CONCORDIA DISCORS vs DISCORDIA CONCORS

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Authors: Rodica Albu

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Authors: Alin Titi Călin

This paper aims at investigating paremiological units from the Romanian translations of the novel Don Quixote de la Mancha, bearing in mind Cervantes’ original text. The contrastive analysis is based on linguistics and translation studies, its main objectives being to indicate the changes resulting from the translation process and to pursue the conservation of the paremiological essence, highlighting incongruences deriving therefrom. We have considered the translation from 1969 done by Edgar Papu and Ion Frunzetti and the translation from 2004 bzy Sorin Mărculescu. Nevertheless, prior to these remarks, we also conducted a paremiological analysis, in terms of Pavel Ruxăndoiu (2003). First of all, we mentioned the situational-generic context, that is, we pointed out what exactly generated the evocation of the proverb, which character used it and when. Secondly, we specified the functional context, namely, a pragmatic perspective at the level of speech, and finally, we examined the composition, from lexical, grammatical and stylistic points of view. The research was only confined to the proverbs whose central figure is the woman and since they synthesize every aspect of the life of a community, its fundamental attitudes, its relations with the world (Avram, 2011: 3), the role or status of women in the society of the time can be depicted in the proverbs about women used by Cervantes.

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Authors: Claudia Blouin

A commonplace in performance arts wants that putting a man and woman together on stage inexorably brings spectators to see a couple relationship between them. Most of the time, in theater, and inevitably in dance, body is the central significant material of the show. This leads us to question the area of freedom that creators can find through gender restrictions presumed by the convention enunciated earlier. How are they playing with the body to significate beyond feminin and masculin? Through the examples of Théâtre du Trillium’s Fucking Carl and Collectif Nous sommesici’s Changing Room, we will approach the way of transvestism, strategy as old as theater itself, and with Compagnie Kadidi’s Samedi Détente, we will examine the exploitation of both genders bodily qualities within the same performer, inside the same show. Gender on stage, prison or liberating constraint?

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Authors: Mélanie Grué

In the 1970s-1990s, the American photographer Nan Goldin took a series of photographs which reproduce the stereotypes of the heterosexual romance, yet also subvert gender norms. She documented the transgender and drag subcultures and granted recognition to those who were obliterated by mainstream society. This contribution confronts gender and queer studies, the sociology of homosexuality and transgender history with Goldin’s photographs, and highlights how the photographer destabilizes gender paradigms and interrogates the definitions of masculinity and femininity. Goldin promotes the proliferation of gender expressions and celebrates what she calls “gender euphoria.”