9,885 matches
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Ca mândra sprâncenele."303 În satul patriarhal, cucul prevestea nu numai destinul individual, al fiecăruia în parte, ci și destinul întregii comunități: "Cucule cu pană sură, / Cântata-ai la noi pe șură / A amar, nu-a voie bună; Ai cântat as`-primăvară / A jale ș-a rău în țară; / Ai cântat pe-un mușuroi, / Tot a jale și-a război. / S-o dus oamenii din sate / Tot în vagoane-ncărcate / În neagra străinătate."304 Doina Arcanului invocă același cântec prevestitor al
[Corola-publishinghouse/Science/1530_a_2828]
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toți banii ăștia?“ „Mie nu-mi ajung niciodată“, a replicat acesta. Reacția lui Wittgenstein nu s-a lăsat așteptată: „O, în cazul ăsta poți să-i iei și pe ai mei.“ (Vezi Luise Hausmann, Eugene C. Hargrove, „Wittgenstein in Austria as a Elementary School Teacher“, în (ed.) F. A. Flowers III, Portraits of Wittgenstein, vol. 2, p. 107.) 56 Unul din foștii săi elevi povestește că Wittgenstein nu-i pedepsea niciodată pe copiii care erau sinceri. Odată, și-a întrebat elevii dacă
Gânditorul singuratic : critica și practica filozofiei la Ludwig Wittgenstein by Mircea Flonta () [Corola-publishinghouse/Science/1367_a_2720]
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Film and Television, Vol. 13, No. 3. Cahoone, Lawrence E, (1988), The Dilemma of Modernity, Albany, N. Y., State University of New York Press. Canadian Journal of Political and Social Theory, Vol. 7, Nos, 1-2 (Winter-Spring 1983). Carey, James (1989), Communication as Culture, Boston, Unwin Hyman. Centre for Contemporary Cultural Studies (1979), On Ideology, Londra, Hutchinson. (1980), Culture, Media, Language, Londra, Hutchinson. (1981), Unpopular Education: Schooling and Social Democracy in England since 1944, Londra, Hutchison. (1982), The Empire Strikes Mack: Race and
Cultura media by Douglas Kellner [Corola-publishinghouse/Science/936_a_2444]
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Herbert Marcuse and the Crisis of Marxism, Londra and Berkeley, Macmillan and University of California Press. (1985), "Public Access Television, Alternative Views", Radical Science Journal, 16. (1987), "Baudrillard, Semiurgy and Death", Theory, Culture & Society, Vol. 4, No. 1. (1988), "Postmodernism as Social Theory, Some Challenges and Problems", Theory, Culture & Society, Vol. 5, No. 2-3. (1989a), Critical Theory, Marxism, and Modernity, Cambridge and Baltimore, Polity and Johns Hopkins University Press. (1989b) From Marxism to Postmodernism and Beyond: Critical Studies of Jean Baudrillard
Cultura media by Douglas Kellner [Corola-publishinghouse/Science/936_a_2444]
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with Military 'Credibility'", Progressive (March). Kroker, Arthur, and Cook, David (1986), The Postmodern Scene, New York, Saint Martin's Press. LaMay, Craig et al., (1991), The Media at War, New York, Gannett Foundation Media Center. Lash, Scott (1988), "Discourse of Figure? Postmodemist as a 'Regime of Signification'", Theory, Culture & Society, Vol, 5. No. 2-3 (June). Lash, Scott and Jonathan Friedman (1992), Postmodernism and Identity, Londra, Blackwell. Lash, Scott and John Urry (1987), The End of Organized Capitalism, Cambridge, Polity Press. Lazarsfeld, Paul (1941
Cultura media by Douglas Kellner [Corola-publishinghouse/Science/936_a_2444]
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Normatativitat, Frankfurt, Suhrkamp. Lorde, Audre (1984), Sister Outsider, Califomia, The Crossing Press. Lyotard, Jean-François (1984), The Postmodern Condition, Minneapolis, University of Minnesota Press. McAllister, Matthew P, (1993) "'What Did you Advertise with the War, Daddy?': Using the Persian Gulf War as a Referent in Advertising", in Robert E. Denton, The Media and the Persian Gulf War, Westport, Connecticut, Praeger. McCaffery, Larry (ed.) (1991), Storming the Reality Studio, Durham, Duke University Press. Macdonald, Dwight (1944), "A Theory of Popular Culture", Politics, Vol
Cultura media by Douglas Kellner [Corola-publishinghouse/Science/936_a_2444]
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Mili). This implies a tremendous narrative project, carried over thousands of pages each, and grouped into two prose cycles; nevertheless, which determines their literary 'form' is not the epic. Written in a single-blow vein, across five years of incessant labour, as if the critic had cared for showing his technical expertise in literary production concerns, these novels are not what we might properly call 'Romanesque' prose. It is by dent of necessity to admit that, behind the outer and surface epic
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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novel form, one would surely guess the outline of theatre. In his emotion odyssey, the writer makes nothing less than endlessly multiplying those pathetic scenes, actualizing the one and the same model provided by the boulevard play. Similarly, melodrama infiltrates as a subtle code, apt to lead and feed the narrative machine; matter of factually, the novel assembles as a sum of mises en scènes of reduced dimensions. Once entered in the intimacy of this particular poetics, we understand why the
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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less than endlessly multiplying those pathetic scenes, actualizing the one and the same model provided by the boulevard play. Similarly, melodrama infiltrates as a subtle code, apt to lead and feed the narrative machine; matter of factually, the novel assembles as a sum of mises en scènes of reduced dimensions. Once entered in the intimacy of this particular poetics, we understand why the theatre functions as a cognition tool for Lovinescu; the writer uses it in order to interpret fiction, to
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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code, apt to lead and feed the narrative machine; matter of factually, the novel assembles as a sum of mises en scènes of reduced dimensions. Once entered in the intimacy of this particular poetics, we understand why the theatre functions as a cognition tool for Lovinescu; the writer uses it in order to interpret fiction, to compose various episodes, to work on their agency, and to move forward the greater prose-sets. Virtually, melodrama is the thing that makes it possible to
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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it in order to interpret fiction, to compose various episodes, to work on their agency, and to move forward the greater prose-sets. Virtually, melodrama is the thing that makes it possible to consider novel (i. e., the Romanian critic's venture as a prose writer) as an actual realisation either of a text or of a fictive universe. Had not E. Lovinescu been acknowledged with melodrama, we daresay, he would not have known how to write his novels. For a literary creation
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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interpret fiction, to compose various episodes, to work on their agency, and to move forward the greater prose-sets. Virtually, melodrama is the thing that makes it possible to consider novel (i. e., the Romanian critic's venture as a prose writer) as an actual realisation either of a text or of a fictive universe. Had not E. Lovinescu been acknowledged with melodrama, we daresay, he would not have known how to write his novels. For a literary creation that encompasses more than
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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time, it is clear that melodrama takes part both in the novel-construction proper, and in specific dramatic situations, framed by larger prose-frames. Actually, one can trace the same recipe either in Lovinescu's sketches or in his greater prose cycles, as if the one and the same mat would be able to mould both literary forms. The same ground holds the texts in spite of their sensible differences in matters of length or literary category. Practically, melodrama should be viewed as
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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as if the one and the same mat would be able to mould both literary forms. The same ground holds the texts in spite of their sensible differences in matters of length or literary category. Practically, melodrama should be viewed as a constant levelling presence, which is apt to produce, as a species of trans-generic code, literary works that resemble to each other on purpose. Further, we can also ascertain the establishment of a 'replay' protocol that ensures the circulation of
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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able to mould both literary forms. The same ground holds the texts in spite of their sensible differences in matters of length or literary category. Practically, melodrama should be viewed as a constant levelling presence, which is apt to produce, as a species of trans-generic code, literary works that resemble to each other on purpose. Further, we can also ascertain the establishment of a 'replay' protocol that ensures the circulation of melodramatic schemes across texts of various range and dimensions. Once
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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Further, we can also ascertain the establishment of a 'replay' protocol that ensures the circulation of melodramatic schemes across texts of various range and dimensions. Once the dramatic situations curdled in the brief form of short stories, they shall serve as a recycling narrative matter, able to sustain the bigger enterprise of novel writing. For instance, what had served initially as a subject for an autonomous play, it is used subsequently as a pure 'anecdote', in a long-spun chain of similar
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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of various range and dimensions. Once the dramatic situations curdled in the brief form of short stories, they shall serve as a recycling narrative matter, able to sustain the bigger enterprise of novel writing. For instance, what had served initially as a subject for an autonomous play, it is used subsequently as a pure 'anecdote', in a long-spun chain of similar anecdotes. Repetition lies in the core of E. Lovinescu's poetics, as one of its main values. What provides a
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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the brief form of short stories, they shall serve as a recycling narrative matter, able to sustain the bigger enterprise of novel writing. For instance, what had served initially as a subject for an autonomous play, it is used subsequently as a pure 'anecdote', in a long-spun chain of similar anecdotes. Repetition lies in the core of E. Lovinescu's poetics, as one of its main values. What provides a reason for it? Wherefrom comes its legitimacy? A simple appeal to
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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novel writing. For instance, what had served initially as a subject for an autonomous play, it is used subsequently as a pure 'anecdote', in a long-spun chain of similar anecdotes. Repetition lies in the core of E. Lovinescu's poetics, as one of its main values. What provides a reason for it? Wherefrom comes its legitimacy? A simple appeal to psychoanalysis should shed light, at least partially, on the way repetition tunes itself. Au lieu de reproduire un fantasme brute selon
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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the issue does not boil down to a psychological 'complex', triggering the formation of literary works, but to a method that might lead to objectification of psychic functions. What is being repeated within the prose works has already been existing as an 'inward' world, resembling to a mental scheme, which can apply and interpret reality; un fantasme déjà romance, that is to say, in Marthe Robert's phrase, a representtation of life, containing in advance the formation germs, which can anticipate
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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of characters, and narrative structures. In other words, before stepping into fiction, the reality is being given in a triangular form (the cuckold, the femme fatale, the Don Juan), previously dramatised by the boulevard theatre. Equally, melodrama does not count as a casual literary code among others, but as life itself, which is permanently guiding the activity of figuring down literature. What we can discover in E. Lovinescu's literature is a still more intimate manner in which forms can absorb
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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before stepping into fiction, the reality is being given in a triangular form (the cuckold, the femme fatale, the Don Juan), previously dramatised by the boulevard theatre. Equally, melodrama does not count as a casual literary code among others, but as life itself, which is permanently guiding the activity of figuring down literature. What we can discover in E. Lovinescu's literature is a still more intimate manner in which forms can absorb themselves into the writer's existence. Nevertheless, unless
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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encumbers an ampler epic respiration. It goes without saying that, in the context of inter-bellum period, this 'shredding' phenomenon has an air of 'singularity'. In an age when most of the theoretical minds rely on architecture or music metaphors so as to catch the literary complexity, E. Lovinescu not only borrows a pictorial technique (i.e., the pointillism) in justifying how narration is being made, but also uses it to defend as art a bare agglomeration of episodes. Is this an explanation
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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the theoretical minds rely on architecture or music metaphors so as to catch the literary complexity, E. Lovinescu not only borrows a pictorial technique (i.e., the pointillism) in justifying how narration is being made, but also uses it to defend as art a bare agglomeration of episodes. Is this an explanation good enough for the unfortunate destiny of this prolific literary work? When undoing 'the whats and whens' of E. Lovinescu' s poetics, the most inviting hypothesis is to re-enact the
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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melodrama issue relies on Lovinescu's intention to ground the novel aesthetics on a strategy of emotion. Departing from this point of view, we understand that actually he did not have any other choice but to disfigure the novel category as such. Yet, by default, the Romanian critic presents with a paradoxical solution of prose achievement. Keywords: creativity, cyclic novel, erotic psychology, involuntary memory, voluntary memory Résumé La création de maturité de E. Lovinescu comprend plusieurs séries de romans publiées entre
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]