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ON THE PLURILINGUISTIC AND THE MULTIETHNIC FEATURES OF THE CENTRAL EUROPEAN CULTURAL WORLD: A CRITICAL APPROACH Foucher, M. 1991. Front sans frontières, Paris: Fayard Gombrowicz, W. 1987. Jurnal. Teatru, Bucureşti: Univers Kundera , M. 1986. L’Art du roman, Paris: Gallimard Kundera , M. 1993. Les Testaments trahis, Paris: Gallimard Le Rider, J. 1997. Mitteleuropa, Iaşi: Polirom Milosz, C. 1964. Une autre Europe, Paris: Gallimard Pomian, K. 1991. ‘L’Europe centrale. Réalité, mythe, enjeu, XVIIIe – XIXe siècle’, in Les Cahiers de Varsovie, no. 22 Tapié, V.L. 1979. Pays et peuples du Danube, Paris: Fayard Todorov, T. 1989. Nous et les autres, Paris: Seuil Todorov, T. 1996. L’Homme dépaysé, Paris: Seuil 89
THE FRUSTRATION OF THE JEWISH SPIRIT ALINA BEATRICE CHEŞCĂ “Danubius” University of Galaţi, Romania This paper analyses frustration as an inexorable datum of the Jewish spirit and the way it is mirrored in some Jewish writers’ works, such as Franz Kafka and Mihail Sebastian. Their works have the value of a confession, since it is generally stated that the Jewish spirit is tormented by an unbearable guilt. One of the main themes approached by the Jewish artists is loneliness and the ways it can be overcome; for most of them, isolation is a synonym for guilt, as it causes frustration, anguish and culpability. The Jew’s inner life is overwhelmed by anguish, which, according to Heidegger, “reveals the individual, in one’s intimate being, the most genuine possibilities of existing.” (1977: 147) Certain obsessive repetitions are to be found in the Jewish culture: frustration, guilt, fear of life/death, anguish, loneliness, the instinct of life/death, freedom. The paper will prove that the Jewish artists have understood the isolation they are doomed to by society (and, why not, by destiny) in the name of their Jewish origin; this could be called ‘the loneliness of the Jewish’. Of primary importance in this context is the endemic anti-Semitism of Romanian culture, which has deep historic roots. Encouraged by the rise of Nazism during the 1930s, the indigenous anti-Semitism of the Iron Guard made life for Jewish students at the university a continuous torment. They were assigned special seats, continually insulted verbally and assaulted physically. It was often necessary for the police to be called in to protect them as they left the lecture halls. There is a moving passage in a novel from 1934 by Mihail Sebastian/Iosif Hechter (For Two Thousand Years), for a while a member of Eliade’s inner circle, in which the obviously autobiographical main character, who had been slapped in the face, remonstrated with himself: “Tell yourself that you are the son of a nation of martyrs…dash your head against the walls, but if you wish to be able to look yourself in the face, if you don’t wish to die of shame, do not weep.” (1990: 28) The reigning academic figure at the university, or at least the figure who exercised the most influence on the writers of the time, was Nae Ionescu, professor and philosopher. He was a charismatic speaker, capable of producing an almost hypnotic influence to auditoria. He attracted bright young students around him, including Eliade and Sebastian; the young generation of that time was fortunate to have such an unequalled teacher in philosophy. Even the Jewish Sebastian was unable to shake off Ionescu’s spell until about 1936. Before Sebastian published his book For Two Thousand Years dealing with anti- Semitism, he asked his beloved and highly respected teacher Nae Ionescu to write the preface. This preface was devastating. Nae Ionescu justified his anti- Semitism based on the presumption of deicide. And the unbelievable happened, 90
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CULTURE, SUBCULTURE, COUNTERCULTURE
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GENERAL EDITORS: Michaela Praisler
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Doiniţa Milea On the Plurilinguist
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EDITORS’ NOTE The papers in the p
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PETRU IAMANDI National fandom reall
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PETRU IAMANDI NBC started broadcast
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PETRU IAMANDI those searching simpl
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MICHAELA PRAISLER, STELUŢA STAN ch
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MICHAELA PRAISLER, STELUŢA STAN ma
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MICHAELA PRAISLER, STELUŢA STAN mu
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KATHY ACKER’S PIERCING METHOD: DO
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RUXANDA BONTILĂ machine at the lev
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RUXANDA BONTILĂ head on every desk
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RUXANDA BONTILĂ language that was
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RUXANDA BONTILĂ pernicious charact
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LIDIA MIHAELA NECULA writing Englis
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LIDIA MIHAELA NECULA very beginning
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LIDIA MIHAELA NECULA a forceful veh
Page 39 and 40: (RE)CREATING CULTURAL IDENTITY - SA
Page 41 and 42: ANCA MIHAELA DOBRINESCU oscillate b
Page 43 and 44: ANCA MIHAELA DOBRINESCU commands of
Page 45 and 46: THE POWER OF PLACE: THE POLITICS OF
Page 47 and 48: REMUS BEJAN Representational space
Page 49 and 50: REMUS BEJAN step out of the backs o
Page 51 and 52: REMUS BEJAN Store and spread itself
Page 53 and 54: CROSSING BORDERS THROUGH MUSIC IN R
Page 55 and 56: TITUS POP in 1937, and Vina Apsara,
Page 57 and 58: TITUS POP book’s pages. Some are
Page 59 and 60: TITUS POP westward, he not only rev
Page 61 and 62: TITUS POP Conclusion To conclude, m
Page 63 and 64: GABRIELA IULIANA COLIPCĂ Yet, thes
Page 65 and 66: GABRIELA IULIANA COLIPCĂ open, pub
Page 67 and 68: GABRIELA IULIANA COLIPCĂ in the fi
Page 69 and 70: GABRIELA IULIANA COLIPCĂ perversel
Page 71 and 72: GABRIELA IULIANA COLIPCĂ despair a
Page 73 and 74: CULTURAL TYPES AND THEIR DISCOURSE
Page 75 and 76: MIHAELA CULEA fortune hunter, the r
Page 77 and 78: MIHAELA CULEA interference of women
Page 79 and 80: MIHAELA CULEA Europe on foot. Thus,
Page 81 and 82: MIHAELA CULEA her as if she were an
Page 83 and 84: ON THE PLURILINGUISTIC AND THE MULT
Page 85 and 86: DOINIŢA MILEA The transformation o
Page 87 and 88: DOINIŢA MILEA After a synthesis de
Page 89: DOINIŢA MILEA revolutionary Vilniu
Page 93 and 94: ALINA BEATRICE CHEŞCĂ of somewhat
Page 95 and 96: ALINA BEATRICE CHEŞCĂ down in it
Page 97 and 98: (PSEUDO-)MYTHS OF THE 20 TH CENTURY
Page 99 and 100: ANDREIA IRINA SUCIU enacting some p
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Page 103 and 104: ANDREIA IRINA SUCIU exchange betwee
Page 105 and 106: ANDREIA IRINA SUCIU consequence is,
Page 107 and 108: ANDREIA IRINA SUCIU Englishman who
Page 109 and 110: ANDREIA IRINA SUCIU impatient to mo
Page 111 and 112: A MYTH-ANALYSIS OF POLITICAL AND NO
Page 113 and 114: ALINA CRIHANĂ, DANIELA ŞORCARU su
Page 115 and 116: ALINA CRIHANĂ, DANIELA ŞORCARU th
Page 117 and 118: SIMONA ANTOFI critics may relate th
Page 119 and 120: SIMONA ANTOFI nici o pudoare, făr
Page 121 and 122: THE WOUNDEDNESS OF SYLVIA PLATH’S
Page 123 and 124: ELENA CIOBANU answers waiting to be
Page 125 and 126: ELENA CIOBANU reference of such met
Page 127 and 128: ELENA CIOBANU Merleau Ponty, M. 199
Page 129 and 130: NICOLETA IFRIM, ISABELA MERILĂ den
Page 131 and 132: NICOLETA IFRIM, ISABELA MERILĂ the
Page 133 and 134: DANIELA ŢUCHEL meaning listed: “
Page 135 and 136: DANIELA ŢUCHEL Theme with variatio
Page 137 and 138: DANIELA ŢUCHEL have.” In like ma
Page 139 and 140: MARIANA NEAGU 1.3 Purpose In this p
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MARIANA NEAGU stories have been pas
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MARIANA NEAGU we will see later in
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MARIANA NEAGU Radden (2006) argues
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MARIANA NEAGU Lent, Advent and wint
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MARIANA NEAGU (8) Vremea trecea! An
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MARIANA NEAGU that they are structu
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MARIANA NEAGU environment, geopolit
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MARIANA NEAGU Gentner, D., Imai, M.
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GLOBALIZATION AND ITS METAPHORS IUL
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IULIANA LUNGU “To change markets
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EPONYMS: AN INSTANCE OF LINGUISTIC
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FLORIANA POPESCU, DANIELA ŞORCARU
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CAMELIA BEJAN petrify, scarify, sto
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CAMELIA BEJAN bewilderment, disappo
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CAMELIA BEJAN and it means ‘to wo
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CAMELIA BEJAN 2.2.2 Psychological n
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SMALL CULTURE AND VERNACULAR LANGUA
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ELENA CROITORU speech differing fro
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ELENA CROITORU - Na-vă de cheltuia
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ELENA CROITORU her! She very nearly
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TRANSLATING DRAMA: THE MAIN ISSUES
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IOAN - LUCIAN POPA the other, the t
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IOAN - LUCIAN POPA reception orient
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IOAN - LUCIAN POPA References: Aalt
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STELUŢA STAN, MICHAELA PRAISLER re
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STELUŢA STAN, MICHAELA PRAISLER de
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STELUŢA STAN, MICHAELA PRAISLER th
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STELUŢA STAN, MICHAELA PRAISLER 4
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ANITA STASULANE, JANIS PRIEDE more
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ANITA STASULANE, JANIS PRIEDE Howev
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ANITA STASULANE, JANIS PRIEDE Rēri
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ANITA STASULANE, JANIS PRIEDE /keme
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WALLOON AND FLEMISH PARADIGMS OF TH
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CARMEN ANDREI, IOANA MOHOR-IVAN Lou
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CARMEN ANDREI, IOANA MOHOR-IVAN Bru
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CARMEN ANDREI, IOANA MOHOR-IVAN loc
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CARMEN ANDREI, IOANA MOHOR-IVAN cre
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FREDERIK STIERNSTEDT, LINUS ANDERSS
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THE ORIGINS OF ROMANIAN HIP-HOP: SO
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DANIELA ŞORCARU Their next album,
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DANIELA ŞORCARU with TV stations o
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DANIELA ŞORCARU first appears live
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DANIELA ŞORCARU violent”. The ly
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DANIELA ŞORCARU Although the album
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DANIELA ŞORCARU In 2007 they settl
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LIGIA PÎRVU opposed by many other
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LIGIA PÎRVU famous people of this
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GABRIELA DIMA Rembrandt’s Lucreti
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APPROACHES TO THE CULTURE OF THE ED
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SIMONA ALECU external pressures hav
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SIMONA ALECU This is the reason why
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THE ROLE AND PLACE OF ECOLOGICAL ET
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VIORICA - TORII CACIUC and the Univ
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VIORICA - TORII CACIUC inscribe env
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IULIANA BARNA In the present paper,
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IULIANA BARNA cigarettes will be ex
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IULIANA BARNA References: Stanciu,
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