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In this paper we explore the exploitation and the discrimination of the feminine other portrayed in contemporary literature as figure of subalternity in the current neocolonial context. Taking into consideration the logic of modernity and that of coloniality as intrisincally interlinked, and the problematics of speaking and acting as a racialized and, at the same time, sexualized woman in the sex industry, we intend to analyse Michel Houellebecq’s Platform from the vantage point of Subaltern Studies in order to showcase how the feminine condition becomes a problem of consciousness and visibility, and how the exploitation of the feminine other is being deepened in a neocolonialist narrative. [ABSTRACT FROM AUTHOR]

This paper is an attempt to present the main Western theories regarding the novel – the artistic novel to be more precise – that were also translated into Romanian and fecundated the national literary field. We focus on the evolution of the thought about the novel, starting with Georg Lucaks’ seminal work, dedicated to what was the literary species, and up to Franco Moretti’s paradigm of shifting studies. This could prove to be an opportunity to observe the manner in which the genre was conceptualized and why. [ABSTRACT FROM AUTHOR]

This paper is an attempt to tell the story of the novel's long process of legitimation. Perceived for a long time by the poeticians of old as a genre that was not worth mentioning, because of its vulgar origins, the novel, in its modern form, has undergone a radical transformation that saw it, at the cross of the 19th and 20th centuries, at the top of the genre system. That is why I will try to point to the processes that made the novel what it is today: the dominating species, modernity's offspring, at the same time a menace and an assetto the literary field. [ABSTRACT FROM AUTHOR]

The present paper aims to discuss the concept of kitsch and the subsequent relativization to which it was subjected, in a succession imposed by an internal dynamic of the evolution of the phenomenon. Therefore, different critical approaches will be presented by providing numerous examples, many of which are innovative, considering that the discussed notion has generated some of the most nuanced perspectives which have gone from assimilation of many contexts to challenging and reformulating them, thus emphasizing the extremes of the later conception. [ABSTRACT FROM AUTHOR]

My paper aims to investigate if and how the theoretical assumptions and the ideological discourse of the Romanian literary historian and cultural figure E. Lovinescu can still be read and interpreted within contemporary, transnational frames and with new methodological tools. I propose for this study to discuss a couple of volumes, each one engaging in a different kind of approach to E. Lovinescu's impact on the Romanian cultural field, in order to test the viability of his theories, especially from a sociological and political point of view. The goal of my paper shall be to open a discussion on the ongoing role that canonical literary historians such as E. Lovinescu have on how we study, to date, Romanian literature, while also framing the rather unknown faces of socio-political discourse that this particular cultural figure has proposed over the time, aiming to present how they shaped the circulation of foreign ideologies and literary formulas. [ABSTRACT FROM AUTHOR]

The paper looks at the Romanian relationship between modernism and rural imagination in the Romanian 20th century debates. As in other cases of semi-peripheral or emergent literatures (the general framework builds on contributions from Frederic Jameson, Pascale Casanova and Wai Chee Dimock), the hegemonical pressure of the Eurochronology has put an embargo on rural prose, excluding it from the projects of modernist literature. The study asserts that far from being a collateral symptom of modernity, rural imaginary is essential for understanding its contradictory mechanisms. [ABSTRACT FROM AUTHOR]

Nicolae Iorga is the greatest Romanian historian, and, at the same time, a forerunner of sociology, geopolitics, and political science, among others. Iorga had a huge impact in structuring the modern Romanian society during and after WW 1, being in the same line of influence with Mihai Eminescu. Starting with Nae Ionescu’s analysis on Iorga, we will summarize his contribution in this direction making considerations on his contributions to science, society, war, and politics. Beside his great power of assimilating and synthesizing huge amount of data, Iorga had a profoundly serious contribution to the emergent paradigm of the cultural indigenization imperative of the lag-behind societies like Romania’s. At the end of this paper, in the Appendix, we quote from the Romanian Academy communication related to his 150th birth anniversary. Also in the Annex we give a sample answer to the socalled lack of precision of some of Iorga’s papers – quoting from Nae Ionescu. [ABSTRACT FROM AUTHOR]

The paper analyzes how English Romanticism gave birth to a poetic care that managed to convey strong feelings to readers. Romanticism has put its mark on the numerous fields of research, but also on the individuality of Man. It is a phenomenon that still has important topics and hypotheses to analyze. We will consider the beauty of their work, the way it was expressed, because it is precisely this concept that is the reference point of the romantic literary phenomenon. In the same way we will also focus on the connection between the author's meditation and the concept of beauty. The preoccupation of the romantics was to give birth to a beautiful eternal to adapt the requirements of the nearby societies in the continuation of the movement. Most of the time, we will see a beautiful relationship, with the ugly antithesis. This is possible in the romantics, because they did not see the opposite of the ugly, but a way of highlighting a unitary system from which the idea that they wanted to present as eloquently as possible came out, using any method of expressing the inner self. They often used contrasting associations, of the beautiful / ugly, finite / infinite, good / bad type. The place where the romantic writer places the action is specific to the romantic lyricism, a favorable place for creation, a place where all the elements form an idyllic frame. English Romanticism was a sort of start on the road to modernity, towards a new sense of aesthetics. [ABSTRACT FROM AUTHOR]

This paper discusses Maria Racu’s exegetical volume - The Thanatotic Imaginary in the Lyric of George Bacovia and Ion Minulescu. The theme addressed by the author, perhaps more topical than ever, illustrates the symbolic representations of the imaginary of death/Thanatos in the poetry of our two poets: George Bacovia and Ion Minulescu. This article follows Maria Racu’s research approach, identifying the reading grids and the aspects of novelty in the space of the literary imaginary. The directions of analysis will include images of temporality, Bacovian space and hypostases of the erotic in Minulescu’s poems, as well as catamorphic symbols in symbolist poetry. [ABSTRACT FROM AUTHOR]

This paper shows that Baudelaire had a great importance for the evolution of modern ideas concerning the art of theatre. In some fragments of his writings, Baudelaire imagines a hyperbolical show, which should be able to combine pantomime, symbolical masks, magical tricks, suggestive music and painting, as well as the most powerful resources of verbal language. By these ideas, Baudelaire anticipates the views of Antonin Artaud (Le Théâtre et son double) and Hermann Hesse (Der Steppenwolf) on what they call a magical theatre, with an entrance open only for mad people. The paper is based on a comparative interpretation of Baudelaire, Artaud, Hesse, and on a very pertinent interdisciplinary approach, meant to recreate the dialogue between theatre and other arts at the very beginning of our modernity. [ABSTRACT FROM AUTHOR]

The purpose of this written paper is to present the conclusions I reached after investigating in the following topic: the Norwegian author Knut Hamsun as the first modernist novelist in Norway. It is insisted upon the new type of literature he theorised upon in his programmatic article, The Life of the Subconscious. The work required a practical accomplishment, meaning an analysis of some of his novels. Hunger, his breakthrough novel, is the one that is given the most attentive analysis in this particular case. Modernist characteristics such as solitude, estrangement, revolt against the society and against the divinity are concepts that best support its positioning as the first modernist novel in Norway. The analysis on the film made after the book presents it in a different perspective. In order to come with a contribution to an interesting investigation of Hamsun's world, I have chosen to analyse Pan, another captivating work. The key-conflict of the novel, the one between nature and culture has pretty attentively been described. A comparison between two distinct writings, on the one hand, and modern, on the other hand, pertaining to the same author was the most compressed part of my written paper. This refers to Hunger and to what Pan has in common with it until a certain point of the analysis. The conclusion encompasses a reinforcement of what modernity signifies within the hamsunian universe, together with the sincere hope that an attentive reading will be useful for those interested in Knut Hamsun's misleading style. This article was presented at the Hamsun 2009 Conference during a workshop organized for young researchers. [ABSTRACT FROM AUTHOR]

From the abnormalities of the discursive structures to the ”abnormals” of literature, this paper launches a theme for thought to what was dichotomized as an agreed opposition between the normal(-ity) vs. the abnormal(-ity); norm vs. deviance; autistic/alienated vs. alive/normal. Society and the invention of the public sphere, the intensifying of guilt in relation to one’s self - as the Nietzchean bad conscience - emerge at the dawn of modernity as primary causes of what will be incriminated as a deviant-self /deviance and saught to be ”corrected” mainly by a strict control of the body as M. Foucault considered. Modernity brings on the social scene a phenomenon sociologists referre to as the ”self-reflexive identity” (cf. A. Giddens). In modern literature, this modern self, the ”individual actor” who reflects on the essence of humanity itself, tries to find out what it means ”to-be-yourself ” with the help of the alienated reason: deviance as ontological crisis, as a condensed expression of one’s isolation understood as loneliness. Thus the tension between reason and passion is no longer dichotomous, but co-inclusive in the narratives of the self - seen as projections towards a powerful ”inside” of the being, and not - as “Freudically” was thought to be - a withdrawal from reality. This is what I have analysed in the study bellow, following the mirage of the literary machine from S. Beckett's “Molloy” and the new type of character it proposes, Molloy as Homo Natura, a genuine ”producer of intensive quantities” (apud. G. Deleuze & F. Guattari). [ABSTRACT FROM AUTHOR]

The paper aims at analyzing the possibility of founding rights as natural rights, by discussing the continuities between the pre-modern, classical meaning of natural right and the modern significance of natural right, as well as the differences occurred, along history, between the two. The ancient and modern traits of the natural right are used in order to clarify to what extent the natural right theories could stand as the foundation of human rights and which of these theories could better support the enactment of human rights. [ABSTRACT FROM AUTHOR]

Having as a starting point Antoine Compagnon's recent book, The Anti-Moderns. From Joseph de Maistre to Roland Barthes, the present paper aims at examining the so-called philosophy of Mihai Eminescu and I. L. Caragiale, as it is manifested in their journalistic activity, but also in their literary work, where they develop an original social and political thinking. On the other hand, the paper will question several points of view belonging to some of the most important literary critics starting from Ibrăileanu and Lovinescu and ending up with Eugen Simion or Marta Petreu. The main idea is that we can no longer accept terms such as extreme social criticism or mere irony and we need to define Eminescu's and Caragiale's thinking in terms of recent, more appropriate theories. That is why, the papers tries to prove that the above mentioned writers illustrate, to a certain point and in different manners, the concept of "anti-modernity", as it was defined by Antoine Compagnon. [ABSTRACT FROM AUTHOR]

This article provides significant insights into the relative politicization of the Simonist model of religious liberty in modern Europe. Furthermore, the present paper takes initiative in the wish to contribute to understanding the spirituality characterizing this period and this territory. In the preliminary stage, the purpose of the paper is to offer to those who study the problem of institutional relations between Church and State in Europe the possibility to come back to the nineteenth century, suggesting as working hypothesis a new interpretation: analyzing the religious liberty and the regime of cults starting from the political and legal context of the period and the philosophical teachings of Saint-Simon. [ABSTRACT FROM AUTHOR]

The present paper tries to offer some arguments in favour of articulating an Orthodox social theology suitable for the challenges of the present world. The analysis starts from the actual moment characterized, on the one side, by the consequences of the communism' fall, especially in Europe, but also by the intensification, at a global level, of the debate regarding the so-called post-secular relationship between religion and the public area, on the other side. Within this context, the local Orthodox Churches from East-Europe are called to make use of their regained freedom and to take part to the society project of the countries where they preach the Gospel of our Saviour Jesus Christ. In order to do this, the Orthodox theology must rediscover the foundations of its proper public involvement and reexamine the eventual inhibitions, cautions or prejudices concerning its spiritual and, at the same time, historical mission. A commonplace of the Western analysis about Orthodoxy, turned into a reproach, is the one concerning the supposed indifference of it towards the social crises and towards society in general, a fact explicable if we have in mind the close relationship between the Eastern Church and the political authority of any kind. This is why the Orthodox Church must have a systematic opinion on these aspects, too, in its desire to have a normative message within the present society. In fact, it is an inevitable step on the way of retrieving the prophetic conscience, a conscience almost totally insensitive during the decades of communist dominion. Based on the critical genuine conscience of the Church, the Orthodox social theology must help in the first place the ecclesial body to understand better the data of modernity and the profound effects of it, both at a personal and at a collective level. Following the patristic pattern of the dialogue between the data of faith and those of the world, the Orthodox social theology is called, through the actual reading of Tradition, to offer to the philanthropic practice of the Church a visionary frame, to establish a more visible relationship between ortho-doxy and ortho-praxy. [ABSTRACT FROM AUTHOR]

Sociologist Constantin Schifirneţ is a researcher who constantly draws attention on studies and advanced ideas. Lately, the same thing happened with Tendential Modernity. Reflections about modern evolution of society (Tritonic Publishing House, Bucharest, 2016, 199 p.). Through the proposed perspective, but also by the depth of the research, we consider this paper as a work of reference, especially since the ideas that generated it are the result of long reflections on modernity. [ABSTRACT FROM AUTHOR]

Copyright of Archaeological Materials & Research / Materiale şi Cercetǎri Arheologice is the property of Institute of Archaeology "Vasile Parvan" 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.)

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]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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.)

This paper questions the possibility of a radical canon starting with Marx and Nietzsche. The first part takes into account the scene of the origins, underlining the fact that this canon is built in a retroactive way, and not by following the intransigent logic of any historical becoming, id est the first moment of its emergence. The radical canon bechances like a retrospective assembly by reviewing its own intermittent history and by writing it back, attempting to its impossible recurrence. This is why our second goal is to grasp the organic data of the radical canon, so as to describe the inner distinctivenesses which organize and singularize it. Therefore, we can mark its readability and the current expansion of its obsolete appanages. [ABSTRACT FROM AUTHOR]

The paper offers a brief outline of the presuppositions and consequences of modern urbanism, as well as of its ontology. The stress is put on the historical transformations of modern rationality and on depicting its efforts in carrying out its project. [ABSTRACT FROM AUTHOR]

This paper proposes a dialogue between two Romanian writers chronologically situated in different cultural periods, but whose work has affinities of vision and of operation in the field of a poetics of reclusion: Tudor Arghezi and Mircea Nedelciu. Authenticity, which distances from biographism, the cancelling of the character's coherence, the author's intrusion into the narrative plan, the fragmentarism, the imitation, the temporal hiatus sites require a proof-reading of Tudor Arghezi's work from the perspective of the modernist aesthetics of the transitional, of the contingent and of the immanence, as anticipation of changes in vision and in writing of Postmodernism literature. [ABSTRACT FROM AUTHOR]

The question that the present paper inquires is whether exploration of the 'autobiographical' and of public and private-archive gives Jennifer Johnston argument for character-construction or not and to what extent the tension between tradition and modernity is reflected in it. We relied on the theoretical demonstration, on the writer's interviews and public declarations as well as on approaches to the recent developments of the Irish novel. [ABSTRACT FROM AUTHOR]

Copyright of Revista Romana de Comunicare si Relatii Publice is the property of College of Communication & Public Relations, NUPSPA Bucharest 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.)

The present reflection proposes a novel investigation method in humanities, consisting in the analysis of local phenomena as originating in the dynamic of cultural `deep structures`. My focus falls on the death of the author which I consider to be a topos and a myth of last century’s humanities. The death of the author is associated with the Hegelian eschatological philosophy of history, but may also be deciphered as a consequence of the acute manifestation, within an entire culture, of the Kantian antinomy regarding the necessary existence of a transcendent being. As transcendent to the work, the author is refuted – because, as Hugo Friedrich shows, the modern artistic conscience intuited the empty ideality of traditional metaphysical notions –. Thus, the death of the author must be inquired upon not only as a particular phenomenon within the evolution of art, but also as a symptom of certain transformations that precede the aesthetical domain, transformations that are characteristic to the late Modernity and integrant of a `multispectral` analysis (with scopes in metaphysics, archetype and myth analysis). Such a methodological exigence is based on the assumption that a cultural phenomenon ought to be integrated within the scientific paradigm it expresses and also within the ontological and cosmological models around which it is articulated. An approach such as this shall reveal that the death of the author represents and intellectual version of the death of God, further assimilated to a cultural archetype, that of the death of Meaning. Consequently, the postmodern deicide represents the imposal of negation as a form of thought, a Western thought headed, with the end of Modernity, against the metaphysical tradition (of Presence) that it stems from. I assume that the self-destruction of Western tradition is symptom of a profound crisis of identity and I interpret it as a symbolic violence meant to redeem the fault of 20th Century’s atrocities, by cleansing the guilt the Western man experiences. My approach to the analysis of myth engages the actual debate regarding the canonical fights of the last few decades while trying to shed light on the way in which the symbolic deicide of the (`secularized`) author and auctor aims at imposing a new author and a new auctor to the symbolic products of culture. Ideology is the new auctorial authority. [ABSTRACT FROM AUTHOR]

In this essay I investigate the multiple and ambiguous ways in which the Romanian critic Eugen Lovinescu instrumentalized one hundred years ago the concept of „intellectualization” regarding the process of Romanian literature evolution towards modernity, a process associated with abandoning its rural roots in order to become thematically more urbane oriented. I also investigate the polemical echoes of Lovinescu’s action during the Interwar period and after, especially during the Communist era (1948-89), when his texts and thesis were largely deformed in order to both subvert and accommodate the Communist regime agenda towards peasant and rural literature. [ABSTRACT FROM AUTHOR]

This article outlines W.E.B. Du Bois’s general sociological theory and literary activity in connection to the recent study of Jose Itzigsohn and Karida L. Brown, The Sociology of W.E.B. Du Bois. Racialized Modernity and the Global Color Line. It describes the role of Double Consciousness and Racialized Modernity within postcolonial and decolonial theory and explains how postcolonial Romanian studies have engaged with postcolonial theory by avoiding these concepts. [ABSTRACT FROM AUTHOR]