CONCORDIA DISCORS vs DISCORDIA CONCORS

9

Authors: Gina Măciucă

-

10

Authors: Gina Măciucă

-

16

Authors: Petronela-Gabriela ŢEBREAN

Interior [Inside], Constantin Fântâneru’s journal-novel, remains an important testimony of the 30’s “authenticity” literature and of "the bizarre adventures of being human"1. The narrative charts the anxiety of Călin Adam’s, i.e. the protagonist’s, disjointed consciousness. The protagonist tries to accept the absurdity of existence and to bridge the widening gaps between reality and his mental representation of it. Constantin Fântâneru’s inter-textual perspective reveals possible similarities with Knut Hamsun, Max Blecher, Mircea Eliade and Fyodor Dostoyevsky. The Norwegian writer’s influence on the novel Hunger resides in the presence of para-sensory acuity and behavioral incoherence of the protagonist, from which his social marginality derived. Max Blecher’s novel Intamplări in irealitatea imediată [Occurrence in the Immediate Unreality] reveals the same "unreality", a universe in which the character-narrator gradually immersed himself. In Romanul adolescentului miop [Novel of the Nearsighted Adolescent], Mircea Eliade captures the same impetuous spirit of adolescence while charting the process of becoming a teenager. Călin Adam’s likeness to Goliadkin, the Dostoyevskyan character, is highlighted via the phenomenon of splitting, i. e. man’s sad fate in a merciless and indifferent society. In spite of these similarities with Romanian topoi,Interior boasts an original view in that the protagonist discovers the "transsubstantiation", a process which involves a transfer of energy between the material universe and the human being that saves him and helps him find a meaning in his life.

18

Authors: Cristina CIUNTUC (ANDRIUȚĂ)

The theoretician Adrian Marino has tried to offer a real theory which should explain the entire system of comparative literature. The author aimed to articulate a genuine poetics in order to revigorate this research field. Therefore, Adrian Marino becomes the promoter of the idea of Weltliteratur and proposes a new theoretical concept, that of literary invariant, meant to lend a fresh analytical perspective to comparativeliterature. The author strongly believes that the hermeneutic perspective can facilitate a more appropriate interpretation of this field / system, both as a homogeneous whole and as a sum of the component parts, choosing to emphasize the congruent aspects of the world’s literatures instead of the divergent ones.

24

Authors: Oleksandr OGUY

Due to the colonization policy of the Austro-Hungarian monarchy, Bukovinian dialects of Ukrainian, Romanian, Polish, Buchenländisch and Yiddish were spoken in Bukovina. Their literary forms were written, but with some spots of language interference. Having taken into consideration the present changes, the author finds criteria for using the interference coefficient for languages of Bukovina.

26

Authors: Eleonore DE FELIP

This essay analyses and reflects upon the numerous intra- and intertextual references in Oswald Egger’s long poem “Herde der Rede” (1999). The recourse to prior literary models in terms of surprising reversals of form and content, self-quotations as well as reversals of his own figures of speech are counted among Egger’s distinctive poetic strategies. Alert − like a widely open ear – to voices from different religious and poetical traditions, the text perceives, integrates and plays with different poetic registers and language worlds (such as the Song of Solomon, the ancient Corpus Hermeticum, Hesiod, Vergil, Hölderlin, Rilke …). “Herde der Rede” is a highly dialogic and polyphonic text (in the sense used by M. M. Bakhtin). Ultimately, quotations, repetitions and reversals become strategies of a poetic discourse which uses literary and religious traditions as subtexts for a metapoetic speech.

26

Authors: Hans-Joachim SCHOTT

In the late twenties of the 20th century, Bertolt Brecht found himself accused by contemporary literary critics of having copied Rimbaud in his drama “Im Dickicht der Städte“. This was an occasion for him to develop a literary poetics that focuses on the aesthetics and ethics of plagiarizing. Brecht considered the literary technique of plagiarism as being productive for four reasons. First, the copy eliminates every personal dimension of a symbolic expression and emphasizes its genuine features, just as the Epic Theater does. Secondly, the copy incorporates into the aesthetic production process the art of forgetting, which Brecht – following Nietzsche – considers as being a vital power. Thirdly, the copy deconstructs the concept of the artist as a genius, which to Brecht – as well as to Michel Foucault and Roland Barthes – is essentially ideological, for, by disallowing the free composition of aesthetic fiction, it impedes the artistic process. Fourth, in the field of symbolic production, the copy represents a form of proto-communist common property as it eludes any efforts of commercialization made by the capitalist cultural industry. The essay traces Brecht’s arguments in favour of plagiarism and analyzes the political consequences of this explicitly epigonal writing strategy.

28

Authors: Galyna DRANENKO

Myth in literature is an enunciative matter that lends itself to two interrelated studies. On the one hand, one should analyse the way a text rewrites and reinterprets mythical themes and motives. This is the object of thematology. On the other hand, one is also supposed to bring to light the workings of the imagination in its anthropological dimension and see how it is embodied in a significant writing process based on a palimpsestuous reading in which myth functions both as intertext (quotation, allusion, plagiarism) and hypertext (imitation, transformation). This is the object of mythopoetics. The interpretation of “myth as intertext” thus requires analytical approaches that combine and reconcile the tools of mythocriticism with Genette’s theories of transtextuality. This inter- /transdisciplinary approach is particularly appropriate in the study of B.-M. Koltès’ plays. Not only does the French playwright’s production echo and re-actuate biblical and ancient myths, but the haunting recurrence of a whole array of mythemes and mythologemes also generates “Figures” – in Deleuze’s definition of the term – that are truly mythical in the sense that they appear as universal singulars, as symptoms of the forces that pervade our universe.