SwePub
Sök i SwePub databas

  Utökad sökning

Träfflista för sökning "db:Swepub ;spr:rum"

Sökning: db:Swepub > Rumänska

  • Resultat 1-10 av 82
Sortera/gruppera träfflistan
   
NumreringReferensOmslagsbildHitta
1.
  •  
2.
  • Axhamn, Johan, 1979- (författare)
  • Infopaq II : CJUE elucideaza unele aspecte ale exceptiei privitoare la anumite acte de reproducere temporara
  • 2012
  • Ingår i: Pandectele române. - 1582-4756 .- 2286-0576. ; :2, s. 173-178
  • Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
    • Any derogation from copyright must be interpreted in a strict manner, since it is a derogation from the general principle that the holder must authorize any reproduction of a work protected by copyright. The temporary reproduction acts performed during a "data capture", such as those in the case presented before the national court, must be considered as entirely meeting the conditions of the test made up of three stages, as provided in art. 5 par. (5) of Directive 2001/29/EC, if they meet the requirements under art. 5 par. (1) of Directive 2001/29/EC.
  •  
3.
  •  
4.
  • Bagiu, Lucian (författare)
  • "Celelalte lumi" ale lui Eugen Curta sau labirintul metalepselor narative
  • 2015
  • Ingår i: Annales Universitatis Apulensis. Series Philologica. - 1582-5523. ; 16:1, s. 319-327
  • Tidskriftsartikel (refereegranskat)abstract
    • The author proves a very good knowledge of the most subtle and diverse narrative methods up to the point of suspecting him of affectedness in writing: he seems to enjoy drawing up the most fanciful frameworks of a novel’s design. Each new fragment is being narrated from a certain character’s point of view, the abundant prospects achieving the equivocation of the whole story up to the absurd. Some of the initial doubtless information will come to be uncertain. The author’s voice is hanging over, self-centred, narcissist; a character itself insinuating to indulge in the part of puppeteer of all. The narrator recounts – to us or to him, an unsolved issue – using first person, as if in a liberating confession, seemingly banal deeds of his rather dull and washed-out existence. Reading through the lines we distinguish however the condition of the author expounding his project to write the novel in the making. The author narrator devises compensatory the other worlds of his novel. They are fictitious worlds where he can unburden and where he can ultimately evade to, in order to live thoroughly, untroubled the illusions, the Utopias, the small or big conceitedness or vanities. The narrator proposes, for himself the bookish perception of existence, living the reality according to certain unreal, fictitious experiences.
  •  
5.
  • Bagiu, Lucian (författare)
  • Despre Sebastian, Sorescu, Dosoftei, Derrida și limba română
  • 2016
  • Bok (refereegranskat)abstract
    • The book is a collection of the articles the author has published between 2003-2015, in Romanian or English, in various academic journals. Some of them are concerned with the dramaturgy of Mihail Sebastian (Jocul de-a vacanța), of Marin Sorescu (Paracliserul), the translations and versifing of the Psalms by Dosoftei, Derrida's deconstruction philosophy as opposed to Saussure's structuralism, teaching of Romanian language to foreign students in various universities (NTNU, Charles University in Prague, 1 Decembrie 1918 University in Alba Iulia, Lund University), three interviews with the author in Romanian media (2009, 2013, 2016) etc.
  •  
6.
  • Bagiu, Lucian, et al. (författare)
  • Dicționarul personajelor din teatrul lui Lucian Blaga
  • 2005
  • Bok (övrigt vetenskapligt/konstnärligt)abstract
    • Mira is the perfect purity where the demonic of the master mason has no access. The craftsman’s wife is the embodiment of innocence, the heavenly depiction of mankind as opposed to demonic Manole. “Serenity” and “light” are words that repeatedly occur in her monologue thus suggesting the plenitudine of being she is about to conceive when she would be raising into the light her perfect precious, the church. Găman is the embodiment and the expression of the dark, ancient faith of the earth’s powers. The very appearance of the character in the story of the play seems to be part of a different logic, the fabulosity, the heresy, “fairy-tale like figure”. He utters the words dissonantly and links the sentences into texts that have seemingly no logic for he professes a magic ritual, usually unconsciously, while falling into a trance, ecstatically, mediated by sleeping commonly. Through this ritual he enables the connection with another world, that of the powers of the earth. The builders imagine through their sensitive responses a generic humanity. They are masons by spiritual vocation, actually emissaries of the anonymous crowd. Manole’s journeymen stay for the dramatic swing between the ideal and egotism, which precedes the collective creation of a miracle, if committed in the name of humanity. The third mason, while explaining the work of art, metamorphoses it from an aesthetic to a religious asset. The sixth mason is the most outlined of all builders for he carries out a separate part that is to constantly gainsay Manole, to incite to insubordination and rebellion. The eighth mason is fully aware of the outstanding artistic accomplishment of all builders, their edifice about to become a cultural and even political symbol of the nation. There are several characters with a brief appearance in the history of the drama, thus having an apparent minor significance in designing the play. They seem to be mere “working tools” for the playwright. However when relating them to the major issues of the literary product and if integrating them in a larger vision of the whole creation of the author their significance and role can be outlined in a more adequate manner. The Herald may stand for the impossibility of the common man to understand the drama of the artist, for the incapacity of a mediocre person to assimilate the aspirations of the genius. The Second Carter is a good opportunity to express the middle-ages relations between the Orthodoxy of the Romanians and the Lutheranism of the Saxons in Transylvania, the Protestantism and the whole religious Reform having been rejected naturally by the Romanian people. The Third Carter is the pretext to express in an artistic manner a historical reality, i.e. the major role Târgovişte played as a spiritual focal point for the Romanian middle-ages Orthodoxy, but also as a centre for the religious printings in Romanian or Slavonic languages. Also one can distinguish the suggestion of a light irony on the behalf of the author with regards to the human prosaic hypostasis of the Romanian Orthodox priests when associating their two fundamental habits, anointing the priests and taking care of their own housekeeping. The Voivode is an image of a person with a subtle, diplomatic intelligence that leaves room for a waggish wit. He is fully aware of his condition as patron of church building. He hesitates between two decisions he should make concerning Manole the Craftsman: either to highly praise the artist, the creator or to sentence to death the human murderer. Whichever decision he would make, he knows very well his prerogative as a ruler is absolute and supreme, the middle-ages autocracy allowing him anything. Having a refined spirit, the Voivode understands from the very beginning both the superlative features of the creation and the sacrifice of the creator. His attitude seems to be benevolent, conciliatory, as he is very satisfied with the “gift” of the Masons – in his view the church belongs both to the ruler and to God. It becomes obvious the Voivode urges Manole to enjoy the “fruit of his endeavor andof his hands”. He forgives Manole, having been convinced that at the Last Judgment the church Manole has built would exculpate him of all sins. After Manole commits suicide the Voivode pays him the proper respect. The whole portrait configures the Voivode as an exceptional ambassador of his people, at a far distance from the bloody figure portrayed in some variants of the folk ballad, closer to the real historical character, the benefactor of the Argeş Monastery, Neagoe.
  •  
7.
  • Bagiu, Lucian, et al. (författare)
  • Diferite "voci" în "Meșterul Manole" de Lucian Blaga
  • 2015
  • Ingår i: Discourse as a Form of Multiculturalism in Literature and Communication : Literature - Literature. - 9786068624211 ; , s. 1651-1658
  • Konferensbidrag (refereegranskat)abstract
    • There are several characters with a brief appearance in the history of the drama, thus having an apparent minor significance in designing the play. They seem to be mere “working tools” for the playwright. However when relating them to the major issues of the literary product and if integrating them in a larger vision of the whole creation of the author their significance and role can be outlined in a more adequate manner. The Herald may stand for the impossibility of the common man to understand the drama of the artist, for the incapacity of a mediocre person to assimilate the aspirations of the genius. The Second Carter is a good opportunity to express the middle-ages relations between the Orthodoxy of the Romanians and the Lutheranism of the Saxons in Transylvania, the Protestantism and the whole religious Reform having been rejected naturally by the Romanian people. The Third Carter is the pretext to express in an artistic manner a historical reality, i.e. the major role Târgovişte played as a spiritual focal point for the Romanian middle-ages Orthodoxy, but also as a centre for the religious printings in Romanian or Slavonic languages. Also one can distinguish the suggestion of a light irony on the behalf of the author with regards to the human prosaic hypostasis of the Romanian Orthodox priests when associating their two fundamental habits, anointing the priests and taking care of their own housekeeping. The Voivode is an image of a person with a subtle, diplomatic intelligence that leaves room for a waggish wit. He is fully aware of his condition as patron of church building. He hesitates between two decisions he should make concerning Manole the Craftsman: either to highly praise the artist, the creator or to sentence to death the human murderer. Whichever decision he would make, he knows very well his prerogative as a ruler is absolute and supreme, the middle-ages autocracy allowing him anything. Having a refined spirit, the Voivode understands from the very beginning both the superlative features of the creation and the sacrifice of the creator. His attitude seems to be benevolent, conciliatory, as he is very satisfied with the “gift” of the Masons – in his view the church belongs both to the ruler and to God. It becomes obvious the Voivode urges Manole to enjoy the “fruit of his endeavor and of his hands”. He forgives Manole, having been convinced that at the Last Judgment the church Manole has built would exculpate him of all sins. After Manole commits suicide the Voivode pays him the proper respect. The whole portrait configures the Voivode as an exceptional ambassador of his people, at a far distance from the bloody figure portrayed in some variants of the folk ballad, closer to the real historical character, the benefactor of the Argeş Monastery, Neagoe.
  •  
8.
  • Bagiu, Lucian (författare)
  • Din nou despre roman
  • 2007
  • Ingår i: Discobolul. - 1453-8881. ; :109-110-111 (114-115-116), s. 153-161
  • Tidskriftsartikel (populärvet., debatt m.m.)abstract
    • An answer to the magazine's inquiry about the novel.
  •  
9.
  •  
10.
  • Bagiu, Lucian, et al. (författare)
  • "Fartate" and "Nefartate" in Lucian Blaga's Arca lui Noe
  • 2016
  • Ingår i: Journal of Romanian Literary Studies. - 2248-3004. ; :8, s. 177-187
  • Tidskriftsartikel (refereegranskat)abstract
    • "Arca lui Noe" ("Noah’s Ark", 1944) is based on a folk tale influenced by Bogomilism. Brother and Unbrother stand for the antinomic duality of the absolute principle. Fellow and Unfellow are indestructibly united. Unbrother cannot be mastered and Brother would be an ontic sterility if his fellow absent. However the Bogomilic vision becomes complicated in Blaga's meaning. The greybeard Brother, the Patriarch is "the forefather of all ancestors" who comes "from here and from further away", that is the archetype monad. Yet, if Unbrother is the shadow of Brother, one has to conclude that he dates from the same beginnings, also "the forefather of all ancestors". Therefore, who and where might be their father? If not "in existence" anymore, then the mankind might have been left at the mercy of an amicable but eternal facing of the two brothers. The prototype of humanity looks like a waste, a spiritual mutant so the will of the Patriarch arises with a drastic determination. If the mankind created in the likeness of Brother bears more resemblance to Unbrother, then the Patriarch himself is about to find his own needlessness. Thus a new series of ontology is to be created in order to provide another chance to the ontic itself. Through a coincidentia oppositorum we can assert that in "Manole, the Craftsman" life is a receptacle for creation whereas in "Noah’s Ark" the creation is the sole receptacle for life. One could argue a Sophianic expectation (adapted by the philosopher Lucian Blaga from Spengler and Frobenius, the transcendent descending, revealing itself in a embodiment of the universe): the Ark itself rises as the supreme receptacle of Life, assigned by the absolute.
  •  
Skapa referenser, mejla, bekava och länka
  • Resultat 1-10 av 82
Typ av publikation
tidskriftsartikel (37)
bokkapitel (21)
bok (10)
recension (7)
konferensbidrag (3)
rapport (2)
visa fler...
samlingsverk (redaktörskap) (1)
konstnärligt arbete (1)
annan publikation (1)
visa färre...
Typ av innehåll
refereegranskat (36)
övrigt vetenskapligt/konstnärligt (30)
populärvet., debatt m.m. (16)
Författare/redaktör
Bagiu, Lucian (19)
Cutaş, Daniela (11)
Florea, Ioana, 1981 (7)
Volacu, Alexandru (3)
Miroiu, Adrian (3)
Carpentier, Nico (3)
visa fler...
Chiciudean, Gabriela (3)
Groussot, Xavier (3)
Câmpan, Diana (2)
Orian, Georgeta (2)
Popa, Mircea (2)
Tămăzlăcaru, Carmina (2)
Wainberg-Drăghiciu, ... (2)
Negru, Paraschiva (2)
Cubleșan, Constantin (2)
Ghemeș, Ileana (2)
Bagiu, Lucian Vasile (2)
Vogel, Hans-Heinrich (2)
Cutas, Daniela, 1978 (2)
Sampson, Steven (2)
Maximov, Ivan (1)
Granfeldt, Jonas (1)
Bernardini, Petra (1)
Montelius, Lars (1)
Gheorghe, C. (1)
Bogdan, Henrik, 1972 (1)
Egerland, Verner (1)
Stoenescu, Arina (1)
Jonsson, Stefan, 196 ... (1)
Auzelyte, Vaida (1)
Olofsson, Tommy, 195 ... (1)
Axhamn, Johan, 1979- (1)
Eisenstadt, Shmuel N ... (1)
Cubleşan, Constantin (1)
Ghemeş, Ileana (1)
Ivancu, Emilia (1)
Boldea, Iulian (1)
Botoşineanu, Luminiţ ... (1)
Ichim, Ofelia (1)
Ghemeş, Ileana Voich ... (1)
Pioariu, Mariana Rod ... (1)
Ivancu, Ovidiu (1)
Trif, Ilie (1)
Lazăr, Ioan St. (1)
Whitlow, Harry J. (1)
Ng, May Ling (1)
Cananau, Iulian, 197 ... (1)
Patyn, Niky (1)
Nowag, Julian (1)
Gill-Pedro, Eduardo (1)
visa färre...
Lärosäte
Lunds universitet (47)
Göteborgs universitet (15)
Umeå universitet (11)
Uppsala universitet (5)
Högskolan i Borås (3)
Stockholms universitet (2)
visa fler...
Högskolan i Gävle (1)
Linköpings universitet (1)
Södertörns högskola (1)
Linnéuniversitetet (1)
visa färre...
Språk
Forskningsämne (UKÄ/SCB)
Humaniora (61)
Samhällsvetenskap (28)
Medicin och hälsovetenskap (5)
Teknik (2)

År

Kungliga biblioteket hanterar dina personuppgifter i enlighet med EU:s dataskyddsförordning (2018), GDPR. Läs mer om hur det funkar här.
Så här hanterar KB dina uppgifter vid användning av denna tjänst.

 
pil uppåt Stäng

Kopiera och spara länken för att återkomma till aktuell vy