SCS No. 49 (2023)
Articles
MATERNITATE, COPING RELIGIOS ȘI AFECTIV ÎN CONFESIUNEA FLORICĂI BAŢU-ICHIM
Emanuela Ilie
Motherhood, religious and affective coping in the confession of Florica Bațu-IchimThe following study continues some of the research I published a few years ago (particularly, the papers interested in the reflection of the imaginary of the traumatized corporeality in the women's confessive writings). It analyzes a very provocative, sadly almost unknown, cancer narrative: Florica-Baţu Ichim's book, entitled La porţile disperării, începutul speranţei/ At the Gates of Despair, the Beginning of Hope. As most of the confessive texts, written during radical identity crisis (caused by receiving a diagnosis perceived as lethal), this auto-biographical splendid text articulates itself as a hybrid narrative, in which the author mixes fragments of micro-family novel, diary notes, hospital reports, reading notes, etc. But the truly specific note of this volume – as in the case of Mioara Grigore's Cancer, my love – is given by the way in which the writer (priest's wife and devoted mother of six children) intuitively mixes religious coping with a sort of affective coping, with the aim of strengthening her spiritual identity during the terrible struggle with the Great C.
DORIN TUDORAN, DE LA ULTIMUL TURNIR (1992) LA DE BUNĂVOIE, AUTOBIOGRAFIA MEA (2020)
Florin Daniel Dincă
Dorin Tudoran, from Ultimul Turnir (1992) to De bunăvoie, autobiografia mea (2020)Being banned in the Socialist Republic of Romania since 1982, Tudoran came back again, after 1990, on the market of cultural products by means of reprints (Ultimul turnir, 1992; Viitorul facultativ / Optional Future, 1999; Tânărul Ulise, 2000; Pisicuţ. Somnografii, 2010; De bunăvoie, autobiografia mea, 2020) and through the recent journalism of the themes and meta-themes of the Romanian transition, from Kakistocraţia (1998) to Luxul indiferenţei (2015). The process of recovering the poetry of Tudoran ended in 2020, with the reprint of the volume De bunăvoie, autobiografia mea, in a revised and improved edition, accompanied by Cuvânt înainte. Sticla. Apa. Malul. Oamenii, by Dorin Tudoran, together with the afterword De bunăvoie, autobiografia mea. Lungul drum al întoarcerii acasă, through which we joined the others, frankly animating the process of recovering a viable poetic work.Regarding the writings of Dorin Tudoran, from the volumes of lyrics to the clandestine essay Frig sau Frică? Sau despre condiţia intelectualului român de azi, printed in Paris in 1984, we need to specify that we are not in front of a hidden writer, dreaming of internal, politico-social, favorable changes, at the foundation of which should stand the suffering and courage of others, because the author of Cântec de trecut Akheronul volunteered to leave the ranks and face the crushing dictatorship of literary and non-literary existences.Before 1989, when he signed his essay Frig sau Frică? Sau despre condiţia intelectualului român de azi (Paris, 1984) and De bunăvoie, autobiografia mea (Denmark, 1986), and also after 1990, when he elaborated his great "polemical chronicle of the moment" (from Kakistocraţia to Luxul indiferenţei), Tudoran was the same political, social and literary rebellious polemicist and pamphleteer, surprising by means of the most vigorous art of the spectacular handling of the idea and of the Romanian language.
COMMUNICATING WITH LOVED ONES DURING THE ARMY
Anca Lavinia Casa
The only way for young soldiers to communicate with their families was through letters. It was very difficult to keep in touch with parents, brothers, wives. In calm moments, when the trenches were repaired, when the wounded are carried away or when the battle is over, the soldiers become melancholy and feel the need to write to their families back home. The letters sent during the wars represent a chronicle of Romanian village life. Whether one refers to the letters in verse or prose, they convey no information about the military organization or the battle. The letters are also subjective testimonies of a nation's suffering, conveying deep emotions.
METAFORĂ ȘI CREAȚIE ÎN TERMENI ȘI EXPRESII ROMÂNEȘTI PRIVITOARE LA CĂMAȘĂ
Ciprieana Andronic (Bâclea)
Metaphorical creation in Romanian terms and expressions regarding the shirtLanguage is a creative activity characterized by the ability to generate new meanings, sometimes starting from old words in the language. A basic element in the constitution of clothing images is the creative imagination of the speaker who structures the world through language, in direct relation to the realities and experience of the community. The term cămașă proves its capacity for renewal through derivation, composition and metaphorization. In this article, we propose to analyze how the image of the shirt becomes a starting point in the constitution of the conventional metaphor, understood in Coșeriu’s terms as a unitary, spontaneous and immediate expression of a collective poetic intuition, a consequence of the creative dimension of language.
NOVUMUL ÎN ISTORIILE INSOLITE ALE LUI OVID S. CROHMĂLNICEANU
Ruxandra Diana Moholea (David)
The novum in Istorii insolite by Ovid S. CrohmălniceanuOvid S. Crohmălniceanu is well known for his critical approach in a unique, rigorous and sometimes controversial style. Therefore, readers are surprised to discover his science fiction short story collection titled Istorii insolite in 1980. It is first necessary to take an overview of the general context around Romanian speculative fiction in order to establish the contribution of this book to defining the features of the genre. Another key point for this study is defining the elements that give value to this volume: the literary vision, the author's "unusual" approach, the writing style or the rich intertextuality. Subsequently, we need to discover the "novum" in Ovid S. Crohmălniceanu’s short stories, which can be defined by the main themes, the motifs and symbols, the plot structure, the fine irony and especially the very thin line between everyday reality and the fantasy of a world which is "different" or even "upside down".
ÎNCEPUTURILE DRAMATURGIEI ROMÂNEȘTI. ALECSANDRI ȘI TEATRUL INTERACTIV
Irina-Marina Savinoiu (Chelariu)
The beginnings of romanian dramaturgy. Alecsandri and the interactive theaterVasile Alecsandri is rightly considered the founder of the Romanian dramatic literature. Until the defining moment represented by the great writer, Romanian theatre had a history of almost a century: the plays made up of several scenes are compositions with topics and themes influenced by the ancient dramatic literature, plays from French, and German or Italian literature, adaptations of foreign dramatic texts or even original writings of some Romanian authors, but transposed in Greek. Alecsandri has the exceptional merit to have understood the role modelled by the stage performances in educating the audience, but he also brings the stage representations to another level, intuiting the positive influence of the pedagogy in attracting the people. Thus, Vasile Alecsandri becomes not only a precursor of the aesthetics of ugliness, using Mircea Ghitulescu’s expression, but also a precursor of the interactive theatre through the use of numerous specialities.
DISCURSUL PREFAȚIAL AL LUI OVID S. CROHMĂLNICEANU ÎNTRE CHEIE DE LECTURĂ ȘI EXERCIȚIU CRITIC
Ruxandra Diana Moholea (David)
Ovid S. Crohmălniceanu’s discourse of prefaces between reading key and critical exerciseThe prefacial discourse (or the original term discours préfaciel introduced by Frédéric Mittérand) proves to be a very difficult task, because it is an extremely meaningful element of paratext. Not only does it provide valid information about a certain literary text, but also it is meant to establish a connection between the book and its potential readers. One important question about prefaces in general and Ovid S. Crohmălniceanu’s prefaces in particular is if they can be considered an act of literary criticism or merely a eulogy. We are interested in following the strategies and criteria used in some of the prefaces written for several books of foreign writers. We also try to establish how well these prefaces ‘translate’ the writers’ intentions and how objective or subjective is the critical approach, if there is one.
LECTURA TEXTULUI DRAMATIC – O LECTURĂ ÎN CHEIA TEXTULUI MULTIMODAL?
Irina-Marina Savinoiu (Chelariu)
The reading of the dramatic text –a reading in the key of the multimodal text?The dramatic text is a complex one that requires an analytical, stereoscopic reading, having several authors – transmitters, as well as several lecturers – receivers. Starting from this perspective, the proximity of the dramatic work to the multimodal comic strip text seems to be justified to the greatest extent. In this comparative context, didascalia elements, through their graphic delimitation from the actual text of the play, are the equivalent of images, bubbles, vignettes or quadrants that capture successive scenes.
Reflexiile unor existențe
Alexandra Butnaru
The reflections of some existencesFor the most of us, looking to ourselves into a mirror has no hidden meanings. Its just an act of checking your appearance. But passing into the book world, some changes occur. For the characters, the object its a symbol of validation, meditation or even a way of traveling in time or space. Cezar Petrescu its an author who harness the symbol of mirror în his novels like Oraș patriarhal, Baletul mecanic, Dumineca orbuluior Întunecare. The significance is deeper againist fairy tales and its more connected to characters. In them, he's introducing also the symbol of dusty reflection which is important to help you shaping the characters.
ANUL VECHI ȘI ANUL NOU. CONFLICT DRAMATIC ȘI IMAGINAR LINGVISTIC
Ana-Genoveva Bortoș
Old Year and New Year. Dramatic conflict and linguistic imaginaryThis article brings to attention the mythological substrate of the authentic folk theatre, specific to winter holidays, illustrating its relationship with ritual drama, through the analysis of the conflict between the New Year and Old Year, two characters with allegorical value. To capture the specifics of the linguistic imaginary that defines the models represented by the New Year and the Old Year, we aim to analyse three texts of the folk theatre from Moldova.
IMAGINARUL FRUMUSEȚII FEMININE REFLECTAT ÎN PROVERBELE ROMÂNILOR…, DE IULIU A. ZANNE
Denisa Gherman (Zaldea)
The imaginary of female beauty reflected in the Proverbs of the Romanians..., by Iuliu A. ZanneThis work aims to reveal the image of female beauty in Romanian proverbs, following their cognitive, ethical aesthetic and ethnic dimensions noted by Dumitru Irimia. Female beauty has always been a controversial subject that requires a careful analysis between essence and appearance. Proverbs, as linguistic forms of oral communication, represent a frame of mind of the human collective in which female beauty is subject to critical and sometimes even strongly biased views. Due to the fact that proverbs have gained authority over time, this fact contributes even today to the perpetuation of linguistic stereotypes, which hide stereotypes of thought.
„CUSURURI SAU URÂCIUNI” FEMEIEȘTI ÎN POVESTEA VORBII DE ANTON PANN
Tincuța Horonceanu (Bernevic)
Women’s „Faults or ugly features” in Povestea vorbii by Anton Pann.In this work we aim to analyze terms referring to women’s flaws that are presented in Povestea vorbii by Anton Pann. Proverbs represent discourse units that reflect fundamental concepts of life, in a concise and at the same time very comprehensive lexical expression. We will analyze two semantic cores that describe these female defects: ugly and stupid.
PATRIMONIUL CULTURAL IMATERIAL – O RETORICĂ MULTIMODALĂ
Florinela Floria
Intangible cultural heritage – a multimodal rhetoricsIn the field of public communication, intangible heritage becomes a semiotic object, a “text of communication” (Dominique Maingueneau) that includes a set of communication practices that generate a specific rhetoric. The objective of our paper is to propose a framework for the interpretation of the intangible heritage discourse from the sociosemiotic perspective of its interactions with other discourses, with other actors of the public space. Intangible heritage is perceived as an emblem of cultural identity. Heritage preservation and heritage communication are the directions that influence its sociosemiotic status. We believe that the communication of intangible heritage is characterized by the allocative or the delocative modality (Patrick Charaudeau) which impose two similar discursive registers of identity and alterity, respectively. We will discuss, from the perspective of these discursive registers, the multimodal rhetoric of Ecultfood and Foodie Projects, which gather food heritage from Romania.
Recenzie 1
Adrian Jicu
Gheorghe Iorga, Sfidarea secundarului. Alte eseuri critice, București, Tracus Arte, 2023
Recenzie 2
Petronela Savin
Cătălina Bălinişteanu, Femei, corpuri şi pasiuni în literatura lui Heinrich Mann, Iași, Editura Universității „Alecsandru Ioan Cuza” din Iași, 2012, 385 p.