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.”

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Authors: Meritxell Esquirol Salom

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Authors: Otta Wenskus

It is a moot point whether the Greeks would have developed myths about Amazons even if they had never heard about female warriors. Be that as it may, their mythical Amazons fulfill several ideological functions. The most important of those is probably to represent an unnatural menace which has been successfully defeated by the Greeks. However, there is no denying that from the late sixth century onwards the Greek depiction of amazons, on vases or in writing, has often (but not always) been influenced by their knowledge of Sarmatian mounted archeresses, at least some of whom were almost certainly also warriors. Yet it is naive to say that the Greeks were right all the time, that Amazons did exist and that they had a wonderful time killing enemies and living a life characterised by companionship, fulfilled sexuality and gender equalitiy. The Amazons constructed by Adrienne Mayor resemble the heroines of Klingon legend told by Klingons in the Star Trek spin offs.

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Authors: Marta Fernández-Morales & María Isabel Menéndez-Menéndez

Ten years after the 9/11 attacks CBS premiered Person of Interest. It introduced the inventor of a surveillance system commanded by the government trying to find a “back door” to his creation: devised to prevent terrorism, it was programmed to distinguish “relevant” from “irrelevant” threats, and he feels that many potential victims are being neglected. Focusing on the topicalization of gender violence, we read the show through: 1) Furedi’s analyses of the post-9/11 culture of fear; 2) McNay’s neo-Foucauldian discussion of gender and agency. We argue that Nolan transplants ideas about the War on Terror onto everyday threats including gender terrorism. We also approach agency, which fluctuates between presenting the (super)hero as the savior of the damsel in distress and portraying women as agents who can protect themselves and others. Although the former dominates, the weight of gender violence within a Greimasian dramaturgical model makes Person of Interest different from other post-9/11 series; the clearest one in the vindication of this problem as “relevant” within a media discourse dominated by allegedly more important, macro-level fears of our time.

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Authors: Lavinia Ienceanu

The present contribution proposes a hermeneutically- and socioanthropologically-based approach to Catalina Guzmán de Ascencio’s ascent in a men’s world, as depicted by Ángeles Mastretta in the novel Arráncame la vida (1985). In order to successfully make out the inner workings of the protagonist’s developing identity, we seek to analyze more closely the driving force behind the adultery committed, and, in so doing, we hope to pin down the axiological tenets of feminine behaviour, more specifically, to trace her ontogenetic evolution back to its fons et origo, with a view to capturing the psychological profile of this very young Mexican adulteress by zooming in on several phases of her search for a new identity, or patterns followed in constructing her femininity. Thus, her growing awareness of the power residing in this femininity, which, as she matures, makes for her conversion from victim into victimizer, from the perfect ingénue into Mrs. Ingenuity, from a humble imitator into a fierce combatant, or from a rather dependent and self-effacing girl into a fairly independent and self-assertive woman, adduces supporting evidence for our claim that facing us is the perfect case of constructing the feminine identity at the expense of the masculine alterity, or, worse even, by more or less abruptly destroying one’s inner self. In the light of the above, while upsetting tradition, general Ascencio’s highly atypical spouse can be viewed as in fact setting up a new typology in the literary genre documented, since, even if a genuine representative of Feminism still very much in its infancy, she did after all revolutionize the spirit of that epoch. Finally, by bringing allegory to bear on the interpretation of this novel, we venture to construe Catalina Guzmán de Ascencio as an epitome of the Mexican life philosophy in particular, and, by extension, of the spiritual HispanoAmericanicity at its ripest, and last but not least, as a personification of the decolonized “Motherland” as well as a feminine symbol of the fate of Hispanic America at large.

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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.

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Authors: Gina Măciucă

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Authors: Gina Măciucă

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Authors: Magdalena-Simona TRUȘCAN

Turning to good account the translating practice and the techniques which have been applied so far, the comparative analysis in translation highlights the similar or different aspects when rewriting the original. Both translations submitted to attention reflect linguistic knowledge, social and cultural awareness besides personal perspective, talent and intuitive grasp of the literary text. In order to acquire the accurately reflected (i.e. translated) image of E. Allan Poe’s ‘House of Usher’, the translator should analyse several other reflections (i.e. steps) which help him or her obtain the most faithful resemblance (i.e. translation) to the original. Two remarkable Romanian translators – Ion Vinea and Liviu Cotrău – have already beaten this devious path.

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Authors: Cristina Scarlat, Irina Coca, Cosmin Pârghie

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Authors: Angelica Hobjilă

In the present article, interculturality - which implies the existence of variation, recognition/ acceptance and cultivation of this variation - is associated with interlinguism. My analysis proposes the presentation of interculturalism and interlinguism as realities which involve other particular relations: culturalisation – intraculturalisation – interculturalisation and their consequences in the usage of the linguistic elements in certain contexts. While particularizing these aspects, I will consider, on the one hand, certain linguistic hypostases in the Romanian mass-media as reflections of interculturalism and, on the other hand, certain arguments that the latest A Dictionary of Romanian Orthography, Orthoepy and Morphology (DOOM, 2005) provides for the inclusion in the Romanian language of the lexical units which characterize other cultures. In this way I underline the features of interlinguistic reality located – in practice – between the culture and vehicle of communication.

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Authors: Festus Chukwuka N JOSI

The paper analyses Chinua Achebe’s Anthills of the Savannah and its French translation Les Termitières de la Savane in order to bring to the fore areas of identity and differences between the original text and its French version in the handling of the linguistic and cultural situations in the translating process. The paper adopts a comparative approach and concludes that in spite of the cultural and linguistic challenges faced by the translator, facing us is a faithful translation of the text.

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Authors: Oana GORBĂNESCU

In the present paper the author conducts a diachronic and synchronic survey of the impact Christoph Hein’s dramas had on the West- German stage. Christoph Hein, an East-German writer born in 1944, exerted great influence both on the FRG and the GDR public. One of the few GDR dissidents who managed not only to survive but also to publish his work in his home country, Hein was part of the remarkable underground culture promoted by authors and readers who managed to get close to the idea of free public speech via reading sessions, stage performances and other similar cultural events, as well as by smuggling books. Unlike the previous generation of writers, who had gone through the barbaric Nazi regime, and unlike the following generation of writers of the 70s and 80s, who had experienced the collapse of GDR, Hein and his contemporaries were prone to an idealism which was nonetheless doomed to failure and which subsequently led to a sense of skepticism and bitter irony. The Western approach to Hein’s literature exhibited two major trends – one aiming at the literary work through the writer’s affiliation or non-affiliation to the socialist party and the other one viewing the author’s texts as chronicles of the Eastern society of that time.

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Authors: Emilia MUNTEANU

With the aesthetical project in mind of composing a theatre à la well-tempered clavichord (Clavecin bien tempéré du théâtre), Jean Tardieu manages to achieve it due to a couple of oxymoronic gestures, that is diairesis and sunagôgè. If the former suggests an irreverent theatre (the result of the re-writing of a series of transformational operations and of demystification of the collective imaginary) with a major focus on obsolete paradigms (vaudeville, bourgeois drama, boulevard drama), the latter is rather a matter of revisiting or transvaluating these hypotexts in the manner of, say, Matéï Visniec’s theatre. Space, time, language and characters undergo some distortion in order to highlight an outworn scenic chronotope, an old world, and to refer to theatre itself in a self-referential gesture. Whileshowing us to the lounge, certain rough sketches would make the spectator consider a dynamic interpretation performed in Diderot’s, Labiche’s or in Feydeau’s time, but this topos has nothing to do with the function miming offstage workings, since it merely provides a theatrical convention. The spectator, receiver of a didascalic paratext with a metatextual scent, becomes an accomplice in this act of théâtromageiros.

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Authors: José Manuel POZO LÓPEZ

In this article we are going to discuss about why some authors already famous in their native countries are not translated or are unknown in others countries. Belgian symbolist poet Émile Verhaeren hasn’t had the same impact on the Spanish audience as on that in other European countries. Nevertheless, Verhaeren’s central position in the Belgian literature in French contrasts with the peripheral position that he holds in the Hispanic area. Verhaeren’s work is considered particularly unique within the general symbolist literary trend and specifically within Belgian Symbolism. However, the verhaerenian literary production has reached Spain in a discontinuous way throughout the last century. The lack of an exhaustive translation of Verhaeren’s poetry is a remarkable gap in the Spanish translated literature, therefore a full-fledged translation would be highly recommendable, first of all, through an anthology of poems with the purpose of making known Verhaeren’s work in Spain. This published anthology would set a precedent for spreading verhaereanian poetry by translating his finest collections of poems.

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Authors: Gina Măciucă

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Authors: Gina Măciucă

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Authors: Angela COŞCIUG, Carmen–Ecaterina AŞTIRBEI, Alina Marcela BANEA, Maria CONSTANTINOU, Mihai I. CRUDU, Anissa DAOUDI, Carmen-Cerasela DĂRĂBUŞ, Ioana Irina DURDUREANU, Constanze FIEBACH, Danielle Verena KOLLIG, Arturo LARCATI, Laura-Elena MIHĂILEASA, Klaus MÜLLER-RICHTER, Ioana ROSTOŞ, Renate Maria RUSU, Ulrike SCHRÖDER, Paweł WAŁOWSKI

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Authors: Carmen – Ecaterina AŞTIRBEI

This article proposes an analysis of metaphor as a mark of the daily discourse. It comprises three sections: the first represents a general presentation of the topic, the second focuses on the problem of literal and figurative meaning in translation, and the last part is dedicated to the metaphoric slang. The central premise of our work is the fact that metaphor is built according to the principle of the individual or collective imaginary, representing one of the manifestations of human experience. The figurative sense has a major role in deciding on the method that will be used for the translation of the metaphor. Also, slang is a sample of daily discourse, and its metaphorical implicatures may constitute a translation problem. The methods applied, contrastive analysis and case study, helped us emphasize the paradoxical features of metaphor in translation.

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Authors: Ioana Irina DURDUREANU

Translation of poetry relies on some strategies that envisage the text as a unit of translation. Consequently, the translator will adapt his/her methods according to the type of text, focusing also on the target culture. Metaphors, as stylistic devices of poetry, are culturally bounded to a certain way of viewing the world; that is, the translator must take into account first the culture involved in the translation process and then the linguistic and formal aspects.

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Authors: Renata Maria Rusu

The purpose of this paper is to briefly present some of the forms the world axis takes in Japanese and Romanian cultures through the ages, namely, to show how a mythological concept – the axis mundi – has outlived its mythological existence and has survived up to modern days. We do not intend to concentrate on similarities or differences, but simply present some of the many culture-specific representations of this universal mythological concept: world axis representations in modern Japanese festivals (of which we have chosen three, to represent “pillar torches”: “the Sakaki sacred tree”, “the sacred mountain”, and “the sacred pillar”) and some world axis representations in Romanian culture, such as the fir tree, symbols related to dendrolatry, wooden crosses placed at crossroads, the ritual of climbing mountains, etc.

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Authors: Alina Marcela Banea

We are condemned to wander – critically, emotionally, politically, passionately – in a world characterized by an excess of sense which, while offering the chance of meaning continues to flee ahead us. This is our world, our responsibility, our only chance. In this paper, we see that the metropolis narrated by Peter Ackroyd and Penelope Lively is above all ‘a myth, a tale, a character, a living-body’, an imaginary construct, ‘a telling’ that helps some of us to locate our home in postmodernity. To inhabit a city is to be immersed in a common experience. It is the chatter of the city that now maintains this site of a discourse and dialogue. In the metropolis, it becomes necessary to form a new sense of ethics in its multiple and differential histories. The Mind - being it of the Reader or of the Writer - is eventually the site of sense.

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Authors: Klaus MÜLLER-RICHTER

Reflections on metaphors imply and presuppose – due to the complex semantic structure of metaphors – fundamental epistemological convictions about word and object, language and ontology, truth and knowledge. It is precisely this epistemological dimension that also makes metaphors a rich and interesting object of poetics. Our article describes the shift from a model of metaphors as substitution (of direct representations) to a more constructive and non-mimetic model derived from Immanuel Kant’s transcendental philosophy. We then situate the poetics of key 20th-century German authors within this conceptual framework.

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Authors: Paweł WAŁOWSKI

Firstly, the analytic finger is pointed towards difficulties arising in the attempt to precisely define metaphor. The importance of the broadly understood context in which it appears is emphasized as indispensable for the emergence of (a given) metaphor’s meaning. Moreover, two theories, which appear to be the most essential points of reference in the discussion, are addressed: the ‘substitution theory’, which reverts to Aristotle’s model, and Max Black’s ‘interaction theory’, which presents the modern approach.Furthermore, the metaphor’s interpretative potential, including both its positive and negative connotations, is outlined. Finally, the role of metaphor in the literary discourse is discussed with reference to Paul Ricoeur’s texts.

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Authors: Muguraş CONSTANTINESCU, Marius GULEI, Ana-Maria BESIADEŢCHI

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