Studia Universitatis Babeş-Bolyai
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THE NOVEL GOES UTOPIA: ON VOLODYMYR VYNNYCHENKO’S THE SUN MACHINE
Get PDFThe Novel Goes Utopia. On Volodymyr Vynnychenko’s The Sun Machine. This article contributes to the project of “un-noveling” literary theory by drawing attention to the homogenizing tendency in (world-)literary theory, caused by its strong focus on the genre of the novel, however global and all-encompassing that genre may be understood. In order to discern the limits and limitations of the novel, it is examined in opposition to utopia. In particular, a discussion of Volodymyr Vynnychenko’s bestselling “utopian novel” The Sun Machine (1928) and its critical reception draws out a host of critical-theoretical presuppositions related to the novel and questions of aesthetics, politics and narrative. An “unnovelistic” genre of utopia also invites a brief discussion of the semiotic method of reading (for) utopia and the problem of binary oppositions for literary theory more generally. It is through these two angles that the article proposes to address the overarching theme of the special issue, post-novel, and one of its sub-interests – the interpretive methods grounded in semiotics.
REZUMAT. Romanul spre calea utopiei. Despre Mașina Soarelui de Volodymyr Vynnychenko. Acest articol contribuie la proiectul deconstrucției genului romanesc în teoria literară prin descrierea tendinței de omogenizare din teoria (mondial-)literară, cauzată de focalizarea acesteia asupra genului romanesc, oricât de global și atotcuprinzător ar fi acesta înțeles. Pentru a discerne limitele și limitările romanului, acesta este examinat în opoziție cu utopia. În special, o discuție a „romanului utopic”, bestsellerul Mașina Soarelui (1928) de Volodymyr Vynnychenko și a receptării sale critice, scoate la iveală o serie de presupoziții critico-teoretice legate de roman și de chestiuni de estetică, politică și narațiune. Un gen non-romanesc al utopiei invită, de asemenea, la o scurtă discuție despre metoda semiotică de a citi (pentru) utopie, dar și despre problema opozițiilor binare în raport cu teoria literară în general. Prin aceste două perspective, articolul propune abordarea temei generale a numărului special, post-romanul, și a unuia dintre sub-interesele sale – metodele interpretative întemeiate pe semiotică.
Cuvinte-cheie: roman, „roman global”, utopie, ficțiune ucraineană, teorie literară mondială.
Article history: Received 15 June 2025; Revised 31 August 2025; Accepted 05 September 2025; Available online 24 September 2025; Available print 30 September 202
CULTURAL TRAUMA AND CONTEMPORARY WOMEN’S WRITING. THE CASE OF SAȘA ZARE’S SOMATIC SCRIPTOTHERAPY
Get PDFCultural Trauma and Contemporary Women’s Writing. The Case of Sașa Zare’s Somatic Scriptotherapy. Situated at the crossroads of Literary Studies, Trauma Studies, and Memory Studies, this paper examines the conceptualization of “cultural trauma” within trauma theory and its representation in Sașa Zare’s contemporary writing (Dezrădăcinare [Uprooting]) (2022), while also addressing the emergence of a new genre informed by these concerns. The aim of this study is threefold. First, I analyze the contested concept of cultural trauma and its relationship to both clinical studies and women’s writing. Second, I extend Suzette A. Henke’s notion of “scriptotherapy” into somatic scriptotherapy and investigate the emergence of a new genre within contemporary women’s literature. Third, I explore the cultural and traumatic representations of motherhood, alongside the somatic dynamics of the mother–daughter relationship in Dezrădăcinare by Sașa Zare. The principal conclusions of this paper may be summarized as follows. First, Dezrădăcinare demonstrates that the expansion of writing into the exploration of traumatic stressors and processes of individual transformation requires a broader conceptualization of trauma, such as that advanced by theories of cultural trauma. Second, it reveals that the interrelation of procedural memory, therapeutic reenactment, and traumatic outcomes in contemporary women’s writing necessitates the articulation of a new genre. Finally, it shows how different forms of clinical trauma, such as enmeshment, attachment, and developmental trauma, are inextricably bound to the embodiment of motherhood and to the bodily entanglement of the mother–daughter relation.
REZUMAT. Trauma culturală și literatura contemporană feminină. Analiza critică a scriiturii somatice în opera Sașei Zare. Situat la intersecția dintre studiile literare, studiile despre traumă (Trauma Studies) și studiile despre memorie (Memory Studies), acest articol examinează conceptualizarea „traumei culturale” în cadrul Trauma Studies și reprezentarea sa în Dezărădăcinare (2022) de Sașa Zare, abordând totodată emergența unui nou gen literar modelat de aceste preocupări. Demersul de față are trei obiective majore. În primul rând, analizez conceptul controversat de traumă culturală și relația sa atât cu studiile clinice, cât și cu scrierile feminine. În al doilea rând, extind noțiunea de „scriptotherapy” propusă de Suzette A. Henke în somatic scriptotherapy și investighez apariția unui nou gen în literatura feminină contemporană. În al treilea rând, explorez reprezentările culturale și traumatice ale maternității, alături de dinamica somatică a relației mamă–fiică în Dezrădăcinare (2022) de Sașa Zare. Concluziile principale ale acestui studiu pot fi rezumate astfel. În primul rând, Dezrădăcinare demonstrează că extinderea scrisului către explorarea factorilor traumatici și a proceselor de transformare individuală reclamă o conceptualizare mai amplă a traumei, precum cea avansată de teoriile traumei culturale. În al doilea rând, evidențiază că legăturile dintre memoria procedurală, reactualizarea terapeutică și consecințele traumatice în scrierile feminine contemporane necesită articularea unui nou gen. În cele din urmă, ilustrează cum diferite forme de traumă clinică, precum enmeshment, attachment, și developmental trauma, sunt inextricabil legate de maternitatea privită ca embodiment și de interdependența corporală a relației mamă–fiică.
Cuvinte-cheie: traumă culturală, scriptoterapie somatică, literatura contemporană scrisă de femei, Dezrădăcinare, literatura est-europeană, memorie procedurală, enmeshment trauma, developmental trauma, attachment trauma.
Article history: Received 15 July 2025; Revised 06 September 2025; Accepted 09 September 2025; Available online 24 September 2025; Available print 30 September 202
FICTION ET MÉMOIRE D’UNE ROUMANIE OUBLIÉE. ENTRETIEN AVEC LILIANA LAZAR AUTOUR DU ROMAN ENFANTS DU DIABLE
Get PDFLiliana Lazar a grandi dans un village près de Iași où son père exerçait comme garde forestier. Elle a étudié la littérature française à l’Université Alexandru Ioan Cuza de Iași. Elle s’installe en France en 1996 et réside à Gap, au pied des Alpes. Auteure francophone, elle écrit en français plusieurs romans : Terre des affranchis (Gaïa 2009), Enfants du diable (Seuil, 2016), Carpates (Plon, 2024). En 2010, son roman Terre des affranchis lui vaut le Prix des cinq continents de la Francophonie parmi d’autres prix obtenus : Prix Première des auditeurs de la RTBF (2010) et Prix Littéraire Québec-France Marie-Claire-Blais (2011).
Dans son deuxième roman, Enfants du diable, Liliana Lazar plonge le lecteur dans la Roumanie profonde des années 1970 – 1990, une époque où la propagande du « brillant avenir » ne parvient plus à tromper personne. Le village de Prigor, niché dans la plaine moldave, devient le théâtre d’une tragédie dictée par le destin et aggravée par la directive absurde d’un dictateur : encourager à tout prix la natalité au nom du patriotisme, quitte à condamner de nombreux enfants à l’abandon dès leur naissance
The Paradox of the Self. Beyond Identity
Get PDFIn 2023, the invasion of the stage during a performance by the trans woman Keyla Brasil at a theatre venue in Lisbon, as part of a protest that claimed for the visibility of transgender performers, spawned numerous reactions. One of the most common was that such action meant an offense to the principle of theatrical representation and the ‘art of acting’. This idea of theatre as a place of illusion, where the self presents itself as the non-self, is commonly accepted as an interpretation of Diderot’s The Paradox of the Actor, but we are convinced that describing Diderot’s idea of the actor as someone who never seems to be himself is not an accurate interpretation. We will therefore read Diderot’s paradox following two postmodern interpretations by Lacoue-Labarthe and Eyal Peretz and adding the contributions of biologists who have been working with recent microbiological knowledge that challenges notions of One and the Individual. Our goal is to describe the action of Keyla Brasil not as an ‘interruption’ of a performance but as a complex intersection of (re)presentations that think with each other, destabilizing epistemic boundaries between one and the other, actor and character or performer and audience. We are convinced that the descriptions and vocabulary that emerge from this discussion will allow us to cast a new light not only on Diderot’s idea of the actor but also on Keyla Brasil’s action, taking us a step further in Lacoue-Labarthe’s and Peretz’s considerations on the self and the actor
The Avatars of Trauma in Art. Anca Hațiegan, Ciulei și spectrul tatălui. O psihobiografie, București, Editura Litera, 2024
No full textWithout a doubt, the volume Ciulei și spectrul tatălui (Ciulei and the Specter of the Father), subtitled A Psychobiography and published in 2024 by Litera Publishing House in the Perspektiv collection, stands out as a landmark editorial release in the field of dramatic arts in Romania. This is not only because it recalibrates the public image of one of the most prolific Romanian theatre figures of recent history, but especially because the author displays a filigree-like meticulousness, capturing the facets and nuances of a Renaissance-like personality in a complex lacework full of revelatory beauty and rough edges. Anca Hațiegan takes on a courageous epistemic mission by openly embracing and rehabilitating biographism – a method she knows entails the risk of fictionalizing speculation. Yet, the success is all the more remarkable as the final product maintains a flawless balance between scientific rigor and the almost novelistic suspense of the actual reconstruction. Thus, a rare feat for a scholarly book, The Specter of the Father becomes a fascinating read both for the researcher or theatre professional used to thorough documentation, and for the more casual reader seeking a literary interlude in daily routine. Beyond these elements, the book also serves as a valuable theatre studies tool, not only because of the vast and well-founded information it contains, but especially due to the analytical model it proposes. This model hones the reader’s observational skills and axiological instincts beyond the narrow domain of aesthetics. There is, however, a secondary, though not accidental, dimension to this research: the portrayal of an era, with its oppressive atmosphere and the anticipatory effervescence typical of turning points or transitional periods. The specific case of the Ciulley family, though not necessarily representative or typical of interwar or postwar Romanian society, reflects in mirror shards a broader historical context, which can be reconstructed in the background of an otherwise exceptional story. The public uproar around the homicide trial involving the father of the future theatre man – the newspaper reports, the petty satisfaction of the public in trampling through the tabloid press into the intimacy of a family on the brink of dissolution – did not occur in a vacuum. On the contrary, they resulted from a tangible social tension and extended a collective mindset in search of escapist diversions. Similarly, Liviu Ciulei’s artistic destiny unfolds against a backdrop of collective trauma and constant ideological pressure. By tracing the persecutions endured by the director-actor-scenographer, Hațiegan’s reconstruction naturally leaps from personal biography to a larger historical perspective
Results on ϕ-like functions involving Hadamard product
Get PDFIn this paper, we derive a differential subordination theorem involving convolution of normalized analytic functions. By selecting different dominants to our main result, we find certain sufficient conditions for ϕ−likeness and parabolic ϕ−likeness of functions in class A.
Mathematics Subject Classification (2010): 30C80; 30C45.
Received 25 February 2025; Accepted 31 May 202
Global well-posedness for the generalized Keller-Segel system in critical Besov-Morrey spaces with variable exponent
Get PDFThis article is devoted to studying the generalized Keller-Segel system (GKS) in homogeneous variable exponent Besov-Morrey spaces. By making use of the Littlewood-Paley theory and the Chemin mono-norm methods, we obtain, when 1/2< β ≤ 1, a global well-posedness result for GKS system with small initial data in the critical variable exponent Besov-Morrey spaces N_{r(·),q(·),h}^{-2β+ n/q(·)}(R^n) with 1 ≤ r(·) ≤ q(·) < ∞, 1 ≤ h ≤ ∞. In the limit case β = 1/2 , we show the global well-posedness for small initial data in N_{r(·),q(·),1}^{-1+ n/q(·)}(R^n) with 1 ≤ r(·) ≤ q(·) < ∞.
Mathematics Subject Classification (2010): 35A01, 35R11, 58J35, 42B25.
Received 24 February 2025; Accepted 11 April 2025
Performance Transcription as a Variety of Musical Interpretation: An Example of Johann Sebastian Bach’s Prelude and Fugue in C Minor BWV 549 Arranged for Button Accordion
Get PDFThe article is devoted to consideration of the specifics of performance transcriptions as one of the varieties of musical interpretation, focusing on the development of accordion repertoire, particularly the transcription of baroque polyphonic compositions. The aim is to explore the interpretative aspects of J.S. Bach’s Organ Prelude and Fugue in C minor BWV 549 adapted for accordion, considering the instrument’s technical and acoustic characteristics, as well as playing techniques. Through a comprehensive analysis, it demonstrates the importance of transforming the timbre of the organ piece to suit the accordion’s sound while capturing its figurative and ideological essence through diverse technical approaches to button accordion performance. Considering the textural intricacies of polyphonic compositions, their transcriptions for accordion are regarded as interpretive “renditions.” The performance interpretation of such pieces involves not only the faithful reproduction of the musical score but also the utilization of a range of technical playing techniques specific to the accordion. The proficient amalgamation of these techniques’ hinges on a deep understanding of various musical and expressive devices, the nuances of musical language, and the structural organization essential for the professional transcription of an organ composition for accordion
Mixing Techniques: Between Technical Precision and Artistic Intent
Get PDFMixing is a critical phase in music production, defining a track’s sonic character and commercial appeal. Engineers employ EQ, compression, saturation, reverb, and automation to shape the final sound, adapting techniques to each genre’s distinct requirements. Pop music prioritizes vocal clarity, autotune, and harmonic layering, while rock relies on dynamic contrast, distortion, and analogue warmth. Jazz and folk emphasize natural acoustics with minimal processing, whereas electronic and dance music demand precise bass control and rhythmic cohesion. Industry leaders like Dave Pensado, known for innovative digital processing, and Stuart White, recognized for his efficiency and depth, exemplify the diverse approaches to mixing. Michael Brauer’s multi-bus compression technique highlights the blend of technical precision and artistic intuition. As genres evolve, mixing continues to adapt, ensuring music remains both commercially competitive and emotionally compelling
INNOVATIVE PROCESSES IN 20TH-CENTURY MUSIC: FROM THE AVANT-GARDE TO THE DIGITIZATION OF MUSIC
Get PDFThe musical art of the twentieth century is characterized by the rapid evolution of styles, genres, and expressive means, inspired by the development of technology, including in the field of sound recording and electronic musical instruments. The purpose of this paper is to provide a generalized overview of the innovations that appeared in music during the twentieth century and determined its stylistic diversity. The research methodology is based on an empirical approach that includes the analysis of musicological literature and the analysis of scores by composers from different countries who worked in different musical genres and made the greatest contribution to the introduction of the latest compositional techniques. It has been found that innovations in the music of the twentieth century affect the timbral palette and peculiarities of the pitch organization of the musical fabric. The renewal of timbral diversity is primarily associated with the development of electronic sound synthesis, which opens up opportunities for generating sounds inaccessible to acoustic musical instruments. By the end of the twentieth century, special synthetic sounds became the basis of electronic dance music, such as techno and house. Innovative methods of pitch organization refer to composers’ searches aimed at expanding or introducing alternatives to the classical tonal system. Such alternatives include modality, serial technique, and microintervals. These updates concern not only the author’s material, but also the methods of composer’s work with folk music - the combination of folk melodies with innovative harmonic and timbral solutions became the basis of neo-folklorism