Being a secondary part of sentence richly expressed in written texts and occurring in a wide range of contexts, the Predicative Adjunct has long been in the linguists'attention. A unanimously ...accepted fact is that it has a derivational history, being conditioned by the verb and implied in a double subordination type of relation. The Predicative Adjunct is a syntactic position obtained by abbreviation from a two-sentence utterance, expressing either a quality attributed to the Subject or the Object or a state/ an action which is simultaneous with that of the main verb (the finite). From the multiple parts of speech it can be represented by, our study focuses mainly on two prepositional contexts, cu/ fără + Noun, offering a detailed description of their use in literary texts and discussing the possible confusions generated in different contexts. The examples chosen were excerpted from both poetic and narrative texts, demonstrating that the Predicative Adjunct entails various stylistic effects.
A theoretical apparatus is offered to explain an important compositional practice developed by Nicolai Roslavets (1881-1944), one of the leading composers of early twentieth-century Soviet music. ...Several relevant studies of Roslavets's harmonic language (Perle 1962, Ferenc 1993, Sitsky 1994) have discussed his use of synthetic chords (six to eight notes arranged as a scale-like succession of pitches with a fixed sequence of tones and semirones), but a number of its compositional implementations remain unexplored-namely, the use of transposed synthetic chords to create a sense of harmonic distance, and the potential for these transposed synthetic chords to produce extreme orthography. The extreme spellings that Roslavets uses (such as triple sharps) provide visual confirmation of the transpositional distances traversed by synthetic chords. Roslavets is particularly attracted to T^sub 5^ and T^sub 7^, transpositions reminiscent of the traditional tonal intervals of a perfect fourth and a perfect fifth. Using these two transpositions, Roslavets creates symmetrical chord-paths within clearly segmented formal sections of his compositions. A line of fifths is used to plot the transpositions of the synthetic chord, and quints are used to measure distances between fifths. The resulting chord-paths are classified according to three different types of symmetrical or near-symmetrical shapes: crisp symmetry, near-symmetry, and nested near-symmetry. PUBLICATION ABSTRACT
Novalis, Fratii Grimm, Tieck, E. T. A. Hoffmann, cel din urmä impunându-se ca model universal - bänuim cä din perspectiva insertiei fantasticului in textul literar, pentra cä George Bädäräu nu ...explicä, ei doar prezintä Ulciorul de aur. Din prima catégorie, fac parte Särmanul Dionis, Adam si Eva, Domnisoara Christina, Sarpele, Za tigänci etc., iar din a doua, volumul Straniu paradis, de Laurentiu Fulga. Analiza unui numär impresionant de opere, elementele teoretice vizate, compararea unor trasäturi ale fantasticului románese cu cel universal in vederea identificärii "rädäcinilor" celui dintâi si a influentelor celuilalt reprezintâ un demers ce trebuie avut în vedere de iubitorii de literaturä fantastied.
Collection : Les Grandes biographies
Collection : Les Grandes biographies
Contient une table des matières
Avec mode texte
Collection: The Great Biographies
With text mode
Collection : Les Grandes ...biographies
Contient une table des matières
Avec mode texte
This dissertation was written in memory of Benjamin Fondane, a poet, dramaturge, and existential thinker who produced most of his literary works in Paris. Fondane was born in lasi (Roumania) where he ...began his writing career. In Roumania, although he gained much recognition as a writer, Fondane longed for Paris and the literary milieu which he felt could enhance his writing. In 1923 Fondane moved to Paris and in 1927 he became a close friend of the noted Russian philosopher Leon Shestov. Slowly, Fondane became his disciple as his poetry began to incorporate Shestov's existential philosophy. Fondane's poetry was transformed: no longer portraying bucolic images of Moldavian pastures, his verse now gained universal insight while depicting the sorrow of the poet in exile or the agony of the Jew in Diaspora. In Fondane's French verse, we note his fascination with the tragic--it pertains to "a category of seriousness" which is the prime element of existential thought, explains the noted French philosopher Jean Wahl in his study Philosophies of Existence. One should not confuse "existentialism" with "existential thought", a philosophy which concerns itself mostly with the problem of existence. Fondane shared Shestov's belief that one's spirit is elevated through personal suffering. Fondane wrote several collections of poems: Ulysse, Titanic, L'Exode, which he published along with his philosophical essays. La Conscience malheureuse contains most of these essays. In Faux traite d'esthetique, Fondane presents his philosophy regarding poetry: he declines the importance of aesthetics in favor of the verse that dares to remain a part of life. He believes in the magic of poetic creativity, and in its incredible force as it goes beyond logic and beyond the self. The poet also presents his discontentment with Surrealism: in his opinion an alliance between Marxism and Surrealism would only bring about the loss of freedom necessary to create. Fondane's poetics was not in search of answers. He realized that the joy of existence consists in our continual search rather than a presumptuous explanation of the meaning of life. Benjamin Fondane was gassed in Auschwitz in 1944 two weeks before the camp's liberation.
Scurt articol care anunță apariția unei noi reviste literare la Arad, "Fekete macska". În primul ei număr publică traduceri din versurile lui Aron Cotruș și Ion Minulescu
