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University of Oradea, Romanian Language and Literature, Faculty Member
Academic University of Oradea
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ALLRO volume 21, 2014
In Orbitor (Blinding), Cartarescu constructs and deconstructs the role of memory exploring memory... more In Orbitor (Blinding), Cartarescu constructs and deconstructs the role of memory exploring memory’s relationship to immortality - mostly in the third book or father’s book, and memory in relation to creation - in the first two books, the mother’s book irrespectively the book of the self (the middle one). There is always an unescapable nostalgia from one metamorphosis to another. If Cartarescu, as a postmodernist writer, deconstructs some myths, he never does that to the all-encompassing myth of the book. Nostalgia regenerates this myth. Exoticism embodies the need for another dimension. It is also interwoven in the maternal and paternal genealogies of Mircea, the alter-ego of Cartarescu himself. Exoticism appears in Cartarescu’s dreamland as the provocation, as the challenge of the Double. Through exoticism and symmetry, Mircea wants to grasp his dream being, his inner dreamer. The underlying paradigm superior/inferior attributed to exoticism is totally out of question in Blinding, because here all exotic representations are based in oneiric landscapes. A realm where exoticism is preserved in its elements without having anything to do with commodities (see Huggan)is the dreamland of Mircea Cărtărescu’s writings. Butterfly symmetry is the preservation of halves, simultaneity is androgyny. Victor, the mirror-twin of Mircea, bound to him in a Narcissus-like story of love and abhorrence, is the embodiment of symmetry at its highest potential. REM is simultaneity, not symmetry. REM is the Entrance to Blinding’s manuscript labyrinth centre and the portal to a higher 'blinding” reality. For Cartarescu, eternity is simultaneity. Bizarre and familiar, exotized Bucharest and exotized faraway lands have the consistency of dreams. Cartarescu's exoticism is a chrysalis of our chimeric alter-egos.
Key words: exoticism, exotized Bucharest, Romanian contemporary literature, postmodernism, Mircea Cărtărescu, alter-ego, oneiric landscapes, exotic couples, butterfly symbol, antipodes and symmetry, labyrinth, memory, mise en abyme, Monsu Desiderio in fiction.
Key words: exoticism, exotized Bucharest, Romanian contemporary literature, postmodernism, Mircea Cărtărescu, alter-ego, oneiric landscapes, exotic couples, butterfly symbol, antipodes and symmetry, labyrinth, memory, mise en abyme, Monsu Desiderio in fiction.
PaperRank:
Discourse as a Form of Multiculturalism in Language and Literature (Proceedings), coordinated by Iulian Boldea, 2015
Abstract: The present paper analyzes two contemporary novels where the theme of snow is contraste... more Abstract: The present paper analyzes two contemporary novels where the theme of snow is contrasted with the theme of evil:”Miss Smilla’s Feeling for Snow” by Peter Høeg (1992), irrespectively ”Visul copilului care pășește pe zăpadă fără să lase urme” by Gabriel Chifu (2004). The two little boys, Isaiah, irrespectively Veniamin, who leave traces irrespectively non-traces on the snow, are dead from the very onset of the plot as if they could not witness more of the evil conquering bit by bit the worlds in which they used to live. Their deaths threaten the survival of innocence in the world. Treachery is put into practice in both novels in its most insidious forms. Yet the very existence of the two little boys casts hope on those who keep on loving (them). The snow is both a revealer of past crimes (or future crimes in the latter novel) but also an opening to other dimensions of reality. In Peter Høeg’ s novel snow means the continuity of Smilla’s perceived self, the quest for truth and the quest for love. In Gabriel Chifu’s novel snow is the opening to the realm of invisibleness and to a supernatural dimension of reality.
PaperRank:
ALLRO, 2017
Abstract: The first reader of the novel on Rumi happens to be Ella Rubinstein, who has just accep... more Abstract: The first reader of the novel on Rumi happens to be Ella Rubinstein, who has just accepted a part-time job for the literary agency based in Boston. Kitchen is Ella’s most trusted place. She is not at ease in her own house as there is an older wound from her childhood, carefully buried. Twenty years into her marriage, kitchen has also become the place where her needs are neglected on a daily basis. Actually, kitchen symbolizes Ella’s quest for spiritual nourishment. In the kitchen Ella becomes aware of her necessity of a spiritual master, whom she finds in Aziz. Here the process of reading and of dwelling in imagination is paralleled with her search for a channel through love, a channel which she finds in cooking. Apart from reading, it is in the kitchen that Ella discovers her greatest gift: the risk to love.
PaperRank:
Confluente , 2018
Waiting, even in the theatre of the absurd, could contain the testimony of an existence. Such tes... more Waiting, even in the theatre of the absurd, could contain the testimony of an existence. Such testimony is expressed in a Story, therefore waiting and its compensatory stories and myths are intrinsically related. For Samuel Beckett, the end of a story as a story is possible, the end of a story as an ending is impossible. The Calmative could be seen as the story Hamm (Endgame) longs to escape into. Unable to move, Hamm longs to find himself in the forests. Of all the characters in Endgame, Hamm is the most aware of the philosophy of the ending. It is the very presence of a boy and boyhood (not in a descriptive way, but as an essential opposition, as a stage of life or of the soul when things could have developed differently) that can join together the theme of ending with the theme of paternity, on one hand, corroborating them with the presence of a Story (and therefore of the myth, too) and the presence of waiting as a way to end the ending, by making through to it (on the other hand). The little boy in Hamm’s story-within-the-play appears to be motherless, his story happens on Christmas, the little boy will be saved from starvation but will not be saved from the condemnation to life. More likely than not, the little boy is Clov at the age of innocence, before being deformed within any co-dependent relationship. Not the fact that the old man in the Calmative is dead is ambiguous, but the stage of his journey after death is ambiguous. The ending of The Calmative is one of the best depictions in world literature about the mystery of a post-mortem existence aware of itself.
PaperRank:
The Scientific Journal of Humanistic Studies, 2011
In The House of Doctor Dee by Peter Ackroyd, the two questas of the past-travelling protagonists ... more In The House of Doctor Dee by Peter Ackroyd, the two questas of the past-travelling protagonists make a palimpsest with two interwoven manuscripts telling the story of the same transmutation. The homunculus that Doctor Dee wanted to create with alchemic means becomes real after centuries in the person of Matthew, who finds his full human self after he learns the power of forgiveness.
PaperRank:
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The Scientific Journal of Humanistic Studies, 2010
The geographical space at its confrontation with the viewer is also the matrix of constructing id... more The geographical space at its confrontation with the viewer is also the matrix of constructing identity. The Tartar Steppe by Dino Buzzati and The Woman in the Dunes, by Kobo Abe, the two novels analyzed in this paper, reveal the beauty of human condition when confronted with a forbidden landscape. Man is placed face to face with the absolute of nature, which in turn stirs in man the vertigo of human awareness of an inside vacuity. The heroes of Dino Buzzati and Kobo Abe in the aforementioned novels are followers of a Sisyphean existence in absurd settings. They prefer to actively instill a sense of life that flourishes even in the most barren place. The extreme aridity becomes a matrix of transmutations and profound redefinition of human condition.
PaperRank:
The Scientific Journal of Humanistic Studies, ISSN 2066-8880, 2009
Testamentul Francez Pdf
An aesthetician in the sense of Kierkegaard, Humbert wants to savour life without being limited b... more An aesthetician in the sense of Kierkegaard, Humbert wants to savour life without being limited by moral rules. Any writer might find himself reflected by the myth of Don Juan, identifiable with the eternal seducer of the reader. Lolita is a real presence, not a Humbertian alter-ego. Humbert the Seducer yearns to be seduced. His existential game can furnish things for analysis to Humbert the Casuist provided that he has a counterpart ¬– the game of Lolita, less spiritualized, less intellectual, but closer to the generic notion of game. Fluctuating between life and death, the game of Don Juan longs to explore the other type of game, the active one. The game that resents reality (the imaginative game) is challenged by the game that bravely assumes it (active). A perennial Manichaeism between these disjunctive components renders the necessary tension to any game- ultimately a result of two extreme polarities playing against each other.
PaperRank:
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Readers Related Papers MentionsView Impact
Cultural Texts and Contexts in the English speaking World (I) , 2009
A landscape is not a mere natural scenery, but part of the human identity. Even if it pertains to... more A landscape is not a mere natural scenery, but part of the human identity. Even if it pertains to nature, so it is situated outside’s one’s power of influence, it can be re-invented and unfolded in memory and narrative, exposed to interpretation. We might engage with a landscape in a metal dialogue, we can socialize with it and we tend to understand our feelings better in front of a landscape. Signs as objects in the environment (signifiers) and the concept they recall (signifieds) are elements of a “language” which denotes a relational system present also in our interaction with a landscape (Barthes; Duncan &Duncan, 2001).
Therefore, a landscape passes from the function of context to that of palimpsest, being incorporated in our own identity. The butler’s journey is the twist of the book that renders Darlington Hall to its pure nature of heterotopia, through the act of distancing. However, for an honest, upfront diary, Mr. Stevens’ recollection of Darlington Hall as he moves away from it in real space fails to spot something: the burst of sudden illuminations or revelations about his own life. The narrator unfolds as much truth about himself as he wants to. Unlike his perspective on history and on his inner world, Mr. Stevens’ perception of landscape is accurate and objective and constitutes one of the few revelations of the main character.
Therefore, a landscape passes from the function of context to that of palimpsest, being incorporated in our own identity. The butler’s journey is the twist of the book that renders Darlington Hall to its pure nature of heterotopia, through the act of distancing. However, for an honest, upfront diary, Mr. Stevens’ recollection of Darlington Hall as he moves away from it in real space fails to spot something: the burst of sudden illuminations or revelations about his own life. The narrator unfolds as much truth about himself as he wants to. Unlike his perspective on history and on his inner world, Mr. Stevens’ perception of landscape is accurate and objective and constitutes one of the few revelations of the main character.
PaperRank:
ALLRO volume 21, 2014
In Orbitor (Blinding), Cartarescu constructs and deconstructs the role of memory exploring memory... more In Orbitor (Blinding), Cartarescu constructs and deconstructs the role of memory exploring memory’s relationship to immortality - mostly in the third book or father’s book, and memory in relation to creation - in the first two books, the mother’s book irrespectively the book of the self (the middle one). There is always an unescapable nostalgia from one metamorphosis to another. If Cartarescu, as a postmodernist writer, deconstructs some myths, he never does that to the all-encompassing myth of the book. Nostalgia regenerates this myth. Exoticism embodies the need for another dimension. It is also interwoven in the maternal and paternal genealogies of Mircea, the alter-ego of Cartarescu himself. Exoticism appears in Cartarescu’s dreamland as the provocation, as the challenge of the Double. Through exoticism and symmetry, Mircea wants to grasp his dream being, his inner dreamer. The underlying paradigm superior/inferior attributed to exoticism is totally out of question in Blinding, because here all exotic representations are based in oneiric landscapes. A realm where exoticism is preserved in its elements without having anything to do with commodities (see Huggan)is the dreamland of Mircea Cărtărescu’s writings. Butterfly symmetry is the preservation of halves, simultaneity is androgyny. Victor, the mirror-twin of Mircea, bound to him in a Narcissus-like story of love and abhorrence, is the embodiment of symmetry at its highest potential. REM is simultaneity, not symmetry. REM is the Entrance to Blinding’s manuscript labyrinth centre and the portal to a higher 'blinding” reality. For Cartarescu, eternity is simultaneity. Bizarre and familiar, exotized Bucharest and exotized faraway lands have the consistency of dreams. Cartarescu's exoticism is a chrysalis of our chimeric alter-egos.
Key words: exoticism, exotized Bucharest, Romanian contemporary literature, postmodernism, Mircea Cărtărescu, alter-ego, oneiric landscapes, exotic couples, butterfly symbol, antipodes and symmetry, labyrinth, memory, mise en abyme, Monsu Desiderio in fiction.
Key words: exoticism, exotized Bucharest, Romanian contemporary literature, postmodernism, Mircea Cărtărescu, alter-ego, oneiric landscapes, exotic couples, butterfly symbol, antipodes and symmetry, labyrinth, memory, mise en abyme, Monsu Desiderio in fiction.
PaperRank:
Discourse as a Form of Multiculturalism in Language and Literature (Proceedings), coordinated by Iulian Boldea, 2015
Abstract: The present paper analyzes two contemporary novels where the theme of snow is contraste... more Abstract: The present paper analyzes two contemporary novels where the theme of snow is contrasted with the theme of evil:”Miss Smilla’s Feeling for Snow” by Peter Høeg (1992), irrespectively ”Visul copilului care pășește pe zăpadă fără să lase urme” by Gabriel Chifu (2004). The two little boys, Isaiah, irrespectively Veniamin, who leave traces irrespectively non-traces on the snow, are dead from the very onset of the plot as if they could not witness more of the evil conquering bit by bit the worlds in which they used to live. Their deaths threaten the survival of innocence in the world. Treachery is put into practice in both novels in its most insidious forms. Yet the very existence of the two little boys casts hope on those who keep on loving (them). The snow is both a revealer of past crimes (or future crimes in the latter novel) but also an opening to other dimensions of reality. In Peter Høeg’ s novel snow means the continuity of Smilla’s perceived self, the quest for truth and the quest for love. In Gabriel Chifu’s novel snow is the opening to the realm of invisibleness and to a supernatural dimension of reality.
PaperRank:
ALLRO, 2017
Abstract: The first reader of the novel on Rumi happens to be Ella Rubinstein, who has just accep... more Abstract: The first reader of the novel on Rumi happens to be Ella Rubinstein, who has just accepted a part-time job for the literary agency based in Boston. Kitchen is Ella’s most trusted place. She is not at ease in her own house as there is an older wound from her childhood, carefully buried. Twenty years into her marriage, kitchen has also become the place where her needs are neglected on a daily basis. Actually, kitchen symbolizes Ella’s quest for spiritual nourishment. In the kitchen Ella becomes aware of her necessity of a spiritual master, whom she finds in Aziz. Here the process of reading and of dwelling in imagination is paralleled with her search for a channel through love, a channel which she finds in cooking. Apart from reading, it is in the kitchen that Ella discovers her greatest gift: the risk to love.
PaperRank:
Confluente , 2018
Waiting, even in the theatre of the absurd, could contain the testimony of an existence. Such tes... more Waiting, even in the theatre of the absurd, could contain the testimony of an existence. Such testimony is expressed in a Story, therefore waiting and its compensatory stories and myths are intrinsically related. For Samuel Beckett, the end of a story as a story is possible, the end of a story as an ending is impossible. The Calmative could be seen as the story Hamm (Endgame) longs to escape into. Unable to move, Hamm longs to find himself in the forests. Of all the characters in Endgame, Hamm is the most aware of the philosophy of the ending. It is the very presence of a boy and boyhood (not in a descriptive way, but as an essential opposition, as a stage of life or of the soul when things could have developed differently) that can join together the theme of ending with the theme of paternity, on one hand, corroborating them with the presence of a Story (and therefore of the myth, too) and the presence of waiting as a way to end the ending, by making through to it (on the other hand). The little boy in Hamm’s story-within-the-play appears to be motherless, his story happens on Christmas, the little boy will be saved from starvation but will not be saved from the condemnation to life. More likely than not, the little boy is Clov at the age of innocence, before being deformed within any co-dependent relationship. Not the fact that the old man in the Calmative is dead is ambiguous, but the stage of his journey after death is ambiguous. The ending of The Calmative is one of the best depictions in world literature about the mystery of a post-mortem existence aware of itself.
PaperRank:
The Scientific Journal of Humanistic Studies, 2011
In The House of Doctor Dee by Peter Ackroyd, the two questas of the past-travelling protagonists ... more In The House of Doctor Dee by Peter Ackroyd, the two questas of the past-travelling protagonists make a palimpsest with two interwoven manuscripts telling the story of the same transmutation. The homunculus that Doctor Dee wanted to create with alchemic means becomes real after centuries in the person of Matthew, who finds his full human self after he learns the power of forgiveness.
PaperRank:
Download
Readers Related Papers MentionsView Impact
The Scientific Journal of Humanistic Studies, 2010
The geographical space at its confrontation with the viewer is also the matrix of constructing id... more The geographical space at its confrontation with the viewer is also the matrix of constructing identity. The Tartar Steppe by Dino Buzzati and The Woman in the Dunes, by Kobo Abe, the two novels analyzed in this paper, reveal the beauty of human condition when confronted with a forbidden landscape. Man is placed face to face with the absolute of nature, which in turn stirs in man the vertigo of human awareness of an inside vacuity. The heroes of Dino Buzzati and Kobo Abe in the aforementioned novels are followers of a Sisyphean existence in absurd settings. They prefer to actively instill a sense of life that flourishes even in the most barren place. The extreme aridity becomes a matrix of transmutations and profound redefinition of human condition.
PaperRank:
The Scientific Journal of Humanistic Studies, ISSN 2066-8880, 2009
An aesthetician in the sense of Kierkegaard, Humbert wants to savour life without being limited b... more An aesthetician in the sense of Kierkegaard, Humbert wants to savour life without being limited by moral rules. Any writer might find himself reflected by the myth of Don Juan, identifiable with the eternal seducer of the reader. Lolita is a real presence, not a Humbertian alter-ego. Humbert the Seducer yearns to be seduced. His existential game can furnish things for analysis to Humbert the Casuist provided that he has a counterpart ¬– the game of Lolita, less spiritualized, less intellectual, but closer to the generic notion of game. Fluctuating between life and death, the game of Don Juan longs to explore the other type of game, the active one. The game that resents reality (the imaginative game) is challenged by the game that bravely assumes it (active). A perennial Manichaeism between these disjunctive components renders the necessary tension to any game- ultimately a result of two extreme polarities playing against each other.
PaperRank:
Download
Readers Related Papers MentionsView Impact
Cultural Texts and Contexts in the English speaking World (I) , 2009
A landscape is not a mere natural scenery, but part of the human identity. Even if it pertains to... more A landscape is not a mere natural scenery, but part of the human identity. Even if it pertains to nature, so it is situated outside’s one’s power of influence, it can be re-invented and unfolded in memory and narrative, exposed to interpretation. We might engage with a landscape in a metal dialogue, we can socialize with it and we tend to understand our feelings better in front of a landscape. Signs as objects in the environment (signifiers) and the concept they recall (signifieds) are elements of a “language” which denotes a relational system present also in our interaction with a landscape (Barthes; Duncan &Duncan, 2001).
Therefore, a landscape passes from the function of context to that of palimpsest, being incorporated in our own identity. The butler’s journey is the twist of the book that renders Darlington Hall to its pure nature of heterotopia, through the act of distancing. However, for an honest, upfront diary, Mr. Stevens’ recollection of Darlington Hall as he moves away from it in real space fails to spot something: the burst of sudden illuminations or revelations about his own life. The narrator unfolds as much truth about himself as he wants to. Unlike his perspective on history and on his inner world, Mr. Stevens’ perception of landscape is accurate and objective and constitutes one of the few revelations of the main character.
Therefore, a landscape passes from the function of context to that of palimpsest, being incorporated in our own identity. The butler’s journey is the twist of the book that renders Darlington Hall to its pure nature of heterotopia, through the act of distancing. However, for an honest, upfront diary, Mr. Stevens’ recollection of Darlington Hall as he moves away from it in real space fails to spot something: the burst of sudden illuminations or revelations about his own life. The narrator unfolds as much truth about himself as he wants to. Unlike his perspective on history and on his inner world, Mr. Stevens’ perception of landscape is accurate and objective and constitutes one of the few revelations of the main character.
PaperRank:
Teze şi antiteze ale actualităţii, coordonator Graţian Cormoş, Cluj-Napoca, Ed. InfoData, 2009
Romanul Testamentul francez de Andreï Makine– dincolo de perspectiva identităţii culturale şi a d... more Romanul Testamentul francez de Andreï Makine– dincolo de perspectiva identităţii culturale şi a diferenţelor etnice dintre Est şi Vest sau dintre două civilizaţii diametral opuse, care s-au intersectat repetat în istorie – este o descoperire a feminităţii prin ochii autorului. Sensul adevăratei feminităţi, terra incognita, tărâm abisal, sălbatic, al „densităţii carnale” dintr-o izbă, al cruzimii şi al aerului tandru de stepă, al morţii crâncene, este ascuns în Rusia purtată în suflet de Alexei sub Franţa conştiinţei de sine. Franţa înseamnă trezirea identităţii, necesitatea medierii ei prin semne, simboluri şi texte, este vocea din exterior, care ordonează paginile şi imaginaţia celui care scrie. Pe de altă parte, Rusia, tocmai fiind absurdă, învinge absurdul. Iubirea pentru Franţa caută uitarea de sine, iubirea pentru Rusia, prin refuzul ei iniţial, prin abisalitatea ei, dă măsura adevăratei iubiri. Visul unei înţelegeri incoative a feminităţii, a diferenţei, este în acest roman una din modalităţile prin care identitatea tânărului se prefigurează, se constituie şi se destituie pentru a fi renegată apoi prin acel coup de théâtre din finalul cărţii. Identitatea se va putea oferi înţelegerii prin însuşi actul scrierii. Destinul de scriitor al eroului principal este modelat de două vecinătăţi imponderabile şi totodată strivitoare– cea a morţii şi cea a feminităţii. Alioşa, eroul romanului, oscilează între două patrii, locuind între două limbi în momentele de maximă acuitate a percepţiei, atunci când drama se adânceşte insuportabil şi el nu stă nicăieri.
PaperRank: