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Mircea A. Domnească, nr. Preţurile la abonamente sunt: 3 luni 30 lei; 6 luni - 60 lei ; 12 luni lei. Abonamentele pentru străinătate se fac achitând costul la redacţie. După achitarea abonamentului, aşteptăm prin fax sau adresa dvs. Simona Antofi, Prof.
Transylvanie, la frontière distante... P. 366
I - contract nr. Călinescu al Academiei Române Dr. O analiză a structurii obsesive și modele de interacțiune ficțională în romanul lui Gib Mihăiescu Eugenia Buzea Bulancea Poliana Banu Descrierea ekphrastică şi jocul simetriilor romaneşti în opera Accidentul de M. Sebastian Steluţa Bătrînu L évolution du discours poétique français : du paradigme littéraire classique au paradigme littéraire moderne Ana-Elena Costandache Contextualizarea socială a umorului în anecdota politică Gabriel Preda Reconfigurarea distopiei prin Sfârșitul lumii de Bualem Sansal Daniela Bogdan Reconsiderarea canonului fantasticului livresc în imaginarul prozei blandiene Daniel Kițu Orientare canonică și evadare în insolit în proza scurtă a generației 60 Gabriela Ciobanu Combaterea discriminării și a discursului de ură în Republica Moldova.
Studiu de caz privind implicațiile acestui flagel hibrid în spațiul audiovizual din Republica Moldova Dragoș Vicol 7 Eros și Thanatos în romanele lui Max Blecher Nicoleta Hristu Hurmuzache La réception des textes littéraires : enjeux pour l enseignement du fle Iuliana-Florina Pandelică Au-delà des canons pour un renouveau du théâtre chez Jean Tardieu Emilia Munteanu Noaptea de Sânziene sau romanul-roman ca reprezentare anacronică a canonului cultural epocal Mihaela Rusu Recanonizarea lui Ion Ghica.
Norman Manea, Curierul de Est. The traditional meaning of the canon depends on a sense of cohesiveness of values and norms, being connected to a given understanding of the architecture of the universe, in the manner in which per- and earlyamodern political philosophy used the notion of constitution with respect not to a textual corpus of principles and norms, but to the very structure of o society that naturally embodies principles and norms.
In modern times, with the rise of the nation states, the canon is seen as a collection of remarkable, groundbreaking intellectual and artistic achievements, that are supposed to convene spontaneously on basic ethical orientations, or at least similar moral sentiments.
My paper argues that this modes of construing the canon could be supplanted by a negative understanding of commonality and consistency. On the one hand, I propose that the mind of a literary epoch might be forged rather by the problems that the thinkers and artists resent as central in a definition of centrality that equates it with: the most disquieting.
On the other hand, I argue that the cohesiveness obtained through a literary canon is best understood as a community of doubt, a manner of circumscribing shared uncertainties and felt vulnerabilities, rather than a positive consensus. Keywords: Canon-building, indetermination, hazards, uncertainty, unpredictability, ambiguity, cultural conflict In the s, the efforts of defining terrorism within the frames of the UNO charter hurt against the famous principle the terrorist of some is the other ones freedom fighter Freedman The global polemics thus ensued, as lively today as in its troublesome wake, can be related also to the problem of the canon.
Being a matter not only of alimente anti-imbatranire si a name list, of summing up exceptional achievements, but of fundamental values, the problem of the literary canon could not be immune to larger social polemics. Such as, if we consider the Romanian context, the post-communist attempts, not without roots in the nationalist agenda of the Ceaușescu regime Păsări de pradă diurne swiss anti aging rehabilitating marshall Ion Antonescu, the 10 11 pro-nazi dictator that inspired the war against the Soviet Union.
Even păsări de pradă diurne swiss anti aging from a Western perspective the culpabilities of WWII are definitively dispensed, the local public opinion is still split on this military dictator of the early s: a patriot on the lines of Finnish national hero general Mannerheim for some, he is a war criminal and an epitome of anti- Semitism and anti-liberalism for others. Highly suggestive for the topic of the present debate is the fact that the passionate opponents of this law invoked the prestige of authors with an international prestige, such as historian of religions and novelist Mircea Eliade, the philosopher Emil Cioran, or Vintilă Horia, an author who, as a political exile, won the prestigious French Gouncourt, a literary prize that he turned down consequent to the pressures made by the Communist Romanian embassy on the grounds of the Fascist allegiances of his youth.
The polemics carried not only on păsări de pradă diurne swiss anti aging weight and significance of the right-wing, pro-german or anti-semitic convictions expressed in the work ofthe above-mentioned, but also on the sloppy distinction between the agents of xenophobic hate-speech, and the alleged genuine patriots of the nationalistic movements, from the s socalled Legionnaires, to the anti-communist paramilitary resistance of the s Andreescu An equally telling and salient example is the discord surrounding the heritage of the Communist epoch.
The attitudes toward this highly uncomfortable but unavoidable section of national history range on a rather large spectrum, with total condemnation at one end and indiscriminate apologyat the other.
But what profoundly influences the canonical debates is the understanding of the nature of the intellectual and literary hierarchies of the Communist time.
Studii de Stiinta si Cultura
The canon established in the aftermath of the orthodox Stalinism of the s is the expression so the argument of one camp of the gradual autonomization of the literary field, and of the uphill battle carried by liberal literary critics against the official nationalist-communist cultural policy.
A moralizing perspective on this process, hard as it is to avoid, has the distinct disadvantage of suppressing the intricacies of actual canon-emergence.
In my opinion, avoiding onesidedness has to lean on a serious consideration of the moral experiences involved by this complex social-cultural process. There is, I assume, a quasi-natural tendency of associating moral experience with intellectual transparency, but this also alludes to a transparency of the psyche, to a clarity of our basic moral sentiments and intimations see for instance Moore It is true that a community might reach for a period of time, through slow evolution or as a direct consequence of a historical commotion, a widely shared sense of convergence between ethical reasoning and moral empathy.
But such instances of equilibrium are rather the exception than the norm of moral intercourse, and they seem to depend on configurations of determinacies that are not, and could not be controlled or planned in advance.
Ceea ce este diferit de simţuri deva Kausitaki Brahmana Upanişad The appreciation of some gnoseological categories such as reality, truth, dream and imagination was the establishment of criteria for understanding an evolutionary phenomenon of the creationist base of the world in general, of modern man in particular. Scientific research combines philosophy with neural theories of reflex arcs and their incidence in the elaboration of the traditions of the life of civilization from ancient times to the present.
If we are to consider a solution for making complex societies morally stable and predictable, if we are to imagine a sort of safety net destined to prevent the drift toward institutionalized forms of cruelty, such as those experienced under dictatorial and totalitarian governments, we should rather start form a negative representation of collective moral experiences.
A representation, păsări de pradă diurne swiss anti aging is, which realistically and cautiously accommodates notions such as rivalry, contradiction, uncertainty, ambiguity. In other words, the articulation of the moral life of a complex society might have to do less with shared moments of moral clarity and intensity, distilled around transparent exempla of good and evil, and more through its concentration on problems, on moral, intellectual, aesthetic conundrums, questions that defy preset solutions or the candid reliance on self-evidence.
The emergence of the canon should, therefore, not be 12 13 imaginary located in the paradisiac garden of obviousness, but rather in a world of the enigma, the charade and the arabesque. Let s begin by considering those areas of cultural heritage that resist both attempts of critical distancing and of moral identification.
An example would be the attitude of the majority towards the cultural legacy, literary canons included, of ethnic minorities. Is it morally acceptable to ignore them, to reify them as irrelevant otherness? Let s consider, for the Romanian case, the case of the cultural heritage of Transylvania, which massively mirrors the fact that for centuries on end the high culture of this province has been Hungarian and German. As far as monuments were concerned, the national identity discourse of the Communist epoch systematically played on the ambiguity of Romanian in the sense of belonging to the Romanian culture, and of having been created on the territory of modern Romania which included the former Austrian-Hungarian province of Transylvania only since Meanwhile, the far less assimilable literary legacies of the Hungarian- and German-speakingcommunitieswere completely ghettoized, eliminated form the common presentation and re-presentation of national identity and relegated to minimal references in scholarly works that were not accessible to the public.
The most disquieting implication of downsizing, ignoring, obnubilating or even obliterating canons that distillate minority cultural memories a tendencythat today is kept in check only by Romania s external obligations, as a member of the European Union is the fact that Romanian cultural identity misses the civilizing benefits of being profoundly permeated by inner Otherness.
The literary canon might be an instrument of addressing the tensions between the hard cultural borders drawn on our mental maps, and the soft ones exposed by the actual history of inter-ethnic conviviality.
The politics of the literary canon might help ease identity anxieties or outright panic through courageously integrating the ambiguity of an otherness that simultaneously isinseparable form what we perceive as our own. This pleads actually for a skeptical canon, since the skeptical tradition in philosophy opens the perspective of distilling the moral and intellectual experience of intercultural ambiguity into a science and art of subtle equilibria.
They might be even greater especially because they are hardly perceived, let alone conceptualized as problematic differencies with respect to the inner diversity assimilated and comprehended in the construction of modern Romanian culture. A proper and relatively consistent understanding of Romanian-ness emerges only since the 19 th century, while for prior epochs this should be understood in rather figurative terms.
The obsessive invocation of common origins and common legacy has been traditionally used by canon-builders as a rhetorical device of counteracting the evidence of the different historical, cultural, economic, political differences between the provinces that aggregate modern Romania.
Accepting these differences, as absorbed in different walks of cultural and intellectual history, implies the evolution from the use of ambiguity as a rhetorical devicemeant to create an effect of unity, continuity and homogeneity a strategy attentively deconstructed in Martintoward assuming ambiguity as a major experience which, through the interplay between sameness and difference, between impulses of assimilation and impulses of differentiation, brings about a significant refining of the ethical sensitivity a strategy suggested for instance in Pleșu Canon-building policies could and should attempt to mediate between, on the one hand, the theory that, given the impersonality and transcendence of social institutions with respect to individual agency, no one can be personally blamed for the abuses măști de ouă întineritoare failures of RomanianCommunism; and, on the other hand, the theory that, precisely because its totalitarian character that closely knittedtogether its consisting elements, all the members of society are stained with guilt.
Perceiving the constitutive uncertainty of the relationship with our natural, social, cultural environment is a precondition for lucidity, and at 14 15 the same time a fringe emotional experience. But from a political perspective, uncertainty could be seen as one of the foundations of democracy. The condition of equality of all the individual consciousnesses that convene in a society is given by their virtually equal distance from the possibility of possessing absolute certainties with respect to their common environment these matters are extensively discussed păsări de pradă diurne swiss anti aging Connolly From this perspective, the capacity of assuming ambiguity, not only at a technical-instrumental, but also at a moral and symbolic level, is one of the most important tests for the modernity of a society.
A vivid and productive cultural memory is nothing like a realm of pristine harmony. Păsări de pradă diurne swiss anti aging my view, the literary canon has an ethical nature, and rests on a păsări de pradă diurne swiss anti aging experience, also because it perpetuates the memory of such catastrophes.
Most of the modern historical narratives tend to produce a sense of century-long if not millennial moral continuity. On the other hand, everything that could count as catastrophic turns in society s evolution seem to be seen as inconsequential and non-representative for an allegedly trans-historical national consciousness.
But a really vibrant culture is not one that tries to suppress its catastrophes, that willingly ignore the reality and effects of historical hazards.
The incongruent character of a literary canon could well nourish a positive cultural dynamic, by transforming historical accident into the difficult but highlyinstructive moral experience of uncertainty. Actually, a patrimonial discourse that over-emphasizes consistency and coherence intertwined in an alleged high level of moral homogeneity and predictability might generate nothing else but deeper vulnerability when confronting the coups de théâtre of empirical reality. Cast in the form of a moral experience, the canon could be a school of adaptive quick reactions to unpredictability, it could provide the essentials for an aesthetics of risk and opportunity some Asalt elvețian împotriva îmbătrânirii critics consider that the attacks of managerialism on higher education is a hazard that calls for a creative ethical response see Macrine Somewhere along these lines, it has been suggested by architects and urban plannersthat the picturesque 15 16 restoration of monuments or sites fallen into ruin, destroyed by cataclysms or dismantled by human havoc may make us impervious to the real reasons for which monuments, and sometimes entire civilizations, fall prey to ruin Arnold If we transfer this idea to the policies of the canon, we can propose the latter as a way to problematize, both pedagogically and therapeutically, the ineluctable historical importance of sudden, traumatic civilizational mutations.
The predominant canonical strategy in our part of the world intensively thematizesorganicity, continuity, and homogeneity. The 19 th century Westernization of the Danubian Principalities, later fused in the Kingdom of Romania, was shaped by the political and cultural elites that managed it as a return to the genuine Roman-Latin and European origins of the Romanian people, to the point that these rhetorical topoi came to replace the dramatic reality of changing civilizational orbits.
The exiled lives in isolation from the Cultural Centre to which he belongs and in disconnection with the universal cultural context. Thus, his intellectual, moral and psychological solitarism oscillates between nationalism and cultural universalism. Key words: exile, isolation, cultural identity, Romanians, great personalities, destiny Cuvinte cheie: exil, izolare, identitate culturală, români, mari personalităŃi, destin I.
The creation of Greater Romania, inrepresents in many ways another break, or mutation, carefully packed in the discourses of organic growth. The tensions induced to the institutions and the overall social structure after the assimilation of former Hapsburg provinces Transylvania and Banat suggests that rather than a prolonged collective euphoria, the Unification represented a massive and extreme adaptive effort Livezeanu The same pattern can be easily discerned in the epoch of Romania s refurbishing as a Soviet satellite: social catastrophe has been exorcised through a language of return to the roots.
- (PDF) Transylvanie, la frontière distante P. | Eric Levéel - agro-mag.ro
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- Фонтейн даже глазом не повел.
In his classical Stalinist phase, the regime pretended to păsări de pradă diurne swiss anti aging aspirations to social justice allegedly passed from one generation to the other. In the second, nativist phase, the legitimation rhetoric swayed to the projection of Communist collectivist agenda into different historical epochs, from ancient Dacia, to the medieval Principalities of Moldova and Walachia.
This rhetorical practice officially suppressed all serious reflection on the unpredictable, catastrophic nature of post-bellum social and civilizational changes. Last but not least, an unprecedented mutation took place during the lifetime of the present adult generation of Romanians: the fall of the Ceaușescu regime and the collapse of Communism as a social system. Those who consciously experienced this process are perhaps best situated to set forth, with new conceptual tools, the reflection in uncertainty, indetermination and historical hazards.
This is, in other words, a position which creates the possibility of experiencing cultural legacy, as well as the process of canon building, not as a summation of diaphanous continuities, but rather as the convoluted memory of unpredicted dramatic fractures 16 17 and moral paradoxes.
The cultural and literary canon is derived from a heritage of catastrophes, justified by both the ethical obligation of exposing to the young generation a historical truth inescapably dis figured by cruelty and hazard, and the opportunity of implying this memory of abrupt mutations in a pedagogy of moral self-awareness and self-composure. The process of canon building also catalyzes the emergence of a sophisticated scale of forms of life of the consciousness.
Revista Contact International, Vol.31, 201-203, Ianuarie-Februarie-Martie, 2021.
Among these, skeptical hesitation and prudence, the perpetuation of a self-questioning spirit, the stoic acceptance of uncertainty,or the courage to confront the fuzzy indeterminacy built in historical and social evolutions. The canonbuilding process is a means of shaping our relationship with the past, and accordingly with ourselves, into the negative experience of cognitive and ethical doubt.
This calls forthe wisdom of understanding of the oscillations and embarrass de choix of our critical consciousness not simply in terms of hazards, weaknesses, or flaws. Canon building might be a way to allow creative uncertainty, unpredictability, ambiguity to work on our collective consciousness, to continuously deepen and refine our moral sensitivity.
The conflict hubs or the polemical matrixes of a cultural and intellectual history, that integrates also the literary one, should not be seen as threatening, as disruptive.
On the contrary, the awareness of different sets of values, non-coincidental, disagreeing even on founding values, but that we came to equally internalize as tradition and canon, to perceive them as constitutive to our own selves, is an essential condition for the developing the ethical culture of our communities.
In my opinion, we cannot uncouple our understanding of the canon, as highly structured literary and cultural legacy, from the heritage represented by specific forms and fora of moral deliberation. A heritage, that is, that encompasses the culturally molded tools of personal introspection, as well as the public culture of deliberation. The conflicts of ideas, of core values, of existential attitudes are part and parcel of our heritage, and the canon-building policies might represent the poetics of introducing these complexities, together with the notion and value of complexity, in our own collective sense of identity, freedom and dignity.
Manipularea Arhivei Securității, Iași: Polirom.
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Andreescu, Gabriel Existența prin cultură. Represiune, colaboraționism și rezistență intelectuală sub regimul communist. Cambridge: Cambridge University Press. Connolly,William E Politics and Ambiguity.
Madison: University of Wisconsin Press. Leiden-Boston: Brill. Macrine, Sheila ed.
Studii de Stiinta si Cultura
New York: Palgrave. Martin,Mircea George Călinescuși complexele literaturii române. Berkley: Counterpoin Pleşu, Andrei Minima moralia. Elementepentru o etică a intervalului.
Silvermann, Helaine, D. Fairchild Ruggles eds. Despre reconsiderarea critică a trecutului, Ion Gavrilă Ogoranu şi rezistenţa armată anticomunistă din România. Iaşi: Polirom. Cʼest pourquoi Al. Dima propose lʼélaboration théorique dʼun prototype local dont la function culturelle obligatoire soit celle de courroie de transmission. Il sʼagit du concept de localisme créateur qui deviendra une réaction consolatrice par rapport au chaos culturel determiné par lʼimitation sans censure des formes occidentales marquées des idéologies contradictoires.
Dans le premier numéro du bulletin édité par le groupement intellectuel Thesis, activant à Sibiu, au cours des annéesce sont les communication interdisciplinaires qui dominent, plaidant pour lʼassociation de lʼesthéthique à la biologie, la psychologie, la sociologie, la philosophie, la médecine etc. La formule du localisme créateur fonctionne comme validation de lʼauthenticité de beau roumain en tant que lieu géométrique unissant le typique le local, le spécifique et le caractéristique lʼoriginalité esthétique repères dominants dans sa thèse de doctorat intitulée Le concept dʼart populaire Le spécifique national, hérité du romantisme, a été temporairement résuscité, en tant que nouvelle formule du tradionnalisme, par le groupement intellectuel Thesis de Sibiu.
Ce qui particularise lʼidéologie de Thesis est la décantation de lʼélément originaire natifformatif implicite ou explicite régressif et la révendication du localisme créateur en tant que manifestation dʼun ensemble de traces nationales objectives Eigenart que la nouvelle réalité littéraire des années 30 met énergiquement en évidence.
Mots-clé: localisme créateur, psychoanalyse, traditionnalisme, culture populaire, littérature pornographyque, poporanisme. În Sibiul de odinioară Remake La orizont se iveau zorii unei alte Europe, un alt spirit al culturii.
În varianta Ecaterinei Săndulescu,gruparea intelectuală Thesis, își recapătă actualitatea odată cu remake -ul Aflăm că, într-o primă etapă, cercul thesist era constituit din tânărul locotent, Celestin Catrinariu 1Ion Popescu-Sibiu 2 ,Pimen Constantinescu 3Al. Dima 4 și Ecaterina Săndulescu, la acea dată autoare de poeziisimboliste 5 Ei sunt cei care au fondat, în toamna anului ,gruparea intelectuală Thesis, la careau aderat, spontan,paul Constant 6 ,Mihai Alexiu, cronicar dramatic, Ionel Neamţu, veleitar, cu încercări de proză şi eseistică literară, Horia Petra Petrescu 7 şi Emil Cioran, publicist asiduu la revistele Gîndirea, Cuvântul, Calendarul, Pagini literare, Discobolul, Azi etc.
Popescu, agronomul T. Spinei, profesorii Iulian Dumitru şi Licu Pop 10 precum şi doctorul Andrei Dosios, medic neurolog, om de rafinată cultură literară, muzicală, subtil analist psihiatru. Mavru etc.
Amintește-mi victime ale complicațiilor cauzate de infecția cu HIV. Portugalia, Spania Filmul surprinde aspecte ale vieții domestice pe care Pinto o duce alături de partenerul său de viață, Nuno, și de cei patru câini bătrâni regie, scenariu: Joaquim Pinto și supraponderali Rufus, Zorra, Bambi și Cookie. Această rutină domestică în care s-a retras este care a lucrat de-a lungul timpului cu Raúl Ruiz, Manoel de ocazional secționată de zboruri la Madrid pentru analize, necesare Oliveira și Joao César Monteiro este un film jurnal în care autorul în vederea continuării tratamentului început. Singurul model și în Statele Unite ale Americii numărul persoanelor infectate cu de raport onest între om și lumea înconjurătoare rămâne cel al lumii HIV crescuse alarmant, Joaquim Pinto introduce în film un istoric preistorice, în care omul nu avea conștiința superiorității sale și, personal, construit din flashback-uri din tinerețe, care ilustrează implicit, nici dorința de dominare. Deși profund personal, discursul procesul lent de familiarizare cu virusul.
Participanții se întruneauseara, la Prefectură, într-o sală de şedinţe, la o masă lungă cu postav verde,o dată pe săptămână, la început cu pretenţii faţă de atenţia sau interesul oficialităţii pentru o atare înjghebare intelectuală, apoi, acasăla doctorul Ion Popescu-Sibiu, lângă Bulevard, unde găseau o bibliotecă impunătoare şi o foarte agreabilă atmosferă de gazdă.
La început, ședinţele grupării intelectuale Thesis erau conduse prin rotație, Ecaterina Săndulescuamintindu-și că,într-una din seri,i-a venit rândul să prezideze şedinţa cenaclului iarpimen Constantinescu, foarte 21 22 atent şi grăbit în informaţia publicitară, a strecurat o notă la Cuvântul şi la presa din Capitală despre întrunirea grupării Thesis din Sibiu, sub preşedinţia d. La următoarea întrunire, Al. Recunoscut în cercul junimii sibiene ca promotor al localismului creator,al.
Dima va impune această sintagmă la nivel național, articolul Localismul creator - Definirea şi justificarea lui- apărând integral în Familia martie-aprilieparțial în Blajul apriliefiind reprodus în Revista Fundaţiilor Regale şi discutat în Vremea de Mircea Eliade nr.
Axa ideatică a sintagmei a fost dezvoltată, în paralel, în două conferinţe publice -la Cluj şi Blaj- pe lângă stăruitoarea lor aplicare în cadrul grupării Thesis din Sibiu [Dima ]. Formula localismului creator a teoretizat, o reală năzuinţă spirituală păsări de pradă diurne swiss anti aging provinciei româneşti, prea multă vreme degradată la nivelul unui simplu şi răbdător consumator cultural, ea reprezentând o altă faţă a fenomenului românesc al anilor 30 [Dima, 38].