CONCORDIA DISCORS vs DISCORDIA CONCORS

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Authors: Livia-Mara SOCOLIUC

Translating classical texts raises the issue of rendering not only the lexical and cultural complexities of a different culture but also filling in the age gap for the modern reader no longer aware of certain social standards, connotations, etiquette etc. To what extent do we operate on a text, do we overwrite or remain faithful to the writer? The article compares two versions of the same translation of G.B.Shawřs Pygmallion, both authored by Petru Comarnescu. The first translation was published in 1963, while Comarnescu was still alive, and is quite a remarkable one. The second translation was published in 2015, 45 years after Comarnescuřs death, with his name on the cover yet with alterations which are at times questionable, if not unprofessional. With the obvious intent of making Shaw accessible to young generations, the editors of the 2015 translation took advantage of the Ŗall rights reservedŗ stipulation and reshaped it to what they deemed to be a desirable form.

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Authors: Ioana ILISEI

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Authors: Isabela Maria ROANTĂ

The situation of institutionalized persons and the consequences of the forced institutionalization experience is a topic often addressed in scientific research, cinematographic productions or literary works. Living in closed and punitive environments such as prisons, correction schools, psychiatric hospitals, for a long time, involves a process of identity cancellation. Isolation from the rest of society makes it difficult to preserve the status of the individual and then recover the initial private identity. Regardless of the intensity of efforts made to support the preservation of individuality, the major difficulty manifests itself at the moment of reintegration into the external environment of "total institutions". Our paper analyzes the experience of institutionalization from the perspective of Erving Goffman's research. Reviewing this theoretical support, our work aims to analyze the films The Lobster (2015) and The Shawshank Redemption (1994), compared to the experience of a former prisoner of Bistrita Penitentiary in 2005 and of former prisoners in Pitesti Prison in the period 1949-1952. The objective of the research is to identify the primary, secondary behaviours and similarities between the selected cases.

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Authors: Liviu DOSPINESCU

Liviu Dospinescu questions the historical and aesthetic roots of contemporary artsř tendency to escape the norm and to come out of their original melting pot, which characterizes their emancipatory openness and their transitional movement. Once it has become transitional, the work of art aspires to an infinite praxis, generating new models in a chain reaction. In this study, the author chooses to address some less explored thematic aspects in four distinct parts. The first one seeks to show how the conjunction of crafts, arts and science open the way for both a series of emancipatory movements and for the generation of new models of creation in the cubofuturist painting. Thus, the example of Marcel Duchampřs Nude Descending a Staircase is a synthesis of conceptual thinking and will serve as a pretext for the research as such. The second part explores the breakaway from the institution of classical ballet effected by Mary Wigmanřs experimental dances, the penchant for a Dionysian expression, more genuinely human, a path equally trodden by Pina Bausch and which would eventually lead to the inauguration of dance-theatre. Thus, the author emphasizes the new expressions of the symptom body as reflected by the aesthetics of the ugly and of the fragmentary, which highlights a secret theatre of the human soul. The third part showcases the transartistic character of Jessica Iwanson's dance-theatre show for television Nightbirds. The author describes it through the associations it creates with Edward Hopperřs paintings, transposed to the stage through a hypermedial approach. Finally, the fourth and last part of the study brings to the fore the artistic implications of an intriguing poetical language (related to the autistic disorder) as a form of spectacular transgression of the norms of creation, via the encounter between theatre director Robert Wilson and the poet Christopher Knowles. The example highlights new conjunctions Ŕ of sound poetry, and dramaturgical or scenic architecture Ŕ and forms of emancipation, particularly in the process of creation and in the free-of-all-prejudice reception. Liviu Dospinescuřs essay therefore addresses themes symptomatic of these phenomena of creation which foregrounds the human aspiration to renewal, the emancipation of the artistic universe in general, and the actualization of new artistic worlds of possibilities. The major aim is to emphasize the fact that the dynamics inducing inter- and crossdisciplinary artistic or cultural shifts manifest themselves through the strong desire to break free from the authority and from the limitations of conservative artistic milieus.