1,124 matches
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Babeți and Mircea Mihăieș's postmodern Romanian novel The Woman in Red etc The last category of Caragialian literary heirs includes the writers that can be called "Promethean offsprings" because they seem to deliberately try to distinguish themselves from the Caragialian tradition. Mihail Sebastian and George-Mihail Zamfirescu are among these creators who seem to give replies to Caragiale's vision, plot solving or characters' structure. Nevertheless, by doing so, they implicitly admit the impossibility of ignoring their great predecessor's lesson
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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differs from the reality described by Caragiale. In the same way, Miss Nastasia is an even crueler version of Caragiale's female character Anca from his drama Năpasta (Injustice). The Idol or Ion Anapoda resumes and vaguely distorts a famous Caragialian character, namely, Cănuță, while the posthumous drama, The Holy Transfiguration, is a political scenario completely different from that of Caragiale's plays, by its rather visionary, unrealistic unmasking of corruption managed by the enthusiastic saviour, Pamfil, a character with no
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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No name, and the campers from The Holiday Game are not far away from Caragiale's nosy parkers and triflers while, in The Last Hour, the blackmail theme and the manipulation of the press are also clear marks of the Caragialian domain. Therefore, for all these categories of writers, including the ones who try to delimit themselves from the known pattern, we can find certain Caragialian thematic, stylistic or typological constants that were adapted by virtue of a more or less
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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the blackmail theme and the manipulation of the press are also clear marks of the Caragialian domain. Therefore, for all these categories of writers, including the ones who try to delimit themselves from the known pattern, we can find certain Caragialian thematic, stylistic or typological constants that were adapted by virtue of a more or less admitted "successoral vocation", making Caragiale's marks visible throughout the "texture" of Romanian literature. In order to establish clear patterns that these marks form, if
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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the "texture" of Romanian literature. In order to establish clear patterns that these marks form, if we extrapolate the famous distinction between transtextual relations as G. Genette suggested in Palimpsestes. La litérature au second degré, we can refer to the Caragialian posterity as to a second degree kind of literature. This would include a constellation of "hypertexts" connected on the basis of certain Caragialian "hypotexts", an impressive amount of "metatexts" and, first of all, a real intertextual plasma that flows through
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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relations as G. Genette suggested in Palimpsestes. La litérature au second degré, we can refer to the Caragialian posterity as to a second degree kind of literature. This would include a constellation of "hypertexts" connected on the basis of certain Caragialian "hypotexts", an impressive amount of "metatexts" and, first of all, a real intertextual plasma that flows through Romanian literature and is made visible by means of innumerable quotations, allusions, in general any kind of "intertextual traces" (Riffaterre) able to update
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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play Mitică Popescu, Mircea Horia Simionescu's short-story The Fast Train of Compliments and Ioan Lăcustă's series of sketches Waiting at Mr. Caragiale's Door. These examples confirm, for each important phase of Romanian literature, the rebirth of the Caragialian model by means of homage-like pastiche and parody. On the contrary, the amount of pieces of writing in which Caragiale's work survives due to intertextual resuscitations is impossible to establish and we believe that it is unequalled by any
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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belonging to writers fascinated or intrigued by their great predecessor. The overview of the main representatives of the comic modes in the Romanian literature was necessary for an incipient delineation of Caragiale's literary descendants. In the second chapter, The Caragialian and the Post-Caragialian Comic, we started from the assumption that this lineage should be primarily sought in the territory governed by the comic, since it is the most striking brand of Caragiale's work. Therefore, we delimited the sections corresponding
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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argumentation in the area of concepts, by systematizing the theoretical information in order to provide accuracy to the analytical approach and to avoid approximations. In other words, the small introductory chapters were meant to draw guidelines to follow within the Caragialian imagery, whose constants, thus certified, could be recognized in subsequent literary manifestations. Broadly speaking, we noted the essential Caragialian contribution for each of the comic mode and the fact that the other writers do relate almost exclusively to his model
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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approach and to avoid approximations. In other words, the small introductory chapters were meant to draw guidelines to follow within the Caragialian imagery, whose constants, thus certified, could be recognized in subsequent literary manifestations. Broadly speaking, we noted the essential Caragialian contribution for each of the comic mode and the fact that the other writers do relate almost exclusively to his model. To complete both the comic paradigm and that of Caragialism, in the next chapter, One Century of ... Caragialism, we
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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and artistic expression) particularise, in a decisive manner, the more general classes of the comic of character, of mores and of language. In this way, we could prove that most of the subsequent literary illustrations pay their debt to the Caragialian vision, being, significantly, reiterations of its characteristic marks (developed in the subchapters entitled "All is Old and All Is New", Caragialian Themes and Post-Caragialian Variations, "In the Style and with the Syntax" of Caragiale. In this respect, whether we considered
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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language. In this way, we could prove that most of the subsequent literary illustrations pay their debt to the Caragialian vision, being, significantly, reiterations of its characteristic marks (developed in the subchapters entitled "All is Old and All Is New", Caragialian Themes and Post-Caragialian Variations, "In the Style and with the Syntax" of Caragiale. In this respect, whether we considered the intertextual allusions to elements related to the Caragialian typology, themes and "the language of Caragiale's heroes", or whether we
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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developed in the subchapters entitled "All is Old and All Is New", Caragialian Themes and Post-Caragialian Variations, "In the Style and with the Syntax" of Caragiale. In this respect, whether we considered the intertextual allusions to elements related to the Caragialian typology, themes and "the language of Caragiale's heroes", or whether we noticed the exploitation of certain compositional techniques or of meta and self-referentiality, the large and varied post-Caragialian literary corpus highlights the undeniable importance of the revival of the
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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typology, themes and "the language of Caragiale's heroes", or whether we noticed the exploitation of certain compositional techniques or of meta and self-referentiality, the large and varied post-Caragialian literary corpus highlights the undeniable importance of the revival of the Caragialian tradition in the alchemy and dynamics of the Romanian literature. Similarly, in the next chapter, the specific coordinates of the absurd are discussed starting from brief theoretical considerations (in Brief Foray into the Realm of the Absurd, Comic by Means
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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brief theoretical considerations (in Brief Foray into the Realm of the Absurd, Comic by Means of the Absurd and Absurd by Means of the Comic) and continuing by exploring Caragiale's domain for such landmarks (in "Absurd" Instances of the Caragialian Character, The Disarticulation of Language, From the Absurd to the Comic, In the Absence of the Comic), which certify that he is a forerunner in relation to Urmuz, to Eugen Ionescu and to other writers who were tempted by the
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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Either by marking the intertextual dissemination in a large number of writers' works or by emphasizing Caragiale's precursor status in relation to Urmuz, Tudor Arghezi, Eugen Ionescu, the representatives of the 80's etc., the establishment of a notable Caragialian tradition in our last century literature results clearly. Far from being a mere speculation, the fact that I. L. Caragiale is the Romanian writer with the largest posterity, becomes a certainty at the end of our critical endeavour. Recognized as the
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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Popa. 13 Operație atât de frecventă și de previzibilă, încât poate să explice de ce Nicolae Manolescu, de exemplu, considera că: "Indiscutabil, schițele, "momentele", majoritatea culese în volumul din 1901, reprezintă partea cea mai originală a prozei lui Caragiale, cea mai "caragialiană" [s.n.], în definitiv. Ni se pare normal să aplicăm adjectivul situațiilor ori limbajului din comedii și din Momente. O fidelitate prea mare față de canonul literar ne împiedică să-l găsim potrivit pentru marile nuvele ori pentru Năpasta. Poate să fie
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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neamul românesc, Editura Humanitas, București, 1994, dar și în Fascinația și comedia puterii I, "Revista de istorie și teorie literară", I, nr. 21, 1994, p. 157, în care face un inventar aproape complet al perechilor de trăsături contradictorii atribuite personalității caragialiene: "În galeria epitetelor, pe lângă "marele" și "maestrul" Caragiale revin cu insistență două: "cinicul" și "lucidul", atunci când nu se reiterează "scepticul", "satiricul", "necruțătorul" și "ironistul lucid", ori de-a dreptul "canalia"[...]; Cel mai comunicativ dintre marii noștri scriitori", cum nota Vlahuță
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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op. cit., p. 371. 26 Valentin Silvestru, Elemente de caragialeologie, Editura Eminescu, București, 1979. 27 În remarcabilul studiu Comediile d-lui I. L. Caragiale, veritabilă matrice a locurilor comune ale criticii consacrate marelui dramaturg, o primă semnalare a substratului tragic al comediilor caragialiene este meritoriu inclusă de Titu Maiorescu încă din 1885: "În acest caleidoscop de figuri, înlănțuite în vorbele și faptele lor spre efecte de scenă cu multă cunoștință a artei dramatice, d. Caragiale ne arată realitatea din partea ei comică. Dar ușor
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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în ultimul act din piesa Căruța cu paiațe (Matei Millo) a lui Mircea Ștefănescu, citarea unor ample pasaje din O noapte furtunoasă este procedeul predilect, folosit pentru a evidenția, prin intermediul unui teatru în teatru, perfecta ancorare în realitate a dramaturgiei caragialiene: "Catrinel: "Stai, țațo, să-ți spui și să te crucești, nu altceva! Mai adineauri ședeam acasă. Tușica, cum știi c-a făcut-o Dumnezeu, se culcă o dată cu găinile. Eram ambetată absolut". Frusina: Ia lăsați-mă! Ce piesă? Așa vorbește proprietăreasa
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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Nuvele, povestiri, amintiri, versuri, parodii, varia, ediție critică de Al. Rosetti, Șerban Cioculescu, Liviu Călin, cu o introducere de Silvian Iosifescu, Editura pentru Literatură, 1962, p. 82. 55 Tudor Vianu, Estetica, Editura Orizonturi, București, 1996, p. 369. 56 Șerban Cioculescu, Caragialiana, Editura Eminescu, București, 1977, p. 539. 57 Vezi și Loredana Ilie, Atitudinea comică și personalitatea caragialiană, în Buletinul Universității Petrol-Gaze din Ploiești, nr. 2, 2003, pp.72-76. 58 Henri Bergson, op. cit., p. 10. 59Ibidem. 60Ibidem. 61 Adrian Marino, op. cit., p.
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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o introducere de Silvian Iosifescu, Editura pentru Literatură, 1962, p. 82. 55 Tudor Vianu, Estetica, Editura Orizonturi, București, 1996, p. 369. 56 Șerban Cioculescu, Caragialiana, Editura Eminescu, București, 1977, p. 539. 57 Vezi și Loredana Ilie, Atitudinea comică și personalitatea caragialiană, în Buletinul Universității Petrol-Gaze din Ploiești, nr. 2, 2003, pp.72-76. 58 Henri Bergson, op. cit., p. 10. 59Ibidem. 60Ibidem. 61 Adrian Marino, op. cit., p. 426. 62 Friedrich Dürrenmatt, Teaterprobleme, 1955, reprodus în Dialogul neîntrerupt al teatrului, vol. II, ed. cit
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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al teatrului, vol. II, ed. cit., trad. de Constanța Trifu și Amalia Zambettti, p. 198. 63 Henri Bergson, op. cit., p. 11. 64 Ibidem. 65 Ibidem. 66 Adrian Marino, op. cit., p. 437. 67 Henri Bergson, op. cit., p. 88. 68 Șerban Cioculescu, Caragialiana, Editura Eminescu, București, 1977, p. 545. 69 G. Meredith, An Essay on Comedy and the Uses of the Comic Spirit, Constable and Co Limited, Londra, 1927, p. 78. 70 Șerban Cioculescu, Caragialiana, Editura Eminescu, București, 1977, p. 69. 71 Idem
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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Henri Bergson, op. cit., p. 88. 68 Șerban Cioculescu, Caragialiana, Editura Eminescu, București, 1977, p. 545. 69 G. Meredith, An Essay on Comedy and the Uses of the Comic Spirit, Constable and Co Limited, Londra, 1927, p. 78. 70 Șerban Cioculescu, Caragialiana, Editura Eminescu, București, 1977, p. 69. 71 Idem, p. 302. 72 Paul Grice, 1967, p. 19, apud. P. Brown, & S. Levinson, Politeness, Cambridge Universiry Press, 1996, p. 262: "I cannot say something ironically unless what I say is intended to
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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Prelegeri de estetică, vol. I., Editura Academiei, București, 1966, pp. 69-72. 5 Mircea Doru Lesovici, op. cit., p. 117. 6 Liviu Antonesei, Semnele timpului, Editura Junimea, Iași, 1988, p. 97. 7 V. anumite aspecte din acest subcapitol în Ilie, Loredana, "Satira caragialiană și postcaragialiană", în volumul Crossing Boundaries in Culture and Communication, vol. 1, nr. 2, Editura Universitară, București, 2010. 8 Cornel Regman insistă asupra incisivitătii verbului caragialian, analizând violența, tonul pamfletar și batjocura tăioasa din bucăti precum 1907. Din primavară până-n
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]