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  • 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).
  • 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.
  • Bagiu, Lucian (författare)
  • Lucian Blaga şi mitul lui Isus-Pământul în „Tulburarea apelor”
  • 2013
  • Ingår i: Annales Universitatis Apulensis. Series Philologica. - Universitatea "1 Decembrie 1918" Alba Iulia. - 1582-5523. ; 14:1, s. 79-98
  • Tidskriftsartikel (refereegranskat)abstract
    • In the second play Lucian Blaga wrote, the author imagines an orthodox Romanian priest from Transylvania which, at 1540, strives to find out a new spiritual path for his people. This new and yet unidentified religious belief – presumed to be the single authentic one – is different both from the Lutheranism from the citadel of Hermanstadt and the Dionysian features the virgin Nona carries out in an erotic behavior. We come to understand that the priest lingers for a religious entity that has not abandoned the world – as the orthodox God seems to have done – but is a living continuous presence within the immediate reality. All the kingdoms are a manifestation of this ubiquitous spirit called “Jesus the Earth” in a genuine expression of pantheism. For Lucian Blaga this is an aesthetic way of revealing how the assumed religion of the pre-historical Thracian / Dacian prophet Zalmoxis – the sacred nature – has perpetuated and adapted itself in the medieval Romanian mentality and culture.
  • Bagiu, Lucian (författare)
  • Lucian Blaga și teatrul : Eseu despre absolutul estetic
  • 2014
  • Bok (övrigt vetenskapligt)abstract
    • The book analyzes each of the ten plays written by Lucian Blaga, with a focus both on Romanian mythology/history/cultural identity and on the European influences (such as philosophical - Spengler, Nietzsche etc., psychological - Jung, Freud, literary - Wedekind, Strindberg.). All plays are related to Lucian Blaga's larger work - poetry, philosophy, essay, memoirs.
  • Bagiu, Lucian, et al. (författare)
  • Poezia Vechiului Testament în diortosirea I.P.S. Bartolomeu Anania
  • 2014
  • Ingår i: Receptarea Sfintei Scripturi: între filologie, hermeneutică şi traductologie. Lucrările Simpozionului Internaţional „Explorări în tradiţia biblică românească şi europeană”, III, Iaşi, 30 mai - 1 iunie 2013. - Editura Universităţii „Alexandru Ioan Cuza”, Iaşi. - 2285-5580. ; s. 51-78
  • Bokkapitel (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. The limits imposed by the summarizing of our ample study makes us expose here Bartolomeu Valeriu Anania’s working approach in only one of the books of the Holy Bible translated by him. The selected example can offer only a sample of the great work. Through the translation of the Song of All Songs we understand the translator’s polyphonic spirit. Valeriu Anania does not hesitate to express his poetical spirit abundantly, totally re-configuring the structure of the Verse 3 of Chapter 1: 1914: „La mirosul mirurilor tale vom alerga. Băgatu-m’a împăratul în cămara sa, bucura-ne-vom, şi ne vom veseli de tine, iubi-vom ţâţele tale mai mult decât vinul, dreptatea te-a iubit pe tine. To the smell of thy blessed ointment shall we run. The emperor hath taken me into his chamber, and we shall merry, we shall be joyful in thee, we shall love thy breasts more than wine, righteousness loved you” (Biblia 1914: 817). 1936: „Răpeşte-mă, ia-mă cu tine! Hai să fugim! – Regele m-a dus în cămările sale: ne vom veseli şi ne vom bucura de tine. Îţi vom preamări dragostea mai mult decât vinul. Cine te iubeşte, după dreptate te iubeşte! Take me with thee! Let us elope! – The king hath taken me into his chambers; we shall be merry and we shall enjoy thee. We shall cherish thy love more than wine. Who loves thee, loves thee right!” (Biblia 1992: 673). 1977: „4. Trage-mă după tine, să ne grăbim!/ Regele m-a introdus în cămara sa/ Vom sărbători şi ne vom bucura în tine/ Vom lăuda iubirea ta mai mult decât vinul./ Pe drept eşti iubit.” Draw me after thee, let us hurry!/The King hath put me into his room/ We shall celebrate and we shall rejoice in thee/ We shall praise thy love more than wine. Thou are loved rightly (Alexandru 1977: 31). 2001: „Ţinându-ne de paşii tăi/ vom alerga s’avem în răsuflare/ mireasma mirurilor tale./ Mă duse regele’n cămara lui;/ ne-om bucura, ne’om veseli de tine;/ mai aprig decât vinul îţi vom iubi alintul;/ pe drept o fac cei ce te iubesc.” Following thy steps,/ we shall run to feel thy fragrance in our senses./ The king hath taken me into his chamber;/ we shall be merry and rejoice in thee./ We shall love thy caress more than wine/ Those who love thee, are so right to do it (Bartolomeu 2001: 872). The freedom of translation is to be noticed especially in the first three lines, the poeticism being extremely shyly rendered in all the other three previous versions, those which followed The Septuagint losing even the phonetic-stylistic effect of the syntagma “the smell of thy ointments” so lyrically rendered by Valeriu Anania through the even more refined “the fragrance of thy ointments”, and very intuitively introducing “Following thy steps” which suggests a following into and not only to the direction indicated by the lover (an intimate significance if we consider the mystical and allegorical dimension of the text). It is certain that we are proposed an undoubtedly valuable plus of poetic expression, as compared to the prosaic “we shall run”, “take me with you, let us run away” or even the difficult to accept “draw me”. As for the “love of the breasts” of the chosen one, Valeriu Anania draws attention that it is about an incorrect lecture of the Hebrew Text, noticed not only by Paul Claudel, but also by the following translators of the Romanian versions, in comparison to whose “worship of love”, “praise of love”, Valeriu Anania prefers the more delicate “love of caress”, in order to refer to, as we presume, the paternalist protecting perspective of the divinity/church towards its creature/believers. The temptation of poetisation is however performed upon a text lyrical par excellence.
  • Bagiu, Lucian (författare)
  • Zidarii Meșterului Manole
  • 2014
  • Ingår i: Philologica Jassyensia. - The “A. Philippide” Institute of Romanian Philology. - 2247-8353 .- 1841-5377. ; X:1 (19), s. 11-26
  • Tidskriftsartikel (refereegranskat)abstract
    • 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.
  • Ditvall, Coralia (författare)
  • Înv???mântul prin Internet – rolul profesorului /Utbildning via Internet – lärarens roll
  • 2009
  • Ingår i: Dacoromania. - Institutionen för Lingvistik och Litteraturhistoria ”Sextil Pu?cariu” vid Rumänska Vetenskapsakademien. Rumänska Vetenskapsakademiens Förlag, Rumänien.. - 1582-4438. ; Anul XIV, Nr.2
  • Tidskriftsartikel (refereegranskat)abstract
    • I denna artikel gör vi en jämförelse, i historiskt perspektiv, vad gäller rumänska studier på campus och via internet. Vi diskuterar en mycket intressant fråga i detta moderna lärandesystem, i.e ”e-learning”, nämligen lärarens nya roll.
  • Sampson, Steven (författare)
  • De la Kanun la Capacity Buliding
  • 2004
  • Ingår i: Sfera Politicii. - Fundatie Societatea Civila. ; 12:nr. 107, s. 31-44
  • Tidskriftsartikel (refereegranskat)abstract
    • Romanian translation of "From kanun to capacity building" (published in P. Siani-Davies (ed.) International Intervention in the Balkans since 1995), decribing democracy export and civil society projects as a means of creating security in the Balkans, and the confronation with local modes of social organization, such as the Albanian customary law "kanun".
  • Sampson, Steven, et al. (författare)
  • "Steven Sampson" (interview)
  • 2010
  • Ingår i: 1989-2009: Incredibila aventura a democratiei dupa comunism. - Institutul European, Iasi, Romania. - 9789736116575 ; s. 277-284
  • Bokkapitel (populärvet., debatt m.m.)abstract
    • Answers to prepared questions by the editors on developments in Romania from 1989 to 2009, asked of several experts of Romania. Views on the Romanian revolution and the success of the transition to democracy. Translated from English to Romanian
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