Satellite Empire is an in-depth investigation of the political and social history of the area in southwestern Ukraine under Romanian occupation during World War II. Transnistria was the only occupied ...Soviet territory administered by a power other than Nazi Germany, a reward for Romanian participation in Operation Barbarossa. Vladimir Solonari's invaluable contribution to World War II history focuses on three main aspects of Romanian rule of Transnistria: with fascinating insights from recently opened archives, Solonari examines the conquest and delimitation of the region, the Romanian administration of the new territory, and how locals responded to the occupation. What did Romania want from the conquest? The first section of the book analyzes Romanian policy aims and its participation in the invasion of the USSR. Solonari then traces how Romanian administrators attempted, in contradictory and inconsistent ways, to make Transnistria "Romanian" and "civilized" while simultaneously using it as a dumping ground for 150, 000 Jews and 20, 000 Roma deported from a racially cleansed Romania. The author shows that the imperatives of total war eventually prioritized economic exploitation of the region over any other aims the Romanians may have had. In the final section, he uncovers local responses in terms of collaboration and resistance, in particular exploring relationships with the local Christian population, which initially welcomed the occupiers as liberators from Soviet oppression but eventually became hostile to them. Ever increasing hostility towards the occupying regime buoyed the numbers and efficacy of pro-Soviet resistance groups.
In Towards a Theory of Denominals, Adina Camelia Bleotu proposes a novel spanning analysis of denominals, arguing for its explanatory superiority to incorporation/conflation or nanosyntax in ...accounting for the formation and behaviour of such verbs in English and Romanian.
Presenterò in questo saggio alcuni aspetti che definiscono il personaggio nella letteratura romena degli anni ’80, ’90 del Novecento e dei primi anni 2000, ovvero il protagonista romanzesco che parla ...soprattutto in prima persona, anzitutto all’interno del paradigma letterario creato in seno al postmodernismo romeno, che è stato il modello più innovativo, interessante e produttivo nella prosa degli ultimi decenni in Romania. Nel panorama della letteratura romena sul finire del Novecento, dominata dalla narrativa che si ispira alla biografia di chi scrive, l’analisi dell’homo fictus presuppone anche l’approfondimento di altre nozioni connesse alla costruzione narrativa e al rapporto che si stabilisce fra realtà e finzione. Nei testi esaminati nel saggio saranno indicati alcuni di questi nessi, dapprima nella prosa di Mircea Cărtărescu e in modo più sintetico in taluni romanzi e racconti di Matei Vişniec e di Ştefan Agopian. Ho privilegiato il personaggio-autore o meglio l’autore-personaggio, ma si potrà notare che tale binomio si carica di valenze molteplici e di sfumature che rendono meno certo e un po’ sfuggente agli occhi del lettore lo statuto della medesima coppia di categorie critico-letterarie.
Studies of both synchronic phonetics and morpho-phonological alternations are needed to understand the forces that historically shaped and now maintain the phonemic system of Romanian. Through a ...series of case studies on the Romanian vowel system, this book proposes that the robustness of a phonemic contrast does not depend solely on the presence of minimal pairs, but is instead affected by a set of phonetic, usage-based, and systemic factors.
MR. ANGHELACHE’S CASE COTRUȘ (ISPAS), Roxana
Acta Marisiensis. Philologia,
2022, Letnik:
4, Številka:
4
Journal Article
Recenzirano
Odprti dostop
One of the characters of Romanian Literature left to these days in a mystery area is Anghelache, a humble public servant and the protagonist of the short story "Inspecțiune", written by I.L. ...Caragiale. What surprises most is the tragic end offered by his suicidal act, apparently for no reason, an act that will prove to be, in fact, the only way out of the trap of corruptibility.
Gabriela Melinescu’s novel titled Regina străzii (The Street’s Queen), first published in French in Sweden in 1988, presents the reader with an emblematic universe for the writer in exile, an ...imaginary world laden with haunting images of childhood and youth. The city, the neighborhood, the street, as well as the real world characters that were a source of inspiration for the writer, will be sublimated in the novel, creating a fictional space that often evokes dreams, while narrative elements and the plot, are replaced symbolic dreams, expectations, and the characters’ inability to act.The most important theme of the book is the exit, the character’s attempt to transgress the space in which they live, in which they are forced to live, that of Teiul Mare Street, of the neighborhood and of the gray and sad city. The novel is a parable of an extremely difficult period of the Romanian history, that of the communist period. There are no precise spatial-temporal coordinates, only suggestions, similar contexts, and figures that refer, however, to well-known characters of that age, such as shoemaker Zeno, for instance. The protagonists are surrounded by an aura of mystery and sadness, living only with the hope that they will one day escape this world which is enclosing them like a shell, and in which almost nothing happens. They usually relate to the past, recalling events from a different time, in which life had brightness and people could enjoy and live with hope for a future of change or transformation. The novel, which consists of thirty intertwined stories, has a pronounced allegorical touch. We can speak of an allegorical-mystical and poetic fantasy, as a kind of fairy tale in which emblematic characters fulfill destinies directed from the shadows by a mysterious puppeteer. Zora, Aaron, Fosca lead their lives in the most banal way, unlike the vulnerable and only seemingly sensitive Sandora. She lives more trying to decipher the dreams she has, and wandering at night on the deserted streets of the city. In terms of writing, several plans can be detected, the most visible being that of the daily “real”, sometimes drawn by the narrator in an ironic spirit, vis-à-vis some emblematic characters for that historical period. Another level is that of allegory, supported by a dense fabric of symbols of existence, dream and death. The novel also has a fantastic level, which develops from the desire of some characters to transgress the real and to live more in dream, trying to decipher signs sent from the afterlife.
This paper aims to analyze the various forms of kitsch – aesthetic kitsch, social kitsch, tourist kitsch and kitsch-world – in the theoretical and poetic texts of A.E. Baconsky. His essays on the new ...poetic paradigm interrogate the forms of mimetic kitsch, seen as part of an extensive metamorphic process of aesthetic thinking throughout the ’50s-’60s. The quest for a new aesthetic paradigm challenges the artistic hierarchies of modernity and puts forward unsettling simulations. In addition, Baconsky’s travel notes in the Western world, fallen prey to technology and consumerism, bring to the fore alienating forms of social kitsch. The writer describes the tourist kitsch, followed by the degradation of artistic objects, all summarizing a whole tradition of souvenirs and memorabilia. Moreover, his poetic texts from Corabia lui Sebastian interrogatively stage a reified space where objects look more alive than human beings, while weak individuals read the signs of an apocalyptic world. The literature itself is mechanized and written language becomes the compressed matter of kitsch collage.
