1,907 matches
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the topics tackled and the 'recommended' sources of inspiration are concerned, this truly is a decade of transition. In this respect one can notice the vacillations, the hesitations of some of the poets who made their debut with modernist poems, some even influenced by the avant-garde, only to be converted to the poetry of social inspiration, praising the class struggle. The poetry of the fifth century which actually left an imprint in the history of Romanian literature mostly pertains to the
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towards fame. Cadran constitutes at least partially the frame of reference on which Geo Dumitrescu will establish the Albatross magazine. It is worth revealing the journalistic climate in which the Albatross magazine came out because it allows us to make some remarks on the importance of this publication. The Albatross case is not singular in its time but it deserves credit for having promoted authentic art instead of art serving the interests of one political regime or another. Our insistence in
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serving the interests of one political regime or another. Our insistence in discussing the content of the two magazines is justified by the presentation of how the Albatross phenomenon was perceived at that time. The opinions are divided to extremes - some exaggerate the role of this magazine in the antifascist movement, others minimise its contribution. Cadran was politically oriented towards the left and it constantly vacillated between literature and extra-literature. The articles containing its guiding principles profess an orientation towards the
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towards the aesthetic (although there is a constant tendency to subordinate literature to social issues), the need to escape ‚the ivory tower', the rejection of sentimentalism and intimism and the penchant towards social topics. Not only did the Albatross preserve some structural elements of Cadran, it also borrowed from it a series of ideas. One can also notice some sort of eclectics in terms of opinions that were expressed. The aims of the magazine are made more conspicuous in number 7
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escape ‚the ivory tower', the rejection of sentimentalism and intimism and the penchant towards social topics. Not only did the Albatross preserve some structural elements of Cadran, it also borrowed from it a series of ideas. One can also notice some sort of eclectics in terms of opinions that were expressed. The aims of the magazine are made more conspicuous in number 7 when the attitude of its writers betrayed their protests. Previous numbers had presented the need for the writers
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try to regroup by shortly taking over the periodical Our thoughts or by stating their viewpoints in other contemporary journal, such as The Echo, The Time. In the onset of the fourth chapter, Poetry of the Albatross, we have inspected some elements that could be considered as landmarks in the real life of the poets who make the subject of our study (Geo Dumitrescu, Ion Caraion, Constant Tonegaru, Dimitrie Stelaru); yet these landmarks are more or less reflected in their work
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for the day-to-day life and the mundane, a preference which is accompanied by a rejection of ‚poetic language'. Reality is still a pretext for them to convey in their works the nightmarish visions that seem to be haunting their souls. Some of the poems illustrative for this generation recreate, directly or indirectly, an often imaginary journey to exotic locations, to the erotic universe or even to death. The journey is symbolically represented by aquatic or fluid metaphors either related to the
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to clarify the scope of the expression ‚poetry of the Albatross' which is defined as a form of poetry questioning literary elements that are generally taken for granted. Its poems are oriented towards realism although they do make use of some techniques of the avant-garde but only if they serve a literary purpose. They are centred on the mundane, the prosaic and protest against hyperaesthetic poems. Among the legacies this poetry left in contemporary literature we could distinguish the mistrust in
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to employ them; our intention was to emphasize their literary value. Considering that the writers created their works in an age of political pressures, they were sometimes lured by ideologies which were later reproved. Due to a twist of fate, some of these writers became victims of the regime or were indicted by history. To discuss their socio-political activity, to debate whether they were to blame or not in their relationship with the communist regime (Geo Dumitrescu, Ion Caraion) would seem
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human personality. During these controversial discussions theorists often forget one conspicuous aspect, the literary one. Consequently, our approach will be mainly of an aesthetic nature, insisting on the few poets who were utterly original in their way of writing. Although some similarities can be established between members of the Literary Circle of Sibiu and poets of the Albatross, this study will focus on the latter (including Caraion, who had come close to this group at his debut without actually being a
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glass and toppling masonary, and time one livid final flame. 221 I will not serve that în which I don't believe whether it call itself home, my fatherland or my church and I will try to express myself în some mode of life or art aș freely aș I can and aș wholly aș I can, using for my defence the only arms that I allw myself to use, silence, cunning and exile. ---------------------------------------------------------------------------------------------------------------------------------------------- Codruț Constantinescu 2 1
Studii irlandeze by Codruţ Constantinescu [Corola-publishinghouse/Science/909_a_2417]
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the cultural world? What is American and what is un-American, as far as culture goes? Is the process of Americanization a villain or a hero, still having an American passport? Where does "the contemporary" end, since this volume focuses on some of the facets of contemporary American culture? Relativism and deconstruction of apparently stable dichotomies or of things that most people take for granted may be useful intellectual attitudes at times, but not at all times. This dictionary acknowledges and invites
Dicţionar polemic de cultură americană by Eduard Vlad [Corola-publishinghouse/Science/1402_a_2644]
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whom I admire, are left out). Instead, there will be names of extremely visible people, such as Eminem (Mathers) or Madonna (Ciccone), as they are more related to important aspects of contemporary American culture (cultural industries, media culture, commodification, Americanization, some of them entries themselves, others, just part of the metalanguage used). Inclusion or non-inclusion of American personalities does not show respect or lack of it, only relevance to other aspects covered in this book, or only shows the effects of
Dicţionar polemic de cultură americană by Eduard Vlad [Corola-publishinghouse/Science/1402_a_2644]
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aspects covered in this book, or only shows the effects of the constraints imposed by the limits of an average book's typographical space (a second, two-volume edition will include new entries and new links and configurations, will probably bridge some of the important gaps). Since government positions are key factors in the shaping of culture, no postwar presidential figures have been left out, as some of the programs affecting postwar American identity are linked to policies pursued by all administrations
Dicţionar polemic de cultură americană by Eduard Vlad [Corola-publishinghouse/Science/1402_a_2644]
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second, two-volume edition will include new entries and new links and configurations, will probably bridge some of the important gaps). Since government positions are key factors in the shaping of culture, no postwar presidential figures have been left out, as some of the programs affecting postwar American identity are linked to policies pursued by all administrations. Thus, multiculturalism is more of a policy pursued by the state than a defining feature of a community in which there are several cultural groups
Dicţionar polemic de cultură americană by Eduard Vlad [Corola-publishinghouse/Science/1402_a_2644]
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to policies pursued by all administrations. Thus, multiculturalism is more of a policy pursued by the state than a defining feature of a community in which there are several cultural groups. The American Dream might be seen as illusory in some artistic works, but public figures are likely to commit themselves to it if they want to contribute significantly to the development of what Benedict Anderson called an imagined community. The same goes for American exceptionalism, which is seen as a
Dicţionar polemic de cultură americană by Eduard Vlad [Corola-publishinghouse/Science/1402_a_2644]
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but public figures are likely to commit themselves to it if they want to contribute significantly to the development of what Benedict Anderson called an imagined community. The same goes for American exceptionalism, which is seen as a myth by some critics of American culture, as a set of defining ideological attitudes by some people hired by ... the American people (see Obama). Keywords: American Culture, American Dream, American Exceptionalism, Americanization, Multiculturalism American culture In this volume, American culture refers to a
Dicţionar polemic de cultură americană by Eduard Vlad [Corola-publishinghouse/Science/1402_a_2644]
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to contribute significantly to the development of what Benedict Anderson called an imagined community. The same goes for American exceptionalism, which is seen as a myth by some critics of American culture, as a set of defining ideological attitudes by some people hired by ... the American people (see Obama). Keywords: American Culture, American Dream, American Exceptionalism, Americanization, Multiculturalism American culture In this volume, American culture refers to a site of continuity, transition, and rupture, designating relevant ideas, beliefs, products and practices
Dicţionar polemic de cultură americană by Eduard Vlad [Corola-publishinghouse/Science/1402_a_2644]
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layer being the literary language, with an evolution oriented by certain goals and relying on conscious intentional actions. This standpoint carries on certain opinions expressed by the 19th century Transylvanian scholars and is in line with certain opinions held by some of the great European linguists. Independently, referring to the distinction between the popular vs. the literary aspect of an idiom, Lucian Blaga operated the distinction between the popular (minor) and the learned (major) aspect of a culture, claiming that typically
Comunicare culturală şi comunicare lingvistică în spaţiul european by Ioan Oprea [Corola-publishinghouse/Science/920_a_2428]
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of knowledge. One is bound, however, to always quote those sources which present information that is a particular point of view or opinion, although there are differences in the way the content from such sources can be used, since in some cases this can be followed in its main points, while in other case other approaches can be used. For instance, a quote on the contribution made by Dumitru Copceag on inter-Romance communication indicates that this author's demonstration has been
Comunicare culturală şi comunicare lingvistică în spaţiul european by Ioan Oprea [Corola-publishinghouse/Science/920_a_2428]
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groups, loans from Latin and Ancient Greek in all the languages of the continent ensure general European communication (and unity). There is also a significant number of linguistic elements taken by all or the majority of the European idioms from some modern languages (mainly from French, Italian, English and German) that contribute to the completion of the same unifying process, so that, for instance, in the case of the semantic field centred on the meaning "popor", several elements converge, starting from
Comunicare culturală şi comunicare lingvistică în spaţiul european by Ioan Oprea [Corola-publishinghouse/Science/920_a_2428]
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culturii grecești în Europa și în lume. Totuși, timp de aproape două secole, tipografiile au imprimat lucrările clasice din antichitatea greco-latină și mult mai puțin lucrările scrise de contemporani. Primele reviste științifice, ca periodice, apar: în Anglia: „Philosophical Transactions giving some Account of the World” (organ științific al Societății Regale, apărută în 1645 prin contopirea Societății Filologice din Oxford cu Colegiul Invizibil din Londra), Franța: „Le Journal des Savants” (Paris, începând cu 1665, apare săptămânal), Italia: „Giornale dei Letterati” (Roma, 1668
Tratat de diabet Paulescu by Constantin Ionescu-Tîrgovişte () [Corola-publishinghouse/Science/92244_a_92739]
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viziunea/contemplarea (θεωρία), ci a întunericului. Acesta este motivul pentru care, potrivit Sfântului Grigorie, sufletul nu experiază nici o înțelegere. Ci, mai curând, sufletul pătrunde în întunericul luminos (ὀ Θεϊος γνόφος)<footnote Kathryn Rombs, “Gregory of Nyssa’s Doctrine of Epektasis: Some Logical Implications”, Studia Patristica, vol. 37, Peeters, Leuven, 2001, pp. 288-289. footnote>. Tema aceasta a întunericului divin (ό Θεϊος γνόφος) sau a întunericului supra-luminos (ὀ λαμπρός γνόφος) se leagă de o tradiție anterioară ce urcă la Filon din Alexandria, care
Din comorile Teologiei Părinților Capadocieni by Liviu Petcu () [Corola-publishinghouse/Science/151_a_441]
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in the Hole: The Maquiladora, Harper and Row, New York, 1990 (a). Drucker, P.F., On Ending Work Rules and Job Descriptions, Harper and Row, New York, 1990 (b). Dunning, J.H., Decisions-making structures in U.S. and Japanese manufacturing affiliates in the U.K.: Some similarities and contrasts, document de lucru nr. 41, OIT, 1986. Dunning, J.H., Haberich, K.O., The World Directory of Multinational Enterprises, Macmillan, Londra, 1980. Dupont, Ch., La négociation, Dalloz, Paris, 1990. Dussauge, P., Les stratégies concurentielles re-examinées, Chambre de commerce
[Corola-publishinghouse/Science/2241_a_3566]
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sau demersuri de critică naratologică . Tentativele de edificare a naratologiilor prin care se depășesc limitele restrictive ale naratologiei clasice nu sunt puține. Narațiunea este studiată în relația ei cu istoria, politica și etica în expuneri ca Genre, Repetition, Temporal Order: Some Aspects of Biblical Narrative de David Richter, On a Postcolonial Narratology de Gerald Prince, The Changing Faces of Mount Rushmore: Collective Portraiture and Participatory National Heritage de Alison Booth sau Genre and History in Narrative Theory: The Problem of Retrospective
ÎNTRE NARATOLOGII by JANA GAVRILIU () [Corola-publishinghouse/Science/1208_a_2198]