The condemnations in the West throughout the 13th century have recently drawn the attention of exegetes. Despite this seemingly favourable situation, some censorship episodes have yet to be given due attention. For example, the literature dedicated to the condemnation of 1241/ 4 does not include more than 20 studies in the last two decades, some treating the topic marginally. I am particularly interested in the hermeneutical perspective provided by M.-D. Chenu who argues in his famous 1947 study (”Le dernier avatar de la théologie orientale en Occident au XIII-ème siècle”) that Eastern authors such as Maximus the Confessor and John Damascene – at that point partially translated into Latin – adopted somewhat confusingly an obscure interpretation of ”economy” (i.e., the divine life known in its relations with the created being). On the other hand, the term “theology” did not enjoy a particularly great reception at the crossroads between the 12th and the 13th centuries. In this study, I aim to assess to what extent the patristical distinction between θεоλоγία and οἰκονομία was ”confusing” and ”obscure” in the authors of the first Christian centuries and whether this distinction had any relevance against the backdrop of the condemnations of 1241/ 4.
Volume XXVIII (2023), no. 1
Contents
Studies
The old book collection of the University Library of Cluj-Napoca contains items of mixed origins: The library of the Transylvanian Museum Association, the book collection of the university, the library of the Reformed College o f Orăștie (Szászváros) etc. The goal of this paper is to present a segment of this diverse collection: We have selected fifteen protestant theologians, so-called “protestant reformers,” who were active during the 16th century: Martin Luther, Philipp Melanchthon, Georg Major, Johann Brenz, David Chyträus, John Calvin, Thédore de Béze, Pietro Martire Vermigli, Heinrich Bullinger, Rudolf Gwalther, Ludwig Lavater, Johannes Oekolampad, Wolfgang Musculus, Benedictus Aretius and Girolamo Zanchi. I have examined a total of 97 prints from this theologians. Nearly half of these volumes were in the Carpathian Basin before 1600. Among the owners of that time, there is a similar number of Transylvanian Saxons and Hungarians from the Partium and Transylvania, the former in slightly larger proportions. Throughout the 17th century, these were the most important groups of owners as well, but now the group of the Transylvanian Reformed Hungarians is the largest.
In the volume titled Bandits, Eric Hobsbawm associates women with banditry in three hypostases, determined by their “accepted sexual role:” the first situation concerns passive participation in “the wandering life of men,” the second is the hypostasis “of supporters and liaisons with the outside world,” while the last, and least common, role “is that of bandits themselves.” In Mina Haiduceasa. Fata Codrilor, the role of the hajduk-novel that the novelist George Baronzi assigns to his heroine, also entails a shift in the collective imagination since it implies ignoring the biological determinants. Baronzi's innovation lies in the reconfiguration of the image of the social bandit, since the heroic outlaw no longer appears as an exclusive juxtaposition of masculinity and protective aggression.
The present study aims to emphasise the particularities of the unique literary style used by Sei Shōnagon in the classic masterpiece The Pillow Book, a prose genre (zuihitsu) that combines the journal-memoire type notes and the catalogue-type lists with poetry and anecdotal recounts. As a miscellanea of contemplative meditations triggered by day-to-day experiences or by uncensored associations of random ideas, The Pillow Book reveals Sei Shōnagon as the author of the narration and as a direct participant in the recounted events. By using an unprecedented narrative technique, The Pillow Book contains approximately 300 paragraphs of different lengths (dan), some bearing separate subtitles, in a rhythmic three-part structure that transforms this type of prose into a dynamic text in which the imperial court, the individual and nature are, for the writer, a spectacle that needs to be revealed in and through words. Our analysis aims to argue the particular means by which Sei Shōnagon continuously explores not only the individual creativity, but also the (direct or indirect) poetic potential of the word, by revealing the miraculous presence of the word, in its multiple valences, in the representation of the universe: the word as a decorative element, but also as a world creator (utamakura, makura kotoba, kotodama).
The transnational reading of Tar Baby and the identification of certain aspects of this theoretical framework will be the focus of this paper. Even though, as a whole, transnationalism seems to be a rather negative option given the fact that the novel’s ending is a perfect cul-de-sac, Morrison’s approach to solving this crux is by deconstructing the ever-present binary of myth vs. reality. The opposition between colonization and the black cultural mythos as represented in the novel by the “love-me-hate-me” relationship between Jadine and Son seems to be the most compelling rendering of the transnationalism from above / transnationalism from below binary. When Jadine manages to escape this binary, by acquiring a new identity through what Lionnet and Shih call a minoritized culture, the transnationalism from above / transnationalism from below paradigm is reinstated by the irreconcilable antagonism between Valerian and Son. In the end, by reinterpreting the myth of Eden through the lenses of the tar baby parable, Morrison literally creates, both out of clay and tar, a transnational identity for Jadine who leaves behind a traditional and dual world, proving that her reality is more compelling than Son’s or Valerian’s myths.
Two seemingly unrelated 19th-century concerns – marriage and vocation – run very palpably through George Eliot’s (1871-72) novel, Middlemarch. Eliot’s female characters – Dorothea Brooke, Rosamond Vincy, and Mary Garth – stand as examples of the human frailties registered in an English provincial community on the verge of change, when the agitation for the first Reform Bill reaches its peak in England. Since history has always been much more than a dormant backdrop to literature and literary criticism, the present study intends to show that the only way of escaping parochial littleness in Eliot’s fictional town is through female reading and (self-) instruction. Women’s education – be it formal or non-formal – had acquired more significance towards the end of the 19th century through the cultural revolution that female characters in Victorian fiction started for their readers.
The present article offers a structured account of Hungarian artistic careers in the context of Surrealism ‒ and a possible narrative of the history of Hungarian Surrealism. While occasionally, individual Hungarian authors affiliated with extraterritorial surrealist groups, were included into international overviews of Surrealism, the story of Hungarian Surrealism as an institutional venture and as a network of artistic activities is yet to be written. The article identifies three important benchmarks that shaped the history of Hungarian Surrealism throughout the 20th century.
The aim of the present paper is threefold. Firstly, in line with Stephen Ross and Susan Friedman’s contributions in Modernism and theory: a critical debate (2009), our paper highlights how modernism survived throughout the second half of the 20th century in critical, literary and cultural theory. Secondly, it explains why postmodernism has failed both as a scientific (theoretical) discourse and as a periodization category. Lastly, the paper states the importance of both the achronological and non-historical category of “contemporary” and “the modern turn” in the Modernist Studies today, showing why these are major players in rethinking both modernism and the contemporary literature on the grounds of the former. Today, what we are witnessing is not the afterlife of modernism, but rather its full and “true” modernist life.
The present paper discusses art as an environment for communicating meanings, as shared by the members of a community or culture in the late 20th and early 21st centuries; for this purpose, the paper focuses on the changes taking place in cultural production as well as the consumption practices of the digital age: more specifically, on the shift from a goods-centred economy to a service-centred economy, on the experience as a commodity, on interactive art and relational aesthetics, as well as on the emergence of a new way of production and consumption. The paper also discusses a possible modernity and the cultural differences that appear in the works of Eastern European artists (and Romanian artists in particular), works which reflect the transition from communism to post-communism and democracy.
Public administration is a complex structure, which, because of its excessive bureaucratization, is extremely difficult to change. The present study of cities’ soft power consolidation processes was possible due to the interdisciplinary approach that combines expertise in public administration and history. The aim was to identify the causal links between cultural institutions and creative industries and the role played by public administration in the development of the city through an overarching cultural policy. The present study presents the results of a comparative interdisciplinary approach to the consolidation of the cities’ soft power through the valorization of cultural heritage, relying on the example of the cities of Verona and Bistrita.
The present article explores the ongoing changes in Chinese character acquisition, resulting from the frequent use of multimedia for learning purposes. The current state of character study among Romanian students is presented by taking into account the great difference between the Chinese script and the languages with orthographic writing systems. When learning characters, one should assimilate their form, sound and meaning as a whole. The mechanisms of character study are explained through the character-centred theory, the word-centred theory and by neuroscience. This article analyses the positive and negative influences on Chinese character acquisition brought on by the increasingly prevalent use of multimedia devices, including professional websites and character handwriting applications on smartphones.
Definitive for the unitary and organic structure of the Romanian state, the minority component imposed itself in the foreign policy strategy, as an element of articulation of diplomatic relations with the Holy See during the interwar period. The approach of the Romanian legislator in the normative field regarding ethnic and religious minorities interfered with the imperatives of the Holy See in the elaboration and, subsequently, in the ratification of the Concordat between the two states. The article proposes a brief analysis of the blocking elements that stood out in the ratification process of the Concordat between the Kingdom of Romania and the Holy See, highlighting the contradictory understanding or use of the minority component as a negotiation tool in foreign policy.