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We explore here the reasons for the affinity that G. Călinescu repeatedly mani­fested with the model of ethical-philosophical dialogue practiced by Dimitrie Cantemir, one of his favorite authors in old Romanian literature, in The Divan or the Dispute of the Wise Men with the World or the Judgment of the Soul with the Body (Iași 1698). Among his press articles that explicitly claim to follow this model, we focus on a few texts from the period 1943–1945, included in the anthology Gâlceava înțeleptului cu lumea, made by Geo Şerban (Minerva Publishing House, 1974) and on a text, unknown at the time, which we published in 1979 in the magazine „Manuscriptum” (included now in Opere. Publicistică, vol. XII, 2012). The idea that emerges from our analysis is that G. Călinescu is best found, as a personality, in the portrait of a Renaissance humanist with a stenic soul but an intelligence tempted by melancholy and skepticism; he practices a language always doubled by the vivid irony with which Schlegel characterized the romantic spirit, adopting in the same time the naivety of wonder from which Schiller made the classical ideal of the romanticism in Über naive und sentimentalische Dichtung, a text quoted by Călinescu as „one of the most penetrating essays of European literature, the first typological attempt in the modern sense and at the same time an expression of the romantic point of view and of the Gothic soul”.

The study deals with the main features of Vladimír Borecký’s general theory of the comic. First, it introduces Borecký’s conception of the structuring features of the comic. It then examines the specificity of the main configurations of the comic that Borecký discusses, i.e. naivety, irony, humour, and absurdity. The study highlights Borecký’s conception of the position of these configurations in the ontogenetic development of the individual and in cultural development. The study also compares Borecký’s thoughts with the conceptions of other theorists of the comic. On the one hand, with James Sully’s genetic and pluralistic conception of laughter and the comic, and on the other hand, with Louis Cazamian’s conception of humour. In conclusion, the study shows that in both Borecký’s and Cazamian’s reflections one can trace a tendency to conceive of absurdity as the ultimate manifestation of the comic.

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Copyright of Dacoromania Litteraria is the property of ACADEMIA ROMANA Filiala Cluj-Napoca Institutul de Lingvistica si Istorie Literara "Sextil Puscariu" and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Romanticism would be to literature what 1789 is to politics. This idea, which dates back to Romanticism, has not really been challenged. However, it obliterates twenty years of literary history because the Poetic Meditations were published in 1820. What about the poetry published between 1789 and the rise of Lamartine, Vigny and Hugo? Critics have often noted its artificial, cold and convoluted nature. Yet she is preparing the poetry to come. Poets such as Parny, Léonard or Chénier adopted a rhetoric of prosaic transparency that allowed them to legitimize poetry against the attacks that Reason then made against poetic artifice.

Where it is shown that in terms of popularization, the most advanced and expensive science can flirt with the most obsolete representations, or even with archaic myths.

Reading of the literary work of Almada Negreiros concerning its constantly changing procedures, and focusing the major examples of its writing in order to underline the fundamental unity of its creative nucleus which lies in an experimental practice. This author’s writings show the main literary practice created around Orpheu (1915), portuguese vanguard movement, by activating the linguistic and literary codes in order to renew the paradigms. Later Almada’s work adopts a quite different record on which modernity and tradition dialogue in a critical and original way. This particular attitude and style was called by Almada Naivety.

The tale is not just a linear, sober narrative, but a clever combination of a diegesis of a certain type, a network of images and an implicit philosophy. This is where it differs from both the short story and the fable. As a literary genre, it is less of a « simple form » (André Jolles) and more of a « simplex form » (Alain Berthoz). In this context, how to address the question of the simple style in the literary genre of the fairy tale - a genre which leans towards complexity and sophistication, more than simplicity? We will suggest that the literary ideal of simplicity advocated by Perrault, best exemplified in The Fairies, is constructed against the gallant aesthetic which was the source of French fairy tales. [ABSTRACT FROM AUTHOR]

Reading of the literary work of Almada Negreiros concerning its constantly changing procedures, and focusing the major examples of its writing in order to underline the fundamental unity of its creative nucleus which lies in an experimental practice. This author's writings show the main literary practice created around Orpheu (1915), portuguese vanguard movement, by activating the linguistic and literary codes in order to renew the paradigms. Later Almada's work adopts a quite different record on which modernity and tradition dialogue in a critical and original way. This particular attitude and style was called by Almada Naivety. [ABSTRACT FROM AUTHOR]