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Following the theories about the author's posture, my paper aims both to reconstruct the path of Mariana Marin's mythologization and to deconstruct it by establishing two main postures: the tragic posture, congealed mainly post-mortem, and the ethical one, originating in a specific ethos, identifiable in the poet's biographical-artistic trajectory. Having become a mythologised figure of the 1980s generation, due to the fatalistic correspondences between poems and biography or to the legitimisation of her value by comparison with poets of the same framework, but from the mainstream of world literature (Sylvia Plath, Anne Sexton, Else Lasker-Schüler), Madi – the famous nickname – tends to penetrate abusively, sometimes unjustifiably, into the reception of Mariana Marin's texts, hence the empirical persona which becomes strongly than the poetic work. [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyze some aspects from Teodora Dumitru's piece of work, Modernitatea politcă și literară în gândirea lui E. Lovinescu. The author questions and rethinks most of preconceptions and myths made around Lovinescu (such as the autonomy of the aesthetic). On the one hand, Dumitru analyzes the origins of his theory, the multiplicity of his influences and the strategies of his critical discourse. On the other hand, Dumitru manages to put into question the different ways in which the phenomenon of modernity was received in the international context. [ABSTRACT FROM AUTHOR]

The article is a brief description of a popular myth from the Slavic mythology, Alkonost - heaven's bird. Alkonost is frequently found in medieval Byzantine and Russian legends as the bird of heaven; half woman, half bird, bearer of luck. The legend of Alkonost bird was brought from across the seas by merchants and quickly took root in the land of ancient Russia. The Alkonost bird symbol is common in Russian chronicles and depictions of this creature is found in the manuscriptbooks, on the jewelry of Kievan Russia, in the sculptures of white stone churches of Kiev, Vladimir and Suzdal. This fairy tale bird became known in ancient Russian literature of the fourteenth century, and in the sixteenth and seventeenth centuries it is found in alphabetical dictionaries. Very common are also the drawings made on paper of lower quality ("lubocinîe cartinî"). In Romania paintings representing the Alkonost bird were rarely found in Lippovan Russian homes in Dobrogea, and a copy of an impeccable artistic execution can be admired by the visitors of the Jurilovca museum unit, located in the National Village Museum in Bucharest. [ABSTRACT FROM AUTHOR]

Image did not always have a privileged status, and imagination did not benefit of an increased attention till the invention of television. The faculty of imagination occupied a secondary role in man's life, most of the times being identified as a source of fraud or of the hidden truth. Nevertheless, imagination is a human ability which, consciously or not, has manifested its presence in man's existence and behavior. Together with the development of new informational technologies, that amplify the role of image, the imagination understood as creative force is reinstated and its value is acknowledged. In this context, the myth, seen once as imaginary story, appears as a form of thinking that oversees the connection between imagination and reality. Thus, in the present paper, I suggest an analysis of the relation between imagination and reality by means of the notion of myth, as constitutive element of human thinking. [ABSTRACT FROM AUTHOR]

The present paper illustrates several significant moments from the history of Eminescu's critical interpretation. It focuses mainly on the first stages when the Romantic writer's myth crystallized, namely E Lovinescu's "reading" of the poet's eroticism through the lens of Freud's theories. We endeavored to prove that Lovinescu's interpretation was just one among others (Ibrăileanu, Călinescu, Vianu, Caracostea), as the whole context favored a psychological understanding of Eminescu's personality. In order to sketch a still more convincing picture we brought into discussion the most recent studies dealing with different aspects of Eminescu's life and work and our conclusion shows clearly that, notwithstanding its limits, Lovinescu's understanding was a revolutionary and crucial one for the later developments. [ABSTRACT FROM AUTHOR]

The aim of the paper is to sketch an overall frame of the state of the art in the game of catch up game played by the post communist Romanian historiography with the Western trends and methodological innovations. Listing not only the progresses but also the shortcommings that make up today's historical production in Romania the article signals the problems and the successes post 1989 historians had in their endeavor to re write the Romanian past. A closer relationship with the French historiography and thus a closer focus on French themes and particular methods means the German and Anglo Saxon historiographies were rather disregarded this proving detrimental since the theory of history and the methodology has long surpassed the Annales School in favour of American, British or German innovations. Finally the article closes with a bibliographical chapter listing a selection of the books I found relevant for the innovation trend of post 1989 Romanian historiography. [ABSTRACT FROM AUTHOR]

The paper Fiction Art vs. Religious fiction between freedom and censorship describes the appearance of freedom thought on matters such religion in contemporary society. Writer's continuous dialogue with the myth led to substantial changes in content. If Greco- Roman religions have free-barrier ban interpretation of myths in author's mind, monotheistic religions such as Christianity, Islam etc., trying to combat all forms of freedom of thought in relation to the sacred texts. As seen Feuerbach artistic imagination products do not claim to be taken as objective reality; they do not require the reader's belief in the identity of real-image. As result you have that the confrontation between religious and aesthetic is illogical and artistic fiction gaining credibility in a situation where the recipient treats it as a non-fictional text. [ABSTRACT FROM AUTHOR]