CONCORDIA DISCORS vs DISCORDIA CONCORS

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Authors: -

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4

Authors: Constantin ȘCHIOPU

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6

Authors: Corina IFTIMIA

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Authors: Ionela STARPARU

Starting from Freud‘s theory of sublimation, I intend to point out, in this research, a better way out by experiencing a pure feeling of love, so well-known in the eastern spiritual tradition. Freud was convinced that the unacceptable sexual impulse could be deviated from its original purpose by the superego‘s restrictive laws and transformed into a superior state of tender love, morality, artistic abilities. Though it may appear as a natural process of acquiring an elevated spirit, what I cannot agree with is the outcome: love. Therefore, in this study, I will bring together both Freud‘s view and the eastern Christian theologists‘ conclusions on this matter to argue that love cannot derive from the sexual drive, but rather the opposite is more logical.

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Authors: Małgorzata NICIEJA, Stankomir NICIEJA

The paper suggests the advent of a new type of character in a popular genre of American high school films, namely a precocious and sexually assertive young woman. Such characters are usually highly intelligent and manipulative women who seduce unsuspecting male partners, often their teachers, for emotional or practical gain. Although their actions may appear morally wrong, they are often depicted in a positive light. The analysis is based on a selection of films considered to be symptomatic of the larger tendencies. The first film under scrutiny is Election (1999), treated as a trailblazer for the more recent pictures such as Breathe In (2013) and Blame (2017). The article suggests that the selected films should be read as celebrations of female agency as well as symbolic expressions of male angst in the face of the growing social importance of women. The authors also attempt to explore the contemporary school film as a reflection of the evolving understanding of education and the role of a teacher. The paper concludes with an observation that the figure of a manipulative and assertive young woman will continue re-emerging in various incarnations in the audio-visual productions about school in the coming years.

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Authors: Ioana COSMA

This paper proposes to explore Toronto‘s cultural heritage through an analysis of Michael Ondaatje‘s In the Skin of a Lion. Through various narrative perspectives, in this novel, we are witnessing the construction of the city and of various immigrant identities. The city‘s memory is deeply entrenched in its constructions, in the blood and mud that make up urban buildings. In Ondaatje‘s world narrating the beginnings of the city, people and politics are imbricated in an image attempting to allow the effort of various characters to preserve traces of authenticity. We will look at how the politics of memory shapes the identities of several characters, at the necessity of remembering and at the passivity of forgetting. Some of the questions of this presentation are: How does memory influence the shaping of immigrant identities? In what ways is the creation of the city related to the destinies of individuals? How does Ondaatje narrativize the politics of memory and cultural heritage in his book?

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Authors: -

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4

Authors: Elena PÎRVU

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Authors: Ionela STARPARU

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Authors: Crina LEON

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Authors: Elena-Maria EMANDI

The inclusion in mainstream education of the students with special educational needs is a complex process which involves several factors that should act concomitantly and take into consideration all the pupils‘ rights to free and appropriate education. With a view to highlighting the importance of eliminating labels, the present paper brings to the fore psychological and other kinds of difficulties in the didactic and instruction-education process. Beyond the identification of barriers and of main problems, the most important step is represented by designating solutions to the unsatisfactory situations that may occur.

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Authors: Livia-Mara SOCOLIUC

A haunting feeling of loss lingers within our souls after reading Kazuo Ishiguro‘s works, memorable books about irreplaceable past and irretrievable fulfilment, isolation and hopelessness, offering but a painful catharsis of emotion and sadness. The Remains of the Day, When We Were Orphans, and Never Let Me Go deal with ―universal themes‖, as Kazuo Ishiguro himself declared in one of his interviews, touching the soft spots of the self, in search of a way to deal with the sad reality check. Although Ishiguro‘s books are deliberately set in different settings and literary genres, one can perceive a common lingering of some sort, an elusive ―figure in the carpet‖. There will always be an island, a journey and a belated coming back, lost identity and forced upon oblivion. Kazuo Ishiguro left Japan for England when he was five, which was to be a geographical and cultural rupture that he never managed to totally surpass. He deemed himself captive in England as, for many years, his family thought they would go back, then he became captive in his own Japan, the imaginary one made up from second-hand memories. He finally grew to resignedly accept his belonging to his adoptive island. The cycle captivity – dream of deliverance – acceptance is a trait that cannot escape the psychoanalytical mind of the contemporary reader. This article will attempt to sail through the recurring visual and lexical patterns which disclose the trauma that brought about the wonderful works of the Noble Prize - winning novelist.

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Authors: María Isabel ESCALAS RUIZ

The home associated with the idea of security and family may become a locus corruptus, that is, a place that instead of safeguarding us from the dangers, threats and fears from the outside ends up being the generator of them. Maternal horror relationships may also become uncanny/unheimlich. This paper aims to identify and analyse the latent individual and collective subconscious of the maternal relationship between the characters of Silvia and Samuel in the film directed by Jennifer Kent, The Babadook (2014). The nightmares, fears and the trauma are incarnated though the monstruosity that takes place in the family with a depressive mother and a disruptive son. These are developed in a home where the collective fears from childhood and the supernatural are combined with elements of psychopathology. The film may be related to the Suburban Gothic because of the haunted house being viewed as a character which the supernatural and the ghosts habitated, as well as the dwelling place of monsters such as Míster Babadook. Furthermore, the house is also conceived as an element of the horror genre and an example of contemporary maternal horror since there exists a demonization of the madness of Amelia as a woman and mother.

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Authors: Lavinia IENCEANU

The paper at hand aims to shed revealing light on several of the theoretical groundings of our archtypological approach to the Columbian novelist Héctor Abad Faciolince‘s first novel. The plunge we made so bold as to take into the conceptual ocean of the imaginary, de/remythization, invariants, identity and alterity as viewed through the eyes of its multifaceted protagonist helped secure us the vantage point from which we could more faithfully chart the introspective-cum-retrospective process leading to Don Gaspar‘s paradoxical (re)construction-induced destruction.