Abstract The purpose of this work is to analyze, both in terms of interpretation and occurrence, the religious elements of Lucian Blaga’s volume “Poems of Light” (“Poemele Luminii”), namely the links between the figures of divinity and the individual, the latter being seen in its inferior, ephemeral condition, which in fact prevents him from identifying with the deity in question, but which does not stop him from aspiring to the absolute.
{"title":"Poetica Divinităţii În Volumul Poemele Luminii","authors":"Gabriela-Raluca Duță","doi":"10.2478/clb-2021-0004","DOIUrl":"https://doi.org/10.2478/clb-2021-0004","url":null,"abstract":"Abstract The purpose of this work is to analyze, both in terms of interpretation and occurrence, the religious elements of Lucian Blaga’s volume “Poems of Light” (“Poemele Luminii”), namely the links between the figures of divinity and the individual, the latter being seen in its inferior, ephemeral condition, which in fact prevents him from identifying with the deity in question, but which does not stop him from aspiring to the absolute.","PeriodicalId":398624,"journal":{"name":"Lucian Blaga Yearbook","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115314730","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 study aims to encapsulate the emergence of the posthumanism (and of the posthuman, implicitly), seen as profoundly human, in Radu Vancu’s Transparenţa. The starting point for selecting the characteristics of such a posthumanism peculiar to Radu Vancu is represented by his literary study Elegie pentru uman: o critică a modernităţii poetice de la Pound la Cărtărescu. From his analysis upon the antihuman side of modernity’s project, I extract the four typologies through which literature has fought against (the social, political and artistic) dehumanization: corporeal, confessional, maximalist and sacred. Following at the same time Elegie pentru uman and Transparenţa I reach the conclusion that Radu Vancu uses in his novel all the aforementioned typologies in his project to restore the human. In other words, Elegie pentru uman, in its first part, is, in a way, an ars poetica, a drawing in nuce of the forthcoming novel. To this group of four typologies enlisted by Radu Vancu, I will add one more, peculiar to his writing, which emerges from the study as well as from the novel: poeticality. The fifth category looms in the novel’s writing and in the reference to Ion Mureșan within Elegie pentru uman. Ion Mureșan described literature as the immune system, while the poets are seen as the antibodies of society. Thus, the poeticality within the novel is an immune system which helps the restoration of the human, becoming a key element of the posthuman fiction in Radu Vancu’s text. The second part of the study will focus on the close reading of the function of some fictional objects in the posthuman narrative of Transparenţa. The selected fictional objects are the ones which are vital for the human salvation from the dehumanizing ghosts of recent history. Such fictional objects are: the body, the light, the text, the reader, Mega, Sibiu etc. Seen through the filter of a posthumanism deeply human at its core, the novel presents the story of a narrator who whishes to restore his lover and, implicitly, the whole world. To conclude in Dostoyevskian terms: humanity will save the world.
摘要本研究旨在概括Radu Vancu的Transparenţa中被视为深刻人类的后人文主义(以及后人类，含蓄地)的出现。选择拉杜·凡古特有的这种后人文主义特征的出发点是他的文学研究Elegie pentru human: o critice a modernităţii poetice de la Pound la crecururrescu。从他对现代性项目中反人性的一面的分析中，我提取出文学与(社会的、政治的和艺术的)非人性化作斗争的四种类型:肉体的、忏悔的、最大主义的和神圣的。同时，在《哀歌》和《Transparenţa》之后，我得出结论，拉杜·凡古在他的小说中使用了上述所有类型学来恢复人类。换句话说，《穿透人类的挽歌》的第一部分，在某种程度上，是一首诗，是即将出版的小说的一幅画卷。在Radu vanu列举的这四种类型中，我将再增加一种，这是他的作品所特有的，从研究和小说中出现的:诗意。第五种类型出现在小说的写作中，在《Elegie pentru human》中对Ion Mureșan的提及中。Ion Mureșan将文学描述为免疫系统，而诗人则被视为社会的抗体。因此，小说中的诗性是一种帮助人类恢复的免疫系统，成为拉杜·凡库文本中后人类小说的关键要素。研究的第二部分将着重于细读一些虚构对象在Transparenţa的后人类叙事中的作用。所选的小说对象是那些对人类从近代史的非人性化幽灵中拯救出来至关重要的人物。这些虚构的对象是:身体、光、文本、读者、Mega、Sibiu等。透过一种以人性为核心的后人文主义的滤镜，小说讲述了一个叙述者希望恢复他的爱人，含蓄地说，恢复整个世界的故事。用陀思妥耶夫斯基的话来总结:人类将拯救世界。
{"title":"Transparenţa Ca Postumanism: O Restaurare A Omului În Literatură","authors":"Bianca Maria Partenie","doi":"10.2478/clb-2021-0014","DOIUrl":"https://doi.org/10.2478/clb-2021-0014","url":null,"abstract":"Abstract The present study aims to encapsulate the emergence of the posthumanism (and of the posthuman, implicitly), seen as profoundly human, in Radu Vancu’s Transparenţa. The starting point for selecting the characteristics of such a posthumanism peculiar to Radu Vancu is represented by his literary study Elegie pentru uman: o critică a modernităţii poetice de la Pound la Cărtărescu. From his analysis upon the antihuman side of modernity’s project, I extract the four typologies through which literature has fought against (the social, political and artistic) dehumanization: corporeal, confessional, maximalist and sacred. Following at the same time Elegie pentru uman and Transparenţa I reach the conclusion that Radu Vancu uses in his novel all the aforementioned typologies in his project to restore the human. In other words, Elegie pentru uman, in its first part, is, in a way, an ars poetica, a drawing in nuce of the forthcoming novel. To this group of four typologies enlisted by Radu Vancu, I will add one more, peculiar to his writing, which emerges from the study as well as from the novel: poeticality. The fifth category looms in the novel’s writing and in the reference to Ion Mureșan within Elegie pentru uman. Ion Mureșan described literature as the immune system, while the poets are seen as the antibodies of society. Thus, the poeticality within the novel is an immune system which helps the restoration of the human, becoming a key element of the posthuman fiction in Radu Vancu’s text. The second part of the study will focus on the close reading of the function of some fictional objects in the posthuman narrative of Transparenţa. The selected fictional objects are the ones which are vital for the human salvation from the dehumanizing ghosts of recent history. Such fictional objects are: the body, the light, the text, the reader, Mega, Sibiu etc. Seen through the filter of a posthumanism deeply human at its core, the novel presents the story of a narrator who whishes to restore his lover and, implicitly, the whole world. To conclude in Dostoyevskian terms: humanity will save the world.","PeriodicalId":398624,"journal":{"name":"Lucian Blaga Yearbook","volume":"87 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127995196","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 paper tackles the myth of creation through sacrifice as depicted in Lucian Blaga’s theatrical piece “The master builder Manole” („Meșterul Manole”, 1927) and Henrik Ibsen’s “The Master Builder” („Constructorul Solness”, 1892). The purpose of this paper is, therefore, to explore the ways in which this myth passes through different european cultures. The symbols which gravitates around these literary works become premises for a paradigmatic, psychoanalytic and anthropological analysis.
{"title":"Jertfa Pentru Creaţie: Mitul Estetic La Lucian Blaga Și Henrik Ibsen (Studiu De Caz: Dramaturgia Românească Vs. Dramaturgia Scandinavă)","authors":"Ioana Hodârnău","doi":"10.2478/clb-2021-0009","DOIUrl":"https://doi.org/10.2478/clb-2021-0009","url":null,"abstract":"Abstract This paper tackles the myth of creation through sacrifice as depicted in Lucian Blaga’s theatrical piece “The master builder Manole” („Meșterul Manole”, 1927) and Henrik Ibsen’s “The Master Builder” („Constructorul Solness”, 1892). The purpose of this paper is, therefore, to explore the ways in which this myth passes through different european cultures. The symbols which gravitates around these literary works become premises for a paradigmatic, psychoanalytic and anthropological analysis.","PeriodicalId":398624,"journal":{"name":"Lucian Blaga Yearbook","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116141334","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 Taking in consideration a broad perspective on Romanian literature and the prevalence of the Byzantine religious model, the orthodox background that provides the dichotomie Good-Bad or Beautiful-Ugly as a statement, the present paper analyses Lucian Blaga’s plays (Tulburarea apelor and Meșterul Manole) as an alternative model. The European cultural influences, the Gnostic, the psychoanalytic and aesthetic visions, the religious syncretism, the mythical and poetic, tragic and expresionst dimensions of his works are the premises of considering Blaga a rewriter of the redemption’s canon for his heroes. Firstly, the present paper proposes reading the plays through Goethe’s grind – the two souls theory (that of the day and that of the night) corresponding to the maternal and the paternal images, in relation with Blaga’s biography. On the other hand, taking in consideration Nietzsche’s theory about ancient tragedy, it analyses the rapport between apollonian and dionysian elements, but also the faustization of the heroes. If masculine characters can be related to different faustic steps, the women have both angelic and mephistophelean features – there are correspondents to the Anima, or to the Shadow, in the Jungian archetypes, to the biblical fallen angel or to the ancient Bacchanta. Nona remains a femnine Mephisto or a Sucubous that reshapes the patter of temptention into the erotic seduction while Mira can be seen as a Margareta or even as a Helena, while the church that Manole built on the foundation of her sacrifice can be read in the same grind as Euphorion – the symbol of Beauty and Perfection or of Manole-Faust’s new soul. The question if Nona and Mira can represent (or not) the Eternal Feminin and the salvation of heroes is sill valid. However, describing the Priest and Manole as dramatic (not as tragic heroes, although we can talk about the resurrection of Hybris, Hamartia, Catastrophe and a possible Nemesis), in relation with a non-Crestian, Gnostic, Bogumilic or Pantheist God (a Deus absconditus or Deus otiosus), their redemption is a non-canonic one. Although the answer that the author provides if we are talking about a damnation or about a path to redemption, from the religious point of view, the priest’s salvation is a Pantheist one, while Manole’s redemption can be seen as an aesthetic one. Both parralel with the classic possibilities of saving heroes, alternative models that rewrite the canon of redemption.
{"title":"Dramaturgia Mitopoetică a Lui Blaga Și Rescrierea Canonului Redempţiunii","authors":"Ioana Toloargă","doi":"10.2478/clb-2021-0002","DOIUrl":"https://doi.org/10.2478/clb-2021-0002","url":null,"abstract":"Abstract Taking in consideration a broad perspective on Romanian literature and the prevalence of the Byzantine religious model, the orthodox background that provides the dichotomie Good-Bad or Beautiful-Ugly as a statement, the present paper analyses Lucian Blaga’s plays (Tulburarea apelor and Meșterul Manole) as an alternative model. The European cultural influences, the Gnostic, the psychoanalytic and aesthetic visions, the religious syncretism, the mythical and poetic, tragic and expresionst dimensions of his works are the premises of considering Blaga a rewriter of the redemption’s canon for his heroes. Firstly, the present paper proposes reading the plays through Goethe’s grind – the two souls theory (that of the day and that of the night) corresponding to the maternal and the paternal images, in relation with Blaga’s biography. On the other hand, taking in consideration Nietzsche’s theory about ancient tragedy, it analyses the rapport between apollonian and dionysian elements, but also the faustization of the heroes. If masculine characters can be related to different faustic steps, the women have both angelic and mephistophelean features – there are correspondents to the Anima, or to the Shadow, in the Jungian archetypes, to the biblical fallen angel or to the ancient Bacchanta. Nona remains a femnine Mephisto or a Sucubous that reshapes the patter of temptention into the erotic seduction while Mira can be seen as a Margareta or even as a Helena, while the church that Manole built on the foundation of her sacrifice can be read in the same grind as Euphorion – the symbol of Beauty and Perfection or of Manole-Faust’s new soul. The question if Nona and Mira can represent (or not) the Eternal Feminin and the salvation of heroes is sill valid. However, describing the Priest and Manole as dramatic (not as tragic heroes, although we can talk about the resurrection of Hybris, Hamartia, Catastrophe and a possible Nemesis), in relation with a non-Crestian, Gnostic, Bogumilic or Pantheist God (a Deus absconditus or Deus otiosus), their redemption is a non-canonic one. Although the answer that the author provides if we are talking about a damnation or about a path to redemption, from the religious point of view, the priest’s salvation is a Pantheist one, while Manole’s redemption can be seen as an aesthetic one. Both parralel with the classic possibilities of saving heroes, alternative models that rewrite the canon of redemption.","PeriodicalId":398624,"journal":{"name":"Lucian Blaga Yearbook","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126943175","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 paper starts from the theoretical support of some central figures in the field of study of Lucian Blaga’s works: Mircea Borcilă and Mircea Scarlat. The first outlook that this essay will focus on the linguist and poetician from Cluj, Mircea Borcilă, with his esteemed article from 1987 (Contribuţii la elaborarea unei tipologii a textelor poetice). The other perspective is that of Mircea Scarlat, from The History of Romanian Poetry (vol. III). In the articulation of Blaga’s poetics, the exegete finds important the adversative structure as strategies of establishing the poetic tension and polarization of the world newly created. Thus, the purpose of this essay is to emphasize / demonstrate the fact that the poetic finality of the creation of worlds motivates even the linguistic structures, and the poetic meaning is vertebrated by, but also beyond the linguistic “material”. These mechanisms of meaning articulation through and beyond language will be followed in the poems as “Flori de mac” (from the volume Paşii profetului), “Paradis în destrămare” (from the volume Laudă somnului) and “Isus și Magdalena” from the Lucian Blaga’s unpublished poems .
本文从卢西恩·布拉加作品研究领域的核心人物米尔恰·博尔西勒和米尔恰·斯卡拉的理论支持入手。第一个观点，这篇文章将集中在语言学家和诗人从克鲁日，米尔恰·博尔西勒，与他的尊敬的文章从1987年(Contribuţii la explelarea unei tipologii a textor poetice)。另一种观点是米尔恰·斯卡拉特(Mircea Scarlat)的观点，来自《罗马尼亚诗歌史》(第三卷)。在对布拉加诗学的阐释中，释经者发现，作为建立新创造的世界的诗歌张力和两极分化的策略，对抗性结构很重要。因此，本文的目的在于强调/论证这样一个事实，即世界创造的诗性终极性甚至激发了语言结构，诗歌意义是由语言“材料”所支撑的，但也超越了语言“材料”。这些通过和超越语言的意义表达机制将在诗歌中被遵循，如“Flori de mac”(来自pa ii profetului卷)，“Paradis n destr mare”(来自laude somnului卷)和“Isus și Magdalena”来自卢西恩·布拉加未发表的诗歌。
{"title":"Despre Funcţionalitatea Poetico-Stilistică A Structurii Adversative În Câteva Poeme Ale Lui Lucian Blaga","authors":"Emanuel Lupașcu-Doboș","doi":"10.2478/clb-2021-0005","DOIUrl":"https://doi.org/10.2478/clb-2021-0005","url":null,"abstract":"Abstract This paper starts from the theoretical support of some central figures in the field of study of Lucian Blaga’s works: Mircea Borcilă and Mircea Scarlat. The first outlook that this essay will focus on the linguist and poetician from Cluj, Mircea Borcilă, with his esteemed article from 1987 (Contribuţii la elaborarea unei tipologii a textelor poetice). The other perspective is that of Mircea Scarlat, from The History of Romanian Poetry (vol. III). In the articulation of Blaga’s poetics, the exegete finds important the adversative structure as strategies of establishing the poetic tension and polarization of the world newly created. Thus, the purpose of this essay is to emphasize / demonstrate the fact that the poetic finality of the creation of worlds motivates even the linguistic structures, and the poetic meaning is vertebrated by, but also beyond the linguistic “material”. These mechanisms of meaning articulation through and beyond language will be followed in the poems as “Flori de mac” (from the volume Paşii profetului), “Paradis în destrămare” (from the volume Laudă somnului) and “Isus și Magdalena” from the Lucian Blaga’s unpublished poems .","PeriodicalId":398624,"journal":{"name":"Lucian Blaga Yearbook","volume":"309 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122013181","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 Dictionary of Grammar Interpretations. Little words, Great difficulties continues the series of works of modern Romanian grammar (The Grammar of Romanian, The Basic Grammar of Romanian, The Grammar of Romanian for Gymnasium). The purpose of this collective work is to inventory, describe and solve some of the grammatical difficulties. Thus, the dictionary is a list of „little” words, namely lexemes whose phonetic/graphic body is (very) small, but which raises major problems of interpretation from a morphosyntactic point of view.
{"title":"Recenzie","authors":"Valerica Sporiş","doi":"10.2478/clb-2021-0015","DOIUrl":"https://doi.org/10.2478/clb-2021-0015","url":null,"abstract":"Abstract The Dictionary of Grammar Interpretations. Little words, Great difficulties continues the series of works of modern Romanian grammar (The Grammar of Romanian, The Basic Grammar of Romanian, The Grammar of Romanian for Gymnasium). The purpose of this collective work is to inventory, describe and solve some of the grammatical difficulties. Thus, the dictionary is a list of „little” words, namely lexemes whose phonetic/graphic body is (very) small, but which raises major problems of interpretation from a morphosyntactic point of view.","PeriodicalId":398624,"journal":{"name":"Lucian Blaga Yearbook","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123855146","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 accusations and controversies arising from the appearance of the novel For Two Thousand Years.. are numerous. Some of the most radical are accusations of anti-Semitism and repudiation of Sebastian’s own Jewish ancestry. Through How I Became a Hooligan, Mihail Sebastian responds to these accusations by emphasizing that Jewishness is presented in the novel from a metaphysical perspective, leaving aside politics and everything that politics implies.
{"title":"Mihail Sebastian - Rasism, Renegare Și Huliganism","authors":"Iulia-Maria Ticărău","doi":"10.2478/clb-2021-0012","DOIUrl":"https://doi.org/10.2478/clb-2021-0012","url":null,"abstract":"Abstract The accusations and controversies arising from the appearance of the novel For Two Thousand Years.. are numerous. Some of the most radical are accusations of anti-Semitism and repudiation of Sebastian’s own Jewish ancestry. Through How I Became a Hooligan, Mihail Sebastian responds to these accusations by emphasizing that Jewishness is presented in the novel from a metaphysical perspective, leaving aside politics and everything that politics implies.","PeriodicalId":398624,"journal":{"name":"Lucian Blaga Yearbook","volume":"106 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124931412","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 Whether we refer to Lucian Blaga’s inclusion in a hyper-canon, or we choose to focus on his relationship with European cultures or his incursions into the realm of philosophy, the contextualization of his work can only be achieved by going down a two-way street; can we refer to Blaga as a German author of Romanian expression, as he was considered to be by some of his contemporaries, or can we refer to him as Romanian Goethe, as he was named upon the release of his translation of Faust? These are just a few lines of thought the present study is based on.
{"title":"Lucian Blaga, Dinspre „Alegoriile Naţionale” Spre World Literature","authors":"Alina Bako","doi":"10.2478/clb-2021-0001","DOIUrl":"https://doi.org/10.2478/clb-2021-0001","url":null,"abstract":"Abstract Whether we refer to Lucian Blaga’s inclusion in a hyper-canon, or we choose to focus on his relationship with European cultures or his incursions into the realm of philosophy, the contextualization of his work can only be achieved by going down a two-way street; can we refer to Blaga as a German author of Romanian expression, as he was considered to be by some of his contemporaries, or can we refer to him as Romanian Goethe, as he was named upon the release of his translation of Faust? These are just a few lines of thought the present study is based on.","PeriodicalId":398624,"journal":{"name":"Lucian Blaga Yearbook","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128003572","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 Three plays, three styles, three testimonies about the artist and the space of art of performance, from the ‘80s until today, three decentralizing visions, but also tangents. Vărul Shakespeare (Cousin Shakespeare) is one of Marin Sorescu’s lesser-known and hardly-edited texts. Beyond the inter- and metatextual juggling, beyond the playful discourse and the theatrical effects, the Romanian writer emphasizes the encounter between the language of Elizabethan poetry and the local comic. Richard III visits director Vsevolod Meyerhold in Richard al III-lea se interzice (Richard III is forbidden) by Matei Vişniec. Like a self-portrait, perhaps, of the author slipped into Meyerhold’s character, the play returns - through paradoxes, theatricality, intersections between times, cultures and authorial voices - to a message as clear as possible about the artist’s freedom, a message that (proof being the current global situation) the aforementioned aspects are of a continuous topicality.
{"title":"Varia Cum Vă (Mai) Place Shakespeare? Dramaturgi Români Sub Semnul Bardului: Marin Sorescu, Matei ViȘniec, Olivia Negrean","authors":"Ioana Petcu","doi":"10.2478/clb-2021-0010","DOIUrl":"https://doi.org/10.2478/clb-2021-0010","url":null,"abstract":"Abstract Three plays, three styles, three testimonies about the artist and the space of art of performance, from the ‘80s until today, three decentralizing visions, but also tangents. Vărul Shakespeare (Cousin Shakespeare) is one of Marin Sorescu’s lesser-known and hardly-edited texts. Beyond the inter- and metatextual juggling, beyond the playful discourse and the theatrical effects, the Romanian writer emphasizes the encounter between the language of Elizabethan poetry and the local comic. Richard III visits director Vsevolod Meyerhold in Richard al III-lea se interzice (Richard III is forbidden) by Matei Vişniec. Like a self-portrait, perhaps, of the author slipped into Meyerhold’s character, the play returns - through paradoxes, theatricality, intersections between times, cultures and authorial voices - to a message as clear as possible about the artist’s freedom, a message that (proof being the current global situation) the aforementioned aspects are of a continuous topicality.","PeriodicalId":398624,"journal":{"name":"Lucian Blaga Yearbook","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114532960","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 Written in 1994, Salman Rushdie’s story “At the Auction of the Ruby Slippers”, part of the volume suggestively entitled East, West, perfectly thematizes and predicts the East-West cultural conflict which would dominate most of 20th and 21st century politics, economy, and discourse. The story deliberately blurs the dividing line between real and fictional in a magical realist text which masterfully narrates Rushdie’s lifelong identity struggle. With much irony and wit, the multicultural author dwells on what he perceives as obvious shortcomings of both the Eastern and the Western culture. The cultural discourse is permanently intertwined with the one related to ethical versus immoral behavior, and our cultural conditioning which makes us have obviously biased views towards both, as well as with the importance of spatial and cultural paradigms and senses of belonging. Rushdie’s story transposes historical and cultural realities into the realm of the fictional, drawing heavily on nowadays’ global understanding of the terms “home” and “identity”, which have become painfully fluid concepts. Place and placelessness thus beome the central axes around which the story’s culturally tinged narrative evolves.
萨尔曼·拉什迪(Salman Rushdie)的小说《红宝石拖鞋拍卖会上》(At the Auction of the Ruby拖鞋)写于1994年，是《东方，西方》(East, West)一书中带有暗示性意味的一部分，它完美地对主宰20世纪和21世纪大部分政治、经济和话语的东西方文化冲突进行了主题化和预测。这个故事故意模糊了真实和虚构的界限，在一个神奇的现实主义文本，巧妙地叙述了拉什迪的一生的身份斗争。这位多元文化的作者带着讽刺和机智，深入探讨了他所认为的东西方文化的明显缺陷。文化话语永远与道德与不道德行为相关的话语交织在一起，我们的文化条件使我们对两者都有明显的偏见，以及空间和文化范式和归属感的重要性。拉什迪的故事将历史和文化现实转移到虚构的领域，大量借鉴了当今全球对“家”和“身份”这两个术语的理解，这些术语已经成为令人痛苦的流动概念。因此，地点和无地点性成为故事文化叙事演变的中心轴线。
{"title":"Eastern/Western Place and Placelessness in Salman Rushdie’s “At the Auction of the Ruby Slippers”","authors":"Ana-Blanca Ciocoi-Pop","doi":"10.2478/clb-2021-0011","DOIUrl":"https://doi.org/10.2478/clb-2021-0011","url":null,"abstract":"Abstract Written in 1994, Salman Rushdie’s story “At the Auction of the Ruby Slippers”, part of the volume suggestively entitled East, West, perfectly thematizes and predicts the East-West cultural conflict which would dominate most of 20th and 21st century politics, economy, and discourse. The story deliberately blurs the dividing line between real and fictional in a magical realist text which masterfully narrates Rushdie’s lifelong identity struggle. With much irony and wit, the multicultural author dwells on what he perceives as obvious shortcomings of both the Eastern and the Western culture. The cultural discourse is permanently intertwined with the one related to ethical versus immoral behavior, and our cultural conditioning which makes us have obviously biased views towards both, as well as with the importance of spatial and cultural paradigms and senses of belonging. Rushdie’s story transposes historical and cultural realities into the realm of the fictional, drawing heavily on nowadays’ global understanding of the terms “home” and “identity”, which have become painfully fluid concepts. Place and placelessness thus beome the central axes around which the story’s culturally tinged narrative evolves.","PeriodicalId":398624,"journal":{"name":"Lucian Blaga Yearbook","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132889446","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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