International Journal for Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies
Editura Universității „Ștefan cel Mare” din Suceava
Ciprian POPA, Limba italiană. Gramatică & Exerciţii, Suceava, Editura Universităţii “Ştefan cel Mare”, 2015, 197 p.
Copyright (c) 2023 Editura Universității „Ștefan cel Mare” din Suceava https://creativecommons.org/licenses/by/4.0
<p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 16px; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-source-line="139" data-source-line-end="140" data-token-idx="189" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">Science in general and mysteries of the brain in particular have puzzled us for centuries. For most of us, it is like an unfathomable sea. In this short article, the challenges of understanding our world and ourselves are depicted. In addition, ideas such as enhancing interdisciplinary bonding between art and science are proposed. The author supposes that the suggested approach should be open to accepting contributions from various scientific disciplines, arts, cultures and social groups.
Cross-Artistic Approaches: Neuroaesthetics
A Multidisciplinary Approach to the Actor’s Active Listening
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">We know that a sound becomes a meaning carrier only when it is actively listened to. As M. Scott Peck observes, listening is essential, for there is no real communication in the absence of real listening. During rehearsals, the actor/actress immerses him/herself in a state of listening in order not only to develop his/her concentration, observing ego, distributed attention, capacity of identifying with/distancing from a character, but also to establish relationships with his/her self, with the other actors and with the spectators. To briefly analyze the actor’s process of active listening, the present paper makes reference to methods and techniques used in different fields of research such as psychoanalysis, psychology, psychodrama, theatre, paratheatre, storytelling, emphasizing the idea that emotional identification, alienation, self-revelation, reaching physical tiredness play a major role in self-growth. Undeniably, the actor’s explorations and experiments aim at improving his capacity of creating sequences of physical and vocal actions in order to tell every spectator a different story to which he/she reacts according to his/her background, personality and personal experiences. Taking into consideration the phenomenon of neural coupling, we advance the idea that both theatre performance and storytelling might be of significant interest in cognitive science.
Eugenio Coseriu, Tempo e linguaggio: un’analisi della traduzione in romeno
<p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 16px; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-source-line="107" data-source-line-end="108" data-token-idx="141" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">According to Eugenio Coseriu, translation should be seen as a form of "cultural otherness", a mutual exchange of values. The present report is a contrastive study of the Romanian translations of Eugenio Coseriu's conference Time and Language (“Tempo e linguaggio”). Our translation from Italian into Romanian was preceded by Ana Covaciu’s translation and by comparing them we can notice many similarities, but also some inadvertencies. The aim of the contrastive analysis of the two translations is to see if the decisions we took at that time for the equivalences were correct or still are thanks to the second revision. The translation into Romanian of Coseriu’s text was a challenge above all because it was a linguistic text which could pose serious problems regarding the linguistic and semantic terminology equivalence. The contrastive study was carried out at a lexical and semantic level, at a morphosyntactic level and also at an orthographic level.
Ambiguitatea, un “rău necesar” şi savuros în generarea comicului lingvistic
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">After briefly surveying several of the most ventilated theories accounting for linguistic ambiguity, as well as the main attempts at subcategorising the phenomenon at issue in the second section, we submit to the reader in the third section a selection of ten language humour specimens which make up the research subcorpus of the present contribution and which are part and parcel of a much larger one amounting to approxim. 150 examples. The ten specimens have been extracted from the English subarea of the corpus, in order to more accurately showcase the ambiguity enablers which this particular language preeminently boasts on account of its being possessed of a rather meagre morphology, with a prolific semantics doing a fantastic job for it. The fourth section thoroughly anatomizes the humour-generating devices at work in the specimens selected, while advancing modest proposals for translation of the jokes into Romanian or languacultural substitution thereof where punchline preservation can be effected with no great difficulty.
Ratio vs credo sau ratio et credo în textul Vechiului Testament. O perspectivă filosofico-religioasă
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">This paper focuses on the symbiotic relationship between Reason and Faith in the Old Testament and the interpretation of this binomial from a philosophical as well as theological perspective.
Cross-Cultural Strategies: Philosophically-Based Approaches
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">The following study focuses on Matthew Baker’s <em style="box-sizing: border-box; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">Hybrid Creatures<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor=""> (2018) and Irvine Welsh’s <em style="box-sizing: border-box; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">The Sex Lives of Siamese Twins<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor=""> (2014) in order to explore the problematisation of mediation, remediation, and transmediation that fiction potentially occasions beyond mere ekphrasis, highlighting their elusive and seemingly self-erasing presence in the signification practices that inform representations of identity and reality. Their outlines are mediated by the plurality of discourses weaving the fabric of the cultural matrix, blurring ontological and categorial boundaries into zones, spaces that fold back onto the sites they delimit and identify. The self-reflexive and self-referential interplay of abstraction and materiality articulates topologies of hybridity, a nowhere space onto which the human is displaced and deferred.
L’histoire de la vraie Jeanne la Pucelle, du Moyen Âge à Matéi Visniec
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">This essay focuses on Joan of Arc, a fifteenth-century figure that has since become part of global collective consciousness. Situated between history and myth, she can only be completely defined by her thaumaturgic aspect, resisting rational explanation. Symbol and prolific source of adoration, controversy, and diverse artistic renderings, the Maid of Orléans has also inspired a play by Matéi Visniec (2009), which delivers a contemporary interpretation of her story. Finding herself in the antagonistic position of both combatant and victim, once the commander of Charles VII’s army and the symbol of French liberation, the young woman has now become a brand for vinegar, mustard, pain d’épices, chicory, Camembert or Coulommiers cheese. Questions arise with respect to the claim made by Matéi Visniec’s heroine that she is the <em style="box-sizing: border-box; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">true<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor=""> Joan of Arc and the <em style="box-sizing: border-box; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">miracle<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">.
Conduita suicidară sau puntea spre înrobitoarea dezrobire în Asuntos de un hidalgo disoluto de Héctor Abad Faciolince
<p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 16px; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-source-line="13" data-source-line-end="14" data-token-idx="15" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">The present study advances a multifaceted approach to the suicidal gesture of Columbian Asuntos de un hidalgo disoluto’s protagonist and to the latter’s multiple typologies exposed. Sharply brought into focus will be the suicidal strategy, the legitimacy and soundness of the motivation, as well as the connotative load of the suicidal behaviour, with a view to apprehending and subsequently fully understanding the character’s eschatological stance by ferreting out significant clues to adequate interpretation of both patent and latent cues of Gaspar Medina Urdaneta’s words and deeds. Turning to good account the self-annihilation pattern which the Columbian Don Quixote, in his capacity as both agent and patient of reduction and self-abduction to nought, gradually – if sometimes reluctantly – is spawning, we will shed revealing light on the symbolic function of the shoes and that proleptic of the memoirs – viewed as pre-suicidal undertaking –, both of them related to the archetypal framework of the novel’s dazzling denouement. Gradually succumbing to a tedium vitae which his flickering willpower helped induce, the hero under scrutiny seems to be swimming against the mainstream of Hispano-American vitalism, while additionally hovering within the orbit of thanatophilia and nihilocentrism. Half redemptive and half punitive – if partly the very fruit of a self-punishing drive – the suicidal gesture also speaks volumes for the protagonist’s life-long self-governing nature and, even more importantly, through the underlying disintegration and re-integration into nothingness, for his undeniably emancipatory impulse.
Marianne Lederer, Madeleine Stratford (sous la dir. de), Culture et traduction. Au-delà des mots, Classiques Garnier, Paris, 2020, 197 p.
Giorgio Agamben, Misterul răului. Benedict XVI și sfârșitul veacurilor, traducere de Anamaria Gebăilă, Humanitas, București, 2023, 98 p.
Transmedial Narration: Narratives and Stories in Different Media, Lars Elleström, Springer International AG, 2019, 152 pp.
Ciprian POPA, Sintassi della lingua italiana. Teoria & esercizi, Suceava, Editura Universităţii “Ştefan cel Mare”, 2019, 142 p.
The Secret Garden: English to Romanian Interlingual Translations (1992-2022)
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">This study focuses on interlingual translations of the novel <em style="box-sizing: border-box; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">The Secret Garden<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor=""> by Frances Hodgson Burnett, aiming to analyse and compare four of its Romanian translations in order to reveal translation techniques, challenges for translators, differences between translations. We chose four Romanian translations of the novel: one by Cireașa Grecescu from 1992, one by Anca Silaghi from 2008, one by Maria Iliescu from 2020 and another by Andrei Covaciu from 2022. There are four sections which focus on the strengths and weaknesses of each translation, and a fifth section in which we compare the four translations of a certain phrase or sentence from the original. For the comparative section, we chose the examples that reflect difficulties related to cultural aspects.
La traduction de la préposition à en finnois et en roumain
<p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 16px; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-source-line="111" data-source-line-end="112" data-token-idx="138" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">In the present paper, the author analyses the translation of the French preposition à into Finnish and Romanian. In a multifaceted approach, translating a preposition involves understanding its various meanings and nuances across different languages and cultural contexts. The analysis of the translation of the preposition à into these languages allows finding equivalences that take into account cultural differences and avoiding literal translations that might seem strange or inappropriate. The preposition à can have several meanings and uses in French, such as indicating direction, time, place, etc. Understanding how these nuances are rendered into Finnish and Romanian helps to avoid translation errors and convey the precise meaning of the source text. The author gives examples from the books Courrier de Finlande written by Philippe Guicheteau and Le Village de l’Allemand ou Le Journal des frères Schiller written by Boualem Sansal.
Explication et explicitation : les marqueurs discursifs dans les ouvrages de linguistique traduits en roumain
<p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 16px; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-source-line="99" data-source-line-end="100" data-token-idx="123" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">Introducing new terms, approaches and study methods in linguistics requires a very well elaborated explanatory discourse. Explanations and explicitations are part of an argumentative architecture in which discourse markers play an important part. The aim of our paper is to discuss and assess the importance of explanatory and enunciative discourse markers used in French linguistics reference books and their Romanian translation (e.g. en d’autres termes, plus précisément, cela dit), on the basis of a study corpus comprised of examples and excerpts from Moeschler and Reboul’s Dictionnaire encyclopédique de pragmatique.
Linguistic Areas of Transfer: the European Diffusion Area and the Balkan Sprachbund
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">This article focuses on the concept of linguistic area as it is reflected in research concerned with the Balkan and the European Sprachbunds. Both these diffusion areas have been identified or understood as Other in relation with the West and in the world-wide context, respectively. Several distinctive features that characterise the areas under scrutiny and identify them as Sprachbunds are dealt with in this paper. Our research briefly touches upon the way in which several historical circumstances have affected the cultural contact that lead to language change in these two linguistic areas.
Proverbele românești, de la tradiție la digitalizare (I)
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">The present paper analyzes how the mechanism of construction and operation of the traditional proverb, which calls for operations of structuring, metaphorization, transfer and extension of meaning in other communication situations, finds its applicability when subjected to modeling by AI. The comparison of the particularities of the traditional Romanian proverbs with those generated by AI, by analyzing the way of updating the structural features, highlighted the fact that the traditional paremiological thesaurus is characterized by well-defined particularities at the level of construction elements. The specificity of the class resulting from the combination of features relates to aspects such as brevity, the frequently solemn nature, daily life, traditions and customs, particularities partially respected in the process of generating new proverbs by training models of artificial intelligence.
Literature Written by Women in the Romanian Curriculum
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">This paper dwells on the rather outdated Romanian curriculum in the study of Romanian language and literature and its purpose is to raise awareness of the names of salient female writers that are missing from the curriculum. We consider that feminism is a dual process which operates both on a social and educational level of society. The structure of society is reflecting on the structure of education where sexism is currently being perpetuated through the absence of female writers in the literary canon. Our research is didactic because we want to improve the curriculum and it is also a longitudinal research, since we propose to highlight the theoretical framework of the research during a year. The fields of research are education, philology and sociology. The methods chosen are: the survey method, the psychopedagogical experimental method, the sociometric methods, as well as the examination of curriculum documents and of other school documents.
A Presentation of the Betzavta Method for Teaching: Description and Possible Adaptations for Language & Literature Classes
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">Betzavta is a method for teaching democracy, based on play. It simulates situations which imply decisional processes and centers the educational experience around a dilemma which must be solved. Such an approach to education leads to a more intimate and genuine learning experience for the students, allowing them to engage with the content of the class and own the consequences of their actions. However, such a method presents a number of difficulties when trying to implement it in formal educational contexts, and as such launches the challenge of adapting it, rather than simply adopting it. In this article, I present a brief description of the method itself, as well as some studied consequences of teaching through games and simulations generally. (There is little literature on the consequences of this method itself.) Additionally, I present two options for adapting exercises from this method to the teaching of English language and literature classes at high-school level, with possible adaptation for college seminars as well.
Sensemaking as the Basic Essence of Culture (Based on the Example of Cultures of Different Language Families)
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">The article examines the issues of the formation of cultural meanings as a dynamic process, the formation of the semantic core of culture and its role in the process of “expansion” of meanings. Attention is focused on the general features of culture: duality, cyclicity and the ability of culture to create an “ideal” meaning, which are directly or indirectly related to the main essential function of culture - sensemaking. The basis of sensemaking is the semantic core of a culture, which is formed by its DNA and “ideal” meanings. The DNA of a culture is understood as the “ideal” meaning. The “expansion” of meanings occurs through the dynamic connection of “ideal” meanings and “wandering” meanings. The relationship between sensemaking and the vitality of culture is indicated. Three fundamental elements of sensemaking are identified and explained – meaning-images, meaning-constructs and meaning-terms.
Sosnowiec Bishop Grzegorz Kaszak’s Pastoral Letter to His Diocese Priests, dated September 22nd, 2023. The Cooperation and Politeness Therein
<p class="" style="box-sizing: border-box; margin-top: 0px; margin-bottom: 16px; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-source-line="36" data-source-line-end="37" data-token-idx="48" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">The paper deals with the text of the letter that one of the Polish Christian religious leaders - the Catholic bishop Grzegorz Kaszak – sent to his diocese priests on Sep 22. 2023 (the Catholic church is one of the strongest churches in Poland and Bishop Kaszak was the youngest one among its bishops). In the paper the linguistic theories by H.P. Grice (introduced in his Implicatures) and by G.N. Leech (submitted in his Principles of Pragmatism) are shortly presented and used to check the text of the letter as to the cooperation (i.e. say what you know is as informative as needed, what you know is true, relevant, perspicuous) and politeness (e.g. be tactful, be modest) it shows when it is read according to their linguistic indications. Bishop Kaszak wrote the letter to his diocese priests after a homosexual sex party was organised in the flat of one of the priests in Dąbrowa Górnicza, a city in Bishop Kaszak’s diocese, in August 2023. It was one of many sex scandals in this diocese Bishop Kaszak was ruling since 2009, including the Seminary Rector spending time in a gay dark room. A murder was also committed in Bishop Kaszak’s parish when a mentally ill priest killed a young deacon. In the letter to the diocese priests the topic is not that some people were victims, and, as a matter of fact, this word was never used in the letter. What the author concentrated on was rather how indispensable the priests are and how important their work is.
The Visual Representations of Literature as a British (In)Formal Institution in To Walk Invisible (Director Sally Wainwright, 2016, BBC Wales Production)
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">The (In)Formal Institution of Literature in the British Visual Narrative “To Walk Invisible” includes a short theoretical approach on (in)formal literature, the distinction among the terms literature, literariness and literary person, what the terms British and Britishness refer to, and finally the way in which all these concepts are visually represented in Sally Wainwright’s movie.
Metamorfozele spiritului şi prefacerile literei. Metamorfoză, anamorfoză şi automorfoză în Asuntos de un hidalgo disoluto
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">The present study is a multifaceted approach to <em style="box-sizing: border-box; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">Asuntos de un hidalgo disoluto<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">’s hybrid protagonist whose ontogenetical (r)evolution is to be viewed in terms of Fr. Nietzsche’s series of three metamorphoses of the spirit which he put forward as stages in life for self-overcoming. Thus, we turn a both philosophical and anthropological lens on a character orbiting around his own controversial past as he progresses from submissiveness to enlightening and emancipating rebellion. In addition to analyzing several of the mythical facets of the Columbian character, we will be also showing the ways in which the character reflects Betcherev’s principles of human reflexology. Moreover, it is don Gaspar’s suicide that makes it possible for us to distinguish between Gilbert Durand’s regimes of writing on the one hand, and between Jean-Jacques Wunenburger’s functions of the imaginary, on the other, both as applied to the novel at issue.
Orlanda via Orlando : de la métamorphose à la transidentification projective
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">This article proposes a series of reflections on the novel <em style="box-sizing: border-box; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">Orlanda<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">, published in 1996 by writer and psychoanalyst Jacqueline Harpman. Drawing on Virginia Woolf’s <em style="box-sizing: border-box; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">Orlando<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor=""> (1929), the author constructs a remarkable female character: a teacher of literature specialised in Proust immersed in the search for the most plausible possible answer to the sudden and unaccounted-for transformation of a young man into a woman upon an interrupted seven-night sleep. The revelation of the metamorphosis is occasioned by a process of shattering of the self, of identification and, above all, of projective transidentification, according to the theories of Klein and Grotstein. Along with a narratological reading of <em style="box-sizing: border-box; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">Orlanda<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">, the study proposes multifaceted, mainly psychoanalytic, approaches.
Quantum Histories, Contingency, and Stardom: Narrativizing the Self in Music, in a Foreign Language and My Life is like a Fairy Tale
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">Andrew Crumey’s <em style="box-sizing: border-box; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">Music, in a Foreign Language<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor=""> (1994) and Robert Irwin’s <em style="box-sizing: border-box; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">My Life is like a Fairy Tale<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor=""> (2019) foreground protagonists who undertake writing as a – fictional or fictionalised – means of representing the self against the pressures of collective histories represented by totalitarian regimes in the background. As contextualised, their practice emphasises the temporal dimension of both subjectivity and reality. While diametrically opposed, their approaches encompass a space that occasions the problematisation of such notions as history, temporality, and consciousness, at the intersection of chance and determinism, as well as the questioning of the interactions between their representations across a number of disciplines. The following study draws on theories from history, chaos theory, and quantum mechanics as discourses interwoven in the textual fabric of the two novels in order to examine the means by which fiction affords the exploration of the interplay of theoretical constructs while repositioning itself in the process.
Lavinia IENCEANU, Metamorfoze şi anamorfoze arhetipale în Asuntos de un hidalgo disoluto, Editura Universităţii „Ştefan cel Mare” din Suceava, 2023, 523 pp.
Copyright (c) 2024 Editura Universității „Ștefan cel Mare” din Suceava https://creativecommons.org/licenses/by/4.0
Cristina Bleorțu, Lavinia Seiciuc, Noi metode de cercetare în științele umaniste: edițiile digitale, Editura Casa Cărții de Știință, 2024, 99 pp.
Ciprian Popa, Influența limbii italiene asupra românei literare. Studiu sincronic și investigație diacronică, Editura PIM Iași, 2017, 233 pp.
Le passage de la page à l’écran : L’adaptation de la création littéraire
<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">The film adaptation of literature is an extremely detailed and sophisticated process, which puts a lot of pressure on the director of the movie, but also on the whole team itself. Translating Antoine de Saint-Exupery’s <em style="box-sizing: border-box; color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">The Little Prince<span style="color: #151518; font-family: -apple-system, MacEmoji, BlinkMacSystemFont, 'Segoe UI', Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" data-darkreader-inline-color="" data-darkreader-inline-bgcolor=""> for the big screen was Mark Osborne’s (re)interpretation of the original story, oscillating between fidelity and originality, between keeping the main ideas of the novel and intervening with creative ideas for contemporary audiences. Addition of new characters to the animated movie reveals not only Osborne’s professionalism as a filmmaker, but also his creativity to tell “a story in a story”. We can therefore talk of literature and cinematography as two distinct arts which complement each other, providing opportunities for discovery, interpretation and improvement. In this way, the film adaptation of famous literature has become a way of attracting the attention of a broad and diversified public.