Pub Date : 2022-01-01DOI: 10.51391/trva.2022.08.04
Ioan Fărmuș
Even though we might live with the impression that the debates about the (Romanian) novel belong exclusively to the interwar period, in reality they started earlier, somewhere around the second half of the 19th c. Novel theoreticians such as: Radu Ionescu, that, in the preface of the novel Donjuanii din București, inaugurates this type of debates, Titu Maiorescu, the promoter of the „people novel”, or Nicolae Iorga, the critic that started the so-called „battle for the novel”, show us that there was an interest towards this genre in the Romanian cultural space also, a genre that at that moment claimed a hegemonic position. Yet, the First World War will put an abrupt end to these debates related to the Romanian novel, debates that would be reiterated in the interwar period, in another cultural context, of course at another level. Thus, the second part of the article is an attempt to recuperate the atmosphere towards the literary phenomenon after the First world War by focusing on the critical attitudes of the most important cultural voices of the new era, attitudes that vary from hope – generated by the belief that the first major global conflagration regenerated the creative forces of Romanian writers – to doubt – through which, by resorting to a lamentativ tone, critics denounce the absence of real (i.e. artistic) novels from national cultural space.
尽管我们可能会认为，关于(罗马尼亚)小说的争论只属于两次世界大战之间的时期，但实际上，它们开始得更早，大约在19世纪下半叶。Radu Ionescu，在小说Donjuanii din București的序言中，开创了这种类型的辩论，Titu Maiorescu，“人民小说”的推手，或者Nicolae Iorga，开始所谓的“为小说而战”的批评家，向我们展示了罗马尼亚文化空间中对这种类型的兴趣，这种类型在当时声称具有霸权地位。然而，第一次世界大战突然结束了这些与罗马尼亚小说有关的辩论，这些辩论在两次世界大战之间的时期，在另一种文化背景下，当然是在另一个层面上，得到了重申。因此，这篇文章的第二部分是试图恢复一战后文学现象的气氛，把重点集中在新时代最重要的文化声音的批评态度上，这些态度既有希望，又有怀疑，通过这种怀疑，通过诉诸一种悲哀的语气，批评家谴责民族文化空间中缺乏真正的(即艺术的)小说。
{"title":"Întoarcere la bătălia pentru roman. Teorii despre roman în spațiul cultural românesc interbelic","authors":"Ioan Fărmuș","doi":"10.51391/trva.2022.08.04","DOIUrl":"https://doi.org/10.51391/trva.2022.08.04","url":null,"abstract":"Even though we might live with the impression that the debates about the (Romanian) novel belong exclusively to the interwar period, in reality they started earlier, somewhere around the second half of the 19th c. Novel theoreticians such as: Radu Ionescu, that, in the preface of the novel Donjuanii din București, inaugurates this type of debates, Titu Maiorescu, the promoter of the „people novel”, or Nicolae Iorga, the critic that started the so-called „battle for the novel”, show us that there was an interest towards this genre in the Romanian cultural space also, a genre that at that moment claimed a hegemonic position. Yet, the First World War will put an abrupt end to these debates related to the Romanian novel, debates that would be reiterated in the interwar period, in another cultural context, of course at another level. Thus, the second part of the article is an attempt to recuperate the atmosphere towards the literary phenomenon after the First world War by focusing on the critical attitudes of the most important cultural voices of the new era, attitudes that vary from hope – generated by the belief that the first major global conflagration regenerated the creative forces of Romanian writers – to doubt – through which, by resorting to a lamentativ tone, critics denounce the absence of real (i.e. artistic) novels from national cultural space.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70873900","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 : 2022-01-01DOI: 10.51391/trva.2022.09.09
Alina Iorga
The article provides some relevant insights about the dynamics of the European politics of history and memory against the background of the third wave of European integration, which is the so called “cultural Europeanization.” These dynamics, originated in Western European both cultural turn of the 1970s and memory boom of the 1980s, is inscribed in the complex geopolitical landscape configured after the end of Cold War, within the context of European enlargement and the struggles for recognition of the “new Europe”. The competition of “Europe’s Europes” memorial narratives about the “painful pasts” of West and East, which is also a competition between two mnemonic paradigms (cosmopolitan vs. national(ist)-antagonist), is followed against the background of both the transnational turn in memory studies and memory politics and the re-nationalization of European politics and ideologies, tightly connected to the post–Cold War developments.
{"title":"Memorie, istorie şi politic(i) în „Europele Europei” înainte şi după 1989","authors":"Alina Iorga","doi":"10.51391/trva.2022.09.09","DOIUrl":"https://doi.org/10.51391/trva.2022.09.09","url":null,"abstract":"The article provides some relevant insights about the dynamics of the European politics of history and memory against the background of the third wave of European integration, which is the so called “cultural Europeanization.” These dynamics, originated in Western European both cultural turn of the 1970s and memory boom of the 1980s, is inscribed in the complex geopolitical landscape configured after the end of Cold War, within the context of European enlargement and the struggles for recognition of the “new Europe”. The competition of “Europe’s Europes” memorial narratives about the “painful pasts” of West and East, which is also a competition between two mnemonic paradigms (cosmopolitan vs. national(ist)-antagonist), is followed against the background of both the transnational turn in memory studies and memory politics and the re-nationalization of European politics and ideologies, tightly connected to the post–Cold War developments.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70874229","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 : 2022-01-01DOI: 10.51391/trva.2022.10.02
Cornel Ban
The concepts of “creolization” and “inter-imperiality” proposed in Anca Parvulescu and Manuela Boatcă’s Creolizing the Modern are superb interventions in the study of society in Europe’s semi-peripheries. These concepts usefully complicate conventional readings in orthodox, decolonial and postcolonial studies at both the conceptual and methodological level. From a historically-minded political economy approach, the book is an opportunity to ask further questions about the scope of inter-imperiality in early 20th century Transylvania, the paucity of analysis of the British-managed Gold Standard finance in shaping the political economy of late Habsburg Transylvania and the ambiguous foundations of ethnic and class relations in this part of Europe.
Anca Parvulescu和Manuela boatcou在《克里奥尔化现代》一书中提出的“克里奥尔化”和“帝国间”的概念是对欧洲半边缘社会研究的极好干预。这些概念在概念和方法层面上有效地使正统、非殖民和后殖民研究中的传统阅读复杂化。从历史思想的政治经济学方法，这本书是一个机会，进一步提出有关20世纪初特兰西瓦尼亚帝国间的范围，对英国管理的金本位金融在塑造哈布斯堡王朝晚期特兰西瓦尼亚政治经济中的分析不足，以及欧洲这部分地区种族和阶级关系的模糊基础。
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Pub Date : 2022-01-01DOI: 10.51391/trva.2022.11-12.03
David Morariu
My study aims to address the phenomenon of literary multilingualism in the nineteenth-century Romanian novel. Based on Johan Heilbron’s approach on “translations as a cultural world-system” and his classification into hyper-central, central, semi-peripheral and peripheral languages, my analysis discusses the nineteenth-century Romanian language at an early stage of its consolidation and thus in self-colonial and anti-colonial relations to the “hegemony” of the French language. Taking advantage of this framework, I consider that the majority of literary code-switching examples faithfully render these linguistic relations, so my study proposes a classification of literary multilingualism into the following possible categories: a livresque multilingualism, which satisfies the self-colonial tendencies of the nineteenth-century language, a latent multilingualism, which can also be associated with an attempt at linguistic bovarisation, but also with the search for authenticity in novels through suggestion and “explicit attribution” (Meir Sternberg), a thesistic multilingualism, in such cases where the novel didactically presents foreign language insertions, and a functional multilingualism. Finally, my paper also launches a discussion of another type of multilingualism, that as a source for “defamiliarization”, which I expect to find in the Romanian novel of the twentieth century, when the Romanian language is no longer in danger of self-colonization and passes by the incipient stage, the phenomenon of code-switching serving Viktor Shklovsky’s technique of “defamiliarization”.
{"title":"Despre code-switching în literaturile scrise în limbi periferice. Multilingvism și strategii discursive în romanul românesc din secolul al XIX-lea","authors":"David Morariu","doi":"10.51391/trva.2022.11-12.03","DOIUrl":"https://doi.org/10.51391/trva.2022.11-12.03","url":null,"abstract":"My study aims to address the phenomenon of literary multilingualism in the nineteenth-century Romanian novel. Based on Johan Heilbron’s approach on “translations as a cultural world-system” and his classification into hyper-central, central, semi-peripheral and peripheral languages, my analysis discusses the nineteenth-century Romanian language at an early stage of its consolidation and thus in self-colonial and anti-colonial relations to the “hegemony” of the French language. Taking advantage of this framework, I consider that the majority of literary code-switching examples faithfully render these linguistic relations, so my study proposes a classification of literary multilingualism into the following possible categories: a livresque multilingualism, which satisfies the self-colonial tendencies of the nineteenth-century language, a latent multilingualism, which can also be associated with an attempt at linguistic bovarisation, but also with the search for authenticity in novels through suggestion and “explicit attribution” (Meir Sternberg), a thesistic multilingualism, in such cases where the novel didactically presents foreign language insertions, and a functional multilingualism. Finally, my paper also launches a discussion of another type of multilingualism, that as a source for “defamiliarization”, which I expect to find in the Romanian novel of the twentieth century, when the Romanian language is no longer in danger of self-colonization and passes by the incipient stage, the phenomenon of code-switching serving Viktor Shklovsky’s technique of “defamiliarization”.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70874882","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 : 2022-01-01DOI: 10.51391/trva.2022.11-12.17
Alina Iorga
After the collapse of the Soviet Union, particularly during the hard transition of the 90s, the highly polarized Russian society revealed two main forms of remembering and coping with recent past. This past was either idealized as a time of imperial glory, national pride, and relative welfare, even if it also included periods of anomie (the late Stalin era) or stagnation (the Brejnev era), either treated as a period of significant traumas that necessitated persistent recognition and working through. As for the official memory regimes, if the first post-Soviet decade was dominated by the totalitarian anticommunist (and antinostalgic) paradigm, the 2000s brought a radical turn, with the rise of victimhood nationalism and “redemptive” authoritarianism of the Putin era. The new mnemonic regime is shaped by an official, “patriotic” restorative nostalgia that is also placed in the centre of the presidential cultural programe designed to legitimize the authoritarian system and to support the restoration of a great, mythical Russia. Against this background, new forms of counter-memory and counter-nostalgia began to manifest within both the social and cultural field. One of the most remarkable exemples is offered within the “new realities” created by the young photographer Danila Tkachenko, who’s compositions marked by a “second-hand nostalgia” challenge both the Soviet utopia and its official nostalgic-populist recostructions. By means of a special nostalgic technique based on reframing the remnants and the “trukhliashechkas” of the Soviet past – (re)interpreted as the symbols of “the perfect technocratic future that never came” –, the young artist also deconstruct the imagined “sovietness” embedded in the cultural-political products shaped by the statist patriotic nostalgia. His representations of the post-Soviet landscape are those of “a ghost of utopia”, a land of ruins, of abandoned cities, of ecological disasters, and of millions unburied deads of the GULAG.
{"title":"Între nostalgia restauratoare şi muzeul fantomelor utopiei. Practici nostalgice în spaţiul cultural (post)sovietic","authors":"Alina Iorga","doi":"10.51391/trva.2022.11-12.17","DOIUrl":"https://doi.org/10.51391/trva.2022.11-12.17","url":null,"abstract":"After the collapse of the Soviet Union, particularly during the hard transition of the 90s, the highly polarized Russian society revealed two main forms of remembering and coping with recent past. This past was either idealized as a time of imperial glory, national pride, and relative welfare, even if it also included periods of anomie (the late Stalin era) or stagnation (the Brejnev era), either treated as a period of significant traumas that necessitated persistent recognition and working through. As for the official memory regimes, if the first post-Soviet decade was dominated by the totalitarian anticommunist (and antinostalgic) paradigm, the 2000s brought a radical turn, with the rise of victimhood nationalism and “redemptive” authoritarianism of the Putin era. The new mnemonic regime is shaped by an official, “patriotic” restorative nostalgia that is also placed in the centre of the presidential cultural programe designed to legitimize the authoritarian system and to support the restoration of a great, mythical Russia. Against this background, new forms of counter-memory and counter-nostalgia began to manifest within both the social and cultural field. One of the most remarkable exemples is offered within the “new realities” created by the young photographer Danila Tkachenko, who’s compositions marked by a “second-hand nostalgia” challenge both the Soviet utopia and its official nostalgic-populist recostructions. By means of a special nostalgic technique based on reframing the remnants and the “trukhliashechkas” of the Soviet past – (re)interpreted as the symbols of “the perfect technocratic future that never came” –, the young artist also deconstruct the imagined “sovietness” embedded in the cultural-political products shaped by the statist patriotic nostalgia. His representations of the post-Soviet landscape are those of “a ghost of utopia”, a land of ruins, of abandoned cities, of ecological disasters, and of millions unburied deads of the GULAG.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70876189","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 : 2022-01-01DOI: 10.51391/trva.2022.01-02.17
Marian Zulean, Andrada Nedelcu
The main goal of this review is to present a book that describes the recent history of the World Bank and the contribution of Michael M. Cernea (a sociologist of Romanian origin) to the organizational transformation and adaptation of the World Bank missions. The book is organized in three parts and world-known personalities and World Bank specialists explain not only the organizational adaptation of the World Bank and the way in which social sciences contributed to the structuring of public policies, but also the influence that a social scientist – Michael M. Cernea – had on those proceses.
{"title":"REVIEW: Maritta Koch-Weser, Scott Guggenheim, eds. Social Development in the World Bank. Essays in Honor of Michael M. Cernea","authors":"Marian Zulean, Andrada Nedelcu","doi":"10.51391/trva.2022.01-02.17","DOIUrl":"https://doi.org/10.51391/trva.2022.01-02.17","url":null,"abstract":"The main goal of this review is to present a book that describes the recent history of the World Bank and the contribution of Michael M. Cernea (a sociologist of Romanian origin) to the organizational transformation and adaptation of the World Bank missions. The book is organized in three parts and world-known personalities and World Bank specialists explain not only the organizational adaptation of the World Bank and the way in which social sciences contributed to the structuring of public policies, but also the influence that a social scientist – Michael M. Cernea – had on those proceses.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70869928","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 : 2022-01-01DOI: 10.51391/trva.2022.03.01
Andrei Gorzo, Veronica Lazăr
The paper parses the major existing literature, in English and Romanian, on the New Romanian Cinema (also called the Romanian New Wave) which became an international film-festival sensation in the mid-2000s. It maps the main lines of disagreement among the various scholars who have attempted to define this phenomenon. The paper argues that the Romanian cinema that had made its dazzling debut on the international scene some 15 years ago has gradually turned into something else – something harder to pin down to an aesthetic paradigm, to a core generational group of ten or so filmmakers, or to a limited set of ideological coordinates. Finally, the paper proposes that the evolving body of work of director Radu Jude (who has established himself in recent years as a major innovator) provides a good lens through which to take the measure of those aesthetic and political changes.
{"title":"The New Romanian Cinema and Beyond: The Films of Radu Jude","authors":"Andrei Gorzo, Veronica Lazăr","doi":"10.51391/trva.2022.03.01","DOIUrl":"https://doi.org/10.51391/trva.2022.03.01","url":null,"abstract":"The paper parses the major existing literature, in English and Romanian, on the New Romanian Cinema (also called the Romanian New Wave) which became an international film-festival sensation in the mid-2000s. It maps the main lines of disagreement among the various scholars who have attempted to define this phenomenon. The paper argues that the Romanian cinema that had made its dazzling debut on the international scene some 15 years ago has gradually turned into something else – something harder to pin down to an aesthetic paradigm, to a core generational group of ten or so filmmakers, or to a limited set of ideological coordinates. Finally, the paper proposes that the evolving body of work of director Radu Jude (who has established himself in recent years as a major innovator) provides a good lens through which to take the measure of those aesthetic and political changes.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70871110","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 : 2022-01-01DOI: 10.51391/trva.2022.03.10
María-Pilar Molina-Torres
This article describes how the project “De Famalicão para o Mundo: Contributos da História Local” was developed and implemented, as well as its local, national, and international projection through different community activities that promote citizen learning. The study focuses on the heritage and local history of Vila Nova de Famalicão, a municipality in the north of Portugal. It presents a museum network that brings together multidisciplinary work teams consisting of teachers, researchers, students, and cultural technicians who participate and are involved in tasks related to the memory, identity, and history of the territory. My work shows both the use of these museological practices and the cultural impact they have on different audiences. Alongside these experiences, the historical and literary narratives of the temporary exhibitions—such as the one dedicated to the Portuguese forced labourers in the Nazi concentration system (1939-1945)—expose the reflections on how the citizens of Famalicão participated and were caught up in this conflict. In this way, museums allow us to interpret not only the painful past, but also the identity awareness of past and present history
本文描述了“De famalico para o Mundo: Contributos da História Local”计划是如何发展和实施的，以及通过不同的社区活动来促进公民学习的地方、国家和国际计划。这项研究的重点是葡萄牙北部城市Vila Nova de famalic的遗产和当地历史。它展示了一个博物馆网络，汇集了由教师、研究人员、学生和文化技术人员组成的多学科工作团队，他们参与并参与与该领土的记忆、身份和历史有关的任务。我的作品既展示了这些博物馆实践的使用，也展示了它们对不同受众的文化影响。除了这些经历之外，临时展览的历史和文学叙述——比如纳粹集中系统中葡萄牙强迫劳工的展览(1939年至1945年)——揭示了葡萄牙公民如何参与和卷入这场冲突的思考。通过这种方式，博物馆不仅可以让我们解读痛苦的过去，还可以让我们解读过去和现在的历史的身份意识
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Pub Date : 2022-01-01DOI: 10.51391/trva.2022.06-07.07
Ada Beleuță
Exploring the particularities of rewriting in Irish contemporary fiction through an analysis of Colm Tóibín’s House of Names (2017) within a theoretical framework of narrative ethics, this paper argues that a function of cultural healing is actualized both within the retold story of the Oresteia and in the context of civil war violence to which the novel responds. Drawing on the work of Hanna Meretoja and Dorothy J. Hale, it suggests that a source of potential ethical power is revealed through the reworking of the ancient tragedy using the structures and techniques of the contemporary novel. Traces of differing worldviews or even ways of constructing cognitive and affective complexity determine a constant oscillation between original and rewritten that creates a space of epistemological uncertainty. Valorised through the meta-ethical affect of unverifiability conceptualised by Hale, this effect is also read in light of Meretoja’s understanding of a narrative-bound sense of possibility and the challenges that both contemporary and ancient understandings of hope or catastrophe pose to its ethically valuable expansion.
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Pub Date : 2022-01-01DOI: 10.51391/trva.2022.06-07.14
Simina-Maria Terian
The aim of this article is to analyze the relationship between the spread of fake news across social media and moral responsibility. To this end, my study conducts a detailed comparison between the act of social media sharing and a similar, even more traditional communication practice, namely quoting. The conclusion of the research is that, as with quoting, the spread of fake news through sharing entails the moral responsibility of the distributor, since the purpose of both operations is to grant readers access to information that is difficult to verify rather than require them to verify the accuracy of said information on their own.
{"title":"Sharing vs. quoting: știrile false și responsabilitatea morală","authors":"Simina-Maria Terian","doi":"10.51391/trva.2022.06-07.14","DOIUrl":"https://doi.org/10.51391/trva.2022.06-07.14","url":null,"abstract":"The aim of this article is to analyze the relationship between the spread of fake news across social media and moral responsibility. To this end, my study conducts a detailed comparison between the act of social media sharing and a similar, even more traditional communication practice, namely quoting. The conclusion of the research is that, as with quoting, the spread of fake news through sharing entails the moral responsibility of the distributor, since the purpose of both operations is to grant readers access to information that is difficult to verify rather than require them to verify the accuracy of said information on their own.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70873226","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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