Cultura

In a recent French translation Old-Court Philanderers have made quite a sensation. Different from Panait Istrati whose epic caught our attention, Mateiu I. Caragiale is not so good at describing a certain medium; his force lies in his rhythm, his intimate thrill, his sentence

Mateiu Caragiale left us a literary heritage, fragmentary in its outlook that puzzled and amazed through its originality, through an appetite for mystery it seemed to originate in, through the secret inspiration that fed it and through its old-fashioned lyricism which was

*More than a century ago Europe was not yet known as a cultural construction, an intellectual day-dream, a heap of broken images, a copy in a world without originals. Artists tried to escape the big fortress ensconced in coal smog and torn by wars, social conflicts, and

Urmuz was a great revelation to our generation, and it is reassuring to note that he was that to all generations, indeed: a providential personality, a Christopher Columbus reborn, the founder of a different America, of game and freedom; a native, solitary genius, perhaps

IA well-ventilated apartment consisting of three rooms, glass-enclosed terrace and a door-bell. Out front, a sumptuous living-room, its back wall taken up by a solid oak book-case perennially wrapped in soaking bed-sheets… A legless table right in the middle, based on

(17. 03. 1883 – 23. 11. 1923)Through Urmuz, Romanian Surrealism is previous to the French one and independent. Leaving behind the trivial objective chance, Breton thought it fit to use the inner chance, i. e. that chance grouping of subconscious elements which are not

Artists are wanderers par excellence. This is the case not only for the itinerant artists of the Middle Ages, those architects, stone-carvers, painters and stained-glass artists that moved their workshops all around Europe, building and embellishing cathedrals here and there.

We are four university professors, invited here in the year 2000 (we have started to use this number with a certain panache) for conferences and for negotiations concerning a possible world congress of the International Society for Comparative Literature – one from Germany,

The summon sounded imperative, I had positive interests, thank goodness – I was to receive by the hands of professor Cioranescu the second volume of his memoirs - this, as he had no intention of coming to the country this year – moreover, my curiosity was not inconsiderable.

Lisbon, a town whose name comes from the mythical traveler Ulysses – so they say – , illustrated in the Middle Ages by so many navigators and explorers curious and eager for adventure, shows to the visitor first its drowsy side. It is true that I first visited it on

We are stepping in on a realm of legend. My reader undoubtedly knows the thrill of finding himself in places bearing a special aura. Something memorable has occurred there. Not necessarily a glorious, heroic deed, a moment of history, but an act of spirit (pardon my grandiloquence!)

(Constantin Golescu, Notes on My Travel, drawn up in 1824, 1825, 1826. Reprinted and accompanied by an introduction by Nerva Hodos, Bucharest, 1910)excerptsWhen today a Romanian travels in all European comfort, by railway; when he can, even without changing car, get to Paris