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Journal articles on the topic 'Cioran'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Sekiguchi, Toshio, Michio Ogasawara, and Honoo Satake. "Molecular and functional characterization of cionin receptors in the ascidian, Ciona intestinalis: the evolutionary origin of the vertebrate cholecystokinin/gastrin family." Journal of Endocrinology 213, no. 1 (January 30, 2012): 99–106. http://dx.doi.org/10.1530/joe-11-0410.

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Cholecystokinin (CCK) and gastrin are vertebrate brain–gut peptides featured by a sulfated tyrosine residue and a C-terminally amidated tetrapeptide consensus sequence. Cionin, identified in the ascidian, Ciona intestinalis, the closest species to vertebrates, harbors two sulfated tyrosines and the CCK/gastrin consensus tetrapeptide sequence. While a putative cionin receptor, cior, was cloned, the ligand–receptor relationship between cionin and CioR remains unidentified. Here, we identify two cionin receptors, CioR1 and CioR2, which are the aforementioned putative cionin receptor and its novel paralog respectively. Phylogenetic analysis revealed that CioRs are homologous to vertebrate CCK receptors (CCKRs) and diverged from a common ancestor in the Ciona-specific lineage. Cionin activates intracellular calcium mobilization in cultured cells expressing CioR1 or CioR2. Monosulfated and nonsulfated cionin exhibited less potent or no activity, indicating that CioRs possess pharmacological features similar to the vertebrate CCK-specific receptor CCK1R, rather than its subtype CCK2R, given that a sulfated tyrosine in CCK is required for binding to CCK1R, but not to CCK2R. Collectively, the present data reveal that CioRs share a common ancestor with vertebrate CCKRs and indicate that CCK and CCK1R form the ancestral ligand–receptor pair in the vertebrate CCK/gastrin system. Cionin is expressed in the neural complex, digestive organs, oral siphon and atrial siphons, whereas the expression of ciors was detected mainly in these tissues and the ovary. Furthermore, cioninergic neurons innervate both of the siphons. These results suggest that cionin is involved in the regulation of siphonal functions.

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2

Fiedler, Erik Sporon. "Mellem asoteriologiske aforismer og sort gnosis: Emil Cioran, Peter Sloterdijk og Peter Sloterdijks Cioran." Religionsvidenskabeligt Tidsskrift, no. 69 (March 5, 2019): 187–206. http://dx.doi.org/10.7146/rt.v0i69.112756.

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ENGLISH ABSTRACT: This article presents an introduction to the Romanian author Emil Cioran’s life and work. Cioran lived most of his life in self-imposed exile in Paris, where he kept himself out of the public gaze. From his small attic at the left-bank of the river Seine he published numerous books of collections of aphorisms and essays dealing with his own miserabilism and permanent existential despair. Further, in his books he is reflecting on the human condition in a world where humans have no possibility of receiving nor acquiring salvation or redemption. This presentation of Cioran leads to an investigation of his influence on the work and thought of the German philosopher Peter Sloterdijk. I show that Cioran in fact plays an important and long-lasting role throughout Sloterdijk’s authorship by analysing texts from three different periods of his oeuvre. Thus, I seek to construct a picture of Sloterdijk’s Cioran and understand why he is important to him. DANSK RESUMÉ: I denne artikel gives en generel præsentation af og introduktion til den rumænske forfatter Emil Ciorans liv og værk. Cioran levede størstedelen af sit liv i selvvalgt eksil i Paris uden for offentlighedens søgelys. Fra sit lille loftskammer på den venstre bred af Seinen publicerede han løbende samlinger af aforismer og essays omhandlende sin egen miserabilisme og permanente eksistentielle ulykke. Endvidere reflekterer han i bøgerne over den menneskelige eksistens vilkår i en verden, hvorfra mennesket ikke har nogen muligheder for at blive forløst. Præsentationen af Cioran fører til en undersøgelse af hans indflydelse på den tyske filosof Peter Sloterdijks værk og tænkning. Gennem en analyse af tekster fra tre forskellige perioder i Sloterdijks forfatterskab viser jeg, at Cioran spiller en vigtig og vedvarende rolle igennem hele Sloterdijks filosofiske arbejde. Således forsøger jeg at konstruere et billede af Sloterdijks Cioran og at forstå hvorfor han anser ham for vigtig.

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3

Maftei, Mara Magda. "An unknown Cioran." Romanica Olomucensia 29, no. 1 (June 1, 2017): 87–106. http://dx.doi.org/10.5507/ro.2017.007.

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4

Dieguez, Sebastian. "Cioran." Cerveau & Psycho N° 86, no. 3 (January 3, 2017): 94–97. http://dx.doi.org/10.3917/cerpsy.086.0094.

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5

Stuparu, Ada. "Emil Cioran – with Marin Sorescu." Sæculum 48, no. 2 (December 1, 2019): 39–53. http://dx.doi.org/10.2478/saec-2019-0029.

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AbstractMarin Sorescu”s trips to Paris meant, each time, meeting Emil Cioran. The spiritual closeness between the two so different personalities develops over the years, as prooved by the numerous notes in the diaries of the Romanian poet. Despite the political restrictions of the regime, Marin Sorescu promotes Emil Cioran’s work in Romania, in the magazines of the time and in volumes. About his appreciation is written also in the correspondence between the two of them, we publish here some unique texts kept in the archive of Sorescu family.

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6

Trujillo, G. M. "The Benefits of Being a Suicidal Curmudgeon." Southwest Philosophy Review 37, no. 1 (2021): 219–28. http://dx.doi.org/10.5840/swphilreview202137123.

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Emil Cioran offers novel arguments against suicide. He assumes a meaningless world. But in such a world, he argues, suicide and death would be equally as meaningless as life or anything else. Suicide and death are as cumbersome and useless as meaning and life. Yet Cioran also argues that we should contemplate suicide to live better lives. By contemplating suicide, we confront the deep suffering inherent in existence. This humbles us enough to allow us to change even the deepest aspects of ourselves. Yet it also reminds us that our peculiar human ability—being able to contemplate suicide—sets us above anything else in nature or in the heavens. This paper assembles and defends a view of suicide written about in Cioran’s aphorisms and essays.

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7

Koettlitz, Olivier. "Cioran amoureux." Le Philosophoire 11, no. 1 (2000): 201. http://dx.doi.org/10.3917/phoir.011.0201.

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8

Sonea, Ciprian. "Cioran and Gnosticism." Studia Universitatis Babeș-Bolyai Theologia Orthodoxa 63, no. 1 (June 15, 2018): 129–42. http://dx.doi.org/10.24193/subbto.2018.1.09.

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9

Gruzinska, Aleksandra. "Searching for Cioran." Intellectual History Review 21, no. 4 (December 2011): 543–45. http://dx.doi.org/10.1080/17496977.2011.623898.

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10

Quinney, Anne. "The Cioran Exception." Nottingham French Studies 43, no. 3 (September 2004): 1–10. http://dx.doi.org/10.3366/nfs.2004-3.001.

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11

Bowd, G. "Searching for Cioran." French Studies 64, no. 3 (June 28, 2010): 364–65. http://dx.doi.org/10.1093/fs/knq038.

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12

Geneste, Bruno. "Cioran-la-passion." L'en-je lacanien 16, no. 1 (2011): 55. http://dx.doi.org/10.3917/enje.016.0055.

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13

Gogoșeanu, Mihaela-Oana. "Blaga-Cioran: Incursiuni În Marginea Fiinţei." Lucian Blaga Yearbook 22, no. 1-2 (October 1, 2021): 53–64. http://dx.doi.org/10.2478/clb-2021-0006.

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Abstract The following paper focuses on what lies between transcendence and reality, between self and non-self, between bounded and infinite, it focuses on that included third which contradicts Aristotelian logic and which is represented by the margin itself, by the boundary between these concepts, as it is reflected in the texts of Lucian Blaga and Emil Cioran. The role of the limit is analysed especially in those contexts in which, in addition to spatial references, the limit has a figurative meaning, that of term at the intersection of an antithetical binomial that advances the being, in Hegel’s vision, towards becoming. Consequently, the paper will refer to texts from Blaga’s poetry, where there are twenty occurrences of the word “limit” (Romanian: “margine”), six of which meet the semantic condition mentioned above, but also in Cioran’s texts that treat this matter.

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14

Ziegler, Philip G. "Insomnolent Anathemas." Theology Today 75, no. 3 (October 2018): 391–98. http://dx.doi.org/10.1177/0040573618793590.

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Over several decades during the second half of the last century, the Romanian-born Parisian intellectual E. M. Cioran penned a series of uneasy works whose despondent obsession with God is matched only by their utter disavowal of the reality of the divine. Wrestling pessimistically with nihilism in a world forged by chronic insomnia, illness, nicotine, and despair, Cioran confronts the theologian with a particularly radical articulation of unbelief hard-won at the “verge of existence,” and existence suffered as an “accident of God.” This short article explores the form and substance of Cioran’s biting and aphoristic expression of modern unbelief in an attempt to discern something of its theological significance. Perhaps theology would do well to receive this work as a necessary ascesis of its inapt and faithless contentment and ease with the world. And could it be that theology stands to be schooled in the near impossibility and profundity of hope by the cynicist’s surprising confession that, “Each time the future seems conceivable to me, I have the impression of being visited by Grace”?

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15

Coverley, Harris. "Pneumadectomy." After Dinner Conversation 3, no. 1 (2022): 75–84. http://dx.doi.org/10.5840/adc2022318.

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What if there was absolute proof of the soul? Would you ever have yours removed? Would you be friends with someone who had had it removed? In this work of philosophical short fiction, science has definitively discovered that your soul resides in your appendix. Sometimes, when your appendix is having issues, it is for medical reasons. However, sometimes it is because your soul, residing in your appendix, is having issues. The solution in either case is the same, remove the organ. Rolly is a young boy, like all other young boys, who likes to play with is friends. However, his appendix was inflamed and had to be removed. Now, the other children call him “No Soul” and refuse to play with him. Feeling left out, he goes to a neighbor’s house to visit another friend Cioran. However, Cioran’s parents are far more religious and, when their child had appendix issues, they refused to have it removed as they didn’t want to remove his soul. Because his appendix was not removed Cioran, unlike Rolly, died.

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16

Brad, Rodica Maria. "Cioran–Eliade, la correspondance de jeunesse." French Cultural Studies 30, no. 4 (October 12, 2019): 281–93. http://dx.doi.org/10.1177/0957155819861040.

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Emile Cioran et Mircea Eliade ont été liés par une amitié à part, de très longue durée. Cette amitié spéciale qui les a unis s’exprime aussi dans leur correspondance de jeunesse, précisément dans les lettres réciproques écrites en roumain de 1933 à 1946. Nous reconstituons cet échange épistolaire à travers deux sources: les lettres de Cioran à Eliade publiées dans le volume Scrisori către cei de-acasă (1995a) et les lettres d’Eliade à Cioran publiées par Mircea Handoca dans le volume de correspondance Mircea Eliade, Europa, Asia, America . . . (1999). Documents biographiques importants, ces lettres permettent de pénétrer dans l’intimité de ces deux jeunes auteurs.

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17

Weiss, Jason, and E. M. Cioran. "An Interview with Cioran." Grand Street 5, no. 3 (1986): 105. http://dx.doi.org/10.2307/25006875.

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18

Frosin, Constantin. "Cioran et le rire." Revue de littérature comparée 328, no. 4 (2008): 475. http://dx.doi.org/10.3917/rlc.328.0475.

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19

Minzetanu, Andrei. "Cioran, un penseur organique." Littérature 179, no. 3 (2015): 38. http://dx.doi.org/10.3917/litt.179.0038.

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20

Moinier, Bernard. "Cioran et Saint-Simon." Cahiers Saint Simon 44, no. 1 (2016): 125–30. http://dx.doi.org/10.3406/simon.2016.1767.

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21

Zaharia, Constantin. "Cioran au passé antérieur." Critique 756, no. 5 (2010): 387. http://dx.doi.org/10.3917/criti.756.0387.

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22

Acquisto, Joseph. "« Mais qui ose en affronter les suites ? » : Emil Cioran et les rapports entre la vanité, le suicide et l’écriture." Quêtes littéraires, no. 8 (December 30, 2018): 153–65. http://dx.doi.org/10.31743/ql.3488.

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Selon Emil Cioran, tout être humain est « imbu de la conviction que tout est vain ». Par contre, Cioran se demande tout de suite après avoir indiqué cette reconnaissance universelle de la vanité : « Mais qui ose en affronter les suites ? ». En quoi l’écrivain cioranien s’associe-t-il à cette humanité généralisée et en quoi est-ce qu’il s’en distingue ? Quelle doit être notre réaction alors, face à la vanité de tout ? On pourrait être tenté de dire que la destruction, et surtout l’autodestruction, semble être la réaction la plus raisonnée. Bien que Cioran écrive de manière quasi-obsessionnelle sur le thème du suicide, il n’arrive pas à le recommander comme solution à la vanité justement parce que la vanité résiste à toute solution. L’écrivain se voit ainsi dans une position contradictoire, car à quoi sert-il de déclarer la vanité de tout si cette déclaration ne fait que participer à cette même vanité ? L’acte de publier des livres n’est pas, selon Cioran, plus efficace que le suicide en ce qui concerne l’atténuation de la vanité, mais l’écriture et la lecture en tant que création et destruction simultanées nous permettent d’oublier la vanité au moins assez pour continuer à vivre.

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23

Villamía, Luis. "Destinos afines: Emile Cioran, Yasmina Reza y la apología de la impugnación." Anales de Filología Francesa 28, no. 1 (October 23, 2020): 707–26. http://dx.doi.org/10.6018/analesff.411411.

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There is no doubt regarding the influence exercized by the work of Emile Cioran upon Yasmina Reza´s fictional texts. Not only some of her theater characters are inspired in the figure of Cioran, but both writers share a similar worldview and analogous obsessions that flourish in their writings. In this manner, we do perceive in them a kind of aggressiveness that turns against themselves seasoned with frivolity and humor. In the speeches and monologues of Reza´s characters we can identify ideas that are repeated endlessly in Cioran´s aphorisms. Both authors turn reflection into pleasure towards excess, as if they were unable to contain themselves. From this perspective, we can better understand ideas such as their rejection from the notion of happiness for being considered a desire vulgar and childish, and the apology for barbarism as the only way to be reborn again. Abstract Il n’y a aucun doute sur l’influence exercée par l´oeuvre d’Émile Cioran dans les pièces de théâtre de Yasmina Reza. Non seulement certains de ses personnages s’inspirent dans la figure de Cioran, mais aussi les deux auteurs partagent une vision du monde similaire et les mêmes obsessions germent dans leurs écrits. Ainsi, on peut percevoir une sorte d’agressivité qui se retourne contre eux mêmes accompagnée de frivolité et d’humour. Dans les allocutions et monologues des personnages de Reza il est possible d'identifier des pensées qui se répètent sans cesse dans les aphorismes de Cioran. Les deux écrivains transforment la réflexion en un plaisir par l'excès, comme s'ils ne pouvaient pas s'empêcher de se contenir. Dans cette perspective il est possible de mieux comprendre des idées telles que le rejet de la notion de bonheur en le considérant un désir vulgaire et infantile, ou l’apologie de la barbarie comme la seule forme de renaître. Mots-clés Nihilisme, postmodernisme, frivolité, agressivité, apatride

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Nepveu, Pierre. "Cioran ou la maladie de l’éternité." Études françaises 37, no. 1 (August 18, 2004): 11–21. http://dx.doi.org/10.7202/008838ar.

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Résumé Ennemie du temps, acharnée à refuser l’existence, l’oeuvre de Cioran est forcément vouée à entretenir un rapport intense et complexe avec l’éternité. Dans ses premiers écrits, Cioran paraît hanté par une éternité salvatrice, qui remédierait par des moments d’extase à la maladie du temps, exprimée dans un lyrisme du dégoût et de l’enlisement. En passant à la langue française et à son classicisme, il donne désormais à son refus du temps une sorte de frappe éternelle : son art devient pour de bon une pratique de la formule, qui dit l’éternité non comme salut mais comme maladie, apparentée à l’insomnie, à l’ennui et au mal de la langue elle-même, cherchant par une clarté digne du Grand Siècle à assumer et à surmonter le déracinement. S’il reste une éternité heureuse, elle se situe au-delà du langage, dans la musique de Bach. Par l’ensemble de ses réflexions sur l’histoire, le temps et l’éternité, le classicisme de Cioran paraît annoncer paradoxalement la postmodernité.

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25

Duque García, Nacho. "Por si aún fuera necesario: Una aproximación a Cioran." ÁNFORA 14, no. 23 (August 23, 2017): 149–64. http://dx.doi.org/10.30854/anf.v14.n23.2007.199.

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Cioran, filósofo, literato, autor de silogismos provocadores, rumano y parisino, es uno de los pensadores más interesantes y particulares del prolífico siglo veinte. Hoy, cuando un nuevo horizonte cultural, ese al que llamamos postmodernidad, parece definitivamente asentado a un nivel global, resulta interesante volver a rescatar su obra y sus reflexiones puesto que en ella encontramos una reafirmación de algunos de los valores de los que, en buena medida, la actualidad carece. Más allá de una perspectiva finalista propia de nuestros días, la reivindicación del instante presente se torna en Cioran en una manera de llenar de vida cada pequeña vivencia del individuo, desprendido de su condición de sujeto y alejado de los mecanismos inviolables de la historia. Ahí encuentra Cioran un espacio para la amistad, reivindicación absoluta de la libertad y de la alteridad del individuo, y nosotros una nueva vía para seguir profundizando en las alternativas posibles frente al actual estado de cosas.

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André, Jean-Marie. "Les twitts d’Emil Michel Cioran." Hegel N° 4, no. 4 (2015): 321. http://dx.doi.org/10.4267/2042/57923.

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Schepanskyi, V. V. "Gnostic anthropology of Emil Cioran." CHERKASY UNIVERSITY BULLETIN: PHILOSOPHY, no. 1 (2018): 47–58. http://dx.doi.org/10.31651/2076-5894-2018-1-47-58.

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Barnett, R. L. Etienne. "Cioran et le gouffre temporel." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 44, no. 1 (March 6, 2009): 83–93. http://dx.doi.org/10.1075/rro.44.1.05bar.

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In the Cioranian universe, language and time, both inextricably bound, both chillingly perverse, constitute icons of what is, contextually, an inexorable vision of the human condition. The pairing progenerates specters, phantasms of the void, pernicious and vacuous. It is at the perilous, indeed, the perfidious nexus of enunciation and endlessness — each dreaded, yet each ineluctable — that the dyad adopts an onerous cast. To the extent that discourse configures a cipher of perpetuity, and in that, conversely, any trace of eternity conjures a ceaseless extension of the word, of that very word which begets and embodies postmodern aporia, there lurks in consequence of discourse emitted a palpable trepidation, a confrontation with the ultimate precipice, the unconscionable, inscrutable continuity of nothingness. The deconstructive imperative overtakes the text, from which there is neither scriptural nor metaphysical exit. A curious dynamic, a tangled skein of haunting refrain.

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Dumas, Marc. "Le rien et Dieu chez Cioran." Thème 4, no. 2 (March 16, 2009): 83–98. http://dx.doi.org/10.7202/602441ar.

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RÉSUMÉ Cet article explore le monde et la pensée de Cioran sur le Rien. Il dégage tout d’abord l’horizon cioranien, où l’humain semble écartelé entre le Rien originaire, dont il peut à l’occasion faire l’expérience, et le néant de son existence. Devant cela, Cioran lance un appel à une plus grande lucidité, pour éviter les diverses illusions offertes sur le marché de l’existence. L’article présente ensuite diverses compréhensions du Rien. Celui-ci est alors mis en corrélation avec le thème de la mort et celui de Dieu. L’auteur souligne enfin l’apport possible de l’oeuvre cioranienne pour le travail théologique aujourd’hui.

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Cicortaș, Horia Corneliu. "Un personaggio in cerca d’autore. Cioran, l’esilio e il teatro decomposto di Matei Vișniec." Caietele Echinox 39 (December 1, 2020): 283–96. http://dx.doi.org/10.24193/cechinox.2020.39.21.

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"The article presents several themes in the works of E. M. Cioran and Matei Vișniec, two authors who, though belonging to two different generations and cultural contexts, have in common the experience of exile, the shift in the language of self-expression from their native Romanian to French, and a strong interest in philosophical reflection on the topic of decomposition. In this regard, Cioran’s works, such as Précis de décomposition, can be read in light of The Decomposed Theatre, and vice-versa. This article draws attention to two examples of Vișniec’s dramaturgy, making use of a comparative approach to the decomposition theme in the two Franco-Romanian authors."

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31

Oltean, Alexandra. "Blaga Și Cioran - Tragedia Culturilor Mici." Lucian Blaga Yearbook 21, no. 1-2 (December 1, 2020): 74–85. http://dx.doi.org/10.2478/clb-2020-0006.

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Abstract This paper aims to explain the affinities and differences of vision between Lucian Blaga and Emil Cioran on the phenomenon of Romanian historical evolution and national conscience. The two main works analyzed, The Mioritic Space and The Transfiguration of Romania, are in a passionate dialog, complementing each other in a conceptual and philosophical manner. The influence of Spengler’s philosophy is fervent in the works of the two authors, but it is subject to a strong resemantization process in terms of the dynamics between large and small cultures. The place of Romanian culture and history will be presented empathically pozitive by Lucian Blaga, who will use will use it as a foundation for the picturesque theory of the stylistic array. On the other hand, Emil Cioran will condemn the psychological deficiencies of Romanian culture, incapable of creating history.

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David, Sylvain. "Cioran et le « pamphlet sans objet »." Études : Étude de la trajectoire 39, no. 2 (November 5, 2008): 47–58. http://dx.doi.org/10.7202/019282ar.

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Résumé Cet article vise à comprendre ce qu’entend Cioran lorsqu’il prétend avoir conçu « un genre nouveau : le pamphlet sans objet ». Dans cette perspective, l’analyse confronte les grandes caractéristiques esthétiques et rhétoriques des premières oeuvres françaises de l’essayiste – du Précis de décomposition (1949) à Histoire et utopie (1960), ouvrage dont est tiré l’extrait cité – aux typologies du genre polémique proposées par Marc Angenot, dans La parole pamphlétaire (1982). La finalité d’un tel exercice est de mieux comprendre certains paradoxes de la poétique cioranienne, fondée – en dépit de sa rare élégance – sur un usage singulier de la violence verbale.

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Willis Goth Regier. "Searching for Cioran (review)." MLN 124, no. 4 (2009): 996–98. http://dx.doi.org/10.1353/mln.0.0180.

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Marín, Joan M. "Frente a frente: los dos Cioran." Laocoonte. Revista de Estética y Teoría de las Artes, no. 5 (December 13, 2018): 315. http://dx.doi.org/10.7203/laocoonte.0.5.13540.

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35

Buzdugan, Adrian. "The Cioran case – a heideggerian case?" Sæculum 48, no. 2 (December 1, 2019): 22–28. http://dx.doi.org/10.2478/saec-2019-0026.

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AbstractIf 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.

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36

Jamet, Pierre. "L’anti-écrivain-voyageur (tombeau pour Cioran)." Philosophique, no. 12 (January 1, 2009): 155–62. http://dx.doi.org/10.4000/philosophique.151.

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Fejtö, François. "Amitiés lointaines : Cioran et Constatin Noïca." Commentaire Numéro 56, no. 4 (October 1, 1991): 837–38. http://dx.doi.org/10.3917/comm.056.0837.

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Piednoir, Vincent. "Cioran (1911/1995) - L'art du désespoir." Les Grands Dossiers des Sciences Humaines N° 43, no. 6 (June 1, 2016): 26. http://dx.doi.org/10.3917/gdsh.043.0026.

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Szaj, Patryk. "The Radical Nihilist. The Cultural Diagnosis of Emil Cioran." Analiza i Egzystencja 31 (2015): 97–115. http://dx.doi.org/10.18276/aie.2015.31-05.

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Snochowska-Gonzalez, Claudia. "Od melancholii do rozpaczy. O prozie Andrzeja Stasiuka." Studia Litteraria et Historica, no. 2 (June 30, 2014): 298–330. http://dx.doi.org/10.11649/slh.2013.013.

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From melancholy to despair. About Andrzej Stasiuk’s prose worksIn Moja Europa, Jadąc do Babadag and Fado Andrzej Stasiuk describes his travelling to the countries of the East-Central Europe: its diminished, forgotten part, lying on the margins of History and Progress. It is a land of melancholy, of the eternal emptiness and lack. To praise it means to give an ironic response to the enthusiasm of a “return to the West”, to the attempts to meet East-European stigma and to the West’s fear of East-European ferocity. What is the source of this melancholy? Stasiuk refers to Cioran, his philosophy of history, his resignation and his belief in the bankruptcy of the European civilization. We know, however, that in the case of Cioran melancholy covers the memory of philosopher’s commitment to Romanian fascism; his subsequent melancholy replaces responsibility. What are the wounds and silenced victims hiding in Stasiuk’s melancholic landscape? What kind of responsibility does he not want to accept? In his next book, Dziennik pisany później, Stasiuk comes back to the same countries, this time not trying to escape the hell of questions about the East-European ethnic carnage. The author of the article analyses his turning point, using the terminology developed in Peter Hallward’s Absolutely Post-colonial to describe the dynamics between two tendencies: singular and specific. Od melancholii do rozpaczy. O prozie Andrzeja StasiukaW Mojej Europie, Jadąc do Babadag i Fado Andrzej Stasiuk podróżuje po krajach Europy Środkowo-Wschodniej. To Europa pomniejsza, zapomniana, na marginesie Historii i Postępu. Jest to kraina melancholii, pustki i wiecznego braku. Opiewanie jej staje się ironiczną odpowiedzią na entuzjazm „powrotu do Zachodu”, na próby sprostania wschodnioeuropejskiemu piętnu i na zachodnie przerażenie wschodnioeuropejską dzikością. Skąd się jednak bierze spowijająca ją melancholia? Stasiuk powołuje się na Ciorana, na jego filozofię historii, rezygnację i przekonanie o bankructwie cywilizacji europejskiej. Wiemy jednak, że w przypadku Ciorana melancholia przykrywa pamięć o przemilczanym romansie filozofa z faszyzmem, który miał się stać radykalnym wyrwaniem się ku nowemu światu i nowej historii. Jakie rany i przemilczane ofiary kryją się w melancholijnym krajobrazie u Stasiuka? Jakiej odpowiedzialności nie chce przyjąć? W kolejnej książce, Dzienniku pisanym później, Stasiuk wraca w te same miejsca, by tym razem nie umknąć przed pytaniami o wschodnioeuropejskie piekło etnicznej jatki. Autorka przedstawia ten zwrot, korzystając z terminologii Petera Hallwarda i opisanej przez niego dynamiki między tendencjami singular i specific.

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Ochoa Bilbao, Luis. "CIORAN Y LA ÉTICA DE LA INTROSPECCIÓN." Andamios, Revista de Investigación Social 2, no. 3 (September 2, 2006): 129. http://dx.doi.org/10.29092/uacm.v2i3.483.

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El artículo pretende recordar a Cioran, a diez años de su muerte, invitando a los lectores a comprender el estilo de su obra, que se denomina aquí como una ética de la introspección. Dicho estilo, menospreciado por la academia formal, rescata uno de los elementos olvidados en las ciencias sociales contemporáneas, la emotividad del conocimiento, del saber primigenio, que comienza siempre con la reflexión sobre uno mismo.

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Kanterian, Edward. "Cioran als Nihilist, Skeptiker und politischer Essayist." Philosophische Rundschau 64, no. 4 (2017): 349. http://dx.doi.org/10.1628/003181517x15167178975575.

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Cea Bustamante, Cristóbal. "LÉVINAS Y CIORAN: UNA EXPERIENCIA DEL INSOMNIO." Intus Legere Filosofía 11, no. 1 (December 13, 2017): 37. http://dx.doi.org/10.15691/0718-5448vol11iss1a171.

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<p>Desde el pensamiento ontológico de cautiverio que realizó Emmanuel Lévinas, es decir, desde su concepto de Il y a y su descripción de la experiencia más próxima al ser anónimo e impersonal, el insomnio, el presente artículo tiene el propósito de efectuar una conversación o un acercamiento con el pensamiento pesimista de Emil Cioran.<br />Todo para graficar el horror de esta patología y de la importancia del sueño o el inconsciente frente a ella, presentado este, el inconsciente, como una salida necesaria.</p>

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Cea Bustamante, Cristóbal. "LÉVINAS Y CIORAN: UNA EXPERIENCIA DEL INSOMNIO." Síntesis. Revista de Filosofía 11, no. 1 (December 27, 2017): 37. http://dx.doi.org/10.15691/0718-5448vol11iss1a176.

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Desde el pensamiento ontológico de cautiverio que realizó Emmanuel Lévinas, es decir, desde su concepto de Il y a y su descripción de la experiencia más próxima al ser anónimo e impersonal, el insomnio, el presente artículo tiene el propósito de efectuar una conversación o un acercamiento con el pensamiento pesimista de Emil Cioran. Todo para graficar el horror de esta patología y de la importancia del sueño o el inconsciente frente a ella, presentado este, el inconsciente, como una salida necesaria.

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Carneiro, Alexandre Soares. "Traduções de Cioran são relançadas no Brasil." Uniletras 33, no. 1 (July 21, 2011): 191–96. http://dx.doi.org/10.5212/uniletras.v.33i1.0012.

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Valcan, Ciprian. "The Fascination of Artifice. Valéry and Cioran." Procedia - Social and Behavioral Sciences 71 (January 2013): 189–95. http://dx.doi.org/10.1016/j.sbspro.2013.01.026.

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Perjovschi, Dan. "Cioran na rua, desenhos de Dan Perjovschi." Alea : Estudos Neolatinos 16, no. 1 (June 2014): 270–74. http://dx.doi.org/10.1590/s1517-106x2014000100020.

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Marín, Joan M. "Cioran en los Archives paradoxales. (Tome III)." Laocoonte. Revista de Estética y Teoría de las Artes, no. 4 (December 12, 2017): 371. http://dx.doi.org/10.7203/laocoonte.0.4.11114.

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Abad, Alfredo. "Cioran, el escepticismo y la elección estilística." Estudios de Filosofía, no. 60 (July 25, 2019): 217–37. http://dx.doi.org/10.17533/10.17533/udea.ef.n60a11.

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La importancia concedida por Cioran al lenguaje y sobre todo al estilo, está configurada a partir de su impronta escéptica. La elección estilística procede de la asimilación de una insustancialidad ontológica que fundamenta la comprensión del lenguaje como substituto de la nada. El artículo enfatiza en la relación estrecha entre el pensamiento y la elección estilística y los especifica en la adopción y rechazo que se generan en el autor en torno a la poesía y la lírica.

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Romaniuc, Raluca. "Cioran et ses contemporains (review)." L'Esprit Créateur 52, no. 1 (2012): 135. http://dx.doi.org/10.1353/esp.2012.0013.

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