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„Aşa cum prompt avizează de la bun începutul lucrării, autorul şi a propus «să analizeze modul cum a fost reflectată politica externă a României în dezbaterile parlamentare din perioada 1899 – 1914». Este, potrivit Domniei Sale, prima abordare «din unghi parlamentar» a proble¬melor de politică externă a României dintr o etapă istorică mereu încăr¬cată de tensiuni, când sub acoperirea tot mai perforată a «diplomaţiei secrete» se decantau cauzele sau originile Războiului Mondial.” (Gheorghe Cliveti din Prefață)
The contemporary media narratives play an essential role in providing the audiences with essential cultural symbols, myths and patterns, mostly by reinterpreting/recycling existing cultural typologies, prototypes and archetypes (Kellner 200; Lyden 2003). This growing significance of both media and the process of myth recycling stems from the post-war Western cultural and technological evolution. Thus, due to essential form and content changes in the production, reproduction and distribution of cultural products since the mid-20th century, media have become increasingly dominant, replacing in dimensions and impact the previous influential institutions in shaping the views, values and behaviours of large audiences. As Peter Horsfield (1987) argues, the media represent a new symbolic environment, which, moreover, has an essential educational impact, shaping, as Douglas Kellner (2003) notices, the people’s views and values, providing “the symbols, myths, and resources through which we constitute a common culture and through the appropriation of which we insert ourselves into this culture.” Thus, the culture we are currently living in is a media-controlled and shaped culture and the manners in which it expresses the message are increasingly sophisticated and predominantly visual. As the influential Jessica Evans and Stuart Hall (1999) argue, when discussing visual culture: “The mechanically and electronically reproduced image is the semantic and technical unit of the modern mass media and at the heart of post-war popular culture”, the image and visual message being employed in a plural and increasingly diversified range of forms on the background of the massified communication and commodification of information.
However, despite the diversity of media channels and complex (and also increasingly interactive) platforms, the storytelling patterns and core messages have remained – para-doxically – roughly unchanged. A few major myth patterns represent the core of contemporary media storytelling, whether we speak of fiction (cinema) or reality based media messages (written or visual press), political representations (image campaigns) or advertising. Recycled (and also rebranded and reinterpreted) myths have proved very useful for contemporary commodified media, in selling a large variety of (media) products.
The current issue of Caietele Echinox / Echinox Journal aims to offer the environment for an academic dialogue and debates concerning the mechanisms, impact and effects of the recycling and wide-ranging employment of classical myth patterns in contemporary media. Departing from an initial theoretical segment – Revisiting Myths in the Information Age: Theoretical Approaches – the thematic sections attempted to cover the different areas in which contemporary media mythologies appear and function. Thus, the volume contains a series of theoretical inquiries on the facets taken by myths in contemporary media, as well as on their significations in relation to current challenges. The studies in the second section, Contemporary Media Narratives and Classic Mythologies, discuss a series of reinterpretations in contemporary media or new media of traditional myth patterns such as resurrection and regeneration, motherhood, other articles focusing on the recycling of powerful symbols such as the water or the labyrinth. As the volume aimed to discuss a diverse range of media, the studies focused both on visual aspects (with an emphasis on cinema, but also television or advertising) and on written press. The studies in the section titled Contemporary Written and Visual Media: Myths, Politics and Ideologies brought a more localised perspective, placing a particular emphasis on post-war communist media in Eastern Europe and Romania in particular. In contrast, the sections dedicated to cinema and advertising brought diverse contributions to the topic, from mainstream to more regional aspects of the myth occurrences in contemporary cinematic and advertising discourses. Finally, the texts in the last section, which focused on the “the ethics of the image”, resulted from a series of workshops organised within a project conducted at “Babeş-Bolyai” University, Cluj-Napoca, Romania, with BA and MA students of the Faculty of Letters.
„Cet ouvrage rassemble la première partie des actes du 3e Congrès du CRI2i consacré aux débats autour des imaginaires que suscite la question de l’altérité. Cette notion a beau avoir été largement analysée en philosophie et en sciences humaines, elle continue à nous préoccuper, présidant à notre conscience et imposant un questionnement incessant. Le rapport à l’Autre n’a jamais été aussi problématique que dans le contexte mondial actuel où les nouvelles valeurs de standardisation véhiculées par la culture de la mondialisation font face à l’hégémonie croissante des revendications identitaires. L’époque est marquée par le brassage des identités, voulu par le nouvel ordre mondial, et la pensée unique libérale se heurte à une opposition farouche des groupes sectaires et des mouvements radicaux. Qu’est-ce qui justifie cette flambée de violence qui frappe au quotidien, çà et là, et ces discours brandissant la bannière de l’inimitié, sinon le rejet de la différence et la négation de l’altérité ? Qu’est-ce qui triomphe aujourd’hui partout dans le monde sinon l’exclusivisme, l’intolérance et la haine de l’Autre ? C’est dans ce contexte tendu, placé sous le signe du choc des civilisations, que s’affirme le besoin de revisiter la notion d’alteritas et de confronter les imaginaires philosophique, artistique et littéraire relatifs à la notion de l’Autre dans sa relation dialectique avec celle de l’identité collective. N’est-il pas temps de réévaluer l’image de soi et de réajuster la représentation de l’Autre ? De dépasser le nombrilisme et l’ethnocentrisme afin de passer d’une altération à une véritable altérité ? Les anciens Grecs, à l’instar de maintes cultures, ont déjà multiplié les figures de l’Autre mais ont perçu l’altérité surtout sous un angle négatif. Prenant un caractère centripète, leur conception de la cité s’articulait autour des privilèges propres uniquement aux citoyens libres qui devaient occuper le centre, tout en repoussant dans la marge et selon une catégorisation spatiale, tous ceux jugés différents : non seulement les étrangers, les barbares et les ennemis, mais également les femmes, les esclaves et les éphèbes.” (din „ Avant-propos”)
Link -> http://caieteleechinox.lett.ubbcluj.ro/
„Le second volume des actes du IIIe Congrès International du CRI2i sur les « Imaginaires de l’altérité » rassemble les contributions qui ont abordé ce thème à partir de quelques témoignages littéraires et artistiques. En dehors du fait que la question du rapport de soi à l’autre parcourt en filigrane toute forme de représentation, elle prend toute son ampleur dans certaines œuvres où elle constitue plutôt un véritable enjeu. La création littéraire, et plus généralement artistique, en tant que lieu privilégié de questionnement et de remise en cause des présupposés fondateurs de la pensée de l’autre, concourt à forger des imaginaires qui instaurent de nouvelles identités et reconfigurent une nouvelle dialectique entre ipséité et altérité. Les contributeurs de ce volume ont braqué la lumière sur plusieurs visages de l’altérité et se sont employés à cerner les archétypes déterminant son émergence ainsi que les stéréotypes qui lui sont attachés. Un large éventail de genres littéraires et artistiques a été exploré : chanson de geste, roman médiéval, littérature d’expression française ou roumaine, science-fiction, autofiction, autobiographie, etc., aussi cinéma, art brut et art contemporain. Par-delà leur variété, les genres interrogés mettent en avant les diverses formes d’une altérité pensée en termes de nationalité, de religion, d’ethnie, de race, de sexe, d’identité sexuelle et de corps.” (din „Introduction”)
Link -> http://caieteleechinox.lett.ubbcluj.ro/
„Prin această traducere aducem un omagiu tuturor colegilor români; această carte publicată în limba română este în același timp o mare onoare și o mare bucurie pentru autorul ei, care mulțumește tuturor celor care au făcut posibilă apariția aceastei lucrări, iar traducătorul Cosmin Mihail Coatu merită sincere mulțumiri. (...)
Studiul armatei romane cuprinde două părți care nu pot fi separate: armata romană a fost o instituție și în același timp un instrument de război. Predecesorii noștri din secolul al XX-lea nu au văzut decât primul aspect; cu siguranță este un aspect indispensabil, dar la fel de important este și al doilea aspect despre care trebuie să vorbim. Căci finalitatea, rațiunea de a fi a unei armate este războiul și ținta soldatului este victoria, lucru pe care îl amintește Charles Ardant du Picq.” (din „Prefață”)