<abstract><title style='display:none'>Abstract</title>Lucian Blaga is popular among the Romanian writers for his beliefs in the power of the unknown and the unsaid-word, for his attention given to the notion of mystery and knowledge.The present paper focuses on two of the main elements that coordinate some of the poet’s lyrical writings: silence and the state of being in a continuous search for the initial harmonious relationship with the Universe by returning to the origins of the world, by regeneration and reconstruction. These ideas are emphasized in the poem titled Autoportret in which the soul of the individual find sit self in the these arch for beauty and nothingness, for the pure word which is able to reinforce the bond between the individual and the totality of the unharmed Universe.Using themes, motifs, symbols, myths, figures of speech and techniques of construction, Lucian Blaga succeeds in creating a representative poem for his last volume entitled Nebănuitele trepte, a poem characterized by expressiveness, depth and a strong wish to find by means of silence what the souls has been looking for since ever – purity, peace and harmony.</abstract>

Apologia Tăcerii Și A Căutării În Poemul Autoportret

<abstract><title style='display:none'>Abstract</title>This paper aims to reveal Lucian Blaga’s ethical status and literary existence in a tormented period generated by the dawn of the new communist social transformations. The fictional perspective, as reflected in the autobiographical novel <italic>Luntrea lui Caron</italic>, is enriched by the confessions of the contemporaries. The struggle between principles, values and political censorship imposed by the historical context is portrayed thoroughly by the above mentioned sources. The poet is not the defeated intellectual that would be the perfect victim of totalitarianism. He remains a symbol of a consciousness that can not be perverted. Blaga will not betray his philosophical system nor his moral beliefs.</abstract>

Ultimul Blaga

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Three plays, three styles, three testimonies about the artist and the space of art of performance, from the ‘80s until today, three decentralizing visions, but also tangents. Vărul Shakespeare (Cousin Shakespeare) is one of Marin Sorescu’s lesser-known and hardly-edited texts. Beyond the inter- and metatextual juggling, beyond the playful discourse and the theatrical effects, the Romanian writer emphasizes the encounter between the language of Elizabethan poetry and the local comic. Richard III visits director Vsevolod Meyerhold in Richard al III-lea se interzice (Richard III is forbidden) by Matei Vişniec. Like a self-portrait, perhaps, of the author slipped into Meyerhold’s character, the play returns - through paradoxes, theatricality, intersections between times, cultures and authorial voices - to a message as clear as possible about the artist’s freedom, a message that (proof being the current global situation) the aforementioned aspects are of a continuous topicality.
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Varia Cum Vă (Mai) Place Shakespeare? Dramaturgi Români Sub Semnul Bardului: Marin Sorescu, Matei ViȘniec, Olivia Negrean

<abstract><title style='display:none'>Abstract</title>This study is based on a research on literary criticism, with a focus on several aspects of Lucian Blaga’s biography from an ideological perspective, aiming and examining its falsifications before 1989 and its true version after the socialist period. Due to most of the papers published by his daughter, Dorli Blaga (more specific, correspondence, diaries and official documents), we could claim that Blaga represents not only a literary case, but also a political one. To be more precise, the purpose of this article is to reveal some demystifications directly related to his biography, outlining three main periods in what concerns Blaga’s reception: the ’50s, the ’60s and the after ’90s.</abstract>

Mistificări Și Recuperări Biografiste: „Cazul” Lucian Blaga

<abstract><title style='display:none'>Abstract</title>One of the most representative theme in the works of Lucian Blaga is knowledge and the way it is reflected in the unconscious. He is known for the different meanings given to this knowledge, proposing a new path for the understanding of everything around us, starting from the inner of human soul to the world genesis. This paper will show this specific process of Blaga, in one poem „Pax Magna”.</abstract>

<italic>Pax Magna</italic> Sau Despre Simpatia Demon-Creator

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This paper explores Hispanic American literary modernism in light of the theoretical studies of World Literature. Regarding the periphery-center relationship, prevails the idea that there is a hierarchy that positions cultures and, implicitly, literature, near the European center. The focus is on Latin American modernism because it shows that there is a dystopia of the periphery-center relationship. After all, modernism is, in fact, creation and, at the same time, an obsession with the peripheries, born of the time lag from the center. Therefore, the study will analyze the role of cultural exchanges and the division of cultural capital and it will consider the transnationalization of Latin American literature as a starting point for literary modernism.
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Distopia Centrului. Transnaționalizarea Modernismului Hispano-American

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This paper is aiming to analyze the occurence and some functional and pragmatic aspects of the types of negation in all Lucian Blaga’s volumes of poetry. By using a quantitative approach, we have proved the stylistic effect of negation in his poetry and the importance of the negation with positive connotations in his verse. Beginning with the verbal negation, this paper goes through all the other types of it acoording to Rodica Zafiu’s classification: the negation of constituent, the expletive negation, the pro-sentence and the restrictions with a negative form.
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Lirica Blagiană – (Re)Lecturi Cantitative. Negația

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The present paper focuses on the ailments of modern man, whether we consider the physiological aspect, or whether we refer to the metaphorical, ontological dimension, and performs a comparative analysis between the work of M. Blecher and the novel <italic>The Enchanted Mountain</italic> by Thomas Mann. Illness - the overarching theme of the novels - receives numerous valences, from the most noble to the most detestable, but what remains common to these texts advanced for analysis is the existential crisis, the inner void that the characters experience acutely. The universe that both the Romanian and the German author create is permeated by the specter of death, which, without being tragically experienced, rather gives off a strange fascination, and ends up creeping into the thoughts, habits and belongings of the characters, becoming a kind of obsession that convulsively controls everyone, but which they paradoxically ignore, with just as much indifference. On a macro level, the smoldering malaise can be assimilated on the level of all mankind, as if foreshadowing the dire fate of humanity in the upcoming period.
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Reprezentări Ale Maladivului La M. Blecher Și Thomas Mann

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The aim of this paper is to reflect the directions proposed by the new materialism’s theorists by revealing them in a field in which the new materialist perspective has not experienced the same emergence as in cultural studies or philosophy: literature, an area whose socio-cultural implication will enable the correlations with the art of performance. For this purpose, after a brief theoretical introduction, “hypothesis”, of the approach, whose role is in fact to clarify the ideas that the new materialism supports, we reveal a series of neo-materialist “contexts” in the literatures of Urmuz and Matei Vişniec, and in the performances of Marina Abramović, in which the hybridization of the human is the central aspect that allows to present neo-materialist perspective of the corpus.
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Noul Materialism: Ipoteze Și Contexte

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The aim of the present study is to follow how certain theoretical ideas related to the concept of “limit” are transposed in Lucian Blaga’s poetry. The poet’s obsession with metaphysical destruction is well-known. Rationalism destroys the mystery, meaning that it puts limits on the process of intentional and assumed Luciferian knowledge. The poet uses an archaic imaginary to place things in the universality, to go beyond what the human being can perceive. To sum up, the idea I want to demonstrate is that there are several types of limits in Lucian Blaga’s poetry, which will be analyzed, looking at some poems. I have referred to the volumes <italic>„Poemele luminii”, „Pașii profetului”, „În marea trecere”, „Lauda somnului”, „Corăbii cu cenușă”, „Cântecul focului”, „Ce aude unicornul”</italic> and <italic>„Ultimele poezii”</italic>.
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Margini Și Repere Metafizice în Poezia Blagiană

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The study aims to analyze the way in which the posture of the Romanian contemporary writer Simona Popescu is created, based on concepts in the field of postural analysis, as posture and ethos, theorized by Alain Viala and Jérôme Meizoz. With emblems as exuviae, Matryoshka doll, Rubikʼs cube, the image of the collage dilettante, or the one of postman Cheval, the self-image constructed, by discursive means, by Simona Popescu is one of the adult-child, who keeps childhood and youth as defining layers of the mature personʼs identity. The writerʼs fascination with Gellu Naumʼs figure, the subject of her doctoral research, is justified mainly by her interest in collage and by the possibility of using this technique as the instrument of construction of her figure as a writer (the account of her childhood is seen as an attempt to stage surrealism). The analyzed corpus highlights also as representative of Simona Popescu the collectorʼs figure – even the toy collectorʼs figure, for the analysis of which will be used Walter Benjaminʼs famous texts about childhood and dolls (<italic>Enfance. Eloge de la poupée et autres essais</italic>).
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<italic>Eu-Topiile</italic>. Joc, Colecționare Și Multiplicitate în Construcția Posturală a Simonei Popescu

<abstract><title style='display:none'>Abstract</title>The goal of the following paper is to shed more light unto the similarities and the particularities that the works of Lucian Blaga and B. Fundoianu reveal in relation to Expressionism, a current often mentioned in order to catherogirse the two poets. Even though one cannot put the finger on a legitimate Expressionist poetic movement in Romanian culture without a certain ammount of exaggeration, the poetry of the aforementioned figures is undeniably compatible with the current originated from Germany. As I will try to prove, Lucian Blaga and B. Fundoianu can be seen as antagonistic instances in this context, but ultimately revealing a shared expressionist substance upon which the most divergent attitudes are bestowed.</abstract>

Lucian Blaga Și B. Fundoianu -Ipostaze Antagonice În Cadrul „Expresionismului Românesc”

<abstract><title style='display:none'>Abstract</title>The analysis presented in this article aims to ascertain what conditions of use imply deviations in the use of the Past tenses in European Portuguese (PPS, PPC, PI, PMQC) by Slovene learners of Portuguese, A2-B1 level (QECRL), trying to find explanations for its occurrence. The analysis shows the contrast between European Portuguese and Slovenian language in the domain of the Past tenses in terms of tense and aspect, describes the most frequent and evident deviations in a corpus, consisting of the various genres of texts, worksheets, completed by the students. Several presumptions were verified in the qualitative analysis. Among them, the deviations are in most cases due to the fact that in the sphere of the past, the Slovene language is operating with only one paradigm of the past sphere, the <italic>preteklik</italic> (Past tense), which is supposed to mark all the temporal and aspectual nuances of four Portuguese past tenses of the Indicative. The article tries to underline the different way of marking time and aspect in the respective languages and therefore the students’ difficulties in the perception of temporal and aspectual perfect / imperfect conceptualization.</abstract>

The Use of the Past Tenses in European Portuguese by Slovene Students: The Causes of Possible Deviations

<abstract><title style='display:none'>Abstract</title>The purpose of this study is to demonstrate that using Romanian Interwar Novel we could draw a cartography of rural space. Even in the modern writers fiction we will analyse many rural spaces that we could find in some of the novels. Also, in another novels we found out that the rural space plays an important role in the construction of the narrative plot.</abstract>

O Cartografiere A Spaţiului Rural În Romanul Românesc Interbelic

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Mihail Sebastian’s diary was published posthumously, over fifty years after the writer’s death, by the Humanitas Publishing House, under the title Journals 1935-1944, its publication being considered the major literary event of 1996. Faithful to Jules Renard’s diary, which he read and about which he also wrote, Mihail Sebastian is an adept of authenticity and sincerity in diary writing. The fact that it was published more than fifty years after the author’s death - a totally unexpected death - without the author having any possibility of processing it, is the best argument in favor of authenticity. Mihail Sebastian’s Journal is a mixed type of diary, which captures a complex existence, mirroring the events he participates in, what he does and how he acts, but especially what he feels, being faced with certain situations. Thus, the Journal becomes a space of small history, as Eugen Simion calls insignificant everyday events, but also of big history, which is written as the Second World War starts, unfolds and ends, one of the more significant historical events that humanity has experienced and to which Mihail Sebastian was a witness. This is the reality that Mihail Sebastian experiences, a reality that could undergo a slight transfiguration, caused by the subjective angle from which the events are viewed. It is precisely this inherently subjective angle that, to a greater or lesser extent, makes intimate writing a fiction of nonfiction.
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Jurnalul Lui Mihail Sebastian – Între Autenticitate Și Ficțiune

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