respects from that of other countries, e.g. Hungary's. In this era, the discourse emphasizing revolutionary transformation and radical policy change decisively builds on the image of the enemy; and the fault-lines between past and present, old and new, and the idea of the need for continuous political struggle also prevail in both poetry and prose as eternal actualities.For the Transylvanian Hungarian community, the 1989 Regime Change was supposed to mean the end of nationalist dictatorship, of the infinitely intensified ideological/political terror, of the deliberate policy of ethnic homogenization, and the solution of minority issues as well as of internal and external conflicts. Nevertheless, after a few months of cloudless enthusiasm, in 1990, Transylvanian Hungarians had to face the rearrangement of previous power structures; they confronted national and ethnic conflicts, disguised assimilation, and economic vulnerability. This paper aims to present the ideological/political characteristics which determined Transylvanian Hungarian poetry during the Communist Dictatorship and after the 1989 Regime Change.
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Szilveszter, László Szilárd. "From Proletarian Internationalism to Transnational Consciousness." Acta Universitatis Sapientiae, Philologica 14, no. 3 (December 1, 2022): 157–73. http://dx.doi.org/10.2478/ausp-2022-0031.
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Abstract Following the Treaty of Trianon, in Transylvania, which had been detached from historical Hungary and attached to Romania, besides the Romanian majority, there lived a considerable Hungarian- and German-speaking minority. Although in the last two decades of the communist dictatorship – in the 70s and 80s – as a consequence of emigration to Germany, the number of ethnic Germans decreased substantially, the number of Hungarian speakers is over one million even today. Regarding the characteristics of the post-World War II literary discourse and cultural policy, in the second half of the forties, the communist power gained control over all manifestations of community life in Romania. It regulated culture and the arts, banned, abolished, or restructured all forums that had enjoyed some kind of independence, and completely revised the literary and artistic canon. In this era, the discourse emphasizing the aspects of revolutionary transformation and radical policy change decisively builds on the enemy image; the fault-line between past and present and the necessity of continuous political struggle prevail in both poetry and prose. In order to achieve the intended social goals, this kind of communist sacrifice ethics regards the annihilation of resisters, protesters, and even of the internal opposition not only as a possibility but as an assumed necessity. This paper aims to present the ideological/political and aesthetic/poetic tendencies that determined Transylvanian Hungarian literature and cultural policy from the mid-40s until the end of 20th century.
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Magdalen, Daniel. "Poetry as a “Sanctuary” Amidst Barbed Wire: The Dialogue of Symbols." University of Bucharest Review. Literary and Cultural Studies Series 9, no. 2 (November 21, 2020): 24–33. http://dx.doi.org/10.31178/ubr.9.2.3.
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With the 1990s, after the communist regime collapsed in Romania, the reading public could see the rapidly increasing publication of poetry composed by former prisoners of conscience. Still, to this day, such works have remained a somewhat peripheral concern of literary critics and the society alike. These writings, nevertheless, have a lot to offer in terms of meanings, beyond the aesthetic plane, in gaining further insight into the human condition and creativity amid traumatic circumstances. One may find studies about Romanian prison poetry, on the one hand, describing the abusive political power as well as victims’ resistance to it and, on the other, identifying elements of collective memories transmitted through literary discourse. However, the unique ways in which these texts have been able to help their authors maintain their moral values and identity have not undergone a thorough exploration. This article aims to offer a glimpse into this very issue and emphasise its relevance to literary, memory and trauma studies. This brief analysis hermeneutically approaches the poetry created by Bishop Ioan Ploscaru during his ideologicallymotivated incarceration. More specifically, it focuses on how, amid the dynamics between the poetic act and the prisoner’s mental state, his “rhymed reflections” gain the qualities of a ‘memory sanctuary’. This notion derives from that of symbolic “sites of memory” and relates to processes of remembering, contemplating and seeking protection. In their original, unwritten state, Ioan Ploscaru’s poems - later featured in the volume Cruci de gratii (Crosses of Prison Grates) - evoke an inner space of representation, where detention experiences get invested with new meanings. In the circumstances of life-threatening abuses, these verses illustrate how the mental (re)composing of personal poems works towards achieving the survival of conscience.
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Dobrescu, Caius. "The Phoenix that Could Not Rise: Politics and Rock Culture in Romania, 1960–1989." East Central Europe 38, no. 2-3 (2011): 255–90. http://dx.doi.org/10.1163/187633011x597180.
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AbstractThe article addresses the emergence and development of the rock scene under the very specifi c circumstances of Romanian communism. While pointing to the extension and complexity of this social-musical phenomenon, it tries to explain the paradox that the rock scene could coexist with what is currently perceived as one of the most repressive and unreformed social systems in communist Eastern Europe. The analytical part of the paper is centered around two case studies: 1) the artistic and intellectual evolution of the rock band Phoenix, from its 1962 beginnings to the 1977 spectacular escape to the West of most of its lineup, 2) and the strange combination of nationalist-Stalinist mobilizationism and flower power Woodstock-like poetry of the cultural activist Adrian Păunescu and his Flacăra Cénacle of the Revolutionary Youth, from the mid-1970s to the last part of the 1980s. Alluding to the name of the cult act Phoenix, the title of the paper suggests that, once dissipated under the impact of repressive and manipulative cultural policies, the overwhelming creative energies manifested in the Romanian youth culture of the second half of the 1960s were almost completely lost to the cause of a gradual, peaceful opening of the Romanian society.
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Yu., Munkh-Amgalan. "Монгол хэлээр орчуулагдсан италийн уран зохиолын товч тойм." Mongolian Journal of Foreign Languages and Culture 25, no. 547 (February 10, 2023): 9–25. http://dx.doi.org/10.22353/mjflc.v25i547.1833.
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Mongols have a long and rich tradition of translating literary works from many different countries into Mongolian. Specifically, thousands of literary works from over 100 different countries written in dozens of different languages have been translated into Mongolian. Among these, a large number of Italian literary works have been translated into Mongolian from Russian, English, and Romanian. As for the literary genres of these works, they primarily consist of poetry, prose, and plays (including screenplays). Specifically: 1) Poetry: poems (58 works), songs (1), long poems (3); 2) Prose: folktales (33), authored tales (36), short stories (40), traditional jokes (3), novellas (5), framed stories (1), novels (5); 3) Plays (2), and screenplays (1). In addition, works of non-fiction, including stylized biographical sketches, reminiscences, as well as a political philosophical treatise, have been published. Literary works are generally divided into one of the following two different categories depending on whether they have a specific author or not: a) oral folklore; and b) written literature. The following tasks need to be undertaken to properly study Italian literary works which have been translated into Mongolian and published in Mongolia: A complete bibliography of Italian literary works translated into Mongolian must be compiled, All of the Italian originals must be located and correctly identified, The Russian, English, and Romanian intermediate translations must also be found and carefully consulted, If a work has been translated multiple times by a single translator, the multiple translations must be compared with each other and studied, If a work has been translated multiple times by different translators, the multiple translations must likewise be compared with each other and studied, The Italian originals of poems, songs, tales, and short stories which have been translated into Mongolian should be located and juxtaposed with their translations and published in book format for teaching and research purposes.
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Creangă, Maria-Teodora. "The Translatability of Poetry: Phonaesthesia, Sound Iconicity, Orchestration, and Aesthetic Function. A Case Study of Poe’s The Raven." American, British and Canadian Studies 38, no. 1 (June 1, 2022): 163–78. http://dx.doi.org/10.2478/abcsj-2022-0009.
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Abstract When asked whether all texts are translatable, Roman Jakobson answered: “yes, to a certain extent” (qtd. in Hatim and Munday 16). Poetry in particular is notoriously difficult to translate due to its complexity and intricacies of form and meaning, on the one hand, and its cultural features, on the other. Over the years, poetry translation has been the key topic in many studies and articles that pinpoint concrete issues that may assist the translator during the three main stages of the translation process: source text analysis, linguistic transfer, and target text assessment. The present article tackles the issue of the translatability of Edgar Allan Poe’s The Raven into Romanian in terms of sound symbolism and orchestration with reference to Emil Gulian’s and Dan Botta’s translations. It also investigates the extent to which a particular case of sound symbolism known in the literature as phonaesthesia is a cross linguistic phenomenon and the ways in which it may become a tool in the translation process, given the complexity of the phonological structure of the poem.
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Pavel, Catalin. "On Eminescu’s philosophy of history: towards an English anthology of relevant texts." Swedish Journal of Romanian Studies 3, no. 1 (April 17, 2020): 241–58. http://dx.doi.org/10.35824/sjrs.v3i1.21360.
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The present paper aims to offer Anglophone researchers a selection of translated quotes from Mihai Eminescu’s non-literary oeuvre, relevant to the philosophy of history of the most complex Romanian author of the nineteenth century. It should thus become possible to reconsider Eminescu’s position within the concert of European philosophers of history. The fragments gathered here stem mainly from his activity as a cultural and political journalist, throughout which he voiced, albeit unsystematically, his views on history. Although he did not ultimately articulate an academic philosophy of history per se, these fragments, now available in English for the first time, may give valuable insights into Eminescu’s conception of history. Above all else, they meaningfully complement whatever can be gleaned from Eminescu’s already translated poetry or literary prose. Hopefully the fragments presented here will aid scholars in establishing more precisely what Eminescu’s views on history owe to Schopenhauer’s metaphysics and what to the proper philosophy of history he could find in Hegel. This is a double allegiance scholars have also recognized in Maiorescu’s work. By the same token, it would further be important to chart Eminescu’s ambivalence towards Hegel, an ambivalence also visible in the works of Romanian philosopher Vasile Conta. Finally, the fragments below may help to bring to the fore the complex interplay between Hegelian theodicy and Kantian teleology in Eminescu’s historical thought.
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Molea, Ilie. "Iraclie Porumbescu - ctitor de cultură și spiritualitate bucovineană." Analele Bucovinei 58, no. 2 (December 1, 2022): 357–75. http://dx.doi.org/10.56308/ab/2022.2.02.
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The following study highlights the personality of Iraclie Porumbescu (1823–1896), an emblematic figure in the history of Bukovina. He was a scholar and a priest and his name is related to old settlements with historical significance such as Sucevița or Putna, but also to certain prolific moments of the social and cultural life of Bukovina. On August 15, 1871, together with his son, the regretted composer Ciprian Porumbescu, he was enthusiastically taking part in the Celebration of the Romanian students in the country and abroad organized at the Putna Monastery. Iraclie Porumbescu is also considered to be Bukovinaʼs first modern prose writer. He was often compared to the renowned storyteller Ion Creangă, whose Childhood Memories are an important source of information regarding the old life and customs of the people who once lived in Bukovina. Thus, we will briefly layout a few biographical references of this priest who lived in Bukovina, insisting on the Romanian roots of the Porumbescu family, on the solid intellectual training which, in spite of the hardships of those times, Iraclie got since childhood, being initiated in the art of writing by Ghenadie Platenchi, the abbot of the Sucevița Monastery. It is worth mentioning that the scarce financial resources did not impede young Iraclie to deepen his intellectual knowledge, attending the courses of schools such as those in Karlsberg (Gura-Putnei), Suceava, Chernivtsi or Lemberg. Since his training years, he proved ambitious, hard-working and eager to defend the moral, spiritual and patriotic values of his ancestors. On the other hand, we cannot overlook his priestly service entrusted to him by God, a service which Iraclie fulfilled with dignity and responsibility in spite of the turmoil of the century, for 46 years (1850–1896), worthily preaching in villages such as Șipotele Sucevei, Boian, Stupca or Frătăuții Noi. As a priest, he actively involved in the social, political and especially cultural life of those times. An important aspect we would like to emphasize in our paper is the cultural side which the scholar priest vividly approached all his life. The literary works, which outlived him, present him as a genuine scholar and a leading nationalist of Bukovina. His literary works made him stand out even during his lifetime. In 1848, he wrote poems such as „Cântecul lui Iancu”, „Fata de Roman”, „Ieremia Moghilă și Săhastrul” and others. He collaborated with various newspapers of the time („Bucovina”, „Albina”, „Românul”, „Telegraful”), even being the secretary of „Bucovina”, the well-known cultural magazine, which appeared under the sponsorship of the Hurmuzachi family. The articles are full of profound patriotic accents, meant to strengthen the national consciousness of Bukovina, pleading for values such as identity and faith. In support of this description, Paul Leu, a famous biographer of the Porumbescu family, describes Iraclie as the one who „advocated, in his poetry and prose, for the revival of the national consciousness and of the ancient virtues, praising events, facts and personalities that made themselves conspicuous through time or during his lifetime”. The image of the scholar is closely related to his friendship with various men of culture of his time: Eudoxiu and Alecu Hurmuzachi, Aron Pumnul, Vasile Alecsandri, Constantin Morariu and others. Iraclieʼs texts, which remind us of these coryphaei of the Romanian culture, stand for the importance of this man, for whom the love for his native language and people represented a sacred duty. All the above aspects show that Iraclie Porumbescu, the scholar priest, was a true founder of culture and spirituality in Bukovina, making him stand out as a dignified and worthy example for posterity.
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Danylych, V. S. "The formation of national functions of literature of medieval Iberian Romania." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 36 (2019): 50–64. http://dx.doi.org/10.17721/2663-6530.2019.36.04.
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The article focuses on the development of national literature in the process of historical evolution of society and its language, historical relations with other cultures which have some influence on the general literary activity in Medieval Iberian Romania. It was singled out the dominating role of epics as the main genre in the majority of occidental and oriental literatures, which confirms the importance of moral and political meaning of military honor which grew to the scale of the ideal of the epoch. It was stated the significant role of borrowed genres, plots, topics, motives from the polyphonic multinational literary repertoire in the formation of the national contents of poetical and prose works of the epoch of foundation of the national language and literature of Iberian Romania. The cultural phenomenon of the use of Galician Portuguese in poetry was highlighted. The tradition confirmed the lyrical function of Galician Portuguese in poetry and the King of Leon and Castile supported this tradition on the condition of the absence of general national language of Medieval Spain. The high prestige of Galician lyrics was transformed into the language itself which had special poetical internal feature. Bright and complicated phenomenon in Medieval culture of Spain is Arabian-Spanish (Andalusia) poetry of the VIIIXV centuries. It appeared as a result of transference of mighty oriental Arabian (Syrian) tradition onto the Iberian Peninsula. The bearers of the tradition wereMuslim Arabs who settled down in Spain after its conquest. The unique historical situation made Iberian Peninsula the arena of interaction of occidental and oriental civilizations. The external impulses made influence on literary life of Medieval Spain, constantly developing the people’s literary imagination, although not destroying but reinforcing the unique character of the national culture.
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Mironescu, Doris. "Poetry, Disability and Metamodernism: Ilya Kaminsky’s Deaf Republic." Word and Text - A Journal of Literary Studies and Linguistics 12 (2022) (December 30, 2022): 95–109. http://dx.doi.org/10.51865/jlsl.2022.07.
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Based on Ilya Kaminsky’s poetry volume Deaf Republic (2019), this article aims at placing contemporary disability poetics at the crossroads of modernism and metamodernism. The first part makes an assessment of the modernist poetics of disability created against the background of the prevalent ableist ideology as it is found in the American and Romanian traditions, and examines the ways in which disabled poets react, creatively and politically, to the tradition of marginalization to which they were subjected. A particular place is given to Deaf poetry and to the limitations it had to surpass socially and creatively. In the second part of the essay, I introduce metamodern affect to sketch out a poetics of disability in the 21st century which overcomes the predicaments of modernist writing and reading codes through a new way of conceiving corporeality, oppression, and relationality.
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Valič, Urša. "“The Nation of Poets, Artists, Heroes, Saints, Thinkers, Scientists, Travelers and Transmigrants”: Cultural Politics in Fascist Italy and Its Influence on the Romanian Latin National Consciousness and Identity." Narodna umjetnost 50, no. 2 (December 10, 2013): 47–67. http://dx.doi.org/10.15176/vol50no203.
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Vancu, Radu. "Protesting through poetry: Verses by one of Romania’s most renowned poets draw on his experience of anti-corruption protests in Sibiu." Index on Censorship 48, no. 1 (April 2019): 100–105. http://dx.doi.org/10.1177/0306422019840159.
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Blasen, Philippe Henri. "De getis apud Nasonem … la poesie d’Ovide comme source pour l’étude des getes K De getis apud nasonem … / Ovid’s Poetry as Source for the Study of the Getae." Analele Banatului XIX 2011, January 1, 2011. http://dx.doi.org/10.55201/ovmp4626.
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In the year 8 CE, the poet Ovid is sent in relegatio in perpetuum to Tomis, a Greek city on the Black Sea, identified asthe modern Romanian town Constanţa. During his stay in Tomis – which lasted until his death – he continuouslycomplained about barbarians in town and about barbaric invaders. The most commonly mentioned are the Getae,who many Romanians today consider their ancestors. Our work builds on Alexander Podossinov's research OvidsDichtung als Quelle für die Geschichte des Schwarzmeergebiets and analyzes how far Ovid's poetry may be taken as aprimary source for the study of the Getic people and where it should be considered a poetic or a political invention.the study also aims to provide a critical view of existing Romanian theories about Ovid and his relations with theGetae. It is concluded that the verses of Ovid are mostly unreliable as a historic source about the Getic populationof his time, but provide a good idea of Roman knowledge and imaginings about Tomis and its region at thebeginning of the first century CE.
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Strugaru, Oana Andrada. "Reprezentări ale animalelor și dislocarea antropocentrismului în poezia română postdouămiistă." Transilvania, 2023. http://dx.doi.org/10.51391/trva.2023.05-06.01.
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With a tradition of economic, political, and institutional settings built on a dynamic based on dominance, animals have been systematically assigned the role of an inferior form of „otherness”, essential, nevertheless, in shaping the anthropocentric mentality and validating the narrative of human exceptionalism. The longevity of such speciesist practices throughout the humanist discourses obliges the posthumanist project of creating a postanthropocentric concept of subjectivity to pay special attention to the issues regarding the animals, their representations, and their interactions with ‘us’. This paper stems from Rosi Braidotti’s project of a posthuman subject understood as a hybrid entity integrated through a system of material and informational connections with all forms of existence in the natureculture continuum and follows the implications it has on redesigning our interactions with the non-human beings in a post-anthropocentric context. My purpose is to study how contemporary Romanian poetry reflects this new vision of subjectivity and its impact on reimagining the relations between the human and non-human beings. The analysis on volumes such as val chimic’s umilirea animalelor (the humiliation of animals), Mihók Tamás’s biocharia. ritual ecolatru, Adelina Pascale’s maki for 2, Gabi Eftimie’s Sputnik în grădină (Sputnik in the garden), or Diana Cornea’s Setări avansate de lumină (Advanced lighting settings) confirms the increasing interest of Romanian post-millenary poetry in reshaping the depictions of animals and human-animal interactions according to a postanthropocentric perspective.
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Lupașcu, Emanuel. "Postumanismul și poezia română contemporană." Transilvania, 2022, 44–57. http://dx.doi.org/10.51391/trva.2022.06-07.05.
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The present study aims to map the links between posthumanist theory and contemporary Romanian poetry, as well as the socio-political, economic and philosophical contexts that have made possible the emergence of a “new sensibility”, since the generation 2000 exhausts its transitive, violent-existential poetics, focused on radically biographical writing. In order to understand the dynamics of posthuman coordinates in contemporary poetry, I will analyse the two poetic trends that have evolved from a focus on the posthuman environment and from close links with digital culture to an assumed critical perspective on the exclusionary forms of humanism. My analysis is meant to highlight the posthumanist (empathetic and supportive) viewpoint, in the volumes that address identity issues both in relation to the tradition of dehumanization exercised by the canonical, white, male and heteronormative man, but also in relation to the new digital existence, and the eco direction, concerned with the ecological crisis, not just the political or social one. My interpretation approaches the way in which the “new sensibility” functions as a legitimizing principle for the posthuman/ist collective, in solidarity with marginalized, sexualized or racialized communities.
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Lupașcu, Emanuel. "Metamodernismul în teorie și în practică: pentru o conceptualizare a modernității singulare în câmpul literar românesc." Transilvania, 2023. http://dx.doi.org/10.51391/trva.2023.05-06.03.
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Metamodernism is a Eurocentric theoretical fiction, with no adherence to the social and cultural realities of post-communist Romania. This article provides a critique of the theory of metamodernism proposed by Timotheus Vermeulen and Robin van den Akker and used by Alex Ciorogar to describe the post-2010 Romanian poetry system. Even if the concept is inoperative for Romanian literature, it is a symptom of the overcoming of the postmodernist framework, felt by writers as anti-essentialist, light-hearted, and unconcerned with the problems of today’s society (climate crisis, immigrants, marginalized communities, economic inequalities between classes, etc.). What I notice in the footsteps of Jeffrey Nealon & Galin Tihanov is that the focus shifts from an autonomist “regime of relevance” to one that is socially, politically, and identity-building oriented. My analysis will propose a number of criticisms of the internal contradictions generated by the two Dutchmen’s theory: firstly, that the “Yo-yo effect” of metamodernism – a metaphor I coined to better understand the basic concept – does not fully explain the cultural landscape of the Romanian literary system. In addition, it is built on a sum of generalizations of modernism and postmodernism, which have not been unanimously accepted by the theorists. A second criticism of Vermeulen and van den Akker’s study is its Western-centric stance, which ignores the (semi-)peripheral specificity of cultures. If we absurdly accept the existence of metamodernism, it is only a combination of ideologies and styles of historical currents subsumable to modernity. Therefore, I will propose, following in the footsteps of Fredric Jameson and the Warwick Research Collective, the concept of singular modernity, and I argue why there cannot yet be a postmodernity in Eastern Europe. Discussing post-communist Romanian literature in terms of unfinished, combined, and unevenly developed modernity is much more productive because it takes into account both the material-social conditions of Romania and the cultural-artistic acquisitions thanks to the transfer of symbolic capital between central and (semi)peripheral systems.
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KANDEMİR, Mecnun. "THE POLITICAL REFERENCES AND THE UNFOLDINGS OF POETIC LAYERS OF THE PALACE OF DREAMS BY ISMAIL KADARE." Balkanistik Dil ve Edebiyat Dergisi, June 13, 2022. http://dx.doi.org/10.53711/balkanistik.1117962.
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The Palace of Dreams by Ismail Kadare, who is one of the well-known writers of the Balkans, Albanian and world literature, has been subjected to many interpretations, particularly determined by non-literary categories. This novel, whose literary aspects are generally disregarded, bears obvious resemblances with the works of some writers, who are both universal and classical. The Palace of Dreams can be analyzed not only in terms of the thematic perspectives such as totalitarianism, ethnic identity/nationalism, the relationship between the individual and bureaucracy and authority, but also in terms of literary genres such as allegory, dystopia, fantastic, and uncanny. Additionally, structural categories of the novel such as time-space poetics, parallel texts (intertextuality) should not be ignored.
In this article, after briefly mentioning Kadare’s literary personality, The Palace of Dreams and the historical context in which he produced his works, the aforesaid thematic perspectives will be evaluated in a critical way. In addition to this, the novel will be analyzed on the basis of its relationship with genres and structural categories in question and the textual diversity beyond it will be unveiled. The issue of whether Kadare’s text is a social and political allusion, a formula for salvation, a criticism of repressive regimes or a quest for “the production of normal literature in an abnormal country” will be raised. After clarifying the understandings of generalized interpretation strategies on the text, an opinion on how the text should be evaluated or not, will be presented.
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"Alina Ledeanu: A Poetic Geography (Secolul 20, Autumn 1995, Romania)." East Central Europe 26, no. 2 (1999): 110. http://dx.doi.org/10.1163/187633099x00725.
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ALBAYRAK, Hakan. "A STUDY OF OZANTÜRK'S EPIC OF "TURNALAR" IN TERMS OF NATIONALISM THEORIES." Karadeniz Uluslararası Bilimsel Dergi, December 15, 2022. http://dx.doi.org/10.17498/kdeniz.1190167.
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Various theories have emerged as a result of evaluations and studies on nationalism. Among these theories, "primordial theory", "modernist theory" and "ethno-symbolist theory" came to the fore. Primordial theory argues that nations come from the same lineage and share a common religion, language, culture and history. In this theory, there are “naturalistic”, “biological” and “cultural” perspectives. According to modernist theory, nationalism is a social necessity of that period. In this theory, nationalism is evaluated together with the modernization process, which affects social, political and economic developments and changes. In the ethno-symbolist theory, nationalism, ethnic origin and cultural characteristics of nations are emphasized. National symbols are frequently encountered in Turkish oral and written cultural products. Symbols reflecting Turkish nationalism are widely used, especially in Minstrel Literature, a product of Turkish Folk Literature. These symbols appeal to the subconscious of the Turks with their deep meanings. Each symbol has its own semantic national value. The "Turnalar" epic of Ozantürk emphasizes the shared cultural heritage of the Turkish people. In the epic of Turnalar, which consists of three separate works connected to each other, the Turkish communities that make up the Turkish World are described. In the first of these texts, the Turks of Azerbaijan, Kazakhstan, Kyrgyzstan, the Turkish Republic of Northern Cyprus, Uzbekistan, Turkey and of Turkmenistan are mentioned. In the second text, Turkish tribes living in a wide geography including countries such as Iraq, Iran, East Turkestan, Crimea, Tatarstan, Bashkortostan, Yakutia / Sakha, Chuvashia, Altai Republic, Tuva Republic, Khakas Republic are presented. In the third text, the Turks living in countries such as Greece / Western Thrace, Bulgaria, Romania, Moldova / Gagauzeli, Serbia, Montenegro, Bosnia-Herzegovina, Kosovo, Albania, Croatia, Macedonia, Hungary, and Turks who struggle for existence" along with the Turkish presence in Europe are spoken of. The epic of "Turnalar" is a work of Bayram Durbilmez, who also wrote poems in minstrel manner under the pseudonym Ozantürk. Durbilmez is a scholar known for his works in the fields of minstrel literature, tekke-sufi literature and folklore of the Turkish World. This scholar is also known as a Turkist, nationalist intellectual who has served as a member of the board of directors, chairman of the board of directors and a delegate to the headquarters in various non-governmental organizations, foundations and associations that defend Turkish nationalism. The fact that he usually uses the pseudonym Ozantürk in his poems shows that Durbilmez has a nationalist attitude also in the world of art. In this article numerous national symbols that occurs in Ozantürk / Bayram Durbilmez's epic "Turnalar" about the Turkish World and that are shared by Turkish states and communities that exist across many geographical areas will be analysed. The national symbols in question are evaluated within the framework of nationalist theories, some of which through the primordial theory which states there are natural nations, some of which through modernist theory that emerged with the effect of modernization, and some of which through the ethno-symbolist theory that adopts ethnic cultural values. There are also symbols that are evaluated within these three theories. While determining the nationalist attitude in the epic, the scientific foundations of nationalism will also be tried to be shown through the mentions of the poet's academic studies on the Turkish World.