Rezultate căutare pentru 'Radu Ardevan'

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    Alexander Baumgarten, Le reste comme problème de la philosophie

    I. Figurer le reste

    Luigi Tassoni, La poetica delle somiglianze. Milo De Angelis dalle rovine del soggetto alle tracce del riconoscimento
    Corin Braga, Le centre structurel et ses restes
    Giovanni Rotiroti, Per una poetica e una politica dei resti a partire da Urmuz: il caso di Tristan Tzara, Eugène Ionesco, Paul Celan e Gherasim Luca
    Antonio Patraș, The Anecdote in The History of Romanian Literature from Its Origins to the Present
    Ligia Tudurachi, « Jouets », « boîtes », « reliques ». Fascination du petit chez Hortensia Papadat-Bengescu
    George Alexandru Condrache, The Residual Forms in Contemporary Central European Literature. Two Case Studies: Bohumil Hrabal and Ádám Bodor

    II. Le continent de la non-lecture

    Horea Poenar, Glitches of the Archive: On the Relation Between Memory and the Commons
    Catherine Gravet, Dépouiller des archives pour éditer des textes « résiduels » : le cas Alexis Curvers
    Florin Oprescu & Monica Oprescu, Mateiu Caragiale – Through the Leftovers’ Glass. From the Journal to Ephemerides
    Gabriela Glăvan, Communist Leftovers: The Forgotten Books of Gellu Naum
    Eugen Radu Wohl, Ion D. Sîrbu’s Anthumous Works as (Re)valuable Residues
    Levente T. Szabó, Dilettantism as a Moral Panic. Recovering a Forgotten Discourse of Hungarian Literary Modernization]
    Corina Croitoru, Le résidu du résidu : ombres de la poésie roumaine de guerre
    Roxana Patraș, When All That Rests Is Literature: Traces, Transcriptions and Remnants of Great Speeches
    Arina Neagu, Une autre approche sur les mémoires roumains de prison : le caractère résiduel de « l’indicible concentrationnaire »
    Barbara Miceli, How to Turn a Forgotten Figure of American History into a National and Gender Emblem: Joyce Carol Oates’s Treatment of Mary Jo Kopechne in Black Water

    III. Identités en marge

    Marie Vrinat-Nikolov, Les langues ignorées de l’espace littéraire bulgare
    Annalisa Cosentino, La boemia altrove
    Marius Popa, Le classicisme français dans la critique littéraire de la génération roumaine de 1848. Radiographies d’un « malentendu »
    Lavinia Sabou, The Travel Accounts We Don’t Write About. Eastern European Ways of Mapping the World
    Ruxandra Cesereanu, Societal Metabolism and “Excretion”: Towards a Typology of Marginals (The Fiction of Venedikt Yerofeyev, Alexander Zinoviev and Roberto Bolaño)

    IV. Survivances

    Monica Fekete, La rigenerazione del poema cavalleresco: da centro epico-narrativo a margine del moderno, da trionfo idealistico a spazio del romanzo contemporaneo
    Laura Marin, Survivances du neutre
    Márta Zabán, Residual Nationalism. The Nineteenth-Century Hungarian Folk Drama as a Reinterpretation of European Theatrical Nationalism. Pour une politique du résiduel en littérature
    Ioana Bot, Gli esordi dimenticati della stilistica: Leo Spitzer, censore dei soldati italiani nei campi di prigionia della Prima Guerra Mondiale
    Elena Crașovan, (Mis)readings of Contemporary Magical-Realist Fiction in the Context of Romania’s 2000 Literary Generation. The Case of Bogdan Popescu
    Adriana Stan, Monuments of Literature, Scraps of Criticism

    V. Entretiens: Ioana Bot, What’s Left? A Discussion on the Remains of Writing – and the Remains of Living – with Two European Authors

    Society generally looks patronisingly or with benevolence upon railway fans, as if they were children. In reality, they are serious people, with very diverse preoccupations, drawn around a common passion: trains and railroads. We all had the opportunity of noticing this during a conference which took place between September 12th and 14th, 2019 in Cluj, Romania, hosted by Babeș-Bolyai University and the Faculty of History and Philosophy. Entitled „The Railway Journey from the 19th to the 21st Centuries. A Cultural History of Railway Transport and Mobility”, it was the first of its kind ever to be held in Romania. The organisers were Babeș-Bolyai University through the Faculty of History and Philosophy, the “George Barițiu” Institute of History within the Romanian Academy, the Society for Historical Sciences in Romania and the International Association for Railway History.

    Thirty-six historians, literary scholars, researchers and non-academic presenters took part. We observed them for three days, at the conference venue, at the projection and the informal discussion at the end of the event, as well as during the trip at the Remarul enterprise (for engine and car repairs) and at the Dej railway museum and railyard. On all of these occasions, we saw passionate people, interested both in the topic of their research and in trains and railways in general. We could not help but notice the joy exhibited by participants of all ages upon climbing onto the historic locomotives displayed in the open-air museum in Dej. (from ”The Introduction”)

    55,00 LEI

    „E o carte curcubeu care apare în orizontul unei dezrădăcinate existențe oșenești… Un decupaj sufletesc de fotografii scrise cu lumină și scoase dintr-o straiță cusută cu dorul unui Oaș curat, pur, nealterat, ivit din memoria inimii. Trăsăturile identitare constante, având amprenta puternică a obârșiilor intră într-un dialog tainic și dinamic al adaptabilității permanente, cu acele căi de evoluție care imprimă schimbarea, transformarea, dislocarea… Constelația reperelor identitare ce individualizează comunitatea tradițională oșenească este reprezentată simbolic de CERC prin configurarea lui la toate nivelurile existenței sub forma unor coduri încifrate ale arhitecturii lăuntrice: clopul – în portul bărbătesc, cununa miresei, roata feciorilor – în danț, ciuperca de danț, crestăturile cosmologice de pe crucile de lemn, roata cu șase spițe de pe vranița cu boc, cercul stilizat pe ceramica de Vama, colacul solar, floarea vieții cusută pe pânza albă. Oșenia devine astfel sursa unei conștiințe a geometriei spiritului cu care construim lumea din interiorul nostru, ancorând-o astfel în proporțiile perfecte ale sacralității. În satul tradițional, exista o unitate între cultură și civilizație, substituită ireversibil de un anacronism care s-a creat treptat, de-a lungul mai multor decenii, între credințele și valorile spirituale ale oșenilor și transfigurarea lor în materialitatea formelor vizibile din arhitectură, stil de viață, viziune despre lume, intrare și ieșire din ritual… Această ruptură definitorie, dar nu definitivă pentru Oașul de azi, a fost generată de dispariția rânduielii străvechi și a nevoii de sacralitate în lumea în care trăim… pătimind prin siajul dramatic al însingurării dintre omul care privește o floare, fără a simți că pe cer tresare o stea…” (din „Argument sufletesc”)


    "It is a rainbow book that appears on the horizon of an uprooted Oaș existence… A soul cutout of photographs written with light and taken out of a bag sewn with the longing for a clean, pure, unaltered Oaș, born from the memory of the heart. The constant identity features, with the strong imprint of the origins, enter into a mysterious and dynamic dialogue of permanent adaptability, with those evolutionary paths that have printed change, transformation, dislocation… The constellation of identity landmarks that individualize the traditional Oaș community is symbolically represented by the CIRCLE, through its configuration at all levels of existence in the form of encrypted codes of interior architecture: the hat – in the man's dress, the bride's wreath, the young men’s wheel – in the dance, the dance mushroom kiosk, the cosmological notches on the wooden crosses, the sixspoke wheel on the vranita with boc, the stylized circle on Vama pottery, the solar braided bread, the flower of life embroidered on white cloth. The Oaș way of being thus becomes the source of a consciousness of the geometry of the spirit with which we build the world within us, thus anchoring it in the perfect proportions of sacredness. In the traditional village, there is a unity between culture and civilization, irreversibly replaced by an anachronism that was gradually created, over several decades, between the beliefs and spiritual values of the Oaș people and their transfiguration into the materiality of visible forms in architecture, lifestyle, vision of the world, entry and exit from the ritual… This defining but not definitive rupture for today's Oaș was generated by the disappearance of the ancient order and the need for sacredness in the world we live in… suffering through the dramatic slipstream of loneliness between the man looking at a flower, without feeling a star tremble in the sky…" (Excerpt from "Soul Argument")

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