Her idol is overwhelming and astral — even more, it is the center of fire and light of this world. Such a love is nothing but a hopeless devotion. And the equation of the love relationship sticks to the same terms: he — a fascinating sun, regenerating star, life giving planet; she — the victim of this fatal seduction.
Love is always a substance made out of fire and light, not only in moments of pain, but also in joy.
The ethos that the poetess would enjoy is, hence, the one of the intense living, of ravaging pain, life in its dramatic burning. Hence, not the domestic sweetness and the peaceful ray of feelings; of course, this is just a momentary burst of resentment, which Matilde cultivates from time to time, when in anger and deception. Until this death, life is nothing but pure melodrama made out of small — and short — joys and happy moments, in an ocean of prolonged suffering, that the poet is trying to immortalize.
Otherwise, the text is merely a text Not without reason, Alex.
All this insignificant ritual, narrated in borne darcade occasion suisse anti aging monotonous style, does not differ at all from the scenes of our daily existence, but, by using it, the poet does the exegesis of some feelings or emotions of a decisive importance. Similarly, Mircea Ivanescu has significant affinity with the poetry of the 80s, both in the tectonics of lyrical imagery and poetic instruments, remarkably noted, with fine critical insight, by Al.
In many of them, even if only accidentally, the ritual of typical chattering, specific to M. Ivănescu, is also identified.
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It has also been noticed that M. They are, actually, variations of the same theme. In fact, the titles of his books are representative for this vocation of rendering the anonymity and for the poetics of the ordinary that the poet stages: Verses, Poems, Poetry, PoesiiPoem, Other verses, Other poems, new Poems.
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Its fundamental lack of equilibrium occurs at the level of sensibility, where its process of enlightenment reaches a stage of inflation, which pushes the real down a slope of loss or just alienation.
The livresque mediation between the poet and the world is an exaggerated one, a magniloquence of borne darcade occasion suisse anti aging. For the poet, the universe is a place of permanent metamorphosis, a transitory and ambiguous space, configured in the most disconcerting manner. Hence, the need of the lyrical self to trace an ideal peace, a protective territory of fiction, of imaginary, of staging his own voice, his own destiny.
The world is thus transferred to a fictional and playful level. Ivănescu being, as Al. But this skipping of privileges was nothing but the beginning of total degradation: the poem was deprived of its elementary and natural rights. The creative principle has found itself in the abyss, suffocated by the void around.
The events, the scenes, the parables in these poems with a self-telling touch are written in a minor tonality, drown in anonymous graphics pushed to the limits of neutrality.
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The poetic register is thus the playful one, in which great themes are rendered futile, and experiences are written with the fragile nib of scholastic aestheticism. Moreover, M. Ivănescu is the one that recants the Mallarmean postulates of lyrism, recovering the biographical and narrative line, bringing into poems of limited semantic proportions, the common language with its clichés and triviality.
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On the contrary, he descends from affinity and it is to this one that he wants to give consistency. On the one hand, by using the most improper language for poetic vocation, on the other hand by making the suggestive or imaginative performance irrelevant.
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The entire poem is nothing but a continuous search of self-identity in a monotonous rhythm and internalized glimpse cast upon himself. Actually, Indoor Scene brings to light the tendency to demystify the serious poetic themes, which are placed in a ludic register and treated with familiarity, with certain burlesque instinct, with ironic and self-ironic detachment. It seems that even reality loses referential attributes and the data are transferred, within the space of the poem, life in a mirror that deprives things of weight, mirroring only the spiritualized image, totally dematerialized.
The poem Indoor Scene is written in a similarly epic register, with representation of borne darcade occasion suisse anti aging lyrical characters, 14 of small events fugitively sketched, with reproduction of dialogues; all these ways of figuring the epic serve only to induce an idea that transcends them, to suggest a certain sacral substratum, hardly maintained by reserved gesticulation, by the anonymous drawing of the phase, substratum which is buried in the dense, thick slag of the profane.
Mopete and hypostasis is such a poem that reveals Mircea Ivănescu poetics and poietics. It is a text structured on the principle of self-referentiality, that is the reflection of the poem, exactly the poem that is about to be created, in the most relevant structures, in its integrating dynamics.
His being is twice fictionalized: once by the author, by M. Ivănescu, and the second time by himself. The closed space of the poem does not encourage expansions of enthusiasm towards the world, but on the contrary, the reality is forced to an existence through mandate, an inhibited, retractile existence.
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Actually, the same experiences, sentimental states, gestures and events creep through the body of the poem, in a universe where the ephemeral becomes eternity and the insignificant receives the brightness of exultant symbolism. His entire production is merely a bitter reversal, in many ways, the same states, attitudes, backgrounds, as to indicate a resistance to dissolution, a stop at all costs.
Structurally, the poem can be divided into three lyrical sequences. The first sequence of the poetic text is rather a meditation on the hypostases of a symbolic animal figure, with a literary and mythological tradition, that of the cat.
The second sequence performs a translation of the poem, from animal symbolism to the figure of Socrates.
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And in this poem, the echoes of intertextuality, and the conventions of a metapoetic construction clearly loom. In the anonymous and insignificant universe configured by Mircea Ivanescu, mopete receives axiomatic value.
A lyrical hero that lacks ontic consistency with a seemingly imperfect countenance, with unfinished gestures, mopete is a livresque figure par excellence, especially by his ironic attitude and allusive character, briefly sketched in a few elusive traits. Moreover, the poet places particular emphasis on surfaces, on the apparent aspect of things and beings, without having the intention to fix their essence, or to devote himself to the metaphysical fervor around them.
It seems that we live and move in an illusory world, that nobody and nothing has the consistency of reality and that eventually everything is a sham. It is as if, only an impersonal and neutral poetic instance would establish 17 the same vision full of agony, structured by an ostentation of absence, of plesnind fata pentru riduri emptiness.
The poems from the Mopeteiana cycle are structured through the lyric effects of a permanent game between the disconcerting space of reality and that of fictional universe. He - other? Feelings are, in other words, transferred to the space ridurile de sub ochi cauzează la femei automatism, the dynamics of life takes a rigid aspect and the uniqueness degrades to a mass product.
In his poetry, Mircea Ivanescu does not create a proper inner space, but rather a space of interiority, given in fade lines, frames and colours tratament cearcane natural a neutral tonality and reserved timbre.
The cultural tics of the hero, bring about the suggestion of the livresque, a parody livresque, but with ironic innuendos.
The poet treats his characters, like a director, highlighting a diverse range of attitudes, from ironic complicity to expressive mimicry, to denunciation of automatism, of livresque tics or some caricatural deformations. The projection of the existential fact into the area of the aesthetics, of artistic convention does not necessarily exclude the proximity of these lyrical visions to the territory of the dream.
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His texts materialize, in fact, a strategy of getting closer to the outer or the inner world, both blurred, inconsistent and menaced by death. The lyrical vision designated here is one impregnated with livresque reflexes, with ironic and parody accents, tonality being in harmony with the atmosphere evoked: calm, neutral, briefly designated, in a few fugitive touches, no less suggestive.
Bibliography: Al. Cistelecan, Poezie şi livresc, Ed. Cartea Românească, Bucureşti, ; Al.