The concreteness of life presupposes not only death but equally the process of dying. Reflecting these Phenomena – dying and death – is necessary to make the phenomenon of life more comprehensible. Both the individual and the social life need to be confronted with the factualness of cessation. In this respect, every social form, which does not escape itself, cannot one-dimensionally celebrate life without reflecting on death. A self-conscious life-entity muss (1) be able to differentiate between living and dying and recognize its own death; (2) make itself known the deviations mechanisms of this process; (3) give thought to suicide and sense its limits; (4) revealed the obstructions that daily-life represents in order to reflect on this process. The reflection of dying and death may not represent something new, it is however an ever vital moment of human life.
The purpose of this work is to demonstrate the absurdity of the Marxist-Leninist-Stalinist means of re-education, which left a deep imprint on the history of Romanians by condemning not only the physical but also the spiritual death of the people. In this paper I have highlighted how the process of re-education took place in many circumstances. The class of intellectuality was the one that suffered the most as a result of these events, which can also be noticed in the case of the characters Axente Creangă and Leonte Pătrașcu from "Luntrea lui Caron". Using terror as an instrument of governance, censorship, propaganda and raising their ideology to the rank of universal principle, the Bolsheviks succeeded by the absurdity of the methods to massacre the population.
The paper proposes a comparative analysis at a formal and compositional level of a series of aphorisms and similar or complementary proverbs. Of the volumes of aphorisms: Discobolus, Stones for my Temple, The Ardor of the Island, Hourglass of the Sand, From the Spirit of the Heresy, the first two are the object of study of this work
Alexandru Macedonski, like most symbolist poets, has a „special relationship” with death. Anchored in the spirit of Western literature, he knew, without a doubt, the great poems dedicated to death, by Byron, Baudelaire, Verlaine, Rimbaud, etc. Not coincidentally, given the relationships, more or less blunt with the Junimea members, marked by polemics, exchange of epigrams, Caragiale called him, Macabronski. The theme of death, with minor exceptions, is, however, in Macedonski a philosophical obsession transfigured into a vision of the Whole, with its full and emptiness.
Hanif Kureishi, an acclaimed contemporary British writer of Pakistani origin, is known to the Romanian reading public primarily through the translations (under the aegis of the Humanitas publishing house) of his novels Intimacy, The Buddha of Suburbia, The Nothing, Gabriel’s Gift and Something to Tell You. One of the foremost representatives of British postcolonial literature, Kureishi masterfully, and at times shockingly, explores the postmodern urban world of human desolation, loneliness and alienation, with the surgical precision and mercilessness of a “terrorist”, as he himself describes the writer and his artistic mission in an interview. Intimacy, in a classic Proustian or Joycean manner, offers a glimpse into twenty-four hours in the life of a middle-aged Londoner, Jay, who fed up with the monotony and routine of his marriage, decides to leave his wife and children in order to pursue a passionate sexual relationship with a younger lover. The novel thematizes such concerns as the clash between traditional values and (post)modern society, between individualism / narcissism and moral duty, morality versus amorality / immorality, and the inevitable alienation of the individual who experiences these conflicts. The present paper aims at offering a reading of Kureishi’s text starting from the writer’s claim that “I’ve never had any desire to be good. (…) I don’t like goodness particularly. I like passion.” From the vantage point of this confession we shall proceed to analyze Intimacy not as a moral handbook, but as the eternal plight of the human soul, caught between the painfulness of duty and the irresistible call of passion.
The purpose of this paper is to reflect upon the ways the same animals depicted in Lucian Blaga’s poetry and Vasile Voiculescu’s respectively are shaped based on comparison. On the one hand, the animals in Blaga’s works get a metaphorical pattern, while, on the other hand, those in Voiculescu’s poetry keep the ordinary meaning. While in Voiculescu’s case animals are part of the traditional setting, Blaga gives them symbolic and transcendental meanings.
The starting point of my study is represented by two works, Grădina de sticlă(Tatiana Țîbuleac) and Un singur cer deasupra tuturor (Ruxandra Cesereanu). These are two novels that organize their narrative discourse following the relation trauma-memory-identity. In fact, Tatiana Țîbuleac and Ruxandra Cesereanu emphasize in their proses how can a social identity be recreated, when everybody feels the terror enforced by the authority. In this case, when you lose everything, you become vulnerable and this feeling causes the alienation, the break. Therefore, in this paper, we will show how the memory reopens the dialogue with the past, more exactly with a traumatic past. We will illustrate also the fact that in the process of remembering the space changes the identitary their attributes.
If Cioran’s articles could be easily examined in terms of their political message, his aforisms, short texts, or essays have nothing to justify their analysis from the perspective of their “political” content. Cioran’s thoughts, bordering on the poetic, are not comparable to Heidegger’s writings in which, as some try to convince us, the totalitarian ideology has deeply penetrated the very core of the ontology he developed. Even if scholars have identified features of national-socialism in Heidegger’s works, it is still difficult to blame him for his ideas since he has quickly and lucidly reconsidered his approach to the Nazi ideology. Cioran’s writings have nothing in common with Corneliu Zelea Codreanu’s books, For My Legionaries or The Nest Leader’s Manual. Corneliu Zelea Codreanu’s hatred for Judeo-Communism has no correspondent in Emil Cioran’s writings.
Considered “the great witch of Brazilian literature”, acclaimed as the best woman-writer of Jewish origin and the perfect example of an exquisite reconfiguration of European modernist ideas, Clarice Lispector is a fascinating author. This is obvious since her first novel Perto do coração selvagem (Near to the Wild Heart, 1943), a book that was awarded several literary prizes in Brazil, even if afterwards the text would be often ignored within the critical studies dedicated to Lispector. Compared to Borges and Kafka and even to the narrative strategies used by Virginia Woolf (apparently influenced by James Joyce’s stream of consciousness, even if Lispector underlined that she had not read Joyce’s creation much later) her book entitled Agua viva (1973) represents a perfect example of a very special kind of aesthetic experiment, underlying the importance of art (painting or literature) in its protagonist’s life. Without being precisely an autobiography, this book is obviously influenced by the author’s life and work, also expressing Lispector’s ideas on two important issues of 20th century Latin American literature: exile and violence.