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și Zisudra 9 Cf. S. N. Kramer, "Le Rite de Mariage sacre Dumuzi-Inanna", pp. 129 sq.; id., "The Sacred Marriagc Rile", pp, 49 sq. 10 Cf. textul tradus de S, N. Kramer, From the Tabiet s, p. 177. 11 E. Burrows, "Some Cosmologica! Patterns în Babylonian Religion", pp. 65 sq. 12 Cf. E. Burrows, op. Cit., pp. 60 sq. ' * A se vedea "Liste de Rois sumeriens", traducere de S. N. Kramer, The Sumerians, pp. 328 sq. Religiile mesopotamiene se prosternează în fața zeului solar Utu
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din Eleusis de a se limpezi". Mai mult chiar decât în cazul lui Agni, este greu să desparți realitatea rituală - planta și băutura - de zeul purtând același nume. Miturile sunt neglijabile. Cel mai important dintre ele relatează originea celestă a somei: un vultur "zburând până la cer", s-a năpustit "cu iuțeala gândului și a intrat în fortăreața de bronz" (RV, VIII, 100, 8). Pasărea înșfacă planta și o aduce pe pământ. Dar soma este socotită a fi crescând pe munți 41
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a râșniței este asimilat tunetului, lâna filtrului reprezintă norii, sucul este ploaia care face să crească vegetația etc. Zdrobitul plantei este identificat cu împreunarea sexuală. Dar toate aceste simboluri ale fertilității bio-cosmice depind, în ultimă instanță, de valoarea "mistică" a Somei. Textele insistă asupra ceremoniilor care preced și acompaniază procurarea plantei și mai ales prepararea băuturii. După Rig Veda, sacrificiul somei era cel mai popular, "inima și centrul sacrificiului" (Gonda). Oricare ar fi fost planta folosită în primele secole de către indo-arieni
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este identificat cu împreunarea sexuală. Dar toate aceste simboluri ale fertilității bio-cosmice depind, în ultimă instanță, de valoarea "mistică" a Somei. Textele insistă asupra ceremoniilor care preced și acompaniază procurarea plantei și mai ales prepararea băuturii. După Rig Veda, sacrificiul somei era cel mai popular, "inima și centrul sacrificiului" (Gonda). Oricare ar fi fost planta folosită în primele secole de către indo-arieni, este sigur că mai târziu ea a fost înlocuită de alte specii botanice. Soma/haoma este formula indo-iraniană a băuturii
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primele secole de către indo-arieni, este sigur că mai târziu ea a fost înlocuită de alte specii botanice. Soma/haoma este formula indo-iraniană a băuturii "ne-morții" (amrtă); după toate probabilitățile ea s-a substituit - băuturii indo-europene madhu, "hidromelul". Toate virtuțile somei sunt solidare cu experiența extatică provocată de absorbția ei. Am băut soma, citim într-un imn celebru (VIII, 48), am devenit nemuritori; am ajuns la lumină, i-am aflat pe Zei. Cu ce ne poate tulbura acum impietatea sau batjocura
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o aripă a mea pe cer, cealaltă aici în lumea aceasta. Sunt mare, sunt mare, m-am înălțat până la nori - nu am băut eu oare soma?" (traducerea lui Renou)43. 41 Epitetul sau, Maujavata, indică muntele Mujavat ca domeniu al somei (RV, X, 34, l). Tradiția iraniană localizează și planta haoma în munți (Yasna, 10, 4; Yaxt, 9, 17 etc.). 42 în textele din lajurveda se face frecvent aluzie la sacrificarea lui Soma de către zei; singur Mitra refuză să participe la
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Eterogeneitatea și complexitatea comportamentelor, a tehnicilor și soteriologiilor susținute de către cei care abandonaseră lumea nu vor înceta să se accentueze în secolele de mai târziu. Pe scurt, se poate spune că metodele extatice relevă și prelungesc experiența exaltantă a absorbției somei sau a altor substanțe îmbătătoare, anticipând unele forme de devoțiune mistică, în vreme ce austeritățile și disciplinele ascetice pregătesc elaborarea tehnicilor Yoga. Trebuie adăugat că începând din epoca Upanișadelor se răspândește obiceiul de a abandona viața socială și de a se retrage
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literary space either by presenting a world dominated by an absurdity that prevails or by recreating the entire cultural space at the parodic, satiric and ludic level. The protesting or the depressive attitude is expressed in the act of finding some expressive resources of the language less explored up to that moment. There is also the possibility that these writers try to create other myths, a second universe based on unconscious tendencies to respond in a compensatory way to the ego
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onset and the interference of politics in literary space being essential for a generation that was forced to shape or respond to such assertions more than in any other age. It can thus be stressed that, although sometimes they made some concessions to the totalitarian regime, they have the merit of writing an authentic poem, reflecting the spirit of their time - full of contradictions, supporting through poems and theoretical articles the primacy of the aesthetics in regard to other aspects highlighted
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concept of generation in the field of literary history, Albert Thibaudet also delineated its scope and distinguished within a generation several decades (later called age groups). In order to be able to speak of a generation there have to be some common viewpoints on existence and on creation, however, Thibaudet refuses to use the concept in a restrictive acceptation thereby admitting that the members of a generation are creative individualities, which in any literary history there might be exceptions that elude
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term generation of the Albatross not because we believed in the myth of a magazine often perceived as involved in the antifascist resistance but because it refers to Baudelaire's poem which marked all young writers of that time. Although some disapproved of the association between the name of the Albatross magazine and the war generation due to its limitations and because the representatives of this generation outnumber the ones who were featured in the ephemeral pages of the afore-mentioned periodical
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writers. Apart from the inherent distinctions - a different environment, other paragons, a different educational background, apart from the fact that both denominations exclude a series of writers who do not pertain to either of them, the term Albatross writer encompasses some of the gist of this literary stage. The name of the magazine is explicitly connected (by the quotation on the front page) to Baudelaire's renowned poem The Albatross. Baudelaire portrayed a different literary vision yet, fundamentally, his poem reflected
Poezia generației albatrosiste by Cristina Ciobanu () [Corola-publishinghouse/Science/84975_a_85760]
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The Albatross. Baudelaire portrayed a different literary vision yet, fundamentally, his poem reflected the same anxieties marking the end of an era (or, in his case, the end of a century). The poem was illustrative for the allegorical structure of some symbolist poem, it was a demystifying "ars poetica". It contains more than mere romantic reflections of the poet/ misunderstood genius; it also hints indirectly to the abyss the poet has to face and to how society perceived his accomplishments- ("comique
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in agreement with the demands of their age. As far as 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
Poezia generației albatrosiste by Cristina Ciobanu () [Corola-publishinghouse/Science/84975_a_85760]
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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
Poezia generației albatrosiste by Cristina Ciobanu () [Corola-publishinghouse/Science/84975_a_85760]
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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
Poezia generației albatrosiste by Cristina Ciobanu () [Corola-publishinghouse/Science/84975_a_85760]
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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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și L. Young, (2000), Reforming Canadian Party Politics, Vancouver: University of British Columbia Press. Castañeda, J. G., (1995), The Mexican Shock: Its Meaning for the United States, New York: The New Press. Castles, F.G. și P. Mair, (1982), "Left-Right Political Scales: Some "Expert" Judgements", în European Journal of Political Research 12(1): 73-88. Castro Rea, J., G. Ducatenzeiler și P. Faucher, (1990), " La Tentación Populista: Argentina, Brasil, México y Perú", în Foro Internacional 31(2): 252-85. Cerqueirová, A., (1999), Republikáni: Šokující odhalení
Populismul în Europa și în cele două Americi: amenințare sau remediu pentru democrație? () [Corola-publishinghouse/Science/84983_a_85768]