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2.
  • Bagiu, Lucian (författare)
  • "Celelalte lumi" ale lui Eugen Curta sau labirintul metalepselor narative
  • 2015
  • Ingår i: Annales Universitatis Apulensis. Series Philologica. - Universitatea "1 Decembrie 1918" Alba Iulia. - 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.
3.
  • 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.
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4.
  • 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 ; 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.
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6.
  • 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
    • "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.
7.
  • Bagiu, Lucian, et al. (författare)
  • Ficţiunile matcă în dramaturgia blagiană
  • 2003
  • Ingår i: Caietele Lucian Blaga : comunicări şi traduceri prezentate la Colocviul Naţional Studenţesc "Lucian Blaga". - Editura Universităţii "Lucian Blaga" Sibiu. - 973-651-703-9 ; IV, s. 41-49
  • Bokkapitel (refereegranskat)abstract
    • Lucian Blaga started to write his drama having a very strong philosophical and anthropological background, at least subconscious if not literary expressed. Thus his aesthetics within the ten plays is influenced by his primary concern to resuscitate a supposed ancestral mentality. The first aspect that strikes the reader is the omnipotence of the sacred, be it divine or demonic. Anyhow, each of his plays expresses the manifestation of a spiritual cosmic power within the realm of the concrete.
8.
  • Bagiu, Lucian (författare)
  • În Ardeal, la 1884 : Intelectualul român şi aspiraţiile sale
  • 2009
  • Ingår i: Transilvania. - Centrul Cultural Interetnic Transilvania. - 0255-0539. ; XXXVII (CXIII):2, s. 22-29
  • Tidskriftsartikel (refereegranskat)abstract
    • The article comprises an exemplification of the method the author used in his scientific research as a member of the grant Presa românească şi ideea naţională. Antologie, studiu, dicţionar, dosar critic (The Romanian Press and the National Idea. Anthology, Study, Dictionary, Critical File), 2005-2006, CNCSIS code 782, coordinator of grant Professor Mircea Popa. The author was responsible for the publications “Telegraful român” (“The Romanian Telegraph”) (1853-1918) and “Tribuna” (“The Tribune”) (1884-1903), both of which appeared in Sibiu. The author presents below a brief analytical file of the magazine and a selection of three articles it contained in its early beginnings. All of these articles refer to the relationship of the Romanian intellectuals from Transylvania with the Hungarian ruling political system and point out a rather discomforting state of mind at the time.
9.
  • 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.
10.
  • Bagiu, Lucian (författare)
  • Lectoratul de limba română, Universitatea din Lund în anul 2015
  • 2016
  • Ingår i: Despre Sebastian, Sorescu, Dosoftei, Derrida și limba română. - TipoMoldova. ; s. 434-450
  • Tidskriftsartikel (refereegranskat)abstract
    • Abstract in Romanian În lucrarea de faţă realizăm o prezentare a unicului lectorat de limba română din Regatul Suediei sub următoarele aspecte: scurtă istorie a prezenţei limbii române în cadrul Universităţii din Lund; organizarea și funcționarea lectoratului, activitatea didactică; realizarea de materiale didactice și auxiliare; dezvoltarea lectoratului pe parcursul anului universitar; activități de promovare a limbii, culturii și civilizației românești în țara gazdă; activitatea științifică; participarea la activități de formare continuă, la conferințe, simpozioane, proiecte internaționale. La final reproducem un fragment revelator din lucrarea de licenţă a unei studente suedeze de la cursurile online de limba română.
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