English

This paper seeks to offer a clearer image of how the Underworld was illustrated and interpreted by Augustus` most prolific poet: Publius Vergilius Maro. The issues to be discussed are the relationship between reality and fiction in the sixth book of Aeneid and the role of memory in the creation of Inferno. Another issue put in discussion is the role of evil in common life in the Ancient Rome, a society that imagined an Underworld ruled by one god: Hades, a different kind of ruler that the other underworld gods from coexistent cultures. In his Inferno, the Augustan poet offers an image of how the great Roman Empire was, and more important, how it wanted to be seen in front of posterity. The main virtues promulgated by Augustus through his Pax Romana are to be found in the national epopee, but are these ideas changing the image of the Inferno? Extremely interesting is in how the politically ideas are combined with the religious ones, and the Shield of Anchises is one of the best examples on proving many of Augustus ideas which are to be found in Virgil`s Underworld. The glorious future of Rome is observed from the past, which is not to be forgotten, as it can be seen from the beginning of Anchises` speech, when only after the explanation of life`s meaning the reader can see the Roman warriors and the premature death of Marcellus.

Français

Cet article vise à offrir une image plus claire sur comment l'Enfer a été illustré et interprété par le poète le plus prolifique de l'Augustus : Publius Vergilius Maro. Les sujets qui seront discutés sont : la relation entre réalité et fiction dans le sixième livre de l'Énéide et le rôle de la mémoire dans la création de l'Enfer. Un autre sujet discuté est sur le rôle du diable dans la vie commune de la Rome antique, une société qui a imaginé un enfer dirigé par un seul dieu : Hadès, un type de souverain différant des autres dieux dans des cultures différentes. Dans son Enfer, le poète Augustus offre une image de  comme a été le grand Empire Romain et, plus important, comment il a voulu être vu devant la postérité. Les vertus principales promulguées par Augustus dans son Pax Romana peuvent être découvertes dans l'épopée nationale, mais ces idées changent-elles l'image de l'enfer ? Extrêmement intéressant est la manière dans laquelle les idées politiques sont combinés avec celles religieuses, et le Bouclier d'Anchise est l'un des meilleures exemples en ce qui concerne les idées d'Augustus qui sont découvertes dans l'Enfer de Virgil. L'avenir glorieux de Rome est observé dans la perspective du passé, qui ne sera pas oublié, comme il peut être observé dans le but du discours d'Anchise, quand, seulement après le sens de la vie est expliqué, le lecteur peut voir vraiment les guerriers romains et la mort prématurée de Marcellus.

English

The present study focuses on the way in which a great humanist, the Russian writer Vasily Grossman, succeeds in understanding 'his century', the century of the totalitarian regimes which denied and suppressed one of the most important human values: freedom. In his novel Everything Flows, Grossman concentrates on the idea that life cannot exist in the absence of "freedom and kindness". The absence of these two essential values made those unimaginable human tragedies possible.

Français

Cette étude se focalise sur la manière dans laquelle un grand humaniste, l'écrivain russe Vasily Grossman a réussi à entendre « son siècle », le siècle des régimes totalitaires qui ont nié et supprimé l'une des plus importantes valeurs : la liberté. Dans son roman, « Tout passe », Grossman est concentré sur l'idée que la vie ne peut pas exister sans « liberté et gentillesse ». L'absence de ces deux valeurs essentielles ont fait être possible ces tragédies humaines et inimaginables.

Français

Cet article examine le rôle de la langue roumaine en relation avec les discours et les processus d'internationalisation et de globalisation dans le contexte du système d'enseignement supérieur de Roumanie. Plus précisément, à travers ce projet de recherche on se propose d'analyser la manière dans laquelle la langue roumaine est instrumentalisée par le processus d'internationalisation de sorte que ceci puisse accomplir un de ces objectifs, c'est-à-dire la promotion de la culture et de la civilisation roumaine et la préservation du spécifique national. L'approche de ce sujet dépasse quand même le discours nationaliste et le clivage unité-diversité, en s'inscrivant plutôt dans l'esprit de l'approche unité par diversité. Les résultats de ce projet montrent le potentiel dont la langue roumaine jouit pour qu'elle soit utilisée de manière efficace dans le processus d'internationalisation. Toujours, ils ouvrent la porte pour une recherche plus étendue en vue de l'identification de nouvelles méthodes de l'exploiter pour ce but-ci.

English

The aim of this article is to examine the role of the Romanian language in relation to the discourse and processes of internationalization and globalization in the context of Romanian higher education system. More precisely, through this research project we analyze the way in which the Romanian language can be used as a tool through which the internationalization process accomplishes one of its goals, namely the promotion of the Romanian culture and civilization and the preservation of  the country-specific. The approach of this subject exceeds the nationalist discourse and the cleavage unity-diversity, and uses instead the unity in diversity approach. The results of this project showed the potential that the Romanian language has in order to be successfully included in the process of internationalization of higher education and opens the door to a more extensive research aiming at identifying new ways of using it.

English

Each community has its own paremiological treasure. Considered "true gems of thought" by the Romanian writer Mihai Eminescu (1989: 8), proverbs represent a product of folklore, but also a speech act (Danilov, 1995: 9), so, in other words, proverbs are the exponential potential of a certain language and of a given culture. The Hispanic culture has an important place in the universal paremiology, Miguel de Cervantes being considered one of the first theoreticians, by most of the paremiologists: Cezar Tabarcea (1982), Constantin Negreanu (1983), Wolfgang Mider (2004), etc. This study focuses on presenting some aspects of Spanish paremiology: origins, features and taxonomies, pointing out the uniqueness of these proverbs. Origins revealed the universal character of the Spanish proverbs (the biblical and Latin cultural sources), but also the cultural specificity — history (No se ganó Zamora en una hora) and customs (Buenas son mangas después de Pascuas). Regarding the linguistic features, María Josefa Canellada (2001: 429-434) mentioned that Spanish proverbs have a tendency of suppressing elements (verbs and articles), converting the unit into a nominal phrase. At the same time, Spanish proverbs present specific prosodic peculiarities and a simple vocabulary, based on common words. The possibilities of classifying of Spanish proverbs that we approached include a syntactical and thematic criteria (Sevilla, 2000) and philosophical principles (Tabanera, 1954).
Keywords: Spanish paremiology, cultural specificity, nominal phrase, lexicon field, categories.

Français

Chaque communauté a son propre trésor parémiologique. Considéré comme «authentique joyaux de la pensée", qui viens de l'écrivain roumain Mihai Eminescu (1989: 8), les proverbes symbolise un produit du folklore, mais aussi un acte de parole (Danilov, 1995: 9), en d'autres termes, les proverbes montrent l'exposant d'une certaine langue et d'une culture donnée. La culture hispanique centralise une place très importante en ce qui concerne la  parémiologie universelle, Miguel de Cervantes étant considéré comme l'un des premiers théoriciens, par la plupart des paremiologues comme Cezar Tabarcea (1982), Constantin Negreanu (1983), Wolfgang Mider (2004), etc. Cette étude se concentre sur la présentation de certains aspects de la parémiologie espagnole: les origines, les caractéristiques et taxonomies, soulignant le caractère unique de ces proverbes. Les origines ont été révélé le caractère universel des proverbes espagnols (les sources bibliques et la culture latine), mais aussi la spécificité culturelle - l'histoire (No se ganó Zamora en una hora) et les coutumes (Buenas son mangas después de Pascuas). En ce qui concerne les caractéristiques linguistiques, María Josefa Canellada (2001: 429-434) a mentionné que les proverbes espagnols ont une affinité pour supprimer des éléments (verbes et articles), la conversion de l'unité dans une phrase nominale, exposent une particularité prosodiques spécifiques et un vocabulaire simple, basé sur les mots communs.  Les moyens de classification que nous approchions comprennent un critère syntaxiques et thématiques (Sevilla, 2000) et les éléments philosophiques (Tabanera, 1954).

Mots-clés: Parémiologie espagnol, spécificité culturelle, la phrase nominale, champ lexical, les catégories.

The aim of this essay is to unveil the interconnection between various instances of incarnation expressed in Allen Ginsberg's seminal twentieth century poem "Howl". The Beat author seemingly plays with the theological notion of Incarnation and uses it as main analogy for the spiritual embodiment of his poetic/linguistic creation — that is the poem itself —, which is closely linked to the physical body of the prophet as well as to the sound and technique behind jazz music, particularly bebop. Firstly, a brief overview of Incarnation in Christian terms will be given in order to stress the necessary conditions for the coexistence of spirit and matter in the person of Jesus Christ, emphasizing language as a medium of expression that recalls Messianic mediation. Subsequently, Ginsberg's use of incarnational language will be linked to the act of physical consumption in remembrance and celebration of artistic incarnation. This act acquires a similar function to that of the Eucharist, while the structural and thematic composition of "Howl" — that embodies the spontaneity of bebop and the sound of the saxophone howling the suffering of Christ — will allow for a musical incarnation with the help of jazz.

Keywords: incarnation, Christ, artist, poetry, jazz.

The principal objective of this paper is to investigate the question of the Romanian literary language creation as it was viewed by Gheorghe Asachi at the beginning of the nineteenth century. Since the writer remained known more as a poet by the public, our purpose is to focus on the linguistic preoccupations of Gheorghe Asachi, precisely to reveal the way he positioned himself towards the problematic of the language formation. To answer to this interrogation, we intend to analyze his theoretical points of view from the prefaces of his volumes and also from other articles. In order to have a wider perspective of the subject, we cannot leave beside his cultural initiatives which were important for the language development and also for the awareness of its importance in the epoch. The idiom was still in search for a norm in those times, lacking grammatical rules and, thus, being pursued by the danger of receiving ill-fated influences. In the middle of the struggle for imagining a national language, the contribution of Gheorghe Asachi is pertinent, some of his theoretical ideas being even continued by his predecessors.  

In politics, as in everyday life, apologizing is a frequent act sharing the same meaning in both contexts. However, if we look closer, we will see that in politics the act of apologizing acquired the status of an art and sometimes a deeper and/or subsidiary significance. Though, there are situations when what it sounds and looks like a political apology, lacks most of the time sincerity. No matter the aim of the political apology, in order for this act to fulfill its purpose sincerity is required. But are all political apologies sincere? If not, can we depict the aim hidden behind them?   By what means can we do that? Our hypothesis is that, as a consequence of the complexity of the political language, many political apologies, despite their declared purpose, lack sincerity, their hidden aim being the reduction or the evasion of the responsibility. In order to find answers to our research question and to test our hypothesis we based our analysis on six excerpts from American political discourses. The study focuses on some apologies used by American politicians in both national and international discourse. We chose as analysis objects for this study some apologies expressed by presidents, ministries, prime ministries, politicians, and the analysis framework is based on Deutschmann's schemas of analysis. The findings of this analysis raised awareness on the importance of decoding the truly meaning of an apology in political discourse that, as demonstrated, lacks sincerity in some cases. The correct decryption of the purpose of a message delivered in the guise of apology may influence the manner of solving the conflict, as well as the manner of continuing the relations between the offender and the offended.

The present paper aims at demonstrating that human interaction lead to the creation of new meanings, to the creation of a new language. Whereas the authors of the theatre of the absurd consider that language cannot render meanings, that the word is crushed under the heaviness of misunderstanding and uselessness, believers in the power of the spoken word formulate other opinions. Eugeniu CoÅŸeriu, Mikhail Bakhtin or H.P. Grice are some of the advocates of the value of language, of the importance of dialogue and interaction in the construction of new meanings in human contexts.  

Starting from the books Critères esthétiques et jugement de gout of Yves Michaud and The Transfiguration of the Commonplace of Arthur Danto, the aim of the present article is to underline the influence of the values which are specific to Antiquity over modern and contemporary art and over literature which, in time, has proven to be an important pillar of the development of human society. We based our research on the contribution of ancient people to the subsequent development of different periods of artistic creation, starting from the ancient Kalos kagathos and underlining its connections with modern and contemporary art and also literature, in Evgheni Vodolazkin's Laur.