CONCORDIA DISCORS vs DISCORDIA CONCORS

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Authors: Gina Maciuca

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Authors: Gina Maciuca

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Authors: -

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Authors: Diana-Adriana Lefter

We aim in the present paper at illustrating the importance of the myth of Narcissus in Gide’s prose. The recurrence of this myth is a proof of the fact that the writer often resorts to memory in creating hischaracters. Looking into the mirror, the basic act of the myth of Narcissus, becomes a gesture through which the writer plunges into his past and psychic. Thus, Narcissus turns into a fragmentary, totalising myth, a hallmark of both Gide’s life and work.

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Authors: Krisztina Kalò

It is a well-known fact that the beginnings of the French epistolary novel go back to the second half of the 17th century. The literal translations and the free interpretations of some major or minor foreign novels not only facilitated the birth of the genre in France, but it seems that they also determined its success during the 18th century. Having studied the sources of some French masterpieces, such as Persian Letters of Montesquieu and Julie or New Héloïse of J. J. Rousseau, we found one or more correspondences translated from European languages, especially from Italian, Spanish and English. In this article we trace back the most important literary influences in Europe in the field of epistolary fiction to show how these interferences contributed to the birth of the genre in France.

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Authors: Muguraş Constantinescu

In the present paper, the author compares an original text with its first translation (traduction-information) and its retranslations, that is a work of fiction written by Balzac and four Romanian versions. The analysis is based on a sample (meaning the title and the introductory part of La Maison du chat qui pelote), and approaches translation as a flexible concept full of traps for translators of all times.

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Authors: Gina Măciucă

In an attempt to approach language humour contrastively, the present contribution investigates three German specimens of linguicomedy in terms of humour-generating devices and subsequently submits to the reader various strategies for translating them into English and Romanian, with ample glosses on the difficulties encountered in the process.

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Authors: Carmen Dărăbuş

Originating in existentialism, the absurd is a response offered by the analysis of the existence in the works of Franz Kafka and Dino Buzzati. The 20th century was a century of great innovations in the field of literature, of philosophy, of the arts in general. The preoccupation for the human condition is a form of responsibility for the human destiny. The elements invading Josef K. and Giovanni Drogo’s lives (the characters in The Trial and The Desert of the Tartars) all of a sudden are more powerful than their will; therefore their tragic end is explained not by the fact that they are guilty, but by their not being able to justify their existence.

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Authors: Alina Marcela Banea

L’article essaye de donner reponse a la question suivante : qu’est-ce qu’ un ekphrasis?, tout en enumerant une serie de definitions donnees jusqu’ici a l’ekphrasis. L’article commence par quelques considerations generales sur la relation entre l’oeuvre d’art litteraire etcelui visuel. Ensuite, il y a un encadrement chronologique et étymologique du terme/concept d’ekphrasis. Une place speciale est accordee a quelques theoriciens de l’ekphrasis, tels que: Murray Krieger, Linda Hutcheon, A.W. Heffernan, Dan Grigorescu, Erwin Panowsky. L’ekphrasis n’est pas la seule modalité par laquelle on associe la littérature à la peinture, mais il y a aussi d’autres alternatives: la picturalite et l’iconicite. Au niveau narratologique/méta-narratologique/métanarratif, il implique également la complémentarité des concepts de trans-textualité, transposition, intertextualité, commuabilité (Kristeva, Gennette, Baudrillard). Ces trois techniques ne s’excluent pas ; au contraire, elles interactionnent, collaborent dans l’acte de lecture et d’interpretation. L’ekphrasis est l’art de decrire des oeuvres d’art, la representation verbale d’une representation visuelle.

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Authors: Narcis Zărnescu

Au-delà des méthodes et modèles, des concepts et hypothèses, la littérature comparée a non seulement la vocation de la concordia discors mais aussi celle de la coincidentia oppositorum. Ce que j’appellerais l’EFFET CD (concordia discors) est discernable un peu partout. Textes et images, graphiques et cartes, arbres et diagrammes, atlas, dictionnaires et encyclopédies, représentent la ″victoire″ de l’equilibre et de l’harmonie. Tous ces corpus sont la résultante des successions ″infinies″ des operations micro-linguistiques, des mécanismes de la micro-littérarité, des protocoles des macro-tendances culturelles, des macro-flux des mentalités euroatlantiques et asiatiques. C’est l’hypothese que l’etude soumet a l’epreuve de la réfutabilité popperienne.

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Authors: Elisabeth Berger

The history of translation is as ancient as the theories concerning translation. Within the progress of this item the discussion focuses on two conflicting positions, based on the concepts of semantic equivalence and one-to-one correspondence respectively. The question which has always been significant is, whether to move the text to its reader or to move the reader, that is to say how to deal with the text`s overdetermination. An individual word may relate to one word through assonance, to another through syntactical equivalence or morphological parallelism. Signs participate in several different paradigmatic and syntagmatic patterns which, in their complexity, cannot be transferred completely into another language. The article deals with the question “how to translate?”, which means to substitute one sign for another and not to lose too much of its significance. Is authenticity possible or just a Utopian dream?