To see the other types of publications on this topic, follow the link: Romanian fiction.
Journal articles on the topic 'Romanian fiction'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Romanian fiction.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Văsieș, Alex. "Narrative Devices in Motion: From Genre Fiction to Mainstream Fictoin in Florin Chirculescu’s Prose." Caietele Echinox 43 (December 1, 2022): 216–25. http://dx.doi.org/10.24193/cechinox.2022.43.14.
Full textAbstract:
This article explores the dynamics between Romanian genre fiction and mainstream fiction in the postcommunist period, trying to negotiate the instrumentalizations of narrative devices usually found in popular literature (be it fantasy, crime, or mystery fiction) in a novel that transcends normative genre boundaries. Thus, the text traces a specific way in which some Romanian writers (in this case Florin Chirculescu) have navigated the strenuous path brought by capitalism in the local literary scene.
2
Bugiac, Andreea. "Corps de femmes et maisons d’enfants dans Enfants du diable de Liliana Lazăr." Studia Universitatis Babeș-Bolyai Philologia 66, no. 4 (December 17, 2021): 299–318. http://dx.doi.org/10.24193/subbphilo.2021.4.19.
Full textAbstract:
Women Bodies and Children’s Homes in Liliana Lazar’s Enfants du diable [The Devil’s Children]. Many contemporary Romanian writers who chose French as a literary language seem to share a common interest in revisiting through fiction Romania’s relatively recent communist past, thus exposing the dysfunctionalities of the ‘multilaterally developed socialist society’ during the last years of Nicolae Ceaușescu’s dictatorship. In her novel, Enfants du diable (2016), Liliana Lazar’s merit is to emphasize the abusive nature of the Romanian totalitarian regime by exploring a topic which is normally less taken into account by post-communist Romanian fiction, namely the private body of women transformed into a public, even political body after the implementation of the Anti-abortion Decree 770/1966. Our aim is to examine the way in which Lazar’s book deals with this topic and its social and personal consequences, as well as its denunciation of a less evident form of the communist carceral system, namely the institutionalization of orphaned children. Keywords: communism, totalitarian regime, women’s body, orphanage, carceral system, Liliana Lazar, Nicolae Ceaușescu
3
Conţac, Emanuel. "The Reception of C. S.Lewis in Post-Communist Romania." Linguaculture 2014, no. 2 (December 1, 2014): 123–41. http://dx.doi.org/10.1515/lincu-2015-0021.
Full textAbstract:
Abstract This paper presents the circumstances surrounding the publication of the Romanian translations of C. S. Lewis’s best known works. In the first part, the author gives information about the Romanian authors who were acquainted with Lewis’s writings during Communism, when the translation and printing of books on religious topics was under the tight control of a totalitarian government. In spite of that control, two Lewis titles-The Lion, the Witch and the Wardrobe and Mere Christianity-which were translated in the US, were smuggled into Romania. The second part of this paper deals with the remarkably changed situation after the emergence of a new regime in 1990. Since then Lewis’s books have been published, often in multiple print runs, by secular as well as Christian publishers, with a total of 12 fiction and 13 non-fiction titles, indicating a wide popular reception of his work.
4
Patraș, Roxana. "Hayduk novels in the nineteenth-century Romanian fiction: notes on a sub-genre." Swedish Journal of Romanian Studies 2, no. 1 (May 16, 2019): 24–33. http://dx.doi.org/10.35824/sjrs.v2i1.18769.
Full textAbstract:
In the context of nineteenth and early twentieth-century Romanian literature, hajduk novels and hajduk short fiction (novella, short-story, tale) are called to bring back a lost “epicness,” to give back the hajduks their lost aura. But why did the Romanian readers need this remix? Was it for ideological reasons? Did the growing female readership influence the affluence of hajduk fiction? Could the hajduk novels have supplied the default of other important fiction sub-genres such as children or teenage literature? The present article supports the idea that, as a distinct fiction sub-genre, the hajduk novels convey a modern lifestyle, attached to new values such as the disengagement from material objects, the democratization of access to luxury goods and commodities, and the mobility of social classes. Clothing, leisure, eating/ drinking/ sleeping/ hygiene, work, military and forest/ nomad life, and ritual items that are mentioned in these novels can help us correlate the technical tendencies reflected in the making of objects to a particular ethnicity (Romanian).
5
Eichel, Roxana. "Genre Transgression in Contemporary Romanian Crime Fiction." Acta Universitatis Sapientiae, Philologica 11, no. 1 (November 1, 2019): 21–34. http://dx.doi.org/10.2478/ausp-2019-0002.
Full textAbstract:
Abstract Crime fiction is currently evolving towards a literary genre which encompasses the intertwining of several textual practices, rhetorical modes, cultural identities, and topoi. Multiculturalism and the relation to alterity are gradually conquering the realm of detective fiction, thus rendering the crime enigma or suspense only secondary in comparison to other intellectual “enjeux” of the text. Transgressing the national horizon, contemporary detective fiction in Romanian literature can be thus considered as “world literature” (Nilsson–Damrosch–D’haen 2017) not only because it does not engage representations of Romanian spaces alone but also due to its translatability, its transnational range of cultural values and practices. This article aims to discuss several categories of examples for this fresh diversity that Romanian crime fiction has encountered. Novels written recently by authors such as Petru Berteanu, Caius Dobrescu, Mihaela Apetrei, Alex Leo Şerban, or Eugen Ovidiu Chirovici employ variations such as either alternative narrators or cosmopolitan characters, or contribute to anthologies, writing directly in English in order to gain access to a more complex audience. The paper sets out to analyse the literary or rhetorical devices at work in these transgressional phenomena as well as their effects on contemporary Romanian crime narratives and their possible correlations to transnational phenomena.1
6
Bodiu, Andrei. "The Translations of Fiction into Romanian and Romanian Fiction (A Comparative Study Regarding the Period 2006–2010)." Interlitteraria 17 (December 1, 2012): 254. http://dx.doi.org/10.12697/il.2012.17.19.
Full text
7
Anghel, Florentina. "A Revolution for the Stage – Mad Forest by Caryl Churchill." Romanian Journal of English Studies 15, no. 1 (December 1, 2018): 1–8. http://dx.doi.org/10.1515/rjes-2018-0001.
Full textAbstract:
Abstract The raw material of Caryl Churchill’s Mad Forest was extracted from the 1989 Revolution in Romania and chiselled to the essence. The play bridges reality and fiction through a cross-cultural perspective, which implies documentation, collaborative work and emotional detachment. The British playwright used innovative devices and adapted pictorial techniques to turn the Romanian Revolution into a work of art, to preserve what she considered particular and also connect the event to several of the cultural symbols Romania is associated with.
8
Cărbunariu, Gianina, and Bonnie Marranca. "The Reality of Fiction." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 112–22. http://dx.doi.org/10.1162/pajj_a_00323.
Full textAbstract:
In the last decade, the playwright and director Gianina Cărbunariu has become one of the prominent young voices in contemporary European theatre. Mihaela, the Tiger of Our Town, which premiered at the Royal Dramatic Theatre in Stockholm, will be performed at the 2016 Avignon festival by Sweden's Jupither Josephsson Company. Other plays include Stop the Tempo, For Sale, Typographic Letters, Solitarity, Metro is Everywhere, and mady-baby.edu (later titled Kebab). The plays have been translated into more than fifteen languages, and they have been performed in Romanian cities and in theatres across Europe, in Berlin, Munich, Paris, Madrid, Brussels, Vienna, Athens, Warsaw, Budapest, Dublin, and elsewhere in Moscow, Istanbul, Santiago de Chile, New York, and Montreal. Cărbunariu has had residencies at the Lark Theatre in New York and London's Royal Court. Her plays and productions have received numerous awards in Romania and in Canada. She is a founding member of the dramAcum independent theatre group in Bucharest. This interview was taped in New York City on December 19, 2015.
9
Țapu, Mihai. "Travelling Theory-Fiction. A Romanian Case Study." Metacritic Journal for Comparative Studies and Theory 9, no. 1 (July 20, 2023): 214–33. http://dx.doi.org/10.24193/mjcst.2023.15.12.
Full textAbstract:
This paper discusses the import of “theory-fiction” in contemporary Romanian culture, by analysing the textual and artistic output of the performance artists Alina Popa and Florin Flueraș. The first part introduces the key methodological concepts used in
10
Bopp-Filimonov, Valeska. "Saddening Encounters. Children and Animals in Romanian Fiction and Beyond." Studia Universitatis Babeș-Bolyai Philologia 67, no. 2 (June 30, 2022): 13–34. http://dx.doi.org/10.24193/subbphilo.2022.2.01.
Full textAbstract:
"The aim of this essay is to give some impetus to a re-reading of classic Romanian literature by taking an approach inspired by Animal and Childhood Studies to larger questions of ideological currents and social cultural phenomena in the Romanian society. I chose four short texts by Ioan Alexandru Brătescu-Voinești, Elena Farago, and Ion Barbu that originate from the beginning of the 20th century and are currently considered as part of the Romanian literary canon. They are, at least partially, addressed to children and they all contain violent human-animal encounters. The fact that this element of violence has not prevented the texts from becoming and continuing to be canonical adds a new dimension to Animal Studies scholarship, which has so far mainly mirrored the increasingly “civilised” human-animal relation in countries with an early developing bourgeois social strata where animals became pets and thus friends and family members. The study also challenges the existing interpretations of Romanian literature: instead of applying aesthetic criteria, a thematic thread is followed with reflections on the social relevance of the recurring topos which seems to store a more deeply anchored cultural experience. A closer look at both the “disempowered and oppressed positions” (Feuerstein) that children and animals occupy in both literary texts and real-life society poses the practical question of how greater harmony can be created in the future. Keywords: animal studies, childhood studies, human-animal encounters, violence, Romanian literature, Barbu, Brătescu-Voinești, Farago "
11
Holden, Anca. "Remembering and Memorializing German-Romanian Gulag Victims in the USSR through Historical Documents and Historical Fiction." University of Bucharest Review. Literary and Cultural Studies Series 11, no. 2 (October 2021): 103–16. http://dx.doi.org/10.31178/ubr.11.2.8.
Full textAbstract:
This paper examines the memory of the Romanian-German victims of the Soviet Gulag as recorded in recent collections of testimonies and interviews, a museum exhibition, an audio-visual documentary project, and Herta Müller’s 2009 novel Atemschaukel. It employs Alexander Etkind’s notions of “soft memory” and “hard memory” to discuss some of the key historical and political events that have impeded the establishing of consensual remembrance policies of the Soviet Gulag in communist Romania. I show how both German and Romanian communities since 1990 have memorialized the Gulag and discuss Atemschaukel as a legitimate impulse to document both personal and collective trauma of the second and subsequent generations. I argue that in the absence of a crystallized, hard memory, the historical documents and the historical fiction analyzed serve as viable examples of soft memory that succeed in memorializing the forced labor camps experience in its collective and individual forms.
12
Ionaș, Anda. "The Author’s Voice in Genre Films. Miracle and Unidentified by Bogdan George Apetri." Caietele Echinox 45 (December 1, 2023): 378–91. http://dx.doi.org/10.24193/cechinox.2023.45.27.
Full textAbstract:
Romanian cinema after 1989 was mainly oriented towards creations through which directors sought to win critical acclaim and awards at international festivals, but which were not addressed to the general public, as films belonging to a cinematic genre generally do. In this paper we discuss how Romanian director George Bogdan Apetri, now living in New York, represents a distinct voice in Romanian cinema today. In his films Unidentified and Miracle, he manages to harness his dual cultural perspective (American and Romanian), combining the conventions of the crime fiction genre but also elements specific to the Romanian New Wave, making two films that are pleasing to the audience but at the same time part of the arthouse circuit.
13
Andraș, Sonia D. "FASHION, CINEMA, AND GERMAN-AMERICAN PROPAGANDA IN 1930s BUCHAREST." ANUARUL INSTITUTULUI DE CERCETĂRI SOCIO-UMANE „GHEORGHE ŞINCAI” 25 (April 1, 2022): 211–35. http://dx.doi.org/10.59277/icsugh.sincai.25.16.
Full textAbstract:
This paper explores how Bucharest’s cinema-going public perceived the Nazi influence on Hollywood in the 1930s. The aim is to identify how Nazi propaganda was disseminated and consumed in interwar Bucharest and its similarities to the idea of glamour, relevant both to fashion and cinema. Considering the links between Goebbels’ propaganda machine and certain entities or individuals in Hollywood, US cinematography becomes a more complex medium of dissemination beyond a mere promoter of modernity’s technological and consumerist ideas. Romania’s situation in the 1930s, especially the increasing leaning towards the extreme right then inform movie star image, particularly through a gendered lens, as perfect tools for propagandists. The interwar cinema-centered Romanian discourse involves a triple filtration, through Hollywood, Berlin, and Bucharest, as a complex depiction of the Romanian public’s ideals and views. To illustrate these points, I will analyze relevant written and visual texts from the interwar era, including fiction, memoirs, essays, nationally and locally spread cinema-centered and general periodicals, postcards, or photographs. The interdisciplinary research will include cultural studies (fashion, media, cinema, gender), history, and discourse analysis. This innovative perspective on fashion and cinema in an interwar Romanian context adds to the existing knowledge by opening new research topics and subjects in the fields of fashion studies and Romanian studies.
14
Cornis-Pop, Marcel. "Narration Across the Totalistic Gap: On Recent Romanian Fiction." Symposium: A Quarterly Journal in Modern Literatures 43, no. 1 (March 1989): 3–19. http://dx.doi.org/10.1080/00397709.1989.10733664.
Full text
15
Leon, Crina. "Steinar Lone and the magic of translation." Romanian Journal for Baltic and Nordic Studies 7, no. 1 (August 15, 2015): 151–58. http://dx.doi.org/10.53604/rjbns.v7i1_7.
Full textAbstract:
Steinar Lone is a literary translator and a non-fiction writer, a member of the Norwegian Association of Literary Translators and of the Norwegian Non-Fiction Writers and Translators Organization. He has translated Romanian literature into Norwegian for 22 years, starting in 1993 with Mircea Eliade’s On Mântuleasa Street. He has translated Mihail Sadoveanu’s The Hatchet, Camil Petrescu’s The Procrustean Bed, as well as the Blinding trilogy, Nostalgia, Travesti, Why We Love Women and Europe has the shape of my brain by Mircea Cărtărescu. For his translation of Blinding. The Left Wing he was awarded the Norwegian Critics Prize for Literature in the year 2009. Steinar Lone has also translated poetry such as Vasco Da Gama by Gellu Naum. More recent or near future translations include I’m a Communist Biddy by Dan Lungu, The Book of Whispers by Varujan Vosganian and Little Fingers by Filip Florian. As a fiction translator, he has been awarded a state scholarship for 3 years in 2015, which will allow him to continue translating Romanian literature into Norwegian.
16
Avram, Larisa, Anca Sevcenco, and Veronica Tomescu. "The acquisition of recursively embedded noun modifiers in Romanian by Hungarian-Romanian bilinguals." Bucharest Working Papers in Linguistics 22, no. 1 (2020): 90–103. http://dx.doi.org/10.31178/inter.11.25.4.
Full textAbstract:
My article is related to the use of Gloria Anzaldua’s concept of mestizaje and Frederick Jackson Turner’s frontier thesis in analyzing the possible hybridity in Joss Whedon’s Firefly, where an intergalactic Sino-American federation called the Alliance recreates the palimpsest of civilization of the kind described by Turner, but also forges a new cultural mix: a Wild West backdrop with Chinese characteristics. I examine the ways in which Whedon’s show differs from other space opera settings like Star Trek or Star Wars, but also how it ends up reproducing certain orientalizing tropes that feature in science fiction. I aim to see how mestizaje is mirrored in linguistic, sexual, and religious ways through the show’s engagement with in-betweenness, especially in the guise of its adoption of Chinese culture, and whether Whedon’s Firefly enables the creation of Anzaldua’s type of hybridity.
17
Merce, Gabriela-Emilia. "Liliana Corobcaʹs Novels “Un an în Paradis” and “Kinderland” in Critical Reading from a Thematic Perspective." Philologia, no. 2(320) (August 2023): 90–97. http://dx.doi.org/10.52505/1857-4300.2023.2(320).08.
Full textAbstract:
This article presents how the novels Un an în Paradis and Kinderland have been received by critics from a thematic perspective. Identity, memory, alienation, childhood are themes highlighted in the novels under review, which contribute to the representation of a real, believable world. Liliana Corobcaʹs prose is defined by narratively constructed worlds, worlds that expose taboo subjects, that illustrate limit-situations, that sustain a marginal identity. The author stands out in Romanian literature as a distinct voice, which surprises by the chosen themes, by the style of writing, by the constructed fictional worlds, which complement the known real world. She is a writer who looks for real events to expose fictionally. Her prose is the result of a interplay between fiction and non-fiction. The authenticity of her writing is sustained by the fictionalization of individual or collective memory.
18
Gavril, Gabriela. "Biografie și ficțiune. Contradicțiile lui Panait Istrati – capcane pentru exegeți." Numéro spécial 23, no. 2 (December 15, 2023): 175–81. http://dx.doi.org/10.4467/20843917rc.23.018.18512.
Full textAbstract:
Biography and Fiction. The Contradictions of Panait Istrati – Traps for Exegetes The proposed text is an excerpt from a larger study devoted to the writings of Panait Istrati. It aims to highlight the importance of literary history for a more accurate understanding of the reception of Panait Istrati in Romania, especially in the interwar period, taking a critical distance from the thesis of the author’s “marginalization” in Romanian and French literature. By researching Istrati’s articles from several decades and his correspondence with Romain Rolland, the study describes the contradictions of the author, the process of fictionalization of his biography, the invention of “roles” and the construction of a “personal myth”.
19
Nosenko, Tamara. "Corneliu Irod – Ukrainian Writer from Romania (Creative Work Overview)." Слово і Час, no. 10 (October 16, 2019): 90–100. http://dx.doi.org/10.33608/0236-1477.2019.10.90-100.
Full textAbstract:
The essay surveys the works written by C. Irod, one of the leading contemporary Ukrainian writers of Romania. The main attention is paid to his trilogy of novels “The Feast” and stories that vary in thematic features and stylistics, some of them belonging to a particular type of short prose works – allegoric pieces called “blunder stories”. Considering main themes and ideas of C. Irod’s works and focusing on peculiarities of their literary interpretation, the researcher intends to represent the originality of the writer’s prose heritage, to determine his role in developing the genre of the modern novel and renovating flash fiction in Ukrainian literature of Romania. To achieve this aim, the researcher adds a comparative aspect and refers to the major development patterns of the world novel of the 1960s–1980s, in particular, focusing on such a remarkable feature as ‘new epics’. The themes and issues of the works by C. Irod have been compared to those in the works by Romanian writers, in particular D. R. Popescu. It is noted that C. Irode’s stories have the inherent connection with the flash fiction of the Ukrainian masters – H. Tiutiunnyk and Ye. Hutsalo. The essay follows correspondences in themes and literary technique that relate the Romanian writer to the mentioned Ukrainian authors. The essay also informs about C. Irod’s achievements in the Цeld of literary translation. In particular, he worked over translation of T. Shevchenko’s “Diary”, as well as the book “Taras Shevchenko’s life” by P. Zaitsev. The researcher also gives some details concerning C. Irod’s translations of the tales “When the animals could talk” and “Mykyta the Fox” by I. Franko, the stories written by H. Tiutiunnyk and some pieces in poetry and prose by junior Ukrainian authors.
20
Vișan, Nadina. "“‘Peewit,’ said a peewit, very remote.” – Notes on quotatives in literary translation." Open Linguistics 8, no. 1 (January 1, 2022): 354–67. http://dx.doi.org/10.1515/opli-2022-0195.
Full textAbstract:
Abstract The present article focuses on strategies of translating fiction quotatives from English into Romanian. Starting from the definition of quotatives as structures that in their simplest form consist of a subject and a quoting verb and accompany a quotation, I have selected two samples of literary text and their respective multiple versions so as to investigate patterns in which these structures are translated. Because, as pointed out in the literature, fiction quotatives describe narrative-advancing events and contribute to the development of characters, the investigation of how fiction quotatives are translated (in particular how say, the most frequently used verb in quotatives, is treated in translation) might prove to offer valuable insight for literary translation studies, correlating tendencies that seem to be cross-linguistic. For instance, it has been demonstrated that in Spanish there is a tendency of replacing the generic quoting verb say with other manner of speaking verbs. This may be seen as a form of “enrichment” as a translation strategy. The article advances the hypothesis that a similar phenomenon can be attributed to Romanian and links this phenomenon to parametric variation in English and Romance.
21
Mamoon, Trina R., and Ileana Alexandra Orlich. "Articulating Gender, Narrating the Nation: Allegorical Femininity in Romanian Fiction." Slavic and East European Journal 50, no. 2 (July 1, 2006): 355. http://dx.doi.org/10.2307/20459280.
Full text
22
Mehedinți, Mihaela. "Great Britain and the United States of America as alterity figures for Romanians in the modern epoch: Ethno-cultural images and social representations." Romanian Journal for Baltic and Nordic Studies 14, no. 1 (August 1, 2022): 99–123. http://dx.doi.org/10.2478/rjbns-2022-0006.
Full textAbstract:
Abstract The main characteristics of any given social group are defined through comparisons with members of other communities and result from a complex interplay. Identity and alterity are thus constructed simultaneously and interdependently in accordance with group representations emerging from various sources: direct contact through travelling, mere legends or more verifiable accounts, scientific or fictional works, press articles tackling diverse topics, school textbooks, almanacs, etc. The British and the Americans were not identified as the most noteworthy alterity figures by the Romanian mentality of the modern period, but they were surely perceived distinctively from other foreigners. Despite the cultural and/or geographical distance between Transylvania, Wallachia and Moldavia, on the one hand, and Great Britain and the United States of America, on the other hand, towards the end of the 19th century average Romanians were able to interwove information gathered from a wide range of sources and to transform it into realistic depictions of these two countries and their inhabitants. This process of defining the Other combined diachronic and synchronous tendencies, fiction and facts, stereotypes and truth. By synthesising the work done by previous researchers, the present study provides an overall image of the ways in which Great Britain and the United States of America were perceived by Romanians throughout the 18th and 19th centuries.
23
Olarescu, Dumitru. "The docudrama of a destiny: Bogdan Petriceicu Hasdeu." Arta 30, no. 2 (December 2021): 89–93. http://dx.doi.org/10.52603/arta.2021.30-2.13.
Full textAbstract:
First, a brief excursion is made in the evolution of the historical-biographical film in the Republic of Moldova by highlighting the stages and personalities from the history of this category of non-fiction films. The research focuses on the televised historical-biographical film Evocare. Bogdan Petriceicu Hașdeu/Evocation. Bogdan Petriceicu Hașdeu – a co-production of Romanian filmmakers (Romanian Television Film Studio) and the Republic of Moldova (State Company Teleradio Moldova) – dedicated to the eminent personality of the history of our culture – Bogdan Petriceicu Hașdeu. The authors of the film managed to evoke the multiple activity of the protagonist (writer, poet, playwright, scientist, folklorist and also the most dramatic moments of his troubled destiny. Some similarities and differences in the aesthetic conditions of the TV film and the one for the screen are revealed. The aesthetic peculiarities of the televised historical-biographical film were highlighted, the premises of its approach to docudrama – a species with a perspective of the non-fiction film.
24
MÎRZEA-VASILE, Carmen. "Corpusurile de limba română și importanța lor în realizarea de materiale didactice pentru limba română ca limbă străină." Romanian Studies Today 1, no. 1/2017 (December 1, 2017): 74–95. http://dx.doi.org/10.62229/rst/1.1/5.
Full textAbstract:
The Romanian Corpora and their importance in creating teaching materials for Romanian L2 The article has two aims: 1. to describe the corpora of contemporary non-dialectal Romanian, including both electronic corpora — The Romanian Balanced Annotated Corpus (ROMBAC), RoCo_News (a Journalistic Corpus of Romanian), The Reference Corpus of Contemporary Romanian Language (CoRoLa), etc. — and raw oral corpora, available in print only — Româna vorbită actuală (ROVA), Corpus de română vorbită (CORV), Interacţiunea verbală în limba română actuală (IVLRA), Corpus de limbă română vorbită actuală (CLRVA), etc.; 2. to plead for using corpora for pedagogical purposes, especially in creating teaching materials for Romanian as a foreign / second language. The article gives a short general description of the corpora and their applications in Second Language Acquisition and Foreign Language Teaching. The Romanian corpora are hardly known even by the Romanian researchers; their presentation takes into account the stylistic structure, annotation, number of words and tokens, etc. (for electronical corpora); the number of texts, the period of time when the records were made, the type of texts, etc. (for oral corpora in print). The second part contains some examples of possible corpora applications for Romanian as a foreign/ second language: a list of the most frequent words; the refinement of the characteristics of various types of texts (medical, legal, journalistic, fiction, etc.); the most relevant contexts for the argumental structure of verbs, adjectives, etc. In fact, the aim of the paper is to argue for developing annotated corpora for Romanian, easily accessible to researchers, professors and even students, and for using the existing corpora for pedagogical purposes.
25
Stănescu, Bogdan-Alexandru. "Re-born Translated." Journal of World Literature 3, no. 1 (February 16, 2018): 94–111. http://dx.doi.org/10.1163/24056480-00301007.
Full textAbstract:
Abstract Starting in the 1980s, Romanian intellectual debates on national identity centered on “cultural complexes” and “paradoxes” to account for the local modes of cultural production in relation to hegemonic cultural centers in Western Europe, and especially Paris. This essay deals with the enduring effects of this perspective, examined through the lens of today’s circulation of translated Romanian fiction. I focus on one of the most celebrated Romanian novelists on the international stage, Gabriela Adameșteanu, and I analyze the changes in the mode of production of her postcommunist writings, once her works start to travel in translation. My argument will be framed by Walkowitz’s notion of novels “written for translation,” and Moretti’s notion of semi-peripheral novels as a compromise between the foreign form and the “local material.”
26
Ioniţă, Maria. "Hunting Lizards in Romania." East European Politics and Societies: and Cultures 25, no. 4 (November 2011): 704–19. http://dx.doi.org/10.1177/0888325410387636.
Full textAbstract:
During the communist regime, but particularly in the 1970s and 1980s, a significant portion of the critical discourse expressed in Romanian literature took the form of “lizards.” The lizard was a type of short, highly codified, oblique text, often humorous or ironic, “planted” in a seemingly innocuous literary piece. This article serves a double purpose. Its first half is an attempt at literary paleontology: an outline of the origins, evolution, and morphology of the Romanian lizard, particularly in relation to humor and satire. The second half is an illustration of the lizard “in its natural state,” so to speak—an analysis of 2084: A Space Epic and Planet of the Mediocres, two short satirical science fiction novels by the Romanian writer Ioan Groşan, both published shortly before 1989.
27
Stanciu-Gorun, Elena. "Rural and Urban in the Romanian Fiction Film of the’60s." Romanian Journal of Population Studies 14, no. 2 (December 2020): 85–110. http://dx.doi.org/10.24193/rjps.2020.2.04.
Full text
28
Bako, Alina. "Competing Memories and Space in Contemporary Romanian Fiction Written by Women." Comunicare interculturală și literatură 25, no. 1 (July 20, 2018): 103–21. http://dx.doi.org/10.35219/cil.2018.1.09.
Full text
29
Mironescu, Andreea, and Simona Mitroiu. "Poetics and politics of remembering childhood in Romanian post-communist fiction." Canadian Slavonic Papers 62, no. 2 (April 2, 2020): 182–201. http://dx.doi.org/10.1080/00085006.2020.1742562.
Full text
30
Martin, Elaine. "Articulating Gender, Narrating the Nation: Allegorical Femininity in Romanian Fiction (review)." Comparatist 31, no. 1 (2007): 160–63. http://dx.doi.org/10.1353/com.2007.0011.
Full text
31
Mihăilescu, Călin-Andrei. "The Fiction of Plenty Romanian Culture and the Production of Lack." Der Donauraum 39, no. 3-4 (December 1999): 65–69. http://dx.doi.org/10.7767/dnrm.1999.39.34.65.
Full text
32
FIRICĂ, ȘTEFAN. "POLITICAL FICTION OR FICTION ABOUT POLITICS. HOW TO OPERATIONALIZE A FLUID GENRE IN THE INTERWAR ROMANIAN LITERATURE." Dacoromania litteraria 7 (2021): 164–81. http://dx.doi.org/10.33993/drl.2020.7.164.181.
Full text
33
VRÂNCEANU PAGLIARDINI, ANDREEA. "Biographie et fiction dans les romans dystopiques de Oana Orlea et Virgil Gheorghiu." Synthesis 1-2, no. 1-2 (December 19, 2023): 48–61. http://dx.doi.org/10.59277/synthe.2023.1-2.48.
Full textAbstract:
This article analyses the theme of fear in Le grand Exterminateur by Virgil Gheorghiu and Un sosie en cavale by Oana Orlea. Romanian writers who chose the exile in France during the Cold War describe in their novels a dystopic world, where the dominant fear of the communist Romanian secret police, the Securitate, transforms the whole world in a prison cell. Inspired by their biography, Orlea’s and Gheorghiu’s novels describe the relationship between the world they escaped from and France, their new home, as permeable, thus creating a fictional world from which escape is impossible. The protagonists of Orlea’s and Gheorghiu’s novels are convinced that the Securitate is watching everybody and is just as omniscient and omnipresent as Orwell’s Big Brother. From a narrative point of view, both Orlea and Gheorghiu use a formula that brings together the detective novel, the dystopia, and some references to their own biographies.
34
Bako. "Geocritical Readings of Romanian Literature: Maps and Cartography in Rebreanu's Canonical Fiction." Slavonic and East European Review 99, no. 2 (2021): 230. http://dx.doi.org/10.5699/slaveasteurorev2.99.2.0230.
Full text
35
Selejan, Ileana L. "Actions. Situations. Possible Scenarios." Protest, Vol. 4, no. 2 (2019): 50–55. http://dx.doi.org/10.47659/m7.050.art.
Full textAbstract:
Zigzagging through personal memory and historical episodes of great consequence – the fall of the Berlin wall, the Romanian revolution and the April 2018 protests in Nicaragua – the essay seeks points of connection between the personal and the political, exploring how the two are intimately and inextricably intertwined. The textual approach can be situated in-between historical analysis and auto-biographical fiction; the aim is to enable multi-layered narratives, and contrasting, conflicting temporalities to co-exist. Illustrative of this intent, Romanian artist Călin Man intervenes upon the more well-known documentary photographs referenced in the text, by conflating them with everyday snapshots from the city of Arad taken at different points along the temporal arc described. Keywords: documentary, memory, personal history, photography, revolution, transnationalism
36
Vlasova, Tatiana A. "“AUTHENTICITY” AND “FICTION” IN THE FORMULAS OF A CHINESE FAIRYTALE." Folklore: structure, typology, semiotics 4, no. 1 (2021): 12–38. http://dx.doi.org/10.28995/2658-5294-2021-4-1-12-38.
Full textAbstract:
The article is focused on studying the specific features of the Chinese fairytale on the example of its traditional formulas. Unlike the “classic” fairytale described by the “Propp formula” and the Aarne – Thompson system indexes, the Chinese fairytale is built upon the completely different type of the fairytale fantasy. That feature is manifesting primarily in its relation to non-textual reality (= reality), which directly affects the poetics and the style of the genre. The paper considers the structure and content of the initial and final formulas as one of the most important markers of the fairytale genre. When comparing the results obtained during the research with the conclusions drawn by N. Roshijanu in his study of traditional formulas of Romanian fairy tales, it turns out that the key feature of Chinese fairy tales is a strong binding to the fictional reality and the reality surrounding the storyteller and his listeners. In contrast with the “classic” fairytale which is built exclusively on the idea of being a fictional narrative, the Chinese fairytale does not insist on the uncertainty and non-authenticity of the events described in it. So that clearly illustrates, as B.L. Riftin wrote, the “earthiness” of Chinese fairytale fiction.
37
MANOLESCU, ION. "LITERARY HISTORY AND COGNITIVE SCIENCE. A PSYCHO-NEUROLOGICAL PERSPECTIVE ON ROMANIAN INTERBELLUM FICTION." Dacoromania litteraria 6 (2020): 58–66. http://dx.doi.org/10.33993/drl.2019.6.58.66.
Full text
38
Contea, Bogdan, and Iulia Pietraru. "The Post-Communist Novel of Transition as Realism of Transition. Thematic Precedents in Romanian and East-Central European Literature." Studia Universitatis Babeș-Bolyai Philologia 69, no. 2 (June 27, 2024): 207–28. http://dx.doi.org/10.24193/subbphilo.2024.2.12.
Full textAbstract:
The Post-Communist Novel of Transition as Realism of Transition. Thematic Precedents in Romanian and East-Central European Literature. The present study aims to analyze how certain narrative formulas circulate within the world literary system – one but unequal (Moretti 2004, WReC 2015) – starting from the case of the novel of post-communist transition, specific to many Eastern European literatures. The Romanian literature abounds in such novels, which take various forms according to the different literary paradigms from which they have emerged. Thus, we consider that post-communist Romanian literature, or at least its social-political regime of relevance, is a symptomatic case of what the authors of Combined and uneven development: Towards a new theory of world-literature (WReC) call “(semi-)peripheral irrealism”. According to this study, the literature produced in peripheries and semi-peripheries is often formally dominated by a series of practices identified as specific to modernism, which arise, determined by the condition of the semi-periphery, in the unique and uneven system of world-literature, in which fiction becomes the narration that mediates lived experience in the “palimpsestic, combinatory and contradictory ‘order’ of peripheral experience.” (WReC). Nevertheless, a new direction of contemporary prose is being traced recently in order to rethink/ reproblematize the past and the way it can be reflected in literature. A series of recent novels such as Bogdan Coșa’s How Close the Cold Rains Are (2020) and Mihai Duțescu’s Beech Sponges (2021), as well as others, give rise to a new aesthetic formula of the post-communist novel of transition through the ways in which they operate with realism. We therefore propose to investigate the recent history of the phenomenon of fictional representation of the Romanian transition in relation to similar phenomena in East-Central Europe, while also analyzing the specifics of “the realism of transition” (as we will call this new literary category, in the footsteps of Mihnea Bâlici). Keywords: the novel of transition, (semi-)peripheral literature, peripheral realism, post-communism, the realism of transition
39
Sărăcuț, Cristina. "Homeland in Romanian children’s literature written in the Diaspora." Swedish Journal of Romanian Studies 7, no. 2 (May 15, 2024): 83–94. http://dx.doi.org/10.35824/sjrs.v7i2.25874.
Full textAbstract:
Romanian children’s literature has always been situated at the crossways of cultural ideologies. The Romanian texts for children lack innocence due to the implicit level of cultural, social, and historical knowledge they mirror at different epochs. In this paper I investigate how literary texts for children written in Romanian communities living abroad present the idea of homeland. I examine literary works written by three contemporary Romanian writers living in Romanian communities in Serbia: Ana Niculina Ursuleanu, Radu Flora and Slavco Almăjan. My selection includes books published in between 1970 and 2010: Cu Soarele-n Creștet [With the sun on the head], (2006); Soare, Bună Dimineața! [Sun, good morning!], (1998); Cărările Nilului [The paths of the Nile], (2008); Piticii au Uitat să Crească [The dwarfs forgot to grow up], (1987); Pianul cu Păienjeni [The piano with spiders], (1991); Când Vine Primăvara [When spring comes], (1970). In my analysis, I focus upon the role of settings in building the image of an eternal Romanian homeland that transcends the national borders. Thus, I discuss three main types of settings that shape the fiction imagined by the proposed authors, related to the following environments: landscape, family, and school. My analysis considers the theory of landscape proposed by Mitchell (2002, p. 5) in Landscape and Power. According to it, landscape implies the interaction between the human, the natural, the self and the other. For each novel, I analyse the role of settings within the literary texts. I explore Radu Flora’s novel in connection with two elements of setting, landscape and school, respectively. In Ana Niculina Ursulescu’s books I look at the bond between family and landscape, while in Slavco Almăjan’s literary work I highlight the importance of landscape in building the image of childhood. These functions are classified according to a sophisticated range, from the purpose of clarifying the conflict or its function as a symbol (in When Spring Comes by Radu Flora), to the task of mood intensifier attributed to setting (in Balul Strugurilor [The party of grapes] by Slavco Almăjan). My conclusions validate the idea that literary texts constantly build and convey an image of the Romanian identity and a sense of belonging to the Romanian homeland as marked by borders. I focus on nostalgia and irony as the main feelings the authors transmit about the image of homeland. On the one hand, the image of homeland in the literary works written by these three writers implies nostalgia, a feeling conveyed through an adult’s perspective of childhood. On the other hand, sometimes, as it happens in the case of the novel When Spring Comes, the narrator adopts a humorous perspective on history and human interactions among characters. As a final remark, I show that the selection of these three settings (landscape, family and school) creates the image of homeland in connection with a nationalist ideology. More precisely, children’s books reinforce the idea of unity between the two Romanian speaking communities (in Romania and Vojvodina) that share common cultural values. The representation of homeland reiterates a history-oriented ideology and legitimates the assimilation of nation to childhood.
40
Matei, Alexandru, and Annemarie Sorescu- Marinković. "The exceptionalism of Romanian socialist television and its implications." Panoptikum, no. 20 (December 17, 2018): 168–92. http://dx.doi.org/10.26881/pan.2018.20.11.
Full textAbstract:
During recent years, the study of European televisions has rediscovered socialist television, and we have witnessed a rapid rise in scholarly interest in a new field of research: socialist television studies. On the whole, this recent body of literaturę presents two main new insights as compared to previous studies in the field of the history of Western television: on the one hand, it shows that European television during the Cold War was less heterogeneous than one may imagine when considering the political, economic and ideological split created by the Iron Curtain; on the other hand, it turns to and capitalizes on archives, mostly video, which have been inaccessible to the public. The interactions between Western and socialist mass culture are highlighted mainly with respect to the most popular TV programs: fiction and entertainment.
The authors give us an extraordinary landscape of the Romanian socialist television. Unique in the Eastern part of Europe is the period of the early 1990s. Upon the fall of the communist regime, after almost 15 years of freezing, TVR found itself unable to move forward.
41
Rat, Ileana Manuela. "Expresivitatea limbajului popular în romanul haiducesc „Iancu Jianu, zapciu de plasă” și „Iancu Jianu, căpitan de haiduci” de Nicolae D. Popescu." Swedish Journal of Romanian Studies 4, no. 1 (May 13, 2021): 210–27. http://dx.doi.org/10.35824/sjrs.v4i1.22407.
Full textAbstract:
This paper analyzes the expressivity of popular language from the novels ”Iancu Jianu, Head of Administration” and ”Iancu Jianu, Captain of the Hajduks” by N.D. Popescu. The popular language is a language specific aspect, a language version and a main component of the oral version of the national language. In literary works, the popular language has a stylistic purpose. The aesthetic value of the text is the result of the process by which the expressiveness of the writer`s language is converted into an individual literary rule. The stylistic processes and brands encountered in popular language are national specific and they reflect the history, the way of thinking and the feelings of Romanian people. The popular language implies the release of constraints and limitations imposed by national language standard. I have chosen this study because it is an important matter that was not explored in Romanian hajduk novels and hajduk short fiction (novella, short-story, and tale).
42
DRAGOMIR DRĂGHICI, Claudia. "ASPECTS GÉNÉRAUX DU LEXIQUE POETIQUE ROUMAIN AU XXe SIÈCLE." Studii și cercetări de onomastică și lexicologie, no. 1-2 (February 12, 2023): 382–93. http://dx.doi.org/10.52846/scol.2022.1-2.24.
Full textAbstract:
The artistic style during the 20th century was influenced by scientific terms through the adoption in fiction of “concepts” from different fields, which apparently have no connection with poetic language. Our analysis deals with some aspects of the Romanian poetry lexis of the 20th century, which are of interest from the perspective of the stylistic registers approached, lexical innovations, semantic fields or unique poetic structures. We have also noticed the connection between writer and reader which is fulfilled at the level of literary language, through stylistic registers, sometimes more accessible, some other times more innovative.
43
Susarenco, Teodora. "Geocriticism: for an interpretation of the Romanian novel about the Revolution of 1989." Lucian Blaga Yearbook 20, no. 2 (December 1, 2019): 28–35. http://dx.doi.org/10.2478/clb-2019-0024.
Full textAbstract:
AbstractThe main aim of this paper is to present a recent approach to literary text- the geocritical method- both from a descriptive and a polemic point of view, and, at the same time, to determine the applicability of this method and the concepts issued by Betrand Westphal on the Romanian novel describing Bucharest during the Revolution of 1989. Following the routes presented in the novels of two contemporary authors, Mircea Cărtărescu and Bogdan Suceava, I will try to propose a new method of topos analysis in the novel, which could re-evaluate the representation of the spaces caught at the boundary between reality and fiction (in the future).
44
Pieldner, Judit. "Representations of Female Alterity in Contemporary Hungarian and Romanian." Acta Universitatis Sapientiae, Philologica 5, no. 1 (July 1, 2013): 95–110. http://dx.doi.org/10.2478/ausp-2014-0008.
Full textAbstract:
Abstract The present study carries out a comparative/contrastive analysis of two ways of contemporary Hungarian and Romanian film discourse, namely magic realism and micro-realism, and will focus on the representation of the woman in the contemporary films entitled Witch Circle (Dezső Zsigmond, 2009),exploring a subversive female mythologem of a confined traditional community, that of the Csángó people, Bibliothéque Pascal (Szabolcs Hajdú, 2010),which creates a private mythology, materialised in form of surrealist images, of the female self interpreting herself out of her conditions, and Beyond the Hills (Cristian Mungiu, 2012), drawing its topic from a real event -reality generating fiction-that inspired Tatiana Niculescu Bran’s Deadly Confession [Spovedanie la Tanacu), Judges’ Book [Cartea Judecătorilor), as well as Zsolt Láng's The Monasteryr of Protection (Az oltalom kolostora). Beyond dealing with related female patterns, the films imder discussion are engaged in mediating collective and private mental representations, as well as in creating film narratives with the convergent feature of juxtaposing the real and the mythical. The films approach the topic from distinct possibilities of cinematic representation and offer, in my view, a complementary and intercultural image of the woman trapped between the East and the West, between social and religious institutions and victimised by the stereotypical view of society.
45
Chapelan, Liri-Alienor. "The Media Offsprings of the Romanian Revolution: A comparative analysis." Aniki: Revista Portuguesa da Imagem em Movimento 11, no. 1 (January 29, 2024): 155–79. http://dx.doi.org/10.14591/aniki.v11n1.1013.
Full textAbstract:
The Romanian revolution of December 1989 was a political event, a media event and a media-theoretical event. It provoked an impressive amount of speculation on the mere possibility of history under the new mediatic conditions, which reduced its images to a parade of symptoms of the ever-growing tendency of politics towards spectacularization and even self-annihilation. Instead of trying to develop a similarly encompassing theory on the audiovisual representation of the revolutionary fact, the present article concentrates on three different media objects made after 1989: (1) Harun Farocki and Andrei Ujică’s documentary essay Videograms from a Revolution; (2) the YouTube clip December 22, 1989 Romanian Revolution Uncut; and (3) Corneliu Porumboiu’s fiction feature 12:08 East of Bucharest. These objects are analysed transversally and in shifting pairs, with a focus on their concrete audiovisual language, in connection with issues such as discursive and manipulation strategies, historical legitimation attempts and hierarchical media models. The aim is to transform these works into oblique, yet more empirical access points to the implications of the status of the events of December 1989 as the first full-fledged “televised revolution” for the collective memory, as well as for later audiovisual reworkings of that historical moment.
46
Alina, Bako. "REPRESENTATIONS AND FUNCTIONS OF THE MIDSUMMER NIGHT’S FAIRIES IN ROMANIAN FICTION. A SHORT COMPARATIVE STUDY." Incursions into the Imaginary 10, no. 1 (October 20, 2019): 11–23. http://dx.doi.org/10.29302/inimag.2019.10.1.
Full text
47
Radler, Dana A. "Gaps, silences and witnesses: the quest for identity in Henriette Yvonne Stahl’s "My Brother, the Man"." Swedish Journal of Romanian Studies 1, no. 1 (May 20, 2018): 28–46. http://dx.doi.org/10.35824/sjrs.v1i1.17240.
Full textAbstract:
Evident from her first book Voica (1924), and up to her last novel Le Témoin de l’Eternité printed first in France in 1975 and translated into Romanian in 1995, Henriette Yvonne Stahl becomes from a promising writer a unique voice in the inter-war and post-war literary scene in Romania.
Starting from Rimbaud’s illuminating pensée “Love has to be reinvented” (Felman 2007: 213), this paper aims to explore the identity of protagonists in My Brother, the Man (Fratele meu omul, first published in1965), drawing on identity and trauma theory as developed by Penny Brown (1992), Cathy Caruth (1995; 1996), Shoshana Feldman (2007) and Dori Laub (1992; 1995). In addition, the mixture of memory and narrative analyses types of ‘talk fiction’ (Kakandes 2005), the shift of focus from the subject of remembrance to the mode in which it takes place (Whitehead 2009), and how narratives impact readers (Piątek 2014).
Both male and female characters in My Brother, The Man have clear dominant traits, so that their actions and inner voices are marked by abrupt shifts, meant to stimulate a noticeable response from those they love or dislike. Are the main characters engulfed in a dense life texture able to explore their personal dilemmas, difficult choices and detach themselves from the flux of their own passions and desires? Or are they going to fall victim to their own inability to understand life’s meaning, paralleled by a lack of vision and humanity as manifested by other characters? How do they act and react to the actions and emotions they experience? The present paper examines how memories, dilemmas and changes nuance a story moving from a classically-structured narrative to crime fiction, embedding numerous interior monologues and deep psychological impasses, the result being a female novel of self-development.
48
Olteanu, Alexandra. "Romanul judiciar. Către un nou subgen al romanului istoric românesc." Swedish Journal of Romanian Studies 7, no. 2 (May 15, 2024): 37–56. http://dx.doi.org/10.35824/sjrs.v7i2.25927.
Full textAbstract:
The lifespan and popularity of a subgenre are determined by the inventiveness with which novelists develop and innovate the standard formulas. The judicial novel emerges as an extension of the popularity of the outlaw novel, adding a technical dimension to the misdeeds committed by wrongdoers. The outlaw and judicial novels are anthropomorphized subgenres that set in motion symbolic models, with a central figure dominating the entire course of events. The judicial novel reconfigures the perspective of naturalism, transforming the social milieu into a triggering factor for reprehensible acts. Shocking acts, such as crimes or suicides, and their mysterious circumstances, are analyzed from multiple angles, akin to using a set of parallel mirrors, while the brisk steps of investigations are fascinatingly reconstructed within the eloquent phrases of the novelists. One of the central ideas that the judicial novel seeks to develop is the sacrifice as a social practice, whether symbolic, articulated in the imposition of precarious living conditions leading to extreme gestures. Spatiality and temporality constitute the central pillars that compose the dramatic scenes of the Romanian judicial novel. Crimes are plotted and committed in the moonlight, in neighborhoods or on winding streets. The schematism of gloomy settings and the rudimentary nature of character profiles are countered by allusions to an undefined darkness, the contours of which elude discernment. The judicial subgenre utilizes conventions from the detective novel formula, involving the exaggeration of a cause-and-effect relationship as inevitable and the conquest of a reassuring imaginary, complementary to the moral imperatives discussed by Romanian novelists determined to rehabilitate the reputation of the genre through fictional digressions on morality. In its dimension of historical crime fiction, the Romanian judicial novel not only accentuates its documentary aspect, showing how the institutions responsible for investigations and judicial processes function but also the expansiveness of historicizing interpretations of the analyzed bloody events. Within the context of a dynamically structured novel distinguished by thematic configuration and ideological significance, the incorporation of illustrations transcends mere decorative intent. The judicial novel strategically incorporates illustrations as a highly effective extratextual approach. This not only disrupts the linear narrative trajectory and heightens suspense but also concurrently bestows substance upon the ethereal images adeptly invoked by the literary text.
49
Eichel, Roxana. "Intersecting Inequalities in Romanian Crime Series Shadows (HBO). Expressions of Identity between Authenticity, Stereotypes and “Eastploitation”." Caietele Echinox 43 (December 1, 2022): 134–47. http://dx.doi.org/10.24193/cechinox.2022.43.08.
Full textAbstract:
"The representations of gender, ethnicity and class play a particularly significant part in structuring the way in which East European crime fiction makes sense of its cultural identity. Issues of social inequality and discrimination are addressed by the European institutions through the promotion of inter- and multi-cultural values that are meant to foster awareness about social stereotypes and prejudices and promote the artistic expression of more balanced representations (i.e. the EIGE policies). Yet sometimes the gap between the inclusive aims pursued by the European policies and the realities represented in crime films, TV dramas and novels is more than noticeable. This article aims to discuss this fluctuation between disparity, stereotypization, realism and exploitation in the HBO production Shadows (Umbre, 2014-2019)."
50
García-Minguillán, Claudia. "Poética cuántica: ficción del cosmos de Mircea Cărtărescu." Estudios Románicos 28 (December 20, 2019): 247–58. http://dx.doi.org/10.6018/er/375041.
Full textAbstract:
Este artículo propone un marco teórico, a modo de poética, de la narrativa breve del autor rumano Mircea Cărtărescu. Numerosos nexos entre los relatos que componen Nostalgia apuntan a una intertextualidad situada por el autor en puntos estratégicos de la obra, los cuales generan una sensación de unión entre las distintas historias. Estos puntos estratégicos de la ficción tienen inicio con el relato de un jugador de ruleta rusa. Los principios matemáticos ahí planteados, formulan, en clave de ficción, la teoría de los mundos posibles. Analizaremos, por tanto, los orígenes de esta técnica narratológica en las corrientes más actuales de la física cuántica. This article aims to propose a theoretical framework, as a poetic, of the brief narrative of the Romanian author Mircea Cărtărescu. Several links between the stories that make up Nostalgia point to an intertextuality placed by the author in strategic points of the narrative, which generate a sense of union between the different stories. These strategic points of fiction begin with the story of a Russian roulette player. The mathematical principles set out there formulate the theory of possible worlds in a fictional key. We will analyze, therefore, the origins of this narrative technique in the currents of quantum physics.