Abstract Nobel-prize winning poet Seamus Heaney is celebrated for his rich verses recalling his home in the Northern Irish countryside of County Derry. Yet while the imaginative links to nature in his poetry have already been critically explored, little attention has been paid so far to his rendering of local food and foodways. From ploughing, digging potatoes and butter-churning to picking blackberries, Heaney sketches not only the everyday activities of mid-20th century rural Ireland, but also the social dynamics of community and identity and the socio-natural symbiosis embedded in those practices. Larger questions of love, life and death also infiltrate the scenes, as they might in life, through hints of sectarian divisions and memories of famine. This essay proposes a gastrocritical reading of Heaney’s poetry to study these topics in particularly meaningful ways. Gastrocriticism is a nascent critical approach to literature that applies the insights gained in Food Studies to literary writings, investigating the relationship of humans to each other and to nature as played out through the prism of food, or as Heaney wrote: “Things looming large and at the same time [...] pinned down in the smallest detail.”
{"title":"“My Palate Hung With Starlight” – A Gastrocritical Reading of Seamus Heaney’s Poetry","authors":"Anke Klitzing","doi":"10.2478/ewcp-2019-0010","DOIUrl":"https://doi.org/10.2478/ewcp-2019-0010","url":null,"abstract":"Abstract Nobel-prize winning poet Seamus Heaney is celebrated for his rich verses recalling his home in the Northern Irish countryside of County Derry. Yet while the imaginative links to nature in his poetry have already been critically explored, little attention has been paid so far to his rendering of local food and foodways. From ploughing, digging potatoes and butter-churning to picking blackberries, Heaney sketches not only the everyday activities of mid-20th century rural Ireland, but also the social dynamics of community and identity and the socio-natural symbiosis embedded in those practices. Larger questions of love, life and death also infiltrate the scenes, as they might in life, through hints of sectarian divisions and memories of famine. This essay proposes a gastrocritical reading of Heaney’s poetry to study these topics in particularly meaningful ways. Gastrocriticism is a nascent critical approach to literature that applies the insights gained in Food Studies to literary writings, investigating the relationship of humans to each other and to nature as played out through the prism of food, or as Heaney wrote: “Things looming large and at the same time [...] pinned down in the smallest detail.”","PeriodicalId":120501,"journal":{"name":"East-West Cultural Passage","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114186289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The purpose of this essay is to capture and convey, through the use of different works of philosophy that encapsulate thoughts on the same idea, the motif of the absurdity of life in Ernest Hemingway’s first novel The Sun Also Rises. The concept of the absurd will be, first and foremost, examined through absurdist criticism of the novel, using the philosophical thought of Albert Camus, Soren Kierkegaard, Friedrich Nietzsche and other philosophers who captured the essence of the absurd in their philosophy, all in order to represent this concept in Hemingway’s novel and to show how it truly manifests itself upon some of the most important characters’ psychology and their actions, portrayed throughout the three parts of the book. Mention will be made of the concept of “Lost generation” as it is the cornerstone to understanding, firstly, the characters’ background and current psychological status and the effects that the war had on an entire generation, leading them to an unwilling search for meaning in what this essay strives to present as a meaningless life.
{"title":"Absurdity in Ernest Hemingway’s The Sun Also Rises","authors":"Miruna Ciocoi-Pop, Emilian Tîrban","doi":"10.2478/ewcp-2019-0017","DOIUrl":"https://doi.org/10.2478/ewcp-2019-0017","url":null,"abstract":"Abstract The purpose of this essay is to capture and convey, through the use of different works of philosophy that encapsulate thoughts on the same idea, the motif of the absurdity of life in Ernest Hemingway’s first novel The Sun Also Rises. The concept of the absurd will be, first and foremost, examined through absurdist criticism of the novel, using the philosophical thought of Albert Camus, Soren Kierkegaard, Friedrich Nietzsche and other philosophers who captured the essence of the absurd in their philosophy, all in order to represent this concept in Hemingway’s novel and to show how it truly manifests itself upon some of the most important characters’ psychology and their actions, portrayed throughout the three parts of the book. Mention will be made of the concept of “Lost generation” as it is the cornerstone to understanding, firstly, the characters’ background and current psychological status and the effects that the war had on an entire generation, leading them to an unwilling search for meaning in what this essay strives to present as a meaningless life.","PeriodicalId":120501,"journal":{"name":"East-West Cultural Passage","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132786037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This essay studies scenes that focus on food and eating in the films Chocolat (2000) and I Served the King of England (Obsluhoval jsem anglického krále, 2006). To assess whether or not they constitute food porn we compare and contrast such scenes with the description of an unwholesome recipe for cannibalistic eating in Titus Andronicus, which anticipates our contemporary food obsession. At its most basic (and controversial), food porn names the alluring visualisation of certain foodstuffs, which renders food the object of erotically tinged desire. Serving different purposes in the two films, such eroticisation of food can be more than self-referential insofar as it indicates human interactions framed as power relations. Showing chocolate making and eating, in Chocolat, actually visualises a woman’s exertion of power over the women and their husbands in a bigoted French village in 1959, intended to awaken the people’s benumbed desire. Not food proper is the object of desire in the Czech film, but the young woman served up as ocular side dish to the moguls dining in a stylish Prague restaurant before the outburst of WWII. By contrast, food eroticisation is completely absent in Shakespeare; at stake is a verbal (and implicitly visual) concern with the transformation of flesh and body parts into ingredients for seemingly festive consumption. Visualising food, in Titus, implicitly visualises the reclaim and exertion of power in the fictional Roman polity. In all these cases, the concern with food vectorises power relations and may fluidise gendered hierarchies, an issue which food porn scholarship rarely addresses.
本文研究了电影《巧克力》(2000)和《我为英国国王服务》(Obsluhoval jsem anglick， 2006)中关注食物和饮食的场景。为了评估它们是否构成食物色情，我们将这些场景与《提图斯·安德洛尼克斯》(Titus Andronicus)中对一种不健康的食人食谱的描述进行比较和对比，后者预示了我们当代对食物的痴迷。最基本的(也是有争议的)是，食物色情将某些食物诱人的视觉化命名，使食物成为带有色情色彩的欲望的对象。在两部电影中，食物的这种色情化有着不同的目的，它不仅仅是自我指涉，因为它表明了作为权力关系框架的人类互动。在《巧克力》中，展示巧克力的制作和食用，实际上描绘了1959年一个偏执的法国村庄里，一个女人对女人和她们的丈夫行使权力，旨在唤醒人们麻木的欲望。在这部捷克电影中，食物本身并不是人们渴望的对象，但在二战爆发前，在布拉格一家时尚餐厅里，这位年轻女子被当作一道引人注目的小菜。相比之下，莎士比亚的作品中完全没有食物色情;关键在于将肉体和身体部位转化为看似节日消费的食材，这是一种口头上(以及隐含的视觉上)的关注。在《提图斯》中，将食物形象化，隐含地将虚构的罗马政体中权力的收回和运用形象化。在所有这些案例中，对食物的关注使权力关系向矢量化，并可能使性别等级流动化，这是食物色情研究很少涉及的问题。
{"title":"Food Porn in Titus Andronicus, Chocolat and I Served the King of England (Obsluhoval jsem anglického krále)","authors":"Estella Ciobanu, Carmen Martinaş Florescu","doi":"10.2478/ewcp-2019-0014","DOIUrl":"https://doi.org/10.2478/ewcp-2019-0014","url":null,"abstract":"Abstract This essay studies scenes that focus on food and eating in the films Chocolat (2000) and I Served the King of England (Obsluhoval jsem anglického krále, 2006). To assess whether or not they constitute food porn we compare and contrast such scenes with the description of an unwholesome recipe for cannibalistic eating in Titus Andronicus, which anticipates our contemporary food obsession. At its most basic (and controversial), food porn names the alluring visualisation of certain foodstuffs, which renders food the object of erotically tinged desire. Serving different purposes in the two films, such eroticisation of food can be more than self-referential insofar as it indicates human interactions framed as power relations. Showing chocolate making and eating, in Chocolat, actually visualises a woman’s exertion of power over the women and their husbands in a bigoted French village in 1959, intended to awaken the people’s benumbed desire. Not food proper is the object of desire in the Czech film, but the young woman served up as ocular side dish to the moguls dining in a stylish Prague restaurant before the outburst of WWII. By contrast, food eroticisation is completely absent in Shakespeare; at stake is a verbal (and implicitly visual) concern with the transformation of flesh and body parts into ingredients for seemingly festive consumption. Visualising food, in Titus, implicitly visualises the reclaim and exertion of power in the fictional Roman polity. In all these cases, the concern with food vectorises power relations and may fluidise gendered hierarchies, an issue which food porn scholarship rarely addresses.","PeriodicalId":120501,"journal":{"name":"East-West Cultural Passage","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122861757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"In Memoriam A Visionary: Dumitru Ciocoi Pop (1943-2019)","authors":"C. Magrath","doi":"10.2478/ewcp-2019-0009","DOIUrl":"https://doi.org/10.2478/ewcp-2019-0009","url":null,"abstract":"","PeriodicalId":120501,"journal":{"name":"East-West Cultural Passage","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127685234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article examines how Sean O’Casey’s Juno and the Paycock, written in 1924, anticipated the postmodern conception of gender, or more accurately, the postmodern deconstruction of gender as merely repetitive patterns of behavior. The focus is on how the play dramatizes the Foucauldian notion of the death of man in the neurotic and irresponsible behavior of the male characters. Taking the psychological vertical approach in the analysis, the article adds to the scholarly work that has been written about the play, which mostly focused on its sociopolitical and religious aspects. The analysis this article sets forth shows how O’Casey’s representation (or perhaps mal-representation) of male characters was symptomatic of the cultural upsurge that later came to be known as postmodernism. In so doing, the article makes a curious link between O’Casey’s representation of neurotic men and the more recent inception of postmodernism and its deconstruction of gender. This link, in other words, is between neurosis and deconstruction, between psychological disturbances and the much-celebrated postmodern theory that came later. Thus, the article concludes with the peculiar question of how much of postmodern thought was, albeit unconsciously, predicated upon psychological degeneration, especially when it comes to its deconstruction of gender dynamics.
{"title":"The Darling Men of Sean O’Casey’s Juno and the Paycock: An Early Postmodern Representation of Masculinity","authors":"Sohaib Malkawi","doi":"10.2478/ewcp-2019-0001","DOIUrl":"https://doi.org/10.2478/ewcp-2019-0001","url":null,"abstract":"Abstract This article examines how Sean O’Casey’s Juno and the Paycock, written in 1924, anticipated the postmodern conception of gender, or more accurately, the postmodern deconstruction of gender as merely repetitive patterns of behavior. The focus is on how the play dramatizes the Foucauldian notion of the death of man in the neurotic and irresponsible behavior of the male characters. Taking the psychological vertical approach in the analysis, the article adds to the scholarly work that has been written about the play, which mostly focused on its sociopolitical and religious aspects. The analysis this article sets forth shows how O’Casey’s representation (or perhaps mal-representation) of male characters was symptomatic of the cultural upsurge that later came to be known as postmodernism. In so doing, the article makes a curious link between O’Casey’s representation of neurotic men and the more recent inception of postmodernism and its deconstruction of gender. This link, in other words, is between neurosis and deconstruction, between psychological disturbances and the much-celebrated postmodern theory that came later. Thus, the article concludes with the peculiar question of how much of postmodern thought was, albeit unconsciously, predicated upon psychological degeneration, especially when it comes to its deconstruction of gender dynamics.","PeriodicalId":120501,"journal":{"name":"East-West Cultural Passage","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125002103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The present article reports on a case study that focuses, comparatively, on the extent to which Romania’s Prime Minister Adrian Năstase and UK’s Prime Minister Tony Blair reveal their intentions and thoughts in their investment speeches, by the use of the personal pronouns I and we. The number of occurrences of each of the two first person pronouns and the way in which they are used will be considered in an analysis that is both quantitative and qualitative. The overall aim of the comparative approach is to highlight how democracy is seen in the cases scrutinized, based on the activation by the speakers of the principle of cooperation in oral communication.
{"title":"I vs. We. First Person Personal Pronouns in Political Speeches","authors":"Ilina-Mihaela Stănculete","doi":"10.2478/ewcp-2019-0008","DOIUrl":"https://doi.org/10.2478/ewcp-2019-0008","url":null,"abstract":"Abstract The present article reports on a case study that focuses, comparatively, on the extent to which Romania’s Prime Minister Adrian Năstase and UK’s Prime Minister Tony Blair reveal their intentions and thoughts in their investment speeches, by the use of the personal pronouns I and we. The number of occurrences of each of the two first person pronouns and the way in which they are used will be considered in an analysis that is both quantitative and qualitative. The overall aim of the comparative approach is to highlight how democracy is seen in the cases scrutinized, based on the activation by the speakers of the principle of cooperation in oral communication.","PeriodicalId":120501,"journal":{"name":"East-West Cultural Passage","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115524208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This essay aims to illustrate the way in which the American writer Cormac McCarthy constructs the role of the children in his novels Blood Meridian, or the Evening Redness in the West and The Road to challenge the discursive reality elaborated by the two adult protagonists. The premise of this endeavor is that both Judge Holden and the man offer a logocentric vision of the world, which the young characters resist by questioning its validity and exposing its limits. The Post-Structuralist criticism of Jacques Derrida and Friedrich Nietzsche represents the theoretical foundation of the text analysis proposed below.
{"title":"“See the Child”: Representations of Childhood in Blood Meridian and The Road by Cormac McCarthy","authors":"Mădălina Larisa Kimak","doi":"10.2478/ewcp-2019-0003","DOIUrl":"https://doi.org/10.2478/ewcp-2019-0003","url":null,"abstract":"Abstract This essay aims to illustrate the way in which the American writer Cormac McCarthy constructs the role of the children in his novels Blood Meridian, or the Evening Redness in the West and The Road to challenge the discursive reality elaborated by the two adult protagonists. The premise of this endeavor is that both Judge Holden and the man offer a logocentric vision of the world, which the young characters resist by questioning its validity and exposing its limits. The Post-Structuralist criticism of Jacques Derrida and Friedrich Nietzsche represents the theoretical foundation of the text analysis proposed below.","PeriodicalId":120501,"journal":{"name":"East-West Cultural Passage","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133045571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract An unpublished piece of prose in the style of Romanian writer Urmuz has rekindled my interest in absurdist writings and/or absurd cases which, in Romanian culture, are associated with the likes of Urmuz, Caragiale or Ionesco. I will ponder here, with the aid of the aforementioned authors and also by comparing their work with Lewis Carroll’s, the absurdist spirit of certain Romanian literary and dramatic pieces, or only of certain scenes therein, to propose a typology of the absurd as distinct from satire (the latter often a companion piece to the former). Mine is an investigation that crisscrosses texts, cultures and ages more than it offers an in-depth analysis by recourse to concepts and theories; asks questions more than it offers answers; plays more than it does sober research; and laughs – lest it should weep.
{"title":"Give Us This Day Our Daily Absurd, As We Also Have Given It to Our Absurd-mongers! One Look at the Absurd in Romanian Culture","authors":"E. Ciobanu","doi":"10.2478/ewcp-2019-0004","DOIUrl":"https://doi.org/10.2478/ewcp-2019-0004","url":null,"abstract":"Abstract An unpublished piece of prose in the style of Romanian writer Urmuz has rekindled my interest in absurdist writings and/or absurd cases which, in Romanian culture, are associated with the likes of Urmuz, Caragiale or Ionesco. I will ponder here, with the aid of the aforementioned authors and also by comparing their work with Lewis Carroll’s, the absurdist spirit of certain Romanian literary and dramatic pieces, or only of certain scenes therein, to propose a typology of the absurd as distinct from satire (the latter often a companion piece to the former). Mine is an investigation that crisscrosses texts, cultures and ages more than it offers an in-depth analysis by recourse to concepts and theories; asks questions more than it offers answers; plays more than it does sober research; and laughs – lest it should weep.","PeriodicalId":120501,"journal":{"name":"East-West Cultural Passage","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129904265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract To balance the research that has been carried out on negative emotions, the researchers in the field of second language acquisition (SLA) have recently focused on the role of positive academic emotions and their role in the process of acquiring a foreign language (FL). The aim of the present article is to examine the relationships between foreign language enjoyment (FLE), foreign language classroom anxiety (FLCA) and students’ academic achievement in English in order to prove that these two emotions do not constitute opposite dimensions but may converge and diverge from time to time during the learning process. This article calls for a more dynamic approach to studying emotions and investigating whether and to what extent these two emotions may mutually shape one another and thus affect learners’ achievement in the foreign language classroom.
{"title":"Anxiety and Enjoyment in the Foreign Language Classroom","authors":"Ewelina Mierzwa","doi":"10.2478/ewcp-2019-0007","DOIUrl":"https://doi.org/10.2478/ewcp-2019-0007","url":null,"abstract":"Abstract To balance the research that has been carried out on negative emotions, the researchers in the field of second language acquisition (SLA) have recently focused on the role of positive academic emotions and their role in the process of acquiring a foreign language (FL). The aim of the present article is to examine the relationships between foreign language enjoyment (FLE), foreign language classroom anxiety (FLCA) and students’ academic achievement in English in order to prove that these two emotions do not constitute opposite dimensions but may converge and diverge from time to time during the learning process. This article calls for a more dynamic approach to studying emotions and investigating whether and to what extent these two emotions may mutually shape one another and thus affect learners’ achievement in the foreign language classroom.","PeriodicalId":120501,"journal":{"name":"East-West Cultural Passage","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134060189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Travel narratives are complex accounts that include a significant layer of factual information – related to the geography, history, and/or the culture of a particular place or country – and a more personal layer, comprising the author’s unique perceptions and rendering of the travel experience. In the last thirty years of transition from a communist to a democratic society, the Romanians have been free to travel to any country they choose; however, during the communist period, especially during the 1980s, travelling to Western, capitalist countries, such as France, Great Britain, Canada, or the United States, was rather limited and fraught with complex issues. Still, Romanian travelers during that time managed to visit the United States, on diplomatic- or business-related exchanges, and published interesting travel stories of their experiences there. Therefore, this essay sets out to capture, from a comparative perspective, the impressions and encounters depicted by Radu Enescu in Between Two Oceans (1986), Ion Dinu in Traveler through America (1991) and Viorel Sălăgean in Hello America! (1992), with a view to analyzing how their descriptions and perceptions of two major urban spaces, New York City and San Francisco, reflect the complexity of the American social and cultural landscape in the late 1970s and mid-1980s.
{"title":"Cultural Encounters: Glimpses of the United States in Late Twentieth-Century Romanian Travel Narratives","authors":"Anca-Luminița Iancu","doi":"10.2478/ewcp-2019-0005","DOIUrl":"https://doi.org/10.2478/ewcp-2019-0005","url":null,"abstract":"Abstract Travel narratives are complex accounts that include a significant layer of factual information – related to the geography, history, and/or the culture of a particular place or country – and a more personal layer, comprising the author’s unique perceptions and rendering of the travel experience. In the last thirty years of transition from a communist to a democratic society, the Romanians have been free to travel to any country they choose; however, during the communist period, especially during the 1980s, travelling to Western, capitalist countries, such as France, Great Britain, Canada, or the United States, was rather limited and fraught with complex issues. Still, Romanian travelers during that time managed to visit the United States, on diplomatic- or business-related exchanges, and published interesting travel stories of their experiences there. Therefore, this essay sets out to capture, from a comparative perspective, the impressions and encounters depicted by Radu Enescu in Between Two Oceans (1986), Ion Dinu in Traveler through America (1991) and Viorel Sălăgean in Hello America! (1992), with a view to analyzing how their descriptions and perceptions of two major urban spaces, New York City and San Francisco, reflect the complexity of the American social and cultural landscape in the late 1970s and mid-1980s.","PeriodicalId":120501,"journal":{"name":"East-West Cultural Passage","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129602372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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