TEFAN CAZIMIR Universitatea din Bucureti Partidul Liber-Schimbist Biografia partidului liber-schimbist se consum la grania dintre existenial i estetic,

tinznd s o estompeze pn la disolulie. realitate a descins din ficiune, dar a conservat integral nostalgia originii sale. !n asemenea condiii, o posibilitate mereu deschis, sinonim "n definitiv cu fatalitatea genetic, este parcurgerea drumului invers, adic "ntoarcerea rului la izvor. #storia partidului liber-schimbist este o ampl not de subsol la o replic a Scrisorii pierdute. $estinul operei lui %aragiale, la peste un secol de la plmdirea ei, "nregistreaz astfel un avatar unic, pe care nicio alt oper nu l-a trit pn astzi i e improbabil c-l va tri "n viitor.

LUMINIA !AR" C"R"UU Universitatea &'lexandru #oan %uza( din #ai #e$baterea tele%i$at& r'm()easca actual&* Studiu de ca$ )tudiul nostru reunete cteva observaii referitoare la condiiile speciale de desfurare a dou dezbateri televizate, "n contexte situaionale speciale ale comunicrii. 'bordm cteva aspecte care au aprut "n cadrul a dou

interaciuni mediate controlate *de tip dezbatere televizat+. )tudiul analizeaz tal, sho--ul din cadrul emisiunii televizate Garantat 100%, tal, shomoderat de ctre %tlin .tefnescu, invitat fiind /igi %ciuleanu, coregraf i dansator, romn din diaspor. $e asemenea, lucrarea include o analiz de caz a dezbaterii televizate Nocturne, al crei moderator este 0arina %onstantinescu i al crei invitat este /igi %ciuleanu.

C!NSTANTIN SC IFIRNE, .coala 1aional de )tudii 2olitice i 'dministrative Pers'a)a+ ,ers')alitate -i ,ers')a. ,'litic /) s,a0iul ,ublic* Pr'1esi')istul -i 'mul de %'ca0ie

2R3N#UA AM"L"NCEI Universitatea &3asile 'lecsandri( din Bacu Mi$anscena a strategiilor persuasive in publicitate

!#ETTE AR IP Universitatea 4cologic Bucureti

Film bet4ee) Per1'rma)ce a)d Realit5 5he 'ustrian director, born in /erman6, 0ichael 7ane,e, suggests a ne- relation bet-een fiction and realit6 in his creation, Funny Games. 7is artistic attempt 8oins the ample and modern current of metareferentialit6. 5he classical, linear characters are doubled b6 para-characters and the se9uence of events is offset b6 the s6mbolic significance of man6 meta-referential elements. 5he doublet 2eter and 2aul ta,e charge of a non-conventional filmma,er -ho defies 7oll6-ood-stereot6pes and disestablish traditional norms. 5he ludic appearance predominates over the movie in -hich nothing is predictable and there is no happ6-end. 5he elements having a tragic connotation and exemplif6ing fortuna labilis topos conve6 a more serious message and grievious significance about the meaning of life. 5he comic aspect is exhibited b6 the doublet 2eter2aul and highlights these features. 5his comic drama unites in a single game the loss of suffering, 8o6s and future. 0eta-referential aspects abolish the border bet-een fiction and realit6.

ELENA 2"ICEANU 6P7RL!89 Universitatea &.tefan cel 0are(, )uceava

#ublul A)ti,a 'ntipa est un personnage 9ui :tait de l;int:r<t de la criti9ue depuis la parution du roman de /eorge Bli, Lumea n dou zile. Un ins commun, v:g:tatif dans la premi=re partie du roman, il a un destin m6thi9ue> chercher son identit: et son but dans le monde. ?a structure de ce personnage se r:v=le, dans le st6le propre de l;auteur, @ travers un s6st=me complexe de miroirs, s6st=me se composant des consciences d;autres personnages. A:gi par les deux pr:sences f:minines, Belicia et )ilvia, l;univers d;'ntipa oscille entre Domestica et Infernalia, fait 9ui imprime au personnage le statut de caract=re ind:cis. #l est un navetteur. Aestent fixes seulement les deux id:aux f:minins, dont le rCle est de mettre en :vidence le progr=s du h:ros. ?ui-m<me un miroir de soi auctorial, l;ordinaire 'ntipa :volue naturellement vers l;int:riorisation. TATIANA CI!C!I Universitatea de )tat din 0oldova A :()di )e:()ditul; Elsa M'ra)te <i ima:i)arul %ie=ii di)ai)te de %ia=& )tudiul reprezint o analiz a romanului racoeli *DEFG+, semnat de 4lsa 0orante, scriitoarea de cult a prozei italiene din secolul al HH-lea. !n ciuda rigorii psihanalitice, racoeli

este un document psihanalitic iconoclast i iconostrof, plin de amrciune i deprimare privite cu o suprem luciditate metafizic i caracterizat de o remarcabil absen a locurilor comune ale metafizicii, al cror bilan e redus la o unic i fatal esen> amorul etern pentru corpul mamei din care am fost smuli. 4manuele, protagonistul narator, este un brbat de patruzeci i trei de ani otrvit de angoasa existenial, un mizantrop morfinoman, homosexual i un ratat superior condamnat la o &respingere fr remediu,( care "ntreprinde o cltorie real, dar nu mai puin delirant pentru aceasta, la 4l 'lmendral, ara de origine a mamei sale andaluze, 'racoeli, ce corespunde unei re"ntoarceri "ntr-un trecut apocrif, "n corpul mamei. !n acest sens, meritul romanului morantian, "nainte de oricare altul, const "n invenia lexical capabil s exprime senzaiile proteiforme ale unei &nostalgii uterine(, s descifreze mesa8ele cifrate ale unei existene &subacvatice,( ale unei ancestraliti biologice provenite din &oceanul placentar.( %ontrar attor Ulii ai modernitii, voia8ul gnoseologic al lui 0anuele este o reconstrucie a &amintirilor apocrife( despre &flora oniric,( &bacilul vizionar,( &celulele beatificate,( &protoplasma,( &impulsurile endogene,( &repaosul afazic( i &starea preagonic,( apoi &talazurile apocaliptice( ale aruncrii pe lume. 4lsa 0orante este astfel creatoarea unui prim imaginar literar al vieIii dinainte de viaI.

CRISTINA C3RTI"-2UZ!IANU Universitatea &3asile 'lecsandri( din Bacu R'ma)ia has ceased t' >ee, sile)te? The mis-e)-sc@)e '1 the ABCA ,ublic s,ace 5his paper attempts to anal6ze the messages sent b6 protesters in the Januar6Bebruar6 period of GKDG, as the6 -ere described in the national press in Aomania. 5hus, -e aim to identif6 the central messages around -hich protesters channeled their grievances as -ell as the importance of each categor6 of actors. Le must ma,e note of the fact that these protests -ere initiall6 ignored b6 the political class, being seen as local actions, though later, due to their breadth and duration, the6 proved to be the most significant democratic forms that Aomanian civil societ6 has ta,en since DEFE.

#!INA CMECIU Universitatea &3asile 'lecsandri( din Bacu Theatricalit5 a)d ,'6i9eticit5 i) 1icti')al disc'urse Lhat does theatricalit6 in fictional discourse meanM Lhat is the relation, or is there an6 relation, bet-een theatricalit6 and

po*i+eticit6 in fictionM 7o- could a human beingNs acts of being theatrical in ever6da6 social life be represented in and through fictionM Lhat is a pla6Ns theatricalit6M Lhat strategies does an author use in order to foreground the performative behavior of characters *perceived as cultural beings pla6ing identitar6 roles+ in a fictional textM 7o- should such a text, -hich contains -ithin its Ofictional borders( three genres -ith their specific modes of representation, be calledM 5his paper is an attempt to give a brief ans-er to some of the above-mentioned 9uestions, -hile having 0. de %erteau *DEFF+, $. %meciu *DEEE+, P. 4lam *GKKG+, 4. Bischer-?ichte *DEEG+, ). )ontag *DEQQ+, '.Ubersfeld *DEEE+, 3.Loolf *DERS+ as theoretical support and 3irginia LoolfNs !e"teen t#e cts *DETD+ as an illustrative example of -hat reenactin$ Otheatrical acts( can do in a communit6Ns ever6da6 life.

SILDIA C!MANAC 6MUNTEANU9 Universitatea &.tefan cel 0are( )uceava The 4'ma) E 1r'm puppet t' puppeteer i) the ,la5s b5 e)ri> Ibse)+ 8* 2* Sha4 a)d Camil Petrescu 5his paper aims to present a 8ourne6 through the spiritual universe of -omen, tr6ing to understand the soul of feminine characters acting in different ages or situations . 5he

authors from different bac,grouds and cultures describe t-o categories of -omen in a realistic manner> on the one hand, the -oman appears to be inferior, mediocre, that;s -h6 she turns out to be incapable of ma,ing a radical gesture. Lomen as 0aria )ineti, Aoxana, 1ora #onescu, even #rene are dependent on their husbands or lovers, because of their lac, of courage to escape to the land of freedom. n the other hand, the second categor6 includes female characters as 1ora or ?iza $oolittle, -ho become a-are of their existence after a series of initiator6 experiences, thus giving up their st6le of life and status of mere puppets. 5his -omen choose freedom as a supreme value of life and their independence

ECATERINA CREU Universitatea &3asile 'lecsandri( din Bacu As,ects de la mise e) sc@)e de lFes,ace de ,assa:e ?Nacte dNhabiter, entendu comme organisation de la spatio-temporalit: 9ui sNouvre aussi bien sur un sens m6thico-religieux 9ue sur un sens moral, sNinscrit dans un &tra8et anthropologi9ue( */. $urand+. %ela suppose une interd:pendance des composants naturels et des donn:es culturelles, entre les besoins biops6chi9ues et le d:terminisme du milieu socio-culturel.

1otre d:marche part de lNh6poth=se 9ue le village et la maison moldaves sont pour lNhomme traditionnel non seulement des espaces fonctionnels, mais aussi des r:alit:s s6mboli9ues assum:es par les membres de la communaut: par lNinterm:diaire des prati9ues, des rituels m6thico-religieux. %Nest pour9uoi le s6st=me d:nominatif de lNaire s:manti9ue de lNhabitation et du passage est abord: selon la perspective de la &linguisti9ue int:grale( *4ugeniu %oeriu+ et combine des informations de nature ethnolinguisti9ue, ethnographi9ue et m6thologi9ue. ?Nextension de la signification de certains mots appartenant @ la terminologie de la maison traditionnelle> %estibule& porti'ue& %(randa s)a%*re +tre , la fois la cons('uence du mar'ua$e myt#ico-symboli'ue de la r(alit( d(si$n(e. /ela prou%e 'ue l)#abitation n)est pas seulement un acte social& de culture et de ci%ilisation mat(rielle mais aussi une mani*re d)e0pression de l)identit( et#ni'ue et de la relation indissociable entre l)+tre #umain et la lan$ue *0. 7eidegger+.

LUMINIA-8E!R8ETA CREU ?iceul &0ihai 3iteazul( Bucureti Sur le )'mbre et la )umGrati') da)s LInfini de 8erhard RHhm

?e nombre se voit, dans la pr:sente approche, comme une mani=re dNexprimer la situation de lN<tre humain par rapport @ la tra8ectoire de la vie, @ soi-m<me et @ l;univers, par la connaissance rationnelle et s6mboli9ue *repr:sent:e par des techni9ues de lNiconotexte+. ?a num:ration d:finit, dans le UtexteV de /erhard AWhm, la condition humaine, des attitudes existentielles, aspiration et limites, en les situant de point de vue axiologi9ue, comme nous essa6ons de le mettre en :vidence dans le cadre de lNoeuvre de %. Brancusi, sous le signe de l1Infini.

I!AN #"NIL" Universitatea &3asile 'lecsandri( din Bacu D'cabularul r'm()esc i)i0ial E ,ater)it&0i cara:ialie)e ?a nouvelle s:rie du U$ictionnaire de la langue roumaineV apporte lNinformation 9ue lNXuvre litt:raire ou les articles de 8ournal sign:s par #.?. %aragiale comprennent de nombreux lex=mes enregistr:es pour la premi=re fois en Aoumanie, et le U2etit dictionnaire acad:mi9ueV *GKKD-GKKS+ contient la m<me description laconi9ue. ?e r:sultat est un tableau linguisti9ue int:ressant, 9ui :tablit les paternit:s lexicales de %aragiale dans divers domaines. ?a consultation des deux oeuvres

lexicographi9ues devient obligatoire, parce 9ue ce 9ui est signal: en 0$' *?e 2etit $ictionnaire de l;'cad:mie+ appara"t dNune mani=re d:taill:e dans le $' *$ictionnaire de l;'cad:mie+ et la compatibilit: s:manti9ue n;est pas tou8ours respect:e *cNest le cas du lex=me sport, par exemple+.

LUMINIA #RU8"+ NA#IA NIC!LETA M!R"RAU Universitatea &3asile 'lecsandri( din Bacu The e%il 1'rces %s* the R'ma)ia) social Christianism E the Imis-e)-sc@)eJ '1 the Last Judgment 5he medieval imaginar6 has turned the figure of the devil into the focal point of a large spectrum of negative images. 5hrough the devilNs incarnation, our imagination embodies evil into an adverse, perverse and cunning force. 5he threatening scenario of the ?ast Judgment, -hich is fre9uentl6 depicted iconographicall6 at the entrance of rthodox churches and monasteries, is meant to provide a concrete anthropomophic representation of -hat is a-aiting the sinners fallen pre6 to these evil forces upon $oomsda6. 5he victims of Osocial %hristianism( *)tnescu, DEDS+ -ere considered one after the other as deserving blame for their belonging to a specific ethnic group *5ur,s and Je-s+ or for their occupation *ba,er, grocer, shoema,er+ Y consistent enough

and -ell-founded reasons for their getting into 7ellNs river of flame. 5his paper proposes a presentation of the -a6s in -hich the rthodox %hurch has pro8ected a *historical+ time-dependent image of public enemies and agents of evil forces and, thus, Ooriented( the collective perception in intert-ining -ord and image through eschatological discourse. 5he theoretical bac,ground of our approach is provided b6 LunenburgerNs theor6 *GKKT+, -hich considers that the image generated -ithin a perceptive act can even substitute the ob8ect and become a representation of the surrealZunreal. Le also embrace 3an ?eeu-enNs *GKKR+ social semiotic perspective in interpreting religious signs as multimodal forms of semiotic production and -e focus on the -a6 in -hich Opeople use semiotic [resourcesN both to produce communicative artefacts and events and to interpret them in the context of specific social situations and practices.(

C!NSTANA #UMITRIU+ IULIA CRISTINA TIM!FTI+ 8 E!R8 E #UMITRIU Universitatea &3asile 'lecsandri( din Bacu A,titude c'mmu)icati%e etK'u c'm,Gte)ce ,s5ch'li):uistiLue da)s la ,r'.ecti') et la rGalisati') du scG)ari' didactiLueM

%ette :tude est fond:e sur les d:veloppements r:cents dans le domaine de la ps6chologie, de la ps6cholinguisti9ue et des sciences de l;:ducation concernant le rCle des capacit:s et des comp:tences de communication, de la communicativit: comme aptitude p:dagogi9ue, de la communication assertive afin d;optimiser les relations dNinterconnaissance dans la pr:vention et la r:solution des situations de conflit, dans le d:veloppement et la mod:lation de la personnalit: humaine. ?N:tude vise @ d:chiffrer le rCle de lNaptitude communicative et de la comp:tence ps6cholinguisti9ue dans lNefficientisation de la communication didacti9ue et, implicitement, du processus :ducationnel au niveau de la pro8ection et de la r:alisation effective du sc:n*-+ario didacti9ue. RALUCA 8ALIA+ ELENA 2!NTA Universitatea &3asile 'lecsandri( din Bacu Li):uistic mar>ers '1 the r'les ') the classr''m sta:e 'n6 classroom interaction is dominated b6 a continuous series of performances in -hich teachers and students are positioned in particular -a6s, assuming and interpreting roles through ritualized behaviour. Both teachers and students Oenter the stage( full6 a-are that the6 have to perform a certain role and to confirm it

through their actions, so that their images could be confirmed. 5he aim of the present stud6 is to anal6se the linguistic mar,ers of the roles in the 4nglish class as seen b6 the Operformers( themselves, -ith particular reference to the Aomanian context. )tarting from theoretical perspectives on the roles pla6ed b6 teachers in the 4nglish language class, the paper tries to highlight the -a6 in -hich pre-service and inservice 6oung Aomanian teachers linguisticall6 portra6 their o-n roles and those of their learners.

LAURA-IRINA 8ADRILIU %olegiul 1aIional ,,/h. 3rnceanu( The sce)e '1 uttera)ce 4ithi) the didactic disc'urse 5he terms related to theatre -ere permenentl6 transferred and adapted to various epistemic environments so that a coherent model of explanation could be designed. Le also identif6 this trend -ithin the discourse anal6sis, in $omini9ue 0aingueneauNs -or,s, -ho describes the literar6 discourse -ith reference to the concept of (scene(. 5hus, the author, tr6ing to define the scene of profound utterance, identifies three complementar6 levels> (the exhaustive scene(, (the generic scene(, (the scenograph6(. #f the (exhaustive scene( suggests the terms of the contract

through -hich a text can be interpreted, the (generic scene( concerns the set of norms that describe different coordinates of the communication process. 5he (scenograph6( means the (scene of spea,ing implied b6 the discourse in order to be enounced and that, in exchange, has to confirm b6 its utterance(.

ANT!NIA 83RMACEA Universitatea din Bucureti Re,rese)tati')s '1 the Car)i%al a)d the 8r'tesLue i) Three Sha>es,earea) M'%ies 5he aim of this presentation is to sho-case representations of the carnival and the grotes9ue *from a Ba,htinian perspective+ in the follo-ing )ha,espearean movies> 2itus *DEEE+, S#a3espeare in Lo%e *DEEF+, and 2#e 4erc#ant of 5enice *GKKT+.

FL!RINELA FL!RIA+ PETR!NELA SADIN Universitatea &3asile 'lecsandri( din Bacu AltGritG eth)iLue* #isc'urs et mise e) sc@)e ?Nouvrage propose un aper\u de la probl:mati9ue de l;alt:rit: ethni9ue en contexte roumain, @ la suite d;une s:rie de

repr:sentations dramati9ues de l;autre dans le th:tre populaire des H3###e et H#He si=cles. 1ous allons aborder l;autre en termes de construction culturelle et discursive aux aubes de la constitution du sentiment de roumainet(, p:riode au cours de la9uelle le th:tre populaire faisait appel aux figures de l; (tran$er Y lN#talien, le 5urc, le Bran\ais, lN'rabe etc. $ans le discours dramati9ue du th:tre populaire, l;(tran$er sNinstitue comme une repr:sentation de l;exotisme, de l;alt:rit: lointaine, de lNips:it: par des mar9ues de la diff:renciation culturelle *le langage, le mas'ue+. ?es formes dramati9ues de lN(tran$er participent, de mani=re dialogi9ue, @ la construction de la propre identit:, nationale et ethni9ue, telle 9uNon essa6era de le prouver par notre anal6se, 9ui suivra les coordonn:es dNune socios:mioti9ue de lNalt:rit:.

A#RIAN NICU Universitatea &3asile 'lecsandri( din Bacu Emi)escuFs ,'litical disc'urse+ bet4ee) d') OuiP'te a)d Sisi1 #n m6 opinion, 0ihai 4minescuNs thin,ing can be described in terms of four ma8or lessons> the sociolog6 lesson, the economic lesson, the historical lesson and the political one. 4xcept his sub8ective and sometimes unfair attac,s, 4minescuNs political discourse goes be6ond

doctrines. 7e -as not -hat -e use to call a politician, but a 8ournalist -ho defended some principles> national identit6, economic independence, hard-or,ing and social e9uit6. ]et he developed a political discourse -hich # place bet-een $on ^uixote and )isif since 4minescu -as a-are of the uselessness of his fight and still continued it up to its last conse9uences. 5he 8ournalistic activit6 of the poet is defined bz an utoian dimension. 'lthough the term might sound old-fashioned, his discourse is a patriotic one, illustrating his fierce -ish to defend national identit6. 7is nationalism must not be ta,en for the nationalism of the GKth centur6, -hich became reprehensible, but accepted as a sincere manifestation of his love for his countr6 and people. Le must also ,eep in mind the fact that his nationalism is the nationalism of his age, as he developed in the second half of the DEth centur6 in 4urope.

NATAA MAQIM %olegiul 4conomic &#on /hica(, Bacu S1(rtecarea lui Ci'ra) FL!RENTINA P!PA Universitatea &0ihail Poglniceanu( #iscursul de rela0ii ,ublice /) c')di0ii de cri$&

!n situaiile de criz departamentul de 2A al organizaiei asigur interfaa cu publicul exterior. 0odul "n are face acest lucru, att din punct de vedere verbal, ct i paraverbal d credibilitate "ntregului demers. 'cest tip de discurs este interesant de analizat cum este pus in scen deoarece nu beneficiaz de un timp de pregatire prea lung_ uneori e necesar ca purttorul de cuvnt s apar "n faa presei imediat i s aduc lmuriri asupra unei situaii, iar 8urnalitii, "n astfel de cazuri, nu formeaza un public care saccepte o comunicare simetric. 'ceasta este tema pe care o supun analizei Y modul "n care performeaz un specialist "n 2A "n condiii de criz.

NIC!LETA P!PA-2LANARIU Universitatea &3asile 'lecsandri( din Bacu

R"ZDAN P!P!DICI-#IAC!NU Universitatea ,,'lexandru #oan %uza(, #ai The %ul)erabilities a)d s'cial ris>s '1 c'mmu)icati') i) the %irtual medium 5he role of virtual communities, electronic medium and social net-or, are essential for human life and form the basis of research for this paper. 5he development of ne- media

generated special ris,s for the contemporar6 societ6. 5he aim of this paper is to anal6ze the effects of online media upon the social life.

CRISTINA SCULI" Universitatea &.tefan cel 0are(, )uceava LRI):Gre)ce des 1'rmes thG(trales da)s la leS') de littGrature m'der)e ?es lois de l;:ducation moderne ont chang: la perception du processus cognitif, en insistant sur l;aspect formatif et moins sur l;apprentissage de l;information. ?a le\on vise @ former au comportement d;apprentissage @ d:velopper les comp:tences en communication orale et :crite des :l=ves. 'u nom de ce principe formateur du s6ncr:tisme artisti9ue, on cr:e un sc:nario p:dagogi9ue flexible et attra6ant. ?a litt:rature moderne suppose une anal6se compl=te, bas:e @ la fois sur le fait de d:chiffrer le texte et la version th:trale de l;Xuvre. 1ous pr:sentons ci-dessous la mani=re dont l;Xuvre th:trale s;inscrit dans la discussion d;un texte litt:raire moderne.

DASILE SPIRI#!N Universitatea &3asile 'lecsandri( din Bacu

Matei Di-)iec E lFaba)d') des m'd@les /et ou%ra$e vise @ montrer 9ue l;Xuvre dramati9ue de 0atei 3isniec ne peut <tre circonscrite enti=rement ni au th:tre de lNabsurde, ni au paradigme postmoderne. 0algr: le fait 9ue les pi=ces de lN:crivain d;origine roumaine cCtoient la dramaturgie sign:e par '. 2. 5che,hov, 4ug=ne #onesco et 5homas Bec,ett, elles ont leurs propres traits d:finitoires, ac9uis par lNassumation et la valorification cr:atrice des mod=les dont elles viennent, finalement, de se d:tacher. );il existe des :l:ments du th:tre de l;absurde, ils font sentir leur pr:sence surtout dans la premi=re partie de la cr:ation de 0atei 3isniec, dans la p:riode o` l;auteur n;avait pas 9uitt: la Aoumanie. 0ais ces :l:ments ne sont pas diversifi:es et dNautant plus moins d:finitoires, ainsi leur pr:sence :tant plus :vidente dans les livres de po:sie 9ue dans les :crits dramati9ues.

MARIANA T3RN"UCEANU Universitatea &3asile 'lecsandri( din Bacu 8esture a)d Theatricalit5 i) Persuasi%e #isc'urses 2aralinguistic elements *i.e. pitch, intonation, noises, along -ith facial expression

and bod6-language+ are, in most persuasiveargumentative t6pes of discourse, as important as verbal expressions. ur approach -ill be mainl6 focused on ever6da6 collo9uial and current political discourses as long as the6 encourage pragmatic, rhetorical, even artistic valences of the communication process. )ometimes, the protagonists involved as agents, persuaders and manipulators in such processes act Oartfull6( or tactfull6 b6 stirring emotions, inducing confusion or forcing *a particular+ reaction.