CONCORDIA DISCORS vs DISCORDIA CONCORS

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Authors: Gina Măciucă

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Authors: Gina Măciucă

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Authors: Gina Măciucă

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Authors: Adriana LAZĂR

Literary works are a constant topic of commentary. Literary texts carry specific metalinguistic and metapragmatic elements and require metalinguistic and metapragmatic codes and competences in order to prevent misunderstanding. Our paper aims to highlight the reasons for attaching the metatextual label to Eugène Ionesco’s dramatic work.Ionesco’s plays can be viewed as some sort of comment on previous dramatic texts defying the traditional theatrical conventions. Remarks on literature and art appear all through his life : in critical texts, as well as in his characters’ statements. Metatextual comment is deeply embedded in the production of dramatic text itself and is placed at the natural confluence of the playwright and the reader, that is of the one who writes the plays and the one who watches his writing.

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Authors: Mirela AIOANE

The language used in the classifieds is a special one, very synthetic, sometimes telegraphic, representing a distinct linguistic phenomenon with specific features, based on spontaneity and immediacy. Classified advertising, “the engine of the market economy”, is nowadays an integral part of any kind of newspapers and it is one of the main sources of press funding in general. It is designed for the masses, since it acts on them with a great force of persuasion, in that it manages to change mentalities and to condition public opinion, but also to create frustrations. The present article highlights some of the most important features of the language of classified advertising in Italian and Romanian, with a view to pinpointing idiosyncrasies, similarities and contrasts.

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Authors: Alina HROMYK

Life stories, fictional biographies, biofictions, biographical novels, imaginary life, etc. have been one of the major trends in French literature in the recent decades. Our article deals with the analysis of the paratext (titles, subtitles, titles genre, epigraphs, editorial indices, etc.) which frame and represent these texts. We know that the paratext is not secondary to text understanding, since, both literally and metaphorically, it is the very threshold thereof and generates the reader’s first horizon of expectations. Actually, we suppose that the latter highlights the ambiguity generated in turn by the existence of two pacts, of which the texts under study are a shining example.Admittedly, from a certain point of view, it seems that the paratext anchors the story in the “real world”, because it states, explicitly or implicitly, that the character whose life is recounted is a person who really existed (it is common knowledge that denotative or referential functions are characteristic of the biographical project). Sometimes, however, simultaneously and contradictorily, other paratextual indications (such as “novel”, “collection”, “fiction”, etc.) introduce a pact of fictional reading. In short, the paratext sometimes seems to indicate that “there is nothing true, nothing false” (Lamartine) in what we are about to read. We then examine the strategies of the paratext which establish the biographical discourse, as well as the relationship represented in the texts by the pair “biographé / biographant”. In the final phase of the approach we identify the main functions different paratextuals can have in literary works as well as in biographical discourse.