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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.)

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.)

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.)

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.)

The Lost Generation marks a major moment in the development of contemporary Romanian poetry. The process they start and develop in a rebellious manner in the fifth decade is not limited to theoretical or ideological positions. Advocating the change in poetry, they propose something in return: their own poetry. Another kind of poetry, in the spirit of a new vision and of a new aesthetic, based, paradoxically, on the refusal of aesthetics. The young authors' literary offer is remarkable and shows the way to a new kind of poetry, to a new aesthetic canon. Constant Tonegaru is one of the most important poetic voices of this movement, who crystallizes a particular poetic aesthetics. Escapism, fantasy, irony and self-irony, bohemian attitudes, intelligence, in an aesthetic context that brings together post-avant-garde, surrealist, neo-modernist and textualist elements, is what defines his aesthetic identity. [ABSTRACT FROM AUTHOR]

The lyrical protest of the poets from the war generation exhibits a wide range of complexity. In their programmatically expressed desire to depart from the literary tradition, from the poetical canon of the period, the rebel poets make use of an arsenal of techniques and procedures through which they denounce the literature of the moment. Their target is poetry in particular, which is accused of being fake and sterile, of betraying its original mission, as a rotten fruit of an aesthetics of the literariness, devoid of substance, and of a factitious vision, tributary to the tradition and to the patterns of the aesthetics of the time. In the complex range of the new aesthetic attitude, defiance, bohemian attitude and evasion are fundamental modes of the lyrical protest, developed by the representative poets of the war generation. [ABSTRACT FROM AUTHOR]

The Gutenberg Galaxy, built on the printed word, is the space of existence of civilization, in the center of which stands the "typographic man". Marshall McLuhan describes in his famous book The Gutenberg Galaxy: The Making of Typographic Man (1962) the paradigm of human existence in the print era. He also talks about the impact of technology on civilization, about the future of humanity, about the transition from the individual to the collective existence, on a "tribal base", in the "global village", and about the control exercised by Big Brother through electronic means. New technologies, especially information technology, make the transition of civilization and of the individual into the Digital Era and virtual universe. Based on McLuhan's model, we can now talk about: The "Googleberg" Galaxy and the Making of Digital Man. Technology generates a new paradigm of existence, communication, culture and knowledge. Its benefits are huge for the individual and for humanity. But so are its risks and dangers: the transfer of the existence from real to virtual, the transformation of the real human being into a virtual being, his or her depersonalization, despiritualization, and deculturalization, the superficial knowledge and mediocrization, the control and manipulation of all, massification and uniformization of individuals through the digital technology within the globalization process. [ABSTRACT FROM AUTHOR]

The "war generation", also known as the "lost generation", marks a moment of rupture in Romanian literature, by denouncing the literary tradition and the aesthetic canons and by the wish to renew it. A particular case of the "lost generation" is Ion Caraion. The poet expresses a structural existential apostasy, an aesthetic revolt, historically circumscribed, and an iconoclastic attitude toward everything "old" and "outdated" in existence, mentality, and literature, in the name of the new and of the future, driven by messianic ideals. In resounding manifesto texts and fulminant poems, he pleads for the separation from tradition, for an aesthetic revolution, for the new literature, for a new poetry, inspired from the original sources of existence, close to the genuine and intense life, for authenticity and originality. In his conception of literature context, under the auspices of the "new poetry", Caraion writes poetry of defiance, defying, in this way, the poetry in "traditional" vision. Through his poetic work under the sign of rebellion and renewal, but also through his tragic existence, Ion Caraion is an exemplary poet of the "lost generation". [ABSTRACT FROM AUTHOR]

The new technologies determine a paradigm shift at the level of reading, through the transition from book to the electronic screen, from the classical reading to the digital reading. The option for reading on the screen, in the context of the universal fascination of technology, is associated with the even more clearer departure from the book. Beyond its technological advantages and attractions, digital reading could determine a surface culture, of information, not of substance, of quantity, not of quality. The risk of the digital reading is the virtual culture, in its negative sense, of possibility, not of reality. This kind of reading, exclussively practiced, can lead to the failure of the act of knowledge. The solution is provided by the complementarity of paradigms and by the comprehensive culture. Book and technology should be viewed as complementary instruments of culture and knowledge, which act synergistically and creatively. The Borgesian Library is an endless Babel, populated by books and by digital devices too, which open together a large window to knowledge and culture. [ABSTRACT FROM AUTHOR]

In Ion Caraion's poetry, exile is a recurring theme, of extraordinary poetic power. This power is rooted in the fact that, more than a theme, in Caraion's case, exile is a state of being, the state of being of the poet in the world. His poetic universe must be viewed in relation to his life, a tragic existence, in a cruel and absurd history. From this perspective, the theme of exile reveals its complexity and tragism. It becomes acute after the poet's final departure in Switzerland, in 1981, to the end of his life (1986), in a fierce communist period, when the totalitarian regime evolves towards its climax. In his last years, the poet lives, at paroxysmal intensity, the exile condition, in all its forms: the geographical exile, the linguistic exile, the exile in space and time, the political exile, the ontological exile, the inner exile. Poetry becomes a form of survival, the refuge in a utopia of words and in the transcendence of ideas, in the last, supreme, exile, the aesthetic exile, beyond time, beyond being and non-being. In the context of this thematic universe, of a tragic essence, Caraion's poetry knows remarkable aesthetic metamorphoses, in an essentially expressionist key. [ABSTRACT FROM AUTHOR]

Ion Caraion is one of the most interesting lyrical voices of postwar Romanian literature. He begins under the sign of apostasy, as one of the leading representatives of the "war generation", advocates the detachment from the literary tradition, the renewal of poetry, in mission, vision and poetic language. Through his poetry and attitude towards the totalitarian regime, he falls victim to the political system and goes through the inferno of the communist gulag. His life is marked by the memory of suffering, torn out by compromises and by the option without return for the exile. It is reflected in his "black" poetry, which develops a bleak, violent vision upon the existence, of an inexpiable tragism. Biographically, Caraion is a tragic case of the East. In his poetry, he assimilates the influences of the major literary movements and experiences in Romanian and universal poetry. He creates a poetic universe of great complexity, in which the lyrical modes of expression, covering an extensive range of aesthetic metamorphoses and versatility, contribute to the affirmation of a new poetic formula, proper to the poet. The literary identity of this poetry is constructed of a series of aesthetic signs. By its twofold determination, aesthetic and existential, this intense lyrical experience is rooted in the great poetry and in the fertile in suffering territory of a tragic existence. Caraion's poetry remains an aesthetic challenge for contemporary literature. [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.)

In the vast metropolitan areas of China, a five millennia civilization coexists, dramatically, with postmodernism and avant-gardism. On the one hand, the Great Wall, the Forbidden City, the Summer Palace, the Temple of Heaven, on the other, the new airport, the high-speed trains, the National Theatre, the Water Cube, the Bird's Nest, five and seven star hotels defying the laws of architecture and physics. A distance of millennia stretches from the Great Wall to the Bird's Nest, expressing completely different paradigms of existence. They share the vitality, strength, creativity and genius of a nation. History coexists with modernity and postmodernity by China's opening to other cultures and civilizations. It is an illustration of the concept "Alliance of Civilizations" shaping the globalizing world. China's spiritual identity is expressed through several metamorphoses and cultural models. Academic education, scientific research, culture, knowledge are at the basis of these spectacular paradigms. [ABSTRACT FROM AUTHOR]

The European Union is defined by a complex diversity, including nations, languages, civilizations, cultures, values, traditions etc. The principle of unity in diversity expresses a fundamental goal on whose achievement the common European future depends. The same principle states a global necessity, in a world of great diversity, reshaped by the globalization process. A fundamental means of achieving the unity in diversity objective through communication is multilingualism. The process of teaching and learning foreign languages is a main concern in higher education, in the context of the European policies concerning multilingualism. Foreign languages, especially English and French, have a compulsory regime in the study programmes from all academic specialties. A difficulty in this process refers to the perception of languages as complementary disciplines, sometimes marginal, in the non-philological studies programmes, which cover the largest area of higher education systems. Such perception affects the teaching and learning process, its quality and efficiency. Considering the need for language learning a priority remains a matter of mentality, which must be resolved through education in universities, by means of various educational strategies. The arguments are essential: mastering communication competencies in foreign languages provides universal communication tools and, at the same time, means of entering the world of education, culture, knowledge, by access to endless bibliographic resources both on classic and virtual format. Foreign languages are open doors to elite education, training, development, culture, communication, to the universe of knowledge. Unity in diversity in the European Union, the Europe of Knowledge, the new European humanism, the alliance of civilizations, and globalization are possible also by means of foreign languages as universal communication instruments. Homo europeus, at the same time homo universalis and the global citizen, is the multilingual man. [ABSTRACT FROM AUTHOR]