Готові списки джерел за темами / Romanian Political poetry

Добірка наукової літератури з теми "Romanian Political poetry"

Автор: Grafiati
Опубліковано: 27 липня 2024
Оновлено: 29 липня 2024

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Статті в журналах з теми "Romanian Political poetry"

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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Анотація:
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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2

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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Анотація:
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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3

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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Анотація:
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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4

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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Анотація:
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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5

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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Анотація:
"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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6

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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7

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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Анотація:
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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8

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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Анотація:
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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9

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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Анотація:
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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10

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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Анотація:
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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Більше джерел

Дисертації з теми "Romanian Political poetry"

1

Cernahoschi-Condurateanu, Raluca. "The political, the urban, and the cosmopolitan : the 1970s generation in Romanian-German poetry." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/28009.

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This study is an introduction to the body of work produced by the German poets who were born during or after World War II in Romania and whose almost simultaneous debut lies in the relatively liberal period 1965 – 1971. Helped onto the Romanian-German literary scene by a propitious environment and informed by the socialist ideology they were born “into,” the poets born between 1942 and 1955 formed a remarkable generation unit which sought to significantly renew German-language literature in Romania. Rejecting identification with the insulary Romanian-German communities, the young poets strove to create a socially and politically relevant verse expressing an urban and cosmopolitan attitude. The growing nationalist rhetoric and isolationist stance of Romania's regime and the material and psychological hardships endured by its population through the 1970s and 80s forced the generation to revise its incipient enthusiasm for Romanian socialism. Increasingly, the poets' work came to depict the threatened existence of the German minority and the harsh general living conditions in Romania and to provide an alternative to the absurd official proclamations of a “golden age” under Ceauşescu, despite the poetry's growing reliance on obscuring literary techniques. The emigration of most of the generation members in the mid to late 1980s brought about the eventual unravelling of the generation unit and marks the end of my study. By following the evolution of three themes – social and political engagement, the German minority, and the urban environment – which define the poets as a generation throughout their literary careers in Romania, the analysis illuminates not only the generation's development from identification with Romanian socialism and rejection of the German minority to criticism of the country's policies and a renewed interest in the fate of the German community but also the changing possibilities and limits of literary expression under communism. In addition to providing an introduction to the body of work created by the 1970s generation in Romania, the study also expands the understanding of German literature in the 20th century by providing new material on literature written under totalitarianism and of intercultural German literature.
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Книги з теми "Romanian Political poetry"

1

Aurel, Dragodan Constantin, and Arhiva Asociației Foștilor Deținuți Politici din România., eds. Poeți după gratii. București: [s.n.], 1993.

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2

Popa, Ilie. Antologia liricii de detenţie anticomunistă din spaţiul românesc. Bucureşti: Editura Fundaţiei Culturale "Memoria", 2016.

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3

Codrescu, Andrei. The disappearance of the outside: A manifesto for escape. Reading, Mass: Addison-Wesley, 1990.

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4

Andrei, Codrescu. Disappearance of the Outside: A manifesto for escape. [S.l.]: Pearson Educ, 1991.

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5

Duțu, Florin, writer of introduction and Crainic Nichifor 1889-1972, eds. "Am cunoscut iadul!": Mărturii din închisoare 1947-1962. București: Editura Floare Albă de Colț, 2015.

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6

Popovich, K. F. Eminescu--viața și opera. Chișinău: Elan Inc, 2008.

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7

Tiranul cu nas mare și cu suflet foarte mic: Lirica politică, sloganuri electorale și versificații satirice de campanie de la 1834 până în zilele noastre. Iași: Polirom, 2020.

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8

Poeții revoluției: Timișoara, decembrie 1989. București: Editura IRRD, 2011.

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9

Codrescu, Andrei. Disappearance of the Outside: A Manifesto for Escape. Addison Wesley Publishing Company, 1991.

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10

The disappearance of the outside: A manifesto for escape. St. Paul, MN: Ruminator Books, 2001.

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Частини книг з теми "Romanian Political poetry"

1

Fuller, David. "Hearing the Form: Breath and the Structures of Poetry in Charles Olson and Paul Celan." In The Life of Breath in Literature, Culture and Medicine, 409–34. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74443-4_20.

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AbstractThis essay examines the ways in which the American poet Charles Olson, and the German-speaking Romanian Jewish poet Paul Celan, each in relation to specific post-war cultural circumstances, experimented with new ways of structuring poetry in relation to the breath: Olson in response to new global scientific, political, and intellectual currents; Celan in response to the Holocaust. The essay discusses not only how the poets wrote but also how they realised the printed forms of their poetry in performance, contrasting Olson’s literal performance of his theories with the different relation of print to performance of his contemporary and associate William Carlos Williams. It argues that Olson’s experiments, polemically formulated in his manifesto Projective Verse, while they have influenced central currents of American poetry since the 1950s, have remained largely American, whereas Celan’s, tentatively intimated in his anti-manifesto Der Meridian, and inimitably personal in their specific forms, can also be seen as modelling ways in which a wide range of twentieth- and twenty-first-century poetry can be realised in reading aloud.
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2

Patea, Viorica. "“Cantos” or “Cantares”?" In Cross-Cultural Ezra Pound, 127–46. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781949979800.003.0011.

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Viorica Patea’s essay opens with an account of José Vasquez Amaral’s long struggle translating Pound’s Cantos into Spanish and the argument he and Pound had about the correct equivalent in Spanish of the term, “canto.” Pound refused to accept that the Spanish “cantar” was appropriate for the parts in El Poema del Cid, but never after that. Still after their debate, Pound insisted on using “cantares” for both Rock-Drill and Thrones because it tallied with his idea of The Cantos as the “tale of the tribe.” Patea then swivels to another revealing dimension of Pound’s work in translation: contrasting controversies involving translations of Pound’s poetry under communism. Whereas the authorities in Communist Romania suppressed the Pound translations of Nicolas Steinhardt and prosecuted him, in Nicaragua the poet and staunch Marxist Ernesto Cardenal openly celebrated Pound as a master. Patea’s investigation reveals that, while Pound is often read (and repudiated) as a political writer, more persistently, he is admired not for his politics, but for how his poetry resists ideological limits altogether.
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3

Helbig, Adriana N. "Transitions." In ReSounding Poverty, 19—C1F4. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197631768.003.0002.

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Abstract Chapter 1 offers a historical overview of Romani experiences in today’s eastern and western Ukraine. It contextualizes the role of Romani musicians in the Austrian and Russian Empires and charts the trajectory of such roles from the Soviet period to the present day. It also analyzes how different state policies have contributed to distinct economic, political, and social experiences for various Roma groups. This chapter paints a historical overview of non-Rom perceptions about Roms and how Romani politicians engage with such narratives in Ukraine today through examples from literature, poetry, and art.
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4

Smolyaninova, Marina G. "Dobri Voynikov: the “Father” of the Bulgarian national theatre." In Materials for the virtual Museum of Slavic Cultures. Issue II, 233–36. Institute of Slavic Studies, Russian Academy of Sciences, 2020. http://dx.doi.org/10.31168/0440-4.41.

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Анотація:
The article talks about Dobri Voynikov (1833–78), a Bulgarian playwright, the creator of the Bulgarian theater, a poet. He worked both in Bulgaria enslaved by the Turks and in Romania. While in emigration, Voynikov published Bulgarian newspapers, created the Bulgarian Theater Society, wrote the first significant works of national drama, mainly plays of historical content. They encouraged the Bulgarians to fight against the Turks and filled the audience with a sense of pride in the glorious deeds of their distant ancestors. He also showed himself as a political journalist, literary critic and collector of national folklore.
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5

Mikola, Gyöngyi. "Philatelist from Pompeii. Spiritualization of Borders in the Work of Otto Tolnai." In At the Crossroads of the East and the West: The Problem of Borderzone in Russian and Central European Cultures, 295–309. Institute of Slavic Studies, Russian Academy of Sciences, 2021. http://dx.doi.org/10.31168/4465-3095-3.13.

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Анотація:
This essay is about the work of Otto Tolnai, a contemporary Hungarian poet and writer, living in Vojvodina, Serbia. In the focus of my analysis, there is his journal entitled “A Philatelist from Pompeii” which he started writing in the time of the NATO bombing of Yugoslavia in 1999. In this journal, as in his whole work, Tolnai transforms the political formula “spiritualization of borders” into an aesthetical concept. The formula “spiritualization of borders” spread among Hungarian politicians and intellectuals after the collapse of Kádár-regime. It was a new concept aimed to provide a good solution for the problems of ethnic Hungarian minorities in Romania, former Yugoslavia, and Slovakia. Since 1989 when the international borders in Central Europe have definitely become more transparent, it was hoped that after the Eastern enlargement of the EU, the transboundary cooperation could abolish the ethnic and cultural significance of state borders. Аеsthetic formula „spiritualization of borders” is connected with the concept of transitive identity in Tolnai’s autopoetic world. In this chapter, I study spatial and temporal aspects of transitive identity and analyse those literary tools (for example mythologisation of names, mixture of different genres, essayistic, commentaries of philosophical works, and political events), with the help of which Tolnai successfully deconstructs the opposition between the political categories of majority and minority.
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Тези доповідей конференцій з теми "Romanian Political poetry"

1

Uricariu, Doina. "Poetry and the Politics of Memory." In the 39th American Romanian Academy of Arts and Sciences Congress. ARA Publisher, 2015. http://dx.doi.org/10.14510/39ara2015.3901.

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