Drawing on Jan Assmann’s interpretation of cultural memory as devoid of any racial/biological component, as well as James Clifford’s repudiation of the notion of cultural purity, the paper redefines ...memory as a mentally configured cultural institution, claiming that any reconfiguration of group identity is an act of symbolic violence. By emphasizing the crucial role that identity plays in understanding the fundamental themes tackled by Chicana literature—patriarchal oppression, racial terror, domestic abuse, sexism, homophobia—, the paper illustrates the extent to which the ethnic-gender binomial, i.e. belonging to a group that faces bias on various levels (femininity, Mexican American genealogy and, sporadically, sexual minority status), stands at the very core of the desire to redefine identity that largely fuels contemporary Chicana prose.
Poet, a little strange like any othe Poet with a personal voice, Costel Stancu is at the same time a child born old, an old remaining child.He doesn’t entitles his lyrical texts anyhow, just puts at ...the begining three stars aligned horizontally – his lucky sign of the zidiac?- in such a way that any references required to a critical approach on his entire work can be made only by specifying the page number (in brackets).
BIRUIREA MORȚII PRIN LOGOS Edițoiu, Cornelia
Saeculum (Sibiu, Romania),
2018, Letnik:
45, Številka:
1
Journal Article
Recenzirano
In his volume entitled ,,Sleepless tombs”, Dumitru Cristanus sees the relationship between humans and Death as a hide-and-seek game. People hide, disguise, play with it, even invite Death to a ...symphony, to a restaurant, hoping for it not to come uninvited…Knowing very well that it tracked them even in Heaven , all that is left to do for people is to refugee in the art of the word, because ,,Death as deadly as it is, stumbles in front of the eternity of the poem.
Andrei Codrescu, Romanian-born American writer, is well-known for his books of fiction or non-fiction based either on his personal experience as an exile or on a profound understanding of literature. ...His novels express a permanent fascination for reading and re-reading the great works of literature before him, in his particular case, the act of reading always meaning an original interpretation of “the great books”. Nevertheless, Codrescu did not limit himself at this stage, his novels implying a complicated strategy of masking (or unmasking), and the author includes, therefore, in his texts, some personal memories or personal symbols in order to become himself a part of the narration and one of its key-notes. Taking into consideration all these aspects, we may assume a new kind of interpretation of Codrescu’s novels and also try to underline his originality within contemporary literature. Dreams, consciousness, imagined realities, make up the existence of the narrative voice of Codrescu’s book, Whatever Gets You through the Night, since the author himself is conceived as an imagined personality that has taken on an actual reality, an instantiation of a poet’s self-consciousness. However, the writer seems to invert the process of ironic Socratic dialectic; he does not need Socrates to strip his life of immediacy and even corporeality in order to get him to breathe ethereal air. Instead, Codrescu is quite literally half in the immediate, the real, and half in the “mediate”, the imagined, since he is only half himself. He leaps from imagined sunset to imagined love, asserting a reality he knows he does not have.
Ștefan Augustin Doinaş is not only a great poet but also a theorist of the poetic act, a theorist of poetry. In his endeavor to build a poetic concept, he starts from the ancient philosophy, ...particularly Plato and reaches, through German philosophy and French poetics to defining poetry as an act of language. In a first stage corresponding to ballad, genre that he uses, he relates to the canon of the classicism of Greek Magna.Ștefan Augustin Doinaş is not only a great poet but also a theorist of the poetic act, a theorist of poetry. In his endeavor to build a poetic concept, he starts from the ancient philosophy, particularly Plato and reaches, through German philosophy and French poetics to defining poetry as an act of language. In a first stage corresponding to ballad, genre that he uses, he relates to the canon of the classicism of Greek Magna.Starting from Plato's philosophy, the poet posits the structure of the poem, starting from a logos asimilated to universe as cosmos. The poet also stops to the equation logos-melos, commenting on the relationship between the two acts in the terms of the French poet H. Meschonnic.In defining poetry, the poet performs a synchrony in diachronie. They are discussed Heidegger's famous theories about language as the house of Being. In his poetry of Doinaş there are at least three masks: the first would be marked by the poems of his youth when the vision ballad-expressionist is passed through the filter of poetics / poietics of classicism, followed by a second stage in which the self is related to the Universe in a romantic projection (cf.Holderling-Valery so.) and the third stage, that of a creative modern- post-modern self, an I anguished revealed in the texts of Psalms meditating on the fractal dimension of life, in its flow compared to divinity where it is built in poetic language, in its dual continuity daimonică-panteistă and christian in a biblical way.
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