The Pragmasemantics of quotation. with reference to postmodern romanian poetry

[Abstract] A corpus of postmodern Romanian poetry reveals truly innovative quotational strategies. Here quotation as signifier is vital for the construction of the poetic meaning. As a sui generis poetic device, it can function as metonymy, metaphor and syllepsis; also, as graft and inscription. (Non)literary quotations are present in the body text and in paratexts (titles, epigraphs, footnotes), thus emphasizing the (meta)communicative, contractual dimension of the poetic message. This consistent citational practice has some interesting consequences: a) it works as an interpretant and, at the same time, as a perfect catharsis to a Bloomian «anxiety of influence»; b) it generates polyphony and polyglossia: the quoted material is frequently in foreign languages; c) it contrasts the rhetoric of quotation to the rhetoric of allusion, with respect to the type and degree of interpretative cooperation they elicit from the reader. An important goal of this research is to establish a new typology of literary quotation. Along with standard varieties (pure, direct, indirect, mixed, open, closed quotation), the study of the corpus brings into attention: the (Borgesian-like) fake quotation, the «ready-mades», the parodically distorted citation, the «scare quote» as metalinguistic commentary, the ironic-Flaubertian italicization of cliché, the impersonation of the many voices of doxa. These are eccentric devices that Compagnon would have listed under his «teratology of quotation». An insight into the citational enunciation in a poetic context can bring about a re-evaluation of the whole problematic of interdiscursive dialogism

Subjectivité poétique, dialogisme et transitivité

Poetic subjectivity, dialogism and transitivity. The paper studies the interplay between three key-concepts, subjectivity, dialogism and transitivity, with reference to the recent transformations of the poetic discourse, especially in the context of Romanian postmodernism. Poetry is traditionally considered the most subjective of genres, with subjectivity being perceived as a psychological element, with some philosophical overtones (particularly within Romanticism). Modern theories of enunciation and discourse can shed new light on this presupposition, by revealing the linguistic dimension of the subjective feature. By the same token, subjectivity is revealed as being intimately intertwined with dialogism. Although implicit in any type of discourse (as in Bakhtin’s account), dialogism can also be deliberately emphasized. The paper is concerned with the more explicit dialogization of contemporary poetic discourse. Transitivity pertains to the communicative dimension of poetry. Borrowed by Gheorghe Crăciun from Tudor Vianu, who distinguished between the reflexive and the transitive function of language, transitivity is applied by Crăciun to modern and postmodern poetry. In the corpus of Romanian poetry analysed in this article, the self is being deconstructed and reconstructed on new coordinates and interpersonal and intertextual dialogue is being employed as a means of resistance to ideology and social engineering. In the poem “Without them”, Mariana Marin writes a poetic homage to the German poets in Romania, who have influenced her towards a “committed subjectivity” and away from a neo-Romantic, narcissistic subjectivity. Letiția Ilea grafts reported discourse on her pseudo-confessional poem “A beautiful spring day. In the fields” in order to bring attention to the failure of genuine dialogue and the inner, polyphonic theatricality of the self. Dumitru Crudu in the poem “dimitrie” designs confessional personae for himself and solicits the readers’ empathy, while Ioan Flora, in “Poetry is a document, I said to myself ”, resorts to metapoetry, in search of a new poetics, of a more “truthful” and “just” type

At the periphery of architectural history – looking at Eastern Europe

Long-time absent or only briefly mentioned for those examples fitting into the schemata, Eastern Europe has started to integrate in the past few years the mainstream discourse of architectural history. The reason of this inclusion is to be sought for not only in a certain globalization – both of the practice and of the academic discipline – but also in the mutations operated recently in the field of architectural historiography. However, in spite of the renewed context, Eastern Europe remains still marginal, both geographically – though globalization turned peripherality into a relative issue – and disciplinarily. The paper looks at Eastern European architecture as an epitome of marginality, analyzing the tactics and strategies employed for gaining visibility. Long temps absente, ou mentionnée uniquement à travers les exemples qui conviennent au discours dominant, l’Europe de l’Est a commencé depuis peu à intéresser l’histoire de l’architecture. La raison de cet intérêt doit être cherchée non seulement du côté de la mondialisation mais aussi des mutations subies par le champ de l’historiographie architecturale. Toutefois, en dépit de ce contexte renouvelé, l’Europe de l’Est reste marginale, à la fois géographiquement – même si la mondialisation a rendu le concept de périphérie relatif – et disciplinairement. Considérant l’architecture est-européenne sous l’angle d’un paradigme de marginalité, cet article analyse les tactiques et stratégies qu’on emploie afin de lui apporter plus de visibilité

Quotation as a Poetic Device in a Romanian Postmodern Corpus. A Pragmasemantic Approach

The paper highlights the complex functioning of quotation in the context of Romanian postmodern poetry, focusing on a pragmasemantic approach, where the communicational dimension of the poetic process is underscored. A special place is granted to the theory of quotation, by reviewing various models, which range from the intertextual and dialogicpolyphonic account to the one grounded in the linguistics of enunciation as well as in language philosophy. The illustrations are taken from a corpus of contemporary poetry, starting with Cristian Popescu’s “All This Had to Bear a Name”, where the quotational paratext (the title) establishes a parodic relationship with a previous poem by Marin Sorescu. This “second-order” text does not refute the strict meaning of the original (in fact, it does not mention its theme, the Romantic poet Eminescu) but it directs its deconstructionist drive towards another cultural fetish, the ballad The Little Ewe, equally a part of the official vulgate, a cultural “monument”. Examples borrowed from Radu Andriescu or Letitia Ilea reveal the self-reflective use of language and also the close relationship that citation entertains with reported speech, represented discourse and the very complex phenomenon of polyphony as described by Bakhtin. Inside the texture of the postmodern poem, the grafting of alien discourses rarely reifies textual otherness and more often than not handles the quotation as manifestation of a particular voice, with which the poetic subject engages dialogically. Even so, the deconstruction of clichés and doxa or common opinion is crucial in this poetics. Along with the pervasive palimpsest, quotation in a poetic context also has important metalinguistic and metaliterary effects, by enhancing the literariness of literature

Advanced resist materials for next generation lithography

With the advancement in technology the minimum lithographic feature size decreases more and more for every generation. The development of lithographic techniques and resist materials capable of meeting the requirements for the up- graded technology (resolution, sensitivity, roughness) started to play a trivial role. However, the issue represents a fundamental principle in lithography (the RLS trade-off) and it proves difficult to overcome. Addition of quenchers in chemically amplified resists reduces the acid diffusion length and improves the line edge roughness and increases the resolution of the patterned features, but decreases the sensitivity. The current most commonly researched approach to boost the sensitivity in organic resists is the addition of metals embedded in the molecular structure by covalent bonds. This approach was investigated in this thesis, and an extension towards high-Z organic additive compounds and high-Z cross-linkers was conducted. Furthermore as feature sizes less than 20 nm are routinely required, pattern col- lapse driven by the capillary forces upon development has become a serious limiting factor, independent of the lithography technique involved. Alongside with constantly developing the resist platforms there is also the need to improve the adhesion of the resist material to the silicon substrate, reducing pattern collapse and allowing for ultra high resolution and high aspect ratio patterning. In this thesis I will present the research I have undertaken in order to implement a resist platform suitable for next generation lithography and I will introduce and describe the new multi-trigger mechanism concept developed for this resist system. I will also present a study on active underlayes investigated for improved adhesion between the resist and the substrate

The importance of stakeholders and policy influence enhancing the innovation in nature based tourism services Greece, Austria, Finland and Romania case studies

This paper aims to illustrate in the context of the challenges of the Europeanization process what kind of co-operation models there exist between nature-based tourism companies and the critical stakeholder groups effecting the business activities and social sustainability of the companies. The following topics are part of our current research: which are the cooperation strategy; which are the management models applied in countries with competitive market and strong innovation policy; which are the costs of implementing innovation policies for co-operation strategies enhancing the innovation in nature based tourism services; which barriers avoid the entrepreneurship development and how innovative can be the firm management. We intend to analyze the importance of stakeholders and policy influence enhancing the innovation in nature based tourism service, in Greece, Austria, Finland and Romania case studies. The research will continue with a comparison between these cases, including the perspective of supporting entrepreneurship and regional competitiveness in Romania.peer-reviewe

BEING PROACTIVE VERSUS REACTIVE - THE SOLLUTION OF SELF-GOVERNMENT

Starting from selfknowing and the law of correspondence (the behaviour from the outside of one person is the reflection of its inside feelings) the authors try to define the meaning of proactivity. It is underlined that as we have the quality to be human beings we are responsible for our lives. The proactive persons do not blame the environment or the circumstances to justify their behaviour. As it was implanted in the literature of management, the meaning of proactivity is based on initiative, on responsibilities and actions; this gives priority to values in front of any feelings.proactiv, reactiv, responsability, rationalism, hope, fulfilment of life

Le paradoxe de l’orientalisme balkanique : entre géopolitique et quêtes identitaires. Lecture à travers le cas roumain

Orientalisme ou balkanisme ? L’idée que la culture des Balkans comporte une forte composante orientale n’est plus à débattre. Cette composante repose à la fois sur une réalité (l’héritage commun développé dans la péninsule sous l’Empire ottoman) et sur une projection (l’image que l’Europe occidentale s’est faite de cette région). Des historiens des Balkans ont trouvé légitime d’adopter le concept saïdien d’« orientalisme » et d’interroger son opérativité dans le contexte de la péninsule. Dans..

A Genealogy of Architectural History's Flattening: A Perspective from Post-History

From its very beginning, architectural historiography tended to ‘flatten’ historicity in favor of a ‘spatialized’ discourse. This process was triggered by gradually emphasizing space over time, as becomes clear in examining this longue durée, from the ‘barbarian’ architectures of Quatremère de Quincy and Seroux d’Agincourt to the ‘non-historical styles’ of Banister Fletcher, and from turning peripheries into productive territories of architectural resistance in the theories on critical regionalism to shaping a global history of architecture. The focus on space changed the dynamics of the narrative from a vertical construction to an increasingly horizontal perception of architectural production through the ages. During its evolution, the historiographic discourse grew complexified through a twofold understanding of space, both in terms of doctrinal conceptualization (space being presented as the very essence of architecture) and in terms of a geographical expansion. Several threads wove the historiographical narratives in the succeeding works of architectural history; unraveling these begins with an analysis of the foundations of architectural historicity, questioning the role and place of conceptual models, such as the ‘primitive hut’, and schemes like the ‘tree of architecture’, moving to a gradual dismantling of its temporality through the shaping of a modernist historiography and, eventually, through the emergence of marginal historiographic territories. An indirect goal of looking at this flattening of history from an architectural history perspective is tackling the meaning of writing history today

Un patrimoine de l’identité : l’architecture à l’écoute des nationalismes

A l’heure des théories nationalistes, les peuples des Balkans aspirent à des Etats indépendants. Ceci correspond, en même temps, à une période de modernisation systématique, sous la tutelle et l’influence des Grands Pouvoirs, pris comme modèle.L’article retrace la création et l’évolution des « styles nationaux », reflet des aspirations nationalistes, perçus comme autant des réponses « authentiques » à l’influence occidentale. En deçà de leurs revendications de spécificité, ces « architectures de l’identité » sont animées par des mécanismes communs et partagent souvent un même héritage comme source d’inspiration.When nationalist theories arose, Balkan peoples desired independent states. Simultaneously, they entered in a process of systematic modernization, under Great Powers’ supervision and influence.Creating a “national style”, which was evolutive, was a reflect of occidental patterns as well as of national, “authentic” aspirations that aimed at foiling western influence. Within their desired specificities, however, these “architectures of identity” are sustained by common mechanisms and often share the same inheritance as inspiration source