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In spite of its alleged outdatedness, recent enquiries in World Literature Studies have not completely neglected the concept of postmodernism. On the contrary, they emphasized its "worldedness" and transnational characteristics. Building on this perspective, I approach postmodernism through Mieke Bal's Travelling Concepts in the Humanities: A Rough Guide, framing it as a "traveling concept" whose diffusion in East-Central European culture -- precisely the Romanian context -- merits closer examination. This investigation focuses on its interactions with coeval literary concepts within the world-literary system. Using this framework, the article argues that Romanian postmodernism, a category discussed by Mircea Cărtărescu among others, served as a legitimizing theorization. In this regard, it was pragmatically employed to counter the (semi-)peripheral condition, and to act as a heuristic battleground between two fields of knowledge production on literary postmodernism: French and American. [ABSTRACT FROM AUTHOR]

The theme of queerness within Romanian literature remains relatively marginal and is often treated as an exotic subject, thus representing a substantial opportunity for literary scholarship. Furthermore, in Romanian cultural discourse, queerness is frequently perceived as deviant, perverse, or scandalous, and conceptually aligned with the monstrous. Employing Susan Stryker’s theory of queer monstrosity, it becomes visible how queerness is often commonly interpreted and represented as a form of monstrosity. Broadly speaking, queer characters are depicted as having grotesque and unintelligible qualities, rendered into symbolic embodiments of the monstrous and as delineating the boundaries of the (un)representable. Engaging with Stuart Hall’s coding-decoding framework, this study aims to examine the dimension of gender queerness within the construction of male characters in several key texts: Remember by Mateiu I. Caragiale (1924), Ambigen by Octav Șuluțiu (1935), and Travesti by Mircea Cărtărescu (1994). I will analyse how the ambiguity of gender identity, arising from the feminization of masculinity, is encoded through representations of monstrosity, emerging in both character portrayal and narrative structure. The selected texts exemplify an enduring trend in interwar prose characterized by a dual encoding of queerness – through both explicit and fragmented representations – a trend that Mircea Cărtărescu later reinterprets as a central thematic focus. This analysis will interpret the queerness of hese characters through an exploration of the mechanisms of exoticization, racialization, animalization, and sexualisation of the feminine body, which concomitantly shape the notion of queer monstrosity. [ABSTRACT FROM AUTHOR]

The article will focus on two books by Mircea Cărtărescu, Eminescu: The Chimerical Dream (Eminescu: Visul chimeric, Humanitas, 2011), originally his bachelor’s thesis, and Solenoid, the massive novel of 2015. The intention is to see how the archetypes, complexes, themes and motifs of fiction (and autofiction) influence the author’s theoretical approaches. The interpretations of literary critics and historians Alex Ștefănescu and N. Manolescu will also be analyzed to establish a starting point for the critical analysis. Therefore, the research will attempt a Cărtăresquian mythocriticism in combination with a study of critical reception. Additionally, it is of great importance to notice how the aesthetic categories of grotesque, sublime, and pathos inform narratives built with maximalist stylistic means. The focus of the research is to identify the degree of innovation and originality in a quantitatively imposing literary prose. In this respect, studying Cărtărescu masterful mingling of phantasy and sentimentalized realism proved to be of great help in understanding the peculiar narrative and hermeneutic strategies used bu the autor.

As distinct from a ‘close reading’ that has long become a core value in literary studies, ‘distant reading’ has been proposed by Franco Moretti (2000) to overcome the obstacles faced by comparative literature, and to counterweigh the disadvantages of distant reading. Relying on my past work in Mediterranean and Black Sea Studies, I attempt an interpretive ‘distant reading’ of the two fiction works that were written from a meaningful distance, that is, approaching the Mediterranean and/or the Levant from the Black Sea point of view. In keeping with his literary style, Cartarescu himself referred to Istrati in his fiction. (The Levant 102, 136) This intertextuality invites a reconsideration of how he echoed his predecessor, just as the Levant in the title did the Mediterranean. I argue that the representation of the pre-World War I Mediterranean in Istrati’s Mediterranean (Sunrise) (1934) and (Sunset) (1935), posthumously available in a single volume (2018) is ‘impression-istic’ and informed by modern social and poetic realism. It differs from Cartarescu’s postmodern reworking of this geography as a film-set with a distinct background, by recourse to the repertoire of conventions and clichés constitutive of the Levant literature. I relate this basic difference to the writers’ space/time specifications, as well as the literary space, or alternatively literary geography, within which they positioned themselves. The present study is devoted to the evaluation of the intertextual connection between the two books and its overall representational consequences.

The aim of this paper is to analyze the differences and similarities between the latest volume of stories published by the Romanian writer Mircea Cărtărescu (Melancolia, 2019, Bucharest, Humanitas) and his previous literary production. Although Melancolia has been associated with Nostalgia and indeed exhibits many parallels with the first volume of short novels published by Cartarescu, the truth is that the 2019 volume refers to the literary universe created from other texts as well. By comparing and contrasting Melancolia with some of his main works, from novels such as the three volumes of the Orbitor trilogy (Aripa stângă, Corpul, Aripa dreaptă), Travesti or Solenoid to his poetry, through the stories of Nostalgia, the essay aims to demonstrate how this volume dialogues, more or less explicitly, with all the previous ones while distancing itself from them in some narrative and stylistic aspects. After examining elements such as characters, motifs, symbols, metaphors, subjects, intertextuality, and metafiction, the work focuses on space and time as the two main categories in which the most significant changes take place as they move away from their usual context, communist Bucharest (more precisely, from the late 1950s to the end of Nicolae Ceaușescu’s regime in the late 1980s). This temporal and spatial framework is one of the fundamental axes of all Cărtărescu’s literary texts, which gives them unity, stability, and continuity. However, as the article tries to demonstrate, the change is not total, but Mircea Cărtărescu, through his usual intertextual play, refers indirectly to this space well known by his readers and, consequently, perhaps also to that historical period. To argue this issue, this article outlines the direct allusion to a specific space mentioned in some of the author’s earlier texts. This is the factory where one of the most important episodes of the first story (Punțile) takes place. The spatial descriptions of the first and third stories are also analyzed to check the parallels between them and some settings of Nostalgia, Orbitor or Solenoid. The work also investigates the possible objectives of these changes and similarities. On the one hand, it is possible to identify some of Cărtărescu’s characteristic elements in Melancholy due to its thematic and stylistic permanence (child and adolescent characters, the games as creation and as a gateway to a magical universe, the mother, rites of passage, onirism, the use of polysemic symbols such as the butterfly, duality, symmetry and twins, fractal images, anti-mimetic references, etc.), as well as the allusions (explicit or implicit) to his previous works. On the other hand, by neglecting (at least unequivocally) the preferred space-time frame of his previous works, Melancolia can be universalized, and the fictitious components can prevail over any possible reference to extra-literary reality. In this way, the Romanian writer achieves a work that is both very similar to and very different from his broader literary corpus, from everything he had written until the moment of the publication of Melancolia.

The article tries to map the perspectives of the post-communist East on its own communist past, as envisioned by four writers and their relevant novels: the Michal Ajvaz (The Other City, 1993), Mircea Cărtărescu (Blinding, 1996), the David Albahari (Leeches, 2006), the Olga Tokarczuk (Drive Your Plow Over the Bones of the Dead, 2009). I argue that these novels -- which take the form of mysteries and/or draw on conspiracy theories -- resort to specific genre tropes in their attempt to render in an allegorical code the deficits in the cognitive mapping of the post-communist period. This blank spot concerns the project of post-communism as an evasive totality which the East has been constantly trying to grasp, after being confined in the cognitive labyrinth of the neoliberal capitalism that has predominated since the demise of communism in central Europe in 1989. My study relies on Fredric Jameson's view that conspiracy theories are indicative of deficiencies of cognitive mappings. Subsequently, I analyse the four novels in a World Literature frame. These terms help in interpreting the ways in which the literatures of the former Eastern Bloc relate to their own past, but also to the new planetary conscience pushed forward by neoliberal capitalism. [ABSTRACT FROM AUTHOR]

Esse ensaio tenciona analisar romances contemporâneos que lidam com a memória fora do referencial teórico do denominado realismo traumático. Inicio tratando de uma das versões mais destacáveis do trauma dentro da produção contemporânea em artes, a relação entre realismo traumático e arquivo. Depois, lido com o tema da nostalgia em dois romances: o Nostalgia de Mircea Cărtărescu e o The Return de Hisham Matar. Por fim, enfatizo a questão da temporalidade e da relação com a literatura contemporânea.

Long focused primarily on the literature of a few major European powers, comparative studies have increasingly been giving substantial attention to writers in smaller countries and using less widely diffused languages. The rich and varied literatures of the Balkans are ideal candidates for renewed attention, but perhaps because of the number and variety of languages involved, there has been little broadly comparative work on Balkan literature, especially across the region's language families. This essay proposes that we can learn a great deal, even when working mostly in translation, when we open out a wider perspective to explore the literary commonalities and discontinuities that have emerged across the region's languages, countries, religions, and imperial histories. Taking examples from Bosnia's Ivo Andrić, Albania's Ismail Kadare, and Romania's Ion Budai-Deleanu and Mircea Cǎrtǎrescu, I argue that their works interfuse Balkan epic traditions and broader European models to contribute powerfully to what can be called a distinctive Balkan world literature. [ABSTRACT FROM AUTHOR]

In this stylistic study I propose a reading of Orbitor [Blinding] through two literary modes: magical realism and maximalism, as Mircea Cărtărescu’s trilogy contains elements that fit into both literary modes, albeit with some differences. Such a reading would allow the formulation of the term magical hyperrealism as a new literary mode. The understanding of magical realism is based on three features: authorial reticence, amplification of reality through “faith” and social comprehension. Regarding authorial reticence, Beatrice Amaryll Chanady compares magical realism with the fantastic as defined by T. Todorov. Unlike the fantastic, which creates doubt between a real or a supernatural explanation for unlikely events, magical realism allows the ordinary and the marvelous to coexist as two components of a harmonious reality that is given without explanation (authorial reticence). The amplification of reality through faith in the marvelous and the social comprehension of the marvelous are concepts based on Alejo Carpentier’s lo real maravilloso. In Orbitor all of these features appear in many episodes, although unlike traditional magical realism, faith in the marvelous is expressed through personal-intellectual convictions rather than social-collective beliefs. As for maximalism, Orbitor fulfills most of the ten characteristics of this genre as defined by Stefano Ercolino. The main difference is point 10: “hybrid realism.” In this case, maximalism usually distorts reality for representational purposes, but Orbitor distorts it for purely literary purposes or for a psychic-subjective exploration of the author. From comparing Orbitor with both literary modes, magical hyperrealism as a literary mode is defined as follows: a totalizing-encyclopedic vision of reality that, with authorial reticence, harmonizes the real and the marvelous through a strong faith. Some applications and future possibilities are discussed in the conclusions. [ABSTRACT FROM AUTHOR]

This essay analyses the most recent novel of Romanian author Mircea Cărtărescu (Solenoid, 2015). To this end, I will use a specific extension of career construction theory in the field of literary research that focuses on the notion of a 'late-career novel'. After a short presentation of the theoretical framework and the evolution of Cărtărescu's career, my approach turns to the hybrid nature of Solenoid, which reveals the complex (meta)narrative strategy its author deploys in order to attain an ever more prestigious position within the international literary canon. On the one hand, through the continuous interplay of his roles as Teacher, Writer, and Seeker, alternatively regarded as profession and vocation, Cărtărescu rewrites his own biography in order to dispose of any trace of institutionalised 'literature' in his discourse; on the other hand, the Romanian author ostentatiously exhibits his own marginal geo-cultural status, implying that it would grant him access to a more authentic and substantial understanding of life. These actions are part of a broader metanarrative pattern, which I denominate 'hypercycle' and whose conceptual background could not only offer a better understanding of Cărtărescu's career, but also pave the way for further development of career construction theory. [ABSTRACT FROM AUTHOR]

The current study is both an inventory and an interrogation: on the one hand, it makes an inventory of the dynamics of affinities that the poets of the Monday Literary Circle (and, by extension, of the 1980s’ generation) felt for the American literary model; on the other hand, it questions the genuine nature of this relationship, that is often inflated in recollection. Are Cărtărescu, Coșovei, Iaru, Bucur and the others just mere local Beatniks, as they have been accused (and were never prompt in refuting)? How do they themselves define this relationship? A possible answer might be found at the end of the analysis, where I introduce a (never before published) document: Traian T. Coșovei’s Bachelor thesis. [ABSTRACT FROM AUTHOR]

The French translation by Laure Hinckel of Mircea Cartarescu's last two books, the novel Solénoide and the collection of short stories Melancolia, have been enthusiastically welcomed by the francophone literary critics. In this dialogue Laure Hinkel develops on the practice of translation as a poietic of the interval. Tracing the on-going process of translation takes our approach further on, in the field of the politics of cross-cultural memory. [ABSTRACT FROM AUTHOR]

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.)

In Mircea Cărtărescu’s latest colossal novels (the Blinding trilogy and the solitary Solenoid), the novelistic conception is associated with a special theoretical platform predicated on terms such as gnostic, fractile, holarchical, asymptotical, spiralled, or termitelike – assumed, at a conceptual level, in a postmodernist or even post-postmodernist sense. The present study examines the validity of these concepts, which render Cărtărescu’s recent prose as a partial container of the exact sciences (like mathematics or physics), evincing a comprehensive philosophical conception according to which the novel, as genre, can represent a third or even a fourth dimension in the cultural, human, cosmic space. This is the author’s ambitious project, which the present research aims to deconstruct, with a view to highlighting the possible mutations the novel undergoes as a genre under Cărtărescu’s penmanship. [ABSTRACT FROM AUTHOR]

Spread between 1979 and 2014, Traian T. Coşovei's poetic career appears to be torn between its first stage, an auroral and playful one, and the second one, more mannerism-infused and deceptive. The year 1990 represents the separation line between these stages, as Coşovei was rarely able to get close to the vigour of his beginnings (the 1980 volume 1, 2, 3 or ... is relevant for this period). This makes for an almost cubist portrait, where the author's figure, torn and fragmented, like in Dora Maar's famous case, becomes unrecognisable. The current study aims at restoring the continuity of the broken lines contained in Coşovei's work and at recompiling the image to a figurative whole. The novelty resides in accessing a few bibliographical sources rarely accessed by literary critics until now: the small and truthful biography that his father, a writer himself, dedicates to his son in 1959 or the set of manuscripts (still novel to the public) characterised by an astonishing diversity, specific to young Coşovei's literary signature even before the publication of his books. What emerges from this endeavour is a long therapeutic journey, where deliberate oblivion seems to be the solution that settles innate melancholy. [ABSTRACT FROM AUTHOR]

Mircea Eliade’s Noaptea de Sânziene and Mircea Cărtărescu’s trilogy Orbitor (Aripa stângă, Corpul and Aripa dreaptă) rewrite some of the most important events of the 20th Century History of Romania. The aim of this paper is to analyze, from a comparative perspective, these novel’s fictional treatment.

Although Romulus Bucur proves to be an influential figure in the most recent Romanian poetry trends, he has been drawing a peculiar type of critique throughout his thirty-five years of career. Some of the important literary historians (Manolescu, Zaciu, Negrici) have simply forgotten him in their syntheses, some (Simion, Martin, Cistelecan) have only settled for dealing with his work by means of singular interventions, in a categorical and descriptive manner, without following through the author's overall path. This unfair situation would have probably continued if Bucur wouldn't have published, in 2015, two books that trigger the effect of a geniune electric shock: The Art of War, an anthology with all the coordinates for it to be regarded as masterpiece, and automonography Opus Caementicium, where he explains (following the line that began with Poe, further used by Eliot and Pound) his reference system and poetic preferences. With suggestions from the latter book as a startpoint, the current essay offers a plausible and functional model of understanding the poetry of Romulus Bucur as a continuum novel, where, almost like in David Mitchell's book, Cloud Atlas, the hero (soaked in musical and literary culture) stays true to himself, while also changing his age, epoque, temper and even his state of matter. [ABSTRACT FROM AUTHOR]

In this paper we intend to follow how Mircea Cărtărescu's discourse is built in a text written specifically for children and, at the same time, to identify whether there are elements of continuity between the type of writing which consecrated the author and such text intended for children. Thus, what interests us at the end of this work is the identification of the way the childhood universe is rebuilt and the analysis of the application of the postmodernist narrative techniques. As in the consecrated texts, Mircea Cărtărescu also gives a special attention to the structure of the text and discourse, managing to build a dense story with multiple levels of interpretation, even if it is a text dedicated to children. Built on the scheme of the story in the frame, Florin scrie un roman is a fine example of how a postmodern writer builds a text for children reader without indicating the used processes and without naming the features of postmodernism. [ABSTRACT FROM AUTHOR]

Un altfel de jurnal: ieşirea din timp was thought from the very beginning as a posthumous diary by its author, Matei Călinescu, but during its writing, the diagnosis of a terminal illness grants it the dimension produced by the perspective of the soon-to-be end. Un om care scrie. Jurnal 2011-2017 (A Man who Writes. Diary 2011-2017)/s the fourth part of Mircea Cărtărescu's diary, published seven years after the third one. Along with a collection of dreams, reflections, projects etc., this diary shows parts of the creative laboratory in which the novel Solenoid is being produced. Peisaj după isterie (Landscape after Hy„steria gathers more than fifty journalistic articles by Mircea Cărtărescu and the letters he wrote in an epistolary exchange with Luisa Etxenique, offering an X-ray of a Romanian society exposed with its afflictions. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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 article aims at observing how H.-R. Patapievici and Mircea Cărtărescu have become the two main institutions of contemporary Romanian writing. Namely, how their incessant attention to the other has eventually led towards the building of their impressive body of works; in what concerns H.-R Patapievici, his puzzling array of philosophical and intellectual interests originates in this impassionate attention to the other, which leads him both to examine „the recent human” and to deplore the absence of „a market for the ideas”. In what regards Cărtărescu, the same „attention the other” is the punctum origo of his massive prose works, culminating with his recent novel Solenoid (an 800-page humanist manifesto) and with Landscape After Hysteria (a collection of social, political, and ethical attitudes). Therefore, it is this apparently naïve „attention towards the other” that represents the most effective institutional philosophy of the present. [ABSTRACT FROM AUTHOR]

Dans cet article, nous analysons le phénomène de la réception d'un écrivain roumain en Suède, avec une attention particulière accordée au phénomène de la traduction et de l'éventuelle influence de cette traduction sur la réception. Il s'agit notamment du premier volume de la trilogie Orbitor de Mircea Cărtărescu, publié en 1996 et intitulé Orbitor. Aripa stângă en roumain, et traduit en 2004 en suédois comme Orbitór. Vänster vinge. Nous nous concentrons surtout sur le choix de la traductrice suédoise Inger Johansson en ce qui concerne la stratégie de rendre le texte transparent - le naturaliser - ou opaque - l'exotiser - pour le public suédois. Nous nous appuyons sur les discours théoriques sur les stratégies traductionnelles « sourcière » ou « cibliste », soulignant surtout les enjeux culturels et éthiques d'un choix entre celles-ci. Pour ce faire, nous comparons la traduction suédoise avec les traductions en français et en anglais, afin de mieux pouvoir dégager une stratégie. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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 study examines the cohabitation of four different poetics in the writings of Mircea Cărtărescu. Usually considered a typical and superlative postmodernist writer, Cărtărescu is much more complicated than that; besides being a postmodernist, he is also a mannerist (in the meaning given to the concept by Gustav René Hocke), an ironist (as Richard Rorty defined the concept), and a confessional writer. The study observes how these four poetics mingle and influence each other, creating the unique typology of Cărtărescu’s literature. [ABSTRACT FROM AUTHOR]

In Orbitor (Blinding), Cărtărescu constructs and deconstructs the role of memory exploring memory's relationship to immortality - mostly in the third book or father's book, and memory in relation to creation - in the first two books, the mother's book irrespectively the book of the self (the middle one). There is always an unescapable nostalgia from one metamorphosis to another. If Cartarescu, as a postmodernist writer, deconstructs some myths, he never does that to the all-encompassing myth of the book. Nostalgia regenerates this myth. Exoticism embodies the need for another dimension. It is also interwoven in the maternal and paternal genealogies of Mircea, the alter-ego of Cartarescu himself. Exoticism appears in Cartarescu's dreamland as the provocation, as the challenge of the Double. Through exoticism and symmetry, Mircea wants to grasp his dream being, his inner dreamer. The underlying paradigm superior/inferior attributed to exoticism is totally out of question in Blinding, because here all exotic representations are based in oneiric landscapes. A realm where exoticism is preserved in its elements without having anything to do with commodities (see Huggan)is the dreamland of Mircea Cărtărescu's writings. Butterfly symmetry is the preservation of halves, simultaneity is androgyny. Victor, the mirror-twin of Mircea, bound to him in a Narcissus-like story of love and abhorrence, is the embodiment of symmetry at its highest potential. REM is simultaneity, not symmetry. REM is the Entrance to Blinding's manuscript labyrinth centre and the portal to a higher "blinding" reality. For Cartarescu, eternity is simultaneity. Bizarre and familiar, exotized Bucharest and exotized faraway lands have the consistency of dreams. Cartarescu's exoticism is a chrysalis of our chimeric alter-egos. [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]

This essay tries to approximate a theoretical definition for the concept of literary circle. Most of the time, this notion is approached from a historical perspective, as a trivial clique of writers trying to obtain notoriety. Obviously, this description neglects an important aspect: every literary circle also represents a shooting range for a multitude of reading strategies. A prototype for what Stanley Fish called in 1976 "interpretive communites". In a thorough analysis of Fish's study, his concept fits to our expected definition. In the second part of the essay, the activity of one of the most famous romanian literary circles (Cenaclul de Luni) is investigated in the light of this conceptual proposal. [ABSTRACT FROM AUTHOR]

When reading a book or a poem, which is like a mirror reflecting more than one perspectives, one should start from drawing a map of that literary work, constructed on several questions that will help him develop a better understanding of it. This article does not represent an exception from this pattern. Starting from the title, which emphasizes the whole structure of the paper, what we have tried to do was constructing logical arguments on the subject of the narcissistic look, basing our ideas on the three main pillars that sustain the analysis : eros, politikon and thanatos. Mircea Cartarescu represents a great voice in literature and debating on the theme of love, seen from his own perspective is a very difficult task to accomplish. In order to develop the essence of his eroticism, we have chosen the most representative poems, such as : "The girl with the diamond socks", "Adriana" or "Clementina" - that underline woman's status in Cartarescu's vision; "When you need love" - that fully emphasizes the melancholy born from an unfulfilled love, and others. The whole article concentrates on the bond between the three pillars, because they represent the base on which human existence is constructed. [ABSTRACT FROM AUTHOR]

This study aims at identifying a new form of theatricality within the epic writing, as an influence of the digital language and its more or less direct impact on the structure of literary discourse. Theoretical research is completed by a practical approach of the subject: the presentation of two Romanian contemporary theatre performances based on non dramatic texts: the epic novels Travesti by Mircea Cartarescu and Chemarea lui Matei by Florina Ilis. Both of the novels have been dramatized and staged into theatre performances that relied on the use of new technologies due to certain particularities of their style of writing, bringing a renewed form of theatricality to a theatre performance: the theatricality of sound. [ABSTRACT FROM AUTHOR]

Emerged from the project San Sebastiân- European Capital of Culture 2016, Correspondencias offers an epistolary dialogue between Luisa Etxenique and Mircea Cărtărescu. [ABSTRACT FROM AUTHOR]

The study deals with the issue of communist censorship as applied in the 1980s, especially to young postmodern writers. The example detailed in the current study refers to the conditions in which Mircea Cărtărescu's volume, Poeme de amor, was published in 1983. A post-communist (unexcised) version of one of his poems is used for comparison with the two variants (censored and uncensored) with a view to observing the elements eliminated by the censorship. Generally speaking, the mechanisms of censorship prove to be complex and fluid (sometimes an ideological story was added to the rejection of a volume) and sometimes, a closer look reveals their flaws and oscillations (as it is obvious in the case of a poem signed Alexandru Musina, which was censored twice, in two different manners). [ABSTRACT FROM AUTHOR]

In the present article the significant impetus of Romanian novelist Mircea Cărtărescu on a Swedish audience is discussed, with special attention focused on the concept of Nostalgia, and Cărtărescus relation to the aesthetics of dream reality, first introduced in Sweden by August Strindberg with his "A Dreamplay "from 1901. Viewpoints on more precisely what kind of readers that Cărtărescu seems to have attracted in Sweden are also presented, as well as on the translations into Swedish of his novels that have been made by Inger Johansson. [ABSTRACT FROM AUTHOR]

The article continues Andrei Bodiu's intentions, shown in the article dedicated to Florin Iaru's book Fraier de Bucureşti / Dupe in Bucharest, to debate a tendency of the publishing year 2011 , the new ethic dimension of the Romanian literature. This second study deals with one excellent book of 2011, written by Călin-Andrei Mihăilescu, Happy New Fear! Andrei Bodiu points out that, beyond the ludic dimension of his texts, Mihăilescu has a strong moral attitude and also an important critical spirit. [ABSTRACT FROM AUTHOR]