CERURILE OLTULUI PDF

Summary/Abstract: “Cerurile Oltului” (The Skies of the Olt) () is an expression of the author’s interdisciplinary erudition in the embodiment of a very original. Results 1 – 21 of 21 Cerurile Oltului – Scoliile Arhimandritului Bartolomeu la imaginile fotografice Anania, Valeriu. Published by Editata de Episcopia Rimnicului. K D K M D 7 % Cerurile Oltului Y0sPKMEQ% Cerurile Oltului (Râmnicu Vâlcea: Episcopia Râmnicului i.

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Published on Feb View Download 6. Cualquier juicio o revisin que se realice sobre la figura de Vintila Horia tiene que partir de su triple condicin: La distincin entre poetas y profesores no necesita de una mayor explicacin, pero s el tercero de los trminos, el de intelectual. El verdadero intelectual mantiene con su tiempo un pulso dialctico y dialgico.

Un tipo de pulso as mantuvo Vintila Horia, sin duda. Como l mismo se encarg de describir, su actitud fue de reaccin ante su tiempo, un tiempo que consideraba en periodo de desintegracin, un final de ciclo.

Lejos del csrurile acrtico que muchos mantienen ante su poca, o de los silencios aquiescentes, Vintila Horia estableci un encuentro abierto con el complejo momento histrico que le toc vivir a travs de intensas peripecias vitales que tuvo que padecer y, por otro lado, y ste es el que nos interesa aqu principalmente, con el olrului y la ciencia de su tiempo.

Cerurile Oltului The Skies of the Olt is an expression of the authors interdisciplinary erudition in the embodiment of a very original essay of cultural polyphony.

Cerhrile common ways of art and theology reunite in a universe specific for both of them, a universe of the interdependence of the sacred ad the profane. Both the technique of Platos oltuluj this ceruriel of dialogue being specific for the patristic discourse as well as the relaxation of the discourse through the appeal to different literalised commentaries or through completing the elevated subject with profane information, are the factors which ensure an opening and an accessibility highly superior to a scientific treatise; they enlarge the expectations of he to whom the discourse addresses.

Eventually, the aesthetic emotion is granted not by the subject itself approached by Bartolomeu, but by the modality in which it is presented, ceurile the shape of the discourse proposed by Anania.

What determines the tonality specific for the essayistic discourse is related to the unlimited love the author feels for the national specificity. The common link for all the topics approached in the volume is tradition. lltului

LITERATUR ROMN I COMPARAT VINTILA HORIA: LA …

Bartolomeu proves not only an expert in presenting the characteristics of the Brncovenesc style, but manages, starting from them, to formulate a theory of culture and civilisation which recalls the authentic traditionalism but also the understanding of the affirmation of the national creating specificity through the concepts of synchronism Eugen Lovinescuadaptation Mihai Ralea and organic development Lucian Blagain a silent and probable involuntary consensus with the opinions of the above mentioned intellectuals.

Bartolomeu states the iconographers status as creator and implicitly his placing in a dimension similar to Manoles, for example. Were we to relate to the theory of the aesthetic value, we should have to mention the fact that for Bartolomeu, the icon is seen both religiously and artistically, which is the maximum compromise his status as a theologian could admit.

The small treaty of general aesthetics in the vision of a theologian, with its asperities, contradictions and ingenuities, expresses nevertheless the essayists interest in the depiction of the artistic side of iconography, even if he inherently appeals to religious dogma. We meet an argumentation of the paradox, according to which the absolute creating freedom and the artistic originality can manifest and express themselves only within norms and canons.

According to this syllogism, which is not far from sophism, the greatest liberty of creation is performed by the artists who are most framed by the external theoretical factors; so, from this point of view, the Byzantine art would be the proper background for the original accomplishment of plastic art masterpieces. Even if subject to inherent polemics and counter-argumentations, Bartolomeus pleading has at least the merit of openly militating for the cause of artistic liberty within the dimension of religiosity, which is more than a theologian could be expected to do.

The entire aesthetics of artistic liberty developed by Bartolomeu Valeriu Anania can be seen by theologians as a theolegumena, a personal theological opinion. What remains remarkable whatsoever is the authors constant effort to harmonise the flame of the soul with that of the spirit, to find a common denominator in which art and theology be united in complementarity, if not in complete consensus.

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Our essay tries to answer a question about the importance of being or not being a writer in fashion. For instance, I thought to emphasize the work of a contemporary writer, who has the intention to remain a classic among the postmodernist writers. The work of Dumitru Velea is a valuable one and it has three parts: To this, it is fitting to add Dumitru Veleas activity as a reviewer for many national profile publications. He has also been included in many anthologies edited on themes.

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It is difficult, if not impossible to find a synthetic formula to define the specific of each literary genre approached by Dumitru Velea. However, there is a common philosophical line present in each one of these three categories. I intend to make some approaches between the Veleas work and the works of his contemporaries and to demonstrate there is a chance to be a writer out of fashion.

His work is a provocation against the wave of postmodernism and o hope for a new formula in literature, based on philosophy.

I entitled the essay Words without Horizon, because this is the title of his last volume of poems translated into English by Mariana Zavati Gardner but I hope my words have a very strong horizon.

By the way, passed by the conceptual line of the 7 seven exigencies of Graciousnesslike principle of global axiology: These are the emphasis of our approaches in the context of the proposed theme: A new chapter enriched after the Romanian contemporary literature.

The chapter contains the literature of the communist prisons. In spite of its absence into the literary histories, the carceral poetry was a specific form of literary expression in all the dictatorial regimes. Due to the longevity and to the inclemency of the communist dictatorship, the communist carceral space is subject of many writings, especially those of memorial type, describing a staggering reality.

The survivors of a non-fictional materialized Dantes Hell wrote about the poetry of the communist prisons as a miraculous moral support for them. They wrote about poetry with healing capacity. The carceral poetry is frequently associated with the religious poetry, assimilating a revelatory and also a curative function to this type of poetry.

Banca Naţională a României – Catalogul Bibliotecii BNR

Radu Gyr and Nichifor Crainic were and still are well-known authors of cerurils poetry. An anthology dedicated to this type of poetry was a lack in our literature. Ioana Cistelecan has recently compiled and prefaced an anthology dedicated to the carceral poetry. The above mentioned anthology brings to the reader of our times new representative names as authors of carceral poetry.

This literary essay is focused on the problem of sacral symbols in Lucian Oltuluui dramatic play Anton Pann. This drama restores some major archetypes ceurile to the Romanian sacral myths, such as messianic Poet, church, maternity, song.

Divine Word, belles, marriage, child a. But all of them are no more ancestral myths, they became some new myths, rebuilt by Lucian Blaga, who was a philosopher, not only a writer. That is why all along his literary work he reinforced the most essential Romanian ethos and mentality. Anton Pann, as a character, such as any other character from this drama, is built around some symbols that are read again in a new manner, from a spiritual point of view, but all the destinies are implied in creating a special image of sacrality from a traditional to a modern one.

On the other hand, through Anton Pann the author restores the great symbol of the Poet Anton Pann was one of the first Romanian traditional poets ; interesting is the fact that Lucian Blaga destroyed the classic image of the messianic poet and chooses another one: The drama has cerurille fundamental idea proposed by Lucian Blaga, according to which world is a mixture of signs and symbols, who must be read particularly in each epoch because the humankind is creating on and on senses and reasons, some of them completely disconnected from the ancient status of life, still preserving the characteristic of mind oltukui soul.

Lucian Blaga knew like any other the Romanian spirituality, so that all of his literary and philosophic work rebuild a whole universe. Lucian Blaga, sacral symbols, Romanian spirituality. Felix Aderca was one of the most prolific writers of the oktului period, approaching almost every literary genre with a remarkable success, experimenting especially in prose different crrurile styles and epic forms, part of them being considered eccentric.

He is cerurille author of a science-fiction novel, entitled Oraele scufundate [The Sunken Cities] and considered a classical book for this genre in our literature. He was a brilliant journalist, publishing an interview series with writers of his times, gathered in a reference volume for the history of literature studying that period. Most of all, the prose oltu,ui remains the genre where Felix Aderca successfully approaches different literary coordinates, becoming an acknowledged personality of his generation.

Au dbut du troisime millnaire, la socit subit, en effet, beaucoup de changements et le rythme dans lequel nous vivons devient, on cefurile, frntique.

Les premires annes littraires d’aprs sont confuses, ce sont des annes o des effets surprenants cefurile la libert d’xpression apparassent. Aprs l’enthousiasme des premires annes de libert, on constate, comme le montre Alex tefnescu dans son livre ,Istoria literaturii romne contemporane ,L’Histoire de la littrature roumaine contemporaineque la littrature se dprcie comme la monnaie nationelle.

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On lit les journaux, mais on ignore la littrature mme si aproximativement maisons d’ditions ont t rapidement fondes. Trois gnrations littraires se sont ceruriile au dbut du millnaire: Certains reprsentants des deux premires gnrations se sont oltuluk aussi rendez-vous dans un livre publi enchez les ditions Humanitas, un livre qui se prsente comme un livre-spectacle, ,Poveti de dragoste la prima vedere ,Des histoires de coup de foudre.

Cinq auteurs Gabriel Liiceanu, Adriana Bittel, Ana Blandiana, Nicolae Manolescu, Ioana Prvulescu ,enchanent leurs voix devant le publique, en chantant sur le thme vieux comme le monde et la littrature, l’amour, mais pas n’importe quel amour, mais le coup de foudre.

Le prsent travail se propose d’analyser ,la victoire de ce spectacle, ralis au dbut du troisime millnaire, en observant le spcifique de chaque paire auteur-histoire et, surtout, les techniques narratives utilises. Within the educational system developed by the schools in Blaj a century ago, Romanian literature held a very important position, even if it was not established as a subject in the curriculum. In order to educate the young generation, the model of the Romanian teacher, deeply involved in the cultural and verurile life of the community was crucial.

The preoccupation to enrich the library and to cultivate the Romanian literature through extra curricular didactic activities contributed to the ootului of a national identity.

Humanistyka poznanie i terapia: Gdyby sporzdzi wykaz najwaniejszych pyta naszej epoki, to wrd nich znalazoby si niechybnie i takie: Przy czym potoczna wiadomo czy ze sob wiedz humanistyczn z postaw humanistyczn i domaga si od przedstawicieli humanistyki ostentacyjnego wrcz wyraania i reprezentowania wartoci w nieporwnanie wikszym stopniu ni od przedstawicieli nauk cisych. Ich niejednokrotnie zreszt oskara cerurilf wanie o brak humanistycznego mylenia wartociami, jak mona by byo swobodnie i najoglniej nazwa humanistyczn orientacj intelektualn.

Oczywicie, pytanie o sposb szerzenia wiedzy i postawy humanistycznej stawiano sobie od dawna, ale dzi nabrao ono szczeglnej energii i wymowy. Pobiena ju nawet lektura rozmaitych wypowiedzi na temat stanu i perspektyw humanistyki czy to polskiej, czy europejskiej, czy wreszcie wiatowej wskazuje na daleko posunit rozbieno opinii. Gdy jedni mwi o kryzysie, impasie, zastoju, spadku znaczenia, to inni uwaaj, e humanistyka znalaza si w szczeglnie dobrej sytuacji i e potrafia cerurille sprosta, skorzysta z szansy i dynamicznie poszerzy obszary intelektualnego posiadania i wadania.

Dzi, wiele rodowisk ywi przewiadczenie, i era humanistyki wanie nadchodzi i do niej przede wszystkim ma nalee ostatnie sowo o czowieku nowoytnym. Wydaje si, e dzi szczeglnie silnie jest odczuwana wzajemna wspzaleno lub wspzbieno stanu humanistyki i stanu sztuki. Po drugie, wiat ludzi ferurile wytworw humanistycznych znajduje si w cigym ruchu, ruchu wartoci.

Po trzecie, kultura, a zwaszcza kultura symboliczna stanowi podstawowy przedmiot zainteresowa wspczesnej humanistyki. Po czwarte, humanistyka zajmuje si nie tylko badaniem, ale rwnie wsptworzeniem obrazu wiata.

The article insists on the Romanian flexibility to adjust to both capitalism and communism. This flexibility is reflected into literature, especially if we compare the literature produced by Romanians who lived in communism as different from those who chose to exile themselves. Some say communism brought in the preservation of national identity, identity which capitalism does not have an interest to protect it.

Were Romanian writers inclined to support democracy or, on the contrary, authoritarianism in their papers? Lots of ideologies and policies turned this country into a more unstable actor on the international political and cultural scene. If democracy had to give the power to people, authoritarianism allocated it to the state, represented by one individual, who was to rule to the so called benefit of the people. When facing this oscillation there comes up the natural question of the individual: Democracy gives the right to each individual, no matter the origin, to benefit as equal as possible from private property, education, private interests.

Also, the limit between democracy and authoritarianism is very easy to be passed. The article insists on how communism versus capitalism influences the literature produced by Romanian writers in exile or within the limits of communism.

Also, the article starts from the papers sustaining liberalism or, on the contrary, totalitarianism, in the period between the two world wars.

We are interested in establishing the s Romanian tendency in writing as well as in real political optului social life: The symbol replace a reality through a sign another reality on a matter of easy analogies. The symbol is a trope by which a material is chosen, the convention, to denote a concept provided between the concrete and abstract that there is a semantic relationship, so that substitution is motivated. Tudor Vianu distinguishes some features of artistic symbol in the symbol of opposition to science.

Symbols are scientific deprivation or experience constraints when knowledge exceeds human needs. On the other hand, artistic symbols recompose all human crrurile fragmentation.