Pub Date : 2023-01-01DOI: 10.51391/trva.2023.05-06.12
Ana-Maria Stoica
This paper aims to do a close reading analysis of the tridimensional narrative experiment found in Sașa Zare’s debut novel Dezrădăcinare [Rootlessness] (2022). The alternation between character, narrator, and author seen at the narrative level of the novel starts a discussion about the autofictional prose written by Romanian contemporary writers, achieving at the same time to go beyond both national and gender boundaries. Frontier experiences, the theme of otherness, the awareness of what separates us and the damaging effects of a homophobic thinking are portrayed in Dezrădăcinare through multiple perspectives that are firstly analyzed by the narrator. Regarding transnational and World Literature, Zare’s discourse overpasses the limits of a debut novel and brings forward an important question How can we define ourselves in relation to the society we live in? If in the beginning the author-character is unsure of what she is doing, until the end of the novel Sașa is going to address problems regarding literature and criticism, misconceptions, patriarchy, and she will outline her idea about what does writing really mean for a contemporary woman writer.
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Pub Date : 2023-01-01DOI: 10.51391/trva.2023.05-06.05
Bogdan Vișan
Romanian criticism has tended to use generational framing to delineate the boundaries of local poetic paradigms, which has also been the case for the Generation 2000 and Generation post-2000. If in the 1980’s a discussion about a Romanian postmodernism was put into debate, in 2018 the question regarding the emergence of a Romanian poetry metamodernism arises. In this context, I intend to trace in this paper the nuances of generational debates in order to outline to what extent this methodology succeeds in describing the mutations and the characteristics of recent poetry. With the posthuman turn and the possibilities for the emergence of metamodernism being debated, my paper addresses, on the one hand, the viability of metamodernism in recent poetry, and, on the other, possible points of conjunctions of posthumanism and metamodernism. The posthuman turn encompasses the post-2000 generation, while local discussions have also proposed metamodernism as a label for the post-2000 generation. The question I start from is to what extent, theoretically, is our local poetry metamodernist in its sensibility and specificity, and to what extent does posthumanism fit into a metamodernist heuristic label. Although the debate remains open insofar as the Romanian theoretical field seems rather refractory to transnational theoretical fictions, what I observe in this article is that metamodernism, as theoretically proposed, can be a viable alternative to the crisis of critical discourse.
{"title":"Este postumanismul un metamodernism? Convergențe și divergențe în poezia română contemporană","authors":"Bogdan Vișan","doi":"10.51391/trva.2023.05-06.05","DOIUrl":"https://doi.org/10.51391/trva.2023.05-06.05","url":null,"abstract":"Romanian criticism has tended to use generational framing to delineate the boundaries of local poetic paradigms, which has also been the case for the Generation 2000 and Generation post-2000. If in the 1980’s a discussion about a Romanian postmodernism was put into debate, in 2018 the question regarding the emergence of a Romanian poetry metamodernism arises. In this context, I intend to trace in this paper the nuances of generational debates in order to outline to what extent this methodology succeeds in describing the mutations and the characteristics of recent poetry. With the posthuman turn and the possibilities for the emergence of metamodernism being debated, my paper addresses, on the one hand, the viability of metamodernism in recent poetry, and, on the other, possible points of conjunctions of posthumanism and metamodernism. The posthuman turn encompasses the post-2000 generation, while local discussions have also proposed metamodernism as a label for the post-2000 generation. The question I start from is to what extent, theoretically, is our local poetry metamodernist in its sensibility and specificity, and to what extent does posthumanism fit into a metamodernist heuristic label. Although the debate remains open insofar as the Romanian theoretical field seems rather refractory to transnational theoretical fictions, what I observe in this article is that metamodernism, as theoretically proposed, can be a viable alternative to the crisis of critical discourse.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70877986","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}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.01.03
Rodica Grigore
Published in 1960, in France, the novel God Was Born in Exile (Dieu est né en exil) confirmed the talent of its author, Romanian born Vintilă Horia, and also the originality of a writer who had to leave his native country after the World War and use a foreign language (in fact, more than one: except from French, he also wrote in Spanish and Italian). It is obvious, then, that the general issue of exile, Horia’s main preoccupation within his entire literary work, also reflects his own tragic situation and stands for the difficult choices the author had to make during his lifetime. Often compared to Mircea Eliade, Eugen Ionescu or Emil Cioran, his contemporaries, Horia is another important representative of Romanian exile, even if his circumstances were less favorable as far as the reception of his work is concerned. In God Was Born in Exile, the Latin poet Ovid’s journey to Tomis mirrors Horia’s uprooting, but at the same time expresses a symbolic initiation – both of the protagonist and the author: during his eight years of exile, Ovid discovers not only the fundaments of Christian faith, but also the way to liberate himself from all the personal sorrows (and his youthful vain desires) and to firmly believe in his own literary art.
1960年在法国出版的小说《上帝在流亡中诞生》(Dieu est n en exil)证实了作者——罗马尼亚出生的文蒂尔卢·霍里亚(vintilei Horia)的才华，也证明了这位在第二次世界大战后不得不离开祖国、使用外语写作的作家的独创性(事实上，他不止一种语言:除了法语，他还用西班牙语和意大利语写作)。因此，很明显，流亡这个主题——霍里亚在整个文学作品中的主要关注点——也反映了他自己的悲惨处境，代表了作者一生中不得不做出的艰难选择。与同时代的米尔恰·埃利亚德、尤金·约内斯库或埃米尔·乔兰相比，霍里亚是罗马尼亚流亡的另一个重要代表，尽管他的环境不像他的作品那样受欢迎。在《上帝在流亡中诞生》中，拉丁诗人奥维德的托米斯之旅反映了霍里亚的连根拔起，但同时也表达了一种象征性的启蒙——对主人公和作者都是如此:在他流亡的八年里，奥维德不仅发现了基督教信仰的基础，还发现了将自己从所有个人的悲伤(以及他年轻时的虚荣欲望)中解放出来的方法，并坚定地相信自己的文学艺术。
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Pub Date : 2023-01-01DOI: 10.51391/trva.2023.04.10
Elena Ginghină
Access to language is a crucial factor in language acquisition, as the learner requires the necessary input to learn a new language. However, there is a question about whether the quantity of exposure to the target language is the key factor for a successful language acquisition. This study examines 80 students, with 10 students from each year from 5th to 12th grade, at a German high school in Romania. The students start learning the German language in kindergarten, meaning that they have their first contact with the language at the age of three, which could correspond to a gradual first language acquisition. They continue their language learning intensively in school, being exposed to at least five hours of German language every day. However, even after twelve years, their level of language proficiency does not reach the expected level of a near-native speaker. They conspicuously search for words and use an unusual sentence structure when they need to engage in free conversation. This study aims to answer the question of why, even after so many years of daily exposure to the German language, the students are not able to approach a near-native level, when according to the Goethe Institute, only 600 class hours of 60 minutes each would be necessary to reach the C1 level.
{"title":"Quantität des Inputs – eine ausschlaggebende Voraussetzung im Spracherwerb?","authors":"Elena Ginghină","doi":"10.51391/trva.2023.04.10","DOIUrl":"https://doi.org/10.51391/trva.2023.04.10","url":null,"abstract":"Access to language is a crucial factor in language acquisition, as the learner requires the necessary input to learn a new language. However, there is a question about whether the quantity of exposure to the target language is the key factor for a successful language acquisition. This study examines 80 students, with 10 students from each year from 5th to 12th grade, at a German high school in Romania. The students start learning the German language in kindergarten, meaning that they have their first contact with the language at the age of three, which could correspond to a gradual first language acquisition. They continue their language learning intensively in school, being exposed to at least five hours of German language every day. However, even after twelve years, their level of language proficiency does not reach the expected level of a near-native speaker. They conspicuously search for words and use an unusual sentence structure when they need to engage in free conversation. This study aims to answer the question of why, even after so many years of daily exposure to the German language, the students are not able to approach a near-native level, when according to the Goethe Institute, only 600 class hours of 60 minutes each would be necessary to reach the C1 level.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70877613","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}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.05-06.11
Andreea Amzică
This paper aims to explore what might be the limits of what we call today Biographical Novel, framed as Biographical Fiction or Life Writing, research that has as its central objective to find an answer to questions such as: what might be the features of the genre and what purpose do they serve today? How do we relate to past personalities in the present context and what can we extract from their lives – can we talk about censorship/ attributing an unrealistic context to a public personality? But more importantly, what is the relationship between fact and fiction constructed, given that the boundary between these is very vulnerable? All these questions are meant to guide the readers throughout the study. Even if the genre is not so much in demand among writers today, probably for reasons related to the economy of time, such writing can become interesting to study how the author chooses to present someone’s life, a choice that must first be well documented, and then fully assumed, with full responsibility for the facts shown. The points on which the paper will focus are related to the novel of Moni Stănilă Brâncuși sau cum a învățat țestoasa să zboare, the biography Constantin Brancusi by Sanda Miller and the „On Constantin Brancusi” study written by Dore Ashton, where the construction of Constantin Brâncuși’s personality, as it appears in their works, will be contextualized in World Literature.
本文旨在探讨我们今天所说的传记小说的局限性，即传记小说或生活写作，这些研究的中心目标是找到以下问题的答案:这种类型的特征是什么?它们今天的目的是什么?我们如何在现在的背景下与过去的人物联系起来，我们能从他们的生活中提取什么——我们能谈论审查制度/把一个不现实的背景归因于一个公众人物吗?但更重要的是，考虑到事实与虚构之间的界限非常脆弱，它们之间的关系是怎样构建的?所有这些问题都是为了在整个研究过程中指导读者。即使这种类型在今天的作家中不太受欢迎，可能是由于与时间经济有关的原因，这样的写作可以变得有趣，研究作者如何选择呈现某人的生活，这种选择必须首先被充分记录，然后充分承担，对所展示的事实负全部责任。本文将关注的重点与小说《Moni sturililu Brâncuși sau cum a învățat țestoasa sou zboare》、桑达·米勒的《康斯坦丁·布朗库西》传记和多·阿什顿的《论康斯坦丁·布朗库西》研究有关，在这些研究中，康斯坦丁Brâncuși的人格建构，在他们的作品中出现，将在《世界文学》中被语境化。
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Pub Date : 2023-01-01DOI: 10.51391/trva.2023.05-06.04
M. Munteanu
This paper comparatively analyses the feminist problematic in the texts of four poets, two of them belonging to Romanian contemporary literature and the other two to Russian literature: Miruna Vlada – Elena Vlădăreanu and Oksiana Vasiakina – Anastasia Vekșina. The analysis starts from the ideas of the theorist Julia Kristeva, who studies female identity from the point of view of semiotics, anthropology and psychology. I will follow the predominant theme in the works of the aforementioned poets, feminist poets by self-definition and through their writings: the feminine outlook in the context of war, marriage, motherhood, the manifestation and survival of this perspective, observing the ideational and stylistic similarities and differences in the creations of the aforementioned poets. The aim of the paper is to uncover the universality of the female experience in contexts that may undermine it.
{"title":"Redefiniri ale feminității și viziuni feministe în poezia recentă din România și Rusia","authors":"M. Munteanu","doi":"10.51391/trva.2023.05-06.04","DOIUrl":"https://doi.org/10.51391/trva.2023.05-06.04","url":null,"abstract":"This paper comparatively analyses the feminist problematic in the texts of four poets, two of them belonging to Romanian contemporary literature and the other two to Russian literature: Miruna Vlada – Elena Vlădăreanu and Oksiana Vasiakina – Anastasia Vekșina. The analysis starts from the ideas of the theorist Julia Kristeva, who studies female identity from the point of view of semiotics, anthropology and psychology. I will follow the predominant theme in the works of the aforementioned poets, feminist poets by self-definition and through their writings: the feminine outlook in the context of war, marriage, motherhood, the manifestation and survival of this perspective, observing the ideational and stylistic similarities and differences in the creations of the aforementioned poets. The aim of the paper is to uncover the universality of the female experience in contexts that may undermine it.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70877908","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}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.02.05
Diana Stroescu
The study analyzes the work of three authors which were not duly integrated into the literary canon: Emil Ivănescu, Dinu Pillat and Alexandru Vona. Even if their names are lesser known within the history of Romanian literature, the article remarks that the exceptional historical circumstances of the war generation they belonged to influenced in a peculiar manner the configuration of the texts. Thus, their literary creations gave us a particular idea about the ways in which Romanian modernism was both generated and canonically validated.
{"title":"„O generație de susceptibili”: Emil Ivănescu, Dinu Pillat, Alexandru Vona","authors":"Diana Stroescu","doi":"10.51391/trva.2023.02.05","DOIUrl":"https://doi.org/10.51391/trva.2023.02.05","url":null,"abstract":"The study analyzes the work of three authors which were not duly integrated into the literary canon: Emil Ivănescu, Dinu Pillat and Alexandru Vona. Even if their names are lesser known within the history of Romanian literature, the article remarks that the exceptional historical circumstances of the war generation they belonged to influenced in a peculiar manner the configuration of the texts. Thus, their literary creations gave us a particular idea about the ways in which Romanian modernism was both generated and canonically validated.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70876863","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}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.04.03
Marius Conkan
This study aims to analyze the relationship between literary geography and postmodern critical theories, focusing on the role played by socio-spatial dialectics within ideologically oriented geocriticism. The central argument is that without the spatialization of Marxism, initiated in the 1970s and 1980s by Henri Lefebvre and Edward W. Soja, geocriticism could not be methodologically articulated today as a major discipline within World Literature studies. Since the theories of these philosophers are already integrated into Western geocriticism, it is important to metabolize them in the local context precisely in order to legitimize a coherent geocritical approach to Romanian literature.
{"title":"Geocritica și teoriile socio-spațiale","authors":"Marius Conkan","doi":"10.51391/trva.2023.04.03","DOIUrl":"https://doi.org/10.51391/trva.2023.04.03","url":null,"abstract":"This study aims to analyze the relationship between literary geography and postmodern critical theories, focusing on the role played by socio-spatial dialectics within ideologically oriented geocriticism. The central argument is that without the spatialization of Marxism, initiated in the 1970s and 1980s by Henri Lefebvre and Edward W. Soja, geocriticism could not be methodologically articulated today as a major discipline within World Literature studies. Since the theories of these philosophers are already integrated into Western geocriticism, it is important to metabolize them in the local context precisely in order to legitimize a coherent geocritical approach to Romanian literature.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70877097","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}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.05-06.09
Hanna Han
This article aims to explore how multilingualism is explored in Bessarabian literature and the way in which these phenomena can create cultural and identity crisis in the collective imaginary of The Republic of Moldova. Thus, it can be observed that in the Soviet period, but also after the fall of the empire, speakers of “Moldavian” language, afterwards named Romanian, are treated as inferior to Russian speakers, Moldavians becoming a periphery. Approaching multilingualism the way it is presented in Multilingual Literature as World Literature edited by Jane Hiddleston and Wen-chin Ouyang, a second objective of this paper is to investigate the identity crisis of the teenagers of Perestroika and the fall of the URSS, but also of the young adults that were brought up in the unsteady world that followed after these events. In doing so, the way in which the Bessarabian people were peripheral. According to the fact that this type of literature is insufficiently discussed, there will be analyzed three such novels, in order to offer a wider image of Chisinau between the 80’s and the 2000 and its transition: Grădina de sticlă (The Glass Garden) by Tatiana Țîbuleac, Sălbaticii copii dingo (The Savage Dingo Kids) by Vasile Ernu and Perestroika boys by Dinu Guțu. The other aspect that will be explored is the image of Romania and its literature in the Soviet Bessarabia, two neighbour countries that did not have an intercultural dialogue until 1991.
本文旨在探讨比萨拉比亚文学中的多语言现象，以及这些现象如何在摩尔多瓦共和国的集体想象中造成文化和身份危机。因此，可以观察到，在苏联时期，以及在帝国垮台之后，说“摩尔达维亚语”(后来被命名为罗马尼亚语)的人被视为不如说俄语的人，摩尔达维亚人成为边缘。以简·希德勒斯顿(Jane Hiddleston)和欧阳文琴(Wen-chin Ouyang)编辑的《多语言文学作为世界文学》(Multilingual Literature as World Literature)所呈现的方式，接近多语言主义，本文的第二个目标是调查改革和苏联解体时期青少年的身份危机，以及在这些事件之后不稳定的世界中长大的年轻人的身份危机。这样一来，比萨拉比亚人就被边缘化了。根据这类文学讨论不足的事实，本文将分析三部这样的小说，以提供一个更广泛的基希纳乌在80年代到2000年代及其过渡时期的形象:塔蒂亚娜的《玻璃花园》Țîbuleac，瓦西里·埃尔努的《野蛮的野狗孩子》和迪努的《改革男孩》Guțu。将探讨的另一个方面是罗马尼亚及其文学在苏联比萨拉比亚的形象，这两个邻国直到1991年才进行文化间对话。
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Pub Date : 2023-01-01DOI: 10.51391/trva.2023.05-06.03
Emanuel Lupașcu
Metamodernism is a Eurocentric theoretical fiction, with no adherence to the social and cultural realities of post-communist Romania. This article provides a critique of the theory of metamodernism proposed by Timotheus Vermeulen and Robin van den Akker and used by Alex Ciorogar to describe the post-2010 Romanian poetry system. Even if the concept is inoperative for Romanian literature, it is a symptom of the overcoming of the postmodernist framework, felt by writers as anti-essentialist, light-hearted, and unconcerned with the problems of today’s society (climate crisis, immigrants, marginalized communities, economic inequalities between classes, etc.). What I notice in the footsteps of Jeffrey Nealon & Galin Tihanov is that the focus shifts from an autonomist “regime of relevance” to one that is socially, politically, and identity-building oriented. My analysis will propose a number of criticisms of the internal contradictions generated by the two Dutchmen’s theory: firstly, that the “Yo-yo effect” of metamodernism – a metaphor I coined to better understand the basic concept – does not fully explain the cultural landscape of the Romanian literary system. In addition, it is built on a sum of generalizations of modernism and postmodernism, which have not been unanimously accepted by the theorists. A second criticism of Vermeulen and van den Akker’s study is its Western-centric stance, which ignores the (semi-)peripheral specificity of cultures. If we absurdly accept the existence of metamodernism, it is only a combination of ideologies and styles of historical currents subsumable to modernity. Therefore, I will propose, following in the footsteps of Fredric Jameson and the Warwick Research Collective, the concept of singular modernity, and I argue why there cannot yet be a postmodernity in Eastern Europe. Discussing post-communist Romanian literature in terms of unfinished, combined, and unevenly developed modernity is much more productive because it takes into account both the material-social conditions of Romania and the cultural-artistic acquisitions thanks to the transfer of symbolic capital between central and (semi)peripheral systems.
元现代主义是一种以欧洲为中心的理论小说，不符合后共产主义罗马尼亚的社会和文化现实。本文对提莫修斯·维默伦和罗宾·范登·阿克提出的元现代主义理论进行了批判，并被亚历克斯·乔罗加用来描述2010年后的罗马尼亚诗歌体系。即使这个概念在罗马尼亚文学中并不适用，这也是后现代主义框架被克服的征兆，作家们认为后现代主义是反本质主义的，轻松愉快的，不关心当今社会的问题(气候危机、移民、边缘化社区、阶级间的经济不平等等)。在杰弗里·尼隆和加林·提哈诺夫的足迹中，我注意到焦点从自主主义的“相关制度”转向了以社会、政治和身份建设为导向的制度。我的分析将对两位荷兰人的理论产生的内部矛盾提出一些批评:首先，元现代主义的“溜溜球效应”——我创造的一个比喻，以更好地理解基本概念——并不能完全解释罗马尼亚文学系统的文化景观。此外，它是建立在对现代主义和后现代主义的概括的基础上的，这些概括并没有被理论家们一致接受。对Vermeulen和van den Akker研究的第二个批评是其以西方为中心的立场，它忽略了文化的(半)外围特异性。如果我们荒谬地接受元现代主义的存在，那么它只是一种隶属于现代性的历史潮流的意识形态和风格的组合。因此，我将追随弗雷德里克·詹姆逊(frederic Jameson)和沃里克研究小组(Warwick Research Collective)的脚步，提出单一现代性的概念，并论证为什么东欧还不能出现后现代性。从未完成的、结合的、不均衡发展的现代性的角度来讨论后共产主义罗马尼亚文学更有成效，因为它考虑到了罗马尼亚的物质社会条件和文化艺术收获，这要归功于中心和(半)外围系统之间的象征性资本转移。
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