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1.
  • Bagiu, Lucian (författare)
  • Alegoricul „Străinilor din Kipukua”, roman de Valeriu Anania (1979)
  • 2009
  • Ingår i: TABOR. Revistă de cultură şi spiritualitate românească. - Renaşterea Cluj. - 1843-0287. ; III:6, s. 52-58
  • Tidskriftsartikel (refereegranskat)abstract
    • The double meaning, both literal and figurative is explicitly indicated in the novel, and thus, we receive certain references in order to place the text in the genre of intended allegory. The Strangers of Kipukua is a great metaphor of the narrator’s death, the figurative meaning being repeatedly declared in the text. Purgatory of the hero’s soul, Hawaii seems to be an anti-camera where he stops so that his eschatological destination should be decided, and in which he might go through a soteriological process. The attitude towards the significance of resurrection is, just like the fantastic, and narratology, ambiguous. The uncertainty regarding the status of the resurrection and of the resurrected will represent the last level of the allegory. The significance given by Valeriu Anania to this allegory seems uncertain itself, contradictory, ambiguous. The author sets the meaning of the resurrection polemically, its nature and status being in a way foreign for the profane mortal and rather incomprehensible for a rational analysis. This is why, even the author’s first approach of the unusual phenomenon is that of denial and rejection of its miraculous nature. The ontological status of the actants is that of resurrected to die, their long expectation in a diffuse uncertainty being explained through the unconscious but inherent resting for the revealing of the Final Judgement. In this vision, the island is rather an inner landscape, previously known and even independent in its direct perception as fragment of reality. The island is thus an archaic, archetypal form, a rather imaginary shape of the mind than a fragment of the contingent reality. It is an allegory in itself or, at least, a symbolic element of a greater allegory. The novel uses all the devices and techniques of the literary genre of apocalypse: the artistic ambiguity, the fantastic, the hyperbole. <br /> The entire story of the novel is built around an essential question: “Who am I? (…) that never-ending question without an answer, which started by belonging to one individual and ended by belonging to everybody.” Living the nostalgia of the primordial irreversibly lost, and also the chimera of recovering it in the present, the characters of the novel will find a primordial, mythical identity, which they will strive to revive by reiterating the hypostases and events of Hawaiian mythology, a factual moolelo. It is worth considering the case in which they discover their authentic archetype, and thus, will be given the identity redemption and the ontological peace. If all philosophy of name is reduced to a simple pseudonymity, to a substitution of proper names, as the relation nomen-cognomen seems to be constructed in the novel, then, the identity of the protagonists will never get a significant ontological essence, but will linger towards a shallow mystification or self-delusion. Longing to be someone special, the protagonists constantly sense the fact that they risk to become nobody. Paradoxically, through the formula “I is another” ” , Rimbaud and Julia Kristeva theorize the destiny of the Romanian writer’s foreigners in Kipukua: estranged and aware of their own estrangement, they strive not to become themselves but another, who no longer really represents them, and thus, they tear themselves, they consume themselves in neurosis and in a lack of existential authenticity.
2.
  • Bagiu, Lucian (författare)
  • Apriorism românesc în Cruciada copiilor de Lucian Blaga
  • 2009
  • Ingår i: TABOR. Revistă de cultură şi spiritualitate românească. - Renaşterea Cluj. - 1843-0287. ; III:2, s. 61-72
  • Tidskriftsartikel (refereegranskat)abstract
    • The aim of the paper is to reveal to what extent is Lucian Blaga’s sixth drama to be reduced to the status of an aesthetic antagonism of two Christian denominations, Catholicism vs. Orthodoxy. Though the author imagines two monks and a western crusade through eastern land, we come to realize that the most important aspects of the play are its other characters, i.e. the Lady of the Fortress, her child and Crazy Ioana; moreover, the Fortress itself, a place that could not be geographically mapped for it is not a real realm, but a mythical world, an imaginary boundary between reality and fairy-tale, a mental concept where the authentic ancient spiritual features of the traditional original Romanian culture and civilization still survive. We conclude that Cruciada copiilor (The Children’s Crusade) is an artistic attempt to save the paradisiacal innocence and, at the same time, a philosophical warning to the futile death spiritual corruption implies.
3.
  • Bagiu, Lucian (författare)
  • Bogoiu, maestrul de ceremonie sau falsul personaj secundar al dramaturgiei lui Mihail Sebastian
  • 2015
  • Ingår i: Philologica Jassyensia. - The “A. Philippide” Institute of Romanian Philology. - 2247-8353 .- 1841-5377. ; 11:1, s. 33-45
  • Tidskriftsartikel (refereegranskat)abstract
    • The role the character Bogoiu plays in the history of the drama is in a class of its own. He develops into a main character, compared with Ştefan Valeriu and Corina, the legitimate protagonists. The original intention of the author may have been different, Bogoiu was likely planned as one of the secondary dramatis personage; however the personage asserted itself, un-designed, and thus it became the “keystone” that ensures equilibrium for the whole framework. In a much too daring headstrong psycho-analytical hypothesis one could say the three of them are complementary sides of a whole where the woman stands for the super-ego (consciousness), the man for the ego (sub consciousness) and Bogoiu for the id (unconsciousness).
4.
5.
  • Bagiu, Lucian (författare)
  • De dincolo de ape : Pagini de jurnal şi alte texte (2000)
  • 2011
  • Ingår i: Tabor. Revistă de cultură şi spiritualitate românească. - Renaşterea Cluj. - 1843-0287. ; V:01, s. 102-113
  • Tidskriftsartikel (refereegranskat)abstract
    • The author himself has not planned his activity as a publicist to fit into a unitary volume, as it is mainly a late gathering of earlier works. These objective circumstances determine the characteristic expository feature of our approach, as we have tried mainly to summarize the contents of the abovementioned works and to illustrate the characteristics of the intellectual and aesthetic profile of the author. Additionally, we assume the commentary and interpretation of the author`s discourse, especially when his opinions prove a unity of vision with the literary works. Often, the notes in these secondary works offer new information regarding the alchemy and genesis of his literary work, with reference to biographical experiences regrettably interrupted. Without wishing to impose an exclusivist opinion, we believe that the main value, sometimes impossible to tell, of these volumes is that of documents, and, thus, this essay can be seen as complementarities of the biographical portrait of the author. Between the lines written for more than sixty years, we can figure out the cultural portrait of a personality who cultivated his firm, constant beliefs stoically and with dignity. Paradoxically, it is here that we see a complete Valeriu Anania, perhaps more than anywhere else. In the volume De dincolo de ape. Pagini de jurnal şi alte texte (From Beyond Waters. Pages of a Diary and Other Texts), we remark the option the articles offer to reconfigure the complex personality of the author, to reconstruct the psychological and intellectual profile of the writer in a previously little known stage of his life. Eventually, we face an instrument useful for the depiction of a most likely authentic bio-bibliographical portrait of the writer. For Valeriu Anania, who, at the time he wrote this diary, had just got out of prison after six years of detention and was situated at a huge distance from his native land he loved so passionately, yearning was no longer a mere abstraction. The thought appears in a super-dimensional shape of what is fundamentally and innerly Romanian, not with regard to meaning, but to expression.
6.
  • Bagiu, Lucian (författare)
  • „Diferite voci” în „Jocul de-a vacanţa” de Mihail Sebastian
  • 2013
  • Ingår i: Annales Universitatis Apulensis. Series Philologica. - Universitatea "1 Decembrie 1918" Alba Iulia. - 1582-5523. ; 14:1, s. 285-300
  • Tidskriftsartikel (refereegranskat)abstract
    • Our brief foray into the analyses of a subordinate character of Mihail Sebastian’s first play aims to exceed the simple emphasise of his rather over-simplified comic role to the proposal of a myth-criticism approach. It suggests that the apparent merry Major could be considered as a literary manifestation of a European everlasting grievous archetype, that of the Fisher King, both in its old Arthurian noble symbolism and its late decaying significance from Eliot’s The Waste Land. Jeff has the role of the immature confused boy who is in love with a young woman. He experiences an attraction which is never-ending, paralyzing, swallowing-up and impossible either to repress or to express. He is an unfit and helpless mute witness of the love story that is unfolding between the two grownups and protagonists, Corina and Ştefan Valeriu. He may also be regarded as a variable face of the mature hero, not in opposition, but in an intricate comrade relation. His “coming into being” experience may or may not develop into the failure outcome of the grownup. Madame Vintilă, an honest human being in her own way, yet mediocre and ordinary, rather frivolous, is a deconstruction of the feminine ideal. A mature woman, loquacious and voluptuous, who is presumably living back home a drab, petty life is looking for a way to unleash her sexual bedevils and accomplish her turbid dreams during a month of holyday. Agneş is outlined by means of her continuous absence from the stage, thus the young Hungarian servant becomes “a false diminutive Godot” of the play. Mister and Misses is an intruding risible couple that stands for the “real world” outside, thus invading like a morbid plague the chimeric realm of the holyday play. Their appearance stands for the ultimate confrontation between the two incompatible worlds, i.e. the sterility of the bourgeois quotidian and the escape into the phantasm. From this point onward the doom of the holyday ship is decided: the distress in the melancholy harbor where it left from.
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. - ”Arhipelag XXI” Press. - 978-606-8624-21-1 ; Literature, 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, et al. (författare)
  • Diortosirea „Sfintei Scripturi” de către I.P.S. Bartolomeu Anania
  • 2011
  • Ingår i: Receptarea Sfintei Scripturi : între filologie, hermeneutică şi traductologie : lucrările Simpozionului Naţional "Explorări în Tradiţia Biblică Românească şi Europeană", Iaşi, 28 - 29 octombrie 2010.. - Editura Universităţii „Alexandru Ioan Cuza”, Iaşi. - 978-973-640-659-1 ; s. 22-35
  • Konferensbidrag (refereegranskat)abstract
    • Valeriu Anania’s literary work, laborious and constantly elaborated for half a century, proves to be only a preamble of the masterpiece, the translation of the Bible – a definite accomplishment of his cultural destiny. The work on the artistic word finds its peak in the supreme effort to depict the authentic expression which word gives to the Logos, through this the author tasting the divine spirit ontologically. The self-expression of the author through the artistic word is elevated and metamorphosed in God’s expression, through the holy word, and thus achieving an inner self-elevation.
9.
  • Bagiu, Lucian, et al. (författare)
  • "Fartate" and "Nefartate" in Lucian Blaga's Arca lui Noe
  • 2016
  • Ingår i: Journal of Romanian Literary Studies. - ARHIPELAG XXI Press. - 2248-3004. ; :8, s. 177-187
  • Tidskriftsartikel (refereegranskat)abstract
    • &quot;Arca lui Noe&quot; (&quot;Noah’s Ark&quot;, 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&#39;s meaning. The greybeard Brother, the Patriarch is &quot;the forefather of all ancestors&quot; who comes &quot;from here and from further away&quot;, 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 &quot;the forefather of all ancestors&quot;. Therefore, who and where might be their father? If not &quot;in existence&quot; 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 &quot;Manole, the Craftsman&quot; life is a receptacle for creation whereas in &quot;Noah’s Ark&quot; 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.
10.
  • Bagiu, Lucian, et al. (författare)
  • Însușirea limbii române de către studenții străini, nivel A1. Studiu comparativ studenți norvegieni vs indieni
  • 2014
  • Ingår i: European Integration / National Identity; Plurilingualism/ Multiculturality – Romanian Language and Culture: Evaluation, Perspectives), Proceedings, Iasi, 25-26 September 2013. - Aracne Editrice. - 978-88-548-7812-9 ; Danubiana, s. 17-26
  • Bokkapitel (refereegranskat)abstract
    • The flexion of the verb in the Norwegian language for the indicative mood present tense has only one morphologic form, no matter the person and the number. The Punjabi language (spoken by more than 90 million people) is an Indo-Arian language (an immense subgroup of the Indo-Iranian languages, having more than 900 million speakers). The Punjabi language is closely related to Romany (Gipsy) language, as well as to Hindustani (Hindi and Urdu), Bengali, Marathi, Guajarati, Oriya, Sindhi, Saraiki, Nepali, Sinhala and Assamese. From a typological aspect, the Punjabi language has a complex morphological system, including the conjugation of the verb. Concerning the Romanian language, the foreign student has to assimilate, form the very beginning, the existence of four groups of conjugation (according to the traditional classification, regularly used in the education system), classified according to the infinitive (to which one has to add the irregular verbs) and also the endings according to person and number, specific to each group. Moreover, there are some mutations in the root word of the verb from time to time, much more difficult to catch by a foreign speaker. Learning and proper using of tens of verbal endings in the Romanian language can be an insurmountable standstill at least for some of the foreign students. In English the demonstrative pronoun/adjective changes solely according to number, not by the gender as well. In Norwegian the demonstrative pronoun/adjective changes both according to number and gender (neuter gender as well!). In Punjabi, the demonstrative pronoun exists and is used replacing the personal pronoun in the third person. There is also a difference between proximal and distal demonstrative pronouns, with changes according to number, yet not by the gender. Hence for the Norwegian student learning the proximal demonstrative pronoun is not an absolute novelty; typologically there is an analogy to the Norwegian linguistic system. For the Indian student speaking Punjabi and English the existence of this pronoun and its changing according to number is again a familiar pattern. However learning the additional changes by the gender is an absolute and sometimes insurmountable novelty. Many of the errors in the way the definite article and the proximal demonstrative pronoun are used are caused, actually, by a difficulty of the Norwegian or Indian student to identify the gender of the noun, the adjective or the demonstrative pronoun. I do not make mention either of the everlasting issue of the discrepancy between the natural and the grammatical gender, or of the distinctiveness of each linguistic system in the way it decides its gender. I do make mention however of the ambiguous statute of the neuter gender (ambi-gender) of the Romanian language. The Norwegian language has a properly neuter gender that can be identified by its content and more important by its formal aspect, it has specific terminations, diverse from the masculine and feminine endings. The Punjabi language does not have at all the neuter gender as part of its morphological system. The examples I mention in the present analysis are relevant for the conclusion that the learning of the Romanian language by foreign students, beginners level, is a complex educational process with inherent novel outcomes that are difficult to prefigure. Although one starts from seeming identical circumstances and the same educational practices are implemented, random aspect interfere, such as the mother tongue of the foreign student. It can play an essential role. It is a linguistic frame that unintentionally carries out a modelling pressure on the new language that has to be acquired. Most of the times the morphological structure of the mother tongue of the foreign student is not identical with the Romanian morphological structure; thus what the foreign student subconsciously perceives as a setup reference frame is instead an impediment or possibly even a barrier. Some errors similar to both series of foreign students could be identified, this being a substantiation that the Romanian language has immutable difficulties that are demanding for any foreign student, i.e. the conjugation of the verb in the indicative present or the neuter gender. Regardless of any linguistic or educational assertions the main actor in the process of acquiring the Romanian language is evermore another, the foreign student himself; an individuality with its own impulse and ability.
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