Revista Transilvania最新文献_第4页

Un manuscris ascuns în văzul lumii: jurnalul lui Mihail Sebastian din anii 1930-1931 隐藏在世界中的手稿：米哈伊尔·塞巴斯蒂安1930-1931年的日记

Revista Transilvania Pub Date : 2023-01-01 DOI: 10.51391/trva.2023.02.02

Alexandra Oprescu

引用次数: 2

Filmul despre și pentru copii în cinemaul stalinist din România 这部关于罗马尼亚斯大林主义电影院儿童的电影

Revista Transilvania Pub Date : 2023-01-01 DOI: 10.51391/trva.2023.01.08

Mihaela Grancea

{"title":"Filmul despre și pentru copii în cinemaul stalinist din România","authors":"Mihaela Grancea","doi":"10.51391/trva.2023.01.08","DOIUrl":"https://doi.org/10.51391/trva.2023.01.08","url":null,"abstract":"While the ’50s represented a new decade of expressiveness in western cinema, along with new ideological approaches, the feature film in the European communist space was determined by the nature of the political totalitarian regimes and the specific phenomena of the “cultural revolution.” In totalitarianism, the relation between civitas/community and the feature film followed the ancient model of the rapport of the Greek city to the civic and ethical finality of the theatre. Under these circumstances, the film becomes the most vulnerable of arts. Cinema was confiscated and transformed into engaged art, with an essential role in building the paradigm of the “new man.” Although the ’50s meant the development of the technical-material modern background, the increase of film production and consumption of feature film, in Romanian cinema, the artistic references were few. The concern for film production of the prewar and interwar periods were drastically limited by the political class and the cultural ignorance of the politruks. The films Nufărul Roșu [The Red Water Lily] (1955), Mingea [The Ball] (1958), and A fost prietenul meu [He Was My Friend] (1963) followed the directions of the Stalinist ideology that lasted longer than in the USSR. Only Elisabeta Bostan overcame the limits imposed by the communist regime and the censorship of the era. Thus, her films still retain the unaltered charm of childhood.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70876842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Romanul comunismului românesc înainte și după Istoria lui Mihai Iovănel Mihai Iovănel历史前后罗马尼亚共产主义的罗马人

Revista Transilvania Pub Date : 2023-01-01 DOI: 10.51391/trva.2023.05-06.08

Bogdan Contea

{"title":"Romanul comunismului românesc înainte și după Istoria lui Mihai Iovănel","authors":"Bogdan Contea","doi":"10.51391/trva.2023.05-06.08","DOIUrl":"https://doi.org/10.51391/trva.2023.05-06.08","url":null,"abstract":"This paper makes a case for analyzing the way in which the novel of Communism is approached by Mihai Iovănel in his History of Contemporary Romanian Literature: 1990-2020. This is a topic that was intensely discussed by Romanian literary criticism in Post-communism and represents the weakness of Romanian literature, either by it not being able to give a sufficiently convincing novel, or by not being able to agree upon how this novel should look. Accordingly, the critics had difficulties in labeling any novel that had been published after ‘89s as “the novel of communism.” The first part of the article is a panning of recent discussions about this term in relation to the analysis made by Iovănel in his History. The second part aims to trace out a network of this type of novel in the literatures of Central and Eastern Europe and to try to identify its particularities through a comparative analysis. The last part consists of a study case of the novels Acasă, pe câmpia Armaghedonului [At home, on the Field of Armageddon] by Marta Petreu and Bureți de Fag [Oyster Mushrooms] by Mihai Duțescu. The latter has been published after the History and both novels are analyzed from the perspective of the novel of communism.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70877700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Matei Vișniec. Spațiul românesc al dramaturgiei postdecembriste – teatrul postdramatic Matei Vișniec。罗马尼亚后12月戏剧空间-后戏剧剧院

Revista Transilvania Pub Date : 2023-01-01 DOI: 10.51391/trva.2023.05-06.15

Ioana Toloargă

引用次数: 0

Literatura în cinematografia românească: ecranizări ale operei literare sau surse de inspirație regizorală? 罗马尼亚电影中的文学：文学作品的放映还是导演灵感的来源？

Revista Transilvania Pub Date : 2023-01-01 DOI: 10.51391/trva.2023.05-06.17

Mihaela Despan

{"title":"Literatura în cinematografia românească: ecranizări ale operei literare sau surse de inspirație regizorală?","authors":"Mihaela Despan","doi":"10.51391/trva.2023.05-06.17","DOIUrl":"https://doi.org/10.51391/trva.2023.05-06.17","url":null,"abstract":"The paper proposes an analysis of literature’s role in the current Romanian cinematographic context, starting from two case studies: After the Hills (2012) by Cristian Mungiu, based on the novel Spovedanie la Tanacu by Tatiana Niculescu Bran and Moromeții 2 (2018) by Stere Gulea, based on the novels Moromeții vol. II and Viața ca o pradă… by Marin Preda. The approach aims to carry out a comparative analysis regarding both the role played by the literary work in the cinematographic production as well as the valorization of the literary work through the film. In the current socio-cultural context, the artistic impact of a film creates the cultural premises for the propagation of a literary work to several types of audiences. Artistic products derived from literary works develop a series of issues regarding adaptation methods, aesthetic interpretation, and even artistic interference regarding the assimilation of a literary piece in relation to the cinematographic production. The paper presents two case studies to analyze how the literary work appears either as an adjunct to the cinematographic production or as a central element of the filmographic artistic exposition. These case studies are used to determine the role that the film industry has in the processes of internationalization, propagation, and even popularization of a literary work in a Romanian consumer society, which is dangerously far removed from the book industry. Thus, the scientific approach proposes an exploration of literary valorization through cinematographic artistic products in order to popularize and mediate literature in today’s society.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70877937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Turnura Practică a Filosofiei ca Medicină a Sufletului. Maladiile între Filosofia Stoică și Psihiatria Contemporană 哲学的实践之塔是灵魂之药。斯多葛哲学与当代精神病学之间的弊病

Revista Transilvania Pub Date : 2023-01-01 DOI: 10.51391/trva.2023.04.08

Ștefan Bârzu

引用次数: 0

Etica imaginației în literatură și film: Importanța eticii în internaționalizare și intermedialitate 文学和电影中的想象伦理：伦理在国际化和中介性中的重要性

Revista Transilvania Pub Date : 2023-01-01 DOI: 10.51391/trva.2023.05-06.14

Șerban Mark Pop

引用次数: 0

Dublă subordonare. Subalternitate în Platforma lui Michel Houellebecq 双重从属关系。Michel Houellebecq平台中的子替换

Revista Transilvania Pub Date : 2023-01-01 DOI: 10.51391/trva.2023.04.06

Gabriela Vieru, Bogdan Vișan

引用次数: 0

Ineditul jurnal din 1930-1931 al lui Mihail Sebastian – un preview al întregii sale opere Mihail Sebastian 1930-1931年的原始日记——他整个作品的预览

Revista Transilvania Pub Date : 2023-01-01 DOI: 10.51391/trva.2023.02.03

Teodora Dumitru

{"title":"Ineditul jurnal din 1930-1931 al lui Mihail Sebastian – un preview al întregii sale opere","authors":"Teodora Dumitru","doi":"10.51391/trva.2023.02.03","DOIUrl":"https://doi.org/10.51391/trva.2023.02.03","url":null,"abstract":"In this essay I bring to attention the event of the recent discovery of an unpublished diary of the Romanian-Jewish literary critic, writer, and diarist Mihail Sebastian (1907-1945). This diary—written between 1930 and 1931—contains fragments that were published in the press of the author’s time (in 1932), but also some passages that remain unpublished until today. All the passages related to the author’s Jewish origins and his anguish of living in a “closed and defined circle,” a metaphor for the real or symbolic ghetto, are unpublished. Also, these unpublished passages expose his strategy for creating and publishing prose fiction: since they are the work of a Jewish author, the characters would be impossible to conceive of as anything other than “Jews,” but, upon publication, the author would delegate them a non-Jewish identity. This strategy would allow Sebastian’s “Jewish-Romanian” “truths” to be communicated publicly, but without explicitly assuming them as such. The information provided by the unpublished fragments of this diary—nowhere expressed so firmly and transparently in author’s writing—reconfigure how Sebastian’s entire oeuvre is to be interpreted, from the first prose fiction intended for publication to his (private) diary, partially published after 1989. I will show in this essay, following unpublished passages from this journal between 1930 and 1931, that all of Sebastian’s writings—both those that apparently ignore the theme of Jewishness and those that approach it head-on—are permeated by the same anguish: the anguish of living and writing in a “closed circle,” a feeling heightened by the increasingly anti-Semitic atmosphere in 1930s Romania. I also prove that Sebastianʼs strategies of obscuring his Jewish identity and indirectly communicating his “truths” as a Romanian Jew are coherent and well connected with his strategies of direct communication of the same “truths.”","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70876698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Revisiting the Uses of Nostalgia in Post-socialist Cinema: Radu Jude’s Cinema and Dialectical Images 重新审视后社会主义电影中怀旧的运用:拉度·裘德的电影与辩证影像

Revista Transilvania Pub Date : 2023-01-01 DOI: 10.51391/trva.2023.01.06

Bogdan Popa

{"title":"Revisiting the Uses of Nostalgia in Post-socialist Cinema: Radu Jude’s Cinema and Dialectical Images","authors":"Bogdan Popa","doi":"10.51391/trva.2023.01.06","DOIUrl":"https://doi.org/10.51391/trva.2023.01.06","url":null,"abstract":"Scholars of Romanian cinema (Parvulescu & Turcuș 2021) explored the topic of nostalgia in post-socialism, but they stopped short of analyzing why directors such as Radu Jude refuse to draw on a melancholic view of the past. Similarly, film critics (Gorzo & Lazăr 2022a; Ferencz-Flatz 2017) analyzed the importance of the Jude’s attunement to contemporary cultural forms, but they did not engage with his reluctance to discuss positive aspects of Romanian state socialism. By putting two apparent opposite readings of Radu Jude’s films in conversation, this article investigates Jude’s philosophical technique which I conceptualize as “the construction of a dialectical image”. I draw on films such as I do not care if we go down in history as barbarians (2018), Bad Luck Banging or Loony Porn (2021) and the short film The Potemkinists (2021) to distinguish between a dialectical and a nostalgic use of the socialist past. I concentrate on three main topics: Jude’s interest in capturing the materiality of the present, which he borrows from Siegfried Kracauer’s cinematic materialism; the differences between Walter Benjamin’s dialectics and Jude’s cinema; and the use of comedy in The Potemkinists. My article adds to previous work on Jude’s cinema (Parvulescu & Turcuș 2021; Gorzo & Lazăr 2022; Ferencz-Flatz 2018) a discussion about the uses of nostalgia in Romanian film, a subject that has not been discussed in relation to experimental and avantgarde productions.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70876723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0