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This paper aims to explore the situation and prospects of literary geography in the Romanian culture, especially its recent manifestations with reference to Western academia. Therefore many projects of transnational literary historiography emerged in the early XXI century are based on a geographic component, reflected by concepts such as "topographic nodes" (Marcel Cornis-Pope), "archipelago" (Hervé Thery) "(pen)insular" (César Dominguez) by recourse to atlases (Franco Moretti) or even GIS maps. In these circumstances, the question arises to what extent the literary geography works published in Romania (like Geography of Romanian Literature, today signed by Cornel Ungureanu) managed to synchronize with the western direction, represented by the research mentioned above. The originality of this paper lies in questioning Cornel Ungureanu volumes in relation to the similar synthesis from West and also in self-reflection on the ways in which ethnicity, historical evolution and cultural patterns determine the profile of a literature and culture of a predefined geographic area. [ABSTRACT FROM AUTHOR]

This paper offers an interpretation of Mircea Cărtărescu's short story REM through the perspective of the post-modern palimpsest derived from Julio Cortázar's End of the Game. The dialogue to which Cărtărescu co-opts Cortázar is read not as an inter-textual post-modern quotation, but as a self-legitimating attempt of Cărtărescu to build an intrinsic, self-sufficient textual coherence. [ABSTRACT FROM AUTHOR]

Paul Zarifopol (1874-1934) could be described as a notable case of misreading in the field of Romanian literary history. Although allotted generous space in most histories of Romanian literature (from E. Lovinescu to G. Călinescu and Nicolae Manolescu), Zarifopol is often presented as an „anticlassical“ literary critic, with no particular method and no systemic thinking, an impetuous and subjective writer of feuilletons. Collating critical opinions of his contemporaries, as well as fragments from private letters, this paper analyses the way in which Zarifopol deals with his own work and aims to prove that he deliberately chose to be an essayist, and not a literary critic. Zarifopol's criticism stems from a generalized skepticism, as the only expression of intellectual freedom which is possible in a postwar world. [ABSTRACT FROM AUTHOR]

My study is a plea for what might be called "export criticism", i.e. that critical discourse which retains some relevance beyond the strictly local, regional or national context where it has arisen. In this respect, I carry out an inventory of both external and internal obstacles impeding the promotion of Romanian literary criticism abroad. As regards external obstacles, the most important are the few translations of Romanian literary works into languages of international circulation (especially English and French), the absence of a recent history of Romanian literature written in a foreign language, the difficulties of assigning Romanian literature in a disciplinary niche (as an object of analysis, it seems to be at the periphery of both Romance and East-European studies), and the poor communication between Romanian and foreign researchers. Regarding internal obstacles, mention should be made of the methodological belatedness of Romanian literary criticism, its essayistic tradition and a certain dogmatism which renders it incompatible with the dominant pluralism on the international market. However, the thesis I attempt to underscore in the present paper is that Romanian literature and criticism not only can be, but they already are areas of international relevance and academic interest. [ABSTRACT FROM AUTHOR]

A problem which our literary history has usually ignored was the influence of the English and American Culture on the Romanian interwar Young Generation, especially on the writers from the Criterion group-inspired by the American debates-and mainly on some novelistic patterns inspired by the Anglo-Saxon sources. Some of the young essayists of the 30s were also particularly interested in the American or English literature and cultural mentality. In fact, it was the first time when Romanian modern culture really met that pattern, which was to became global after a few decades. Which were the consequences of those cultural influences-that is the question which this paper tries to answer. [ABSTRACT FROM AUTHOR]

The paper is focused on some of J. L. Borges' short stories as starting points for historiographical metafiction. The article also analyses the influence of Borges' work on novels written by Salman Rushdie as well as Borges' influence on Romanian postmodernism and upon authors like Ştefan Agopian and Mircea Cărtărescu. [ABSTRACT FROM AUTHOR]