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In its early days Romanian feminine writing was influenced by the ideals of emancipation that animated the female population of our country. These ideals were shared and spread not only by feminist supporters, though this happened to a large extent, but also by outstanding men of letters (Eugen Lovinescu, Garabet-Ibraileanu and Tudor Vianu and others), who were receptive to the changing status of women in their contemporary society and encouraged it as such. The present paper focuses on what we are going to call "early feminine writing in Romania", whereby we understand the early days of literature created by women in this country. Our goal is to identify the literary publications that gathered for the first time in Romania women writers who paid a particular interest in literature. Thus, our paper has a documentary value: it presents the main Romanian literary publications edited by the first women writers in our country, the aesthetic ideals promoted and shared by these magazines and the contribution brought by female authors to the wakening and shaping of the taste for writing and for literature amidst Romanian women in general. [ABSTRACT FROM AUTHOR]

The ability to master specialized terminology in English plays an ever increasing role in the selection of candidates for employment due to the internalization of the labour market and of the research activity exchanges. Subsequent to Romania's joining the EU, the vacancies available on the European labour market, including in the academic area, represent the major factor that has determined an increase in the interest paid in the acquisition of specialized terminology. This interest is shared by trainees, trainers, authors of textbooks and ESP (English for Specific Purposes) specialists. In the present paper, we intend to outline some of the main directions, methods and strategies that an ESP course should follow for providing high-quality and up-to-date information to the trainees interested in acquiring specialized vocabulary for their future workplaces. Finally, we intend to anticipate trends that the evolution of specialized foreign language teaching methodology will follow in the near future. [ABSTRACT FROM AUTHOR]

In this paper we intend to present the reception of the play Evangheliştii [The Evangelists] (published in volume in 1993 and represented on stage in 2005) written by Alina Mungiu Pippidi in post-communist Romanian society. In the interpretation of this topic we have considered the author's artistic goals in relation to the "horizon of expectation" of the Romanian theatre public, as well as to the reaction that critics and institutions outside the world of theatre, such as the Orthodox and Catholic Churches, and local public institutions, had as regards its publication and stage representation. Thus, we have pointed out the clash and the gap that exist between the author's postmodernist approach to religious faith (i.e. the deconstruction of the Christian ideology) and the often wrong reception of the play's topic coming basically from the Church and in part from the theatre audience. The reception of this play in post-communist Romania is analysed in relation to the rigid, formalist perspective on art shared by an important part of the theatre audience. One of the main conclusions we have drawn is that the openness degree of our society members to the freedom of artistic creation illustrates, in fact, the degree of civilization and, implicitly, of tolerance which we have acquired up to a certain point in time as a society, especially that today our country is no longer totalitarian and, in consequence, no artistic manifestation can be censored by any ideologies coming from the public space. [ABSTRACT FROM AUTHOR]

During the interwar period, feminine literature2 was no longer perceived as a bizarre cultural phenomenon in Romania, at least not by mature and balanced critics, such as E. Lovinescu, G. Ibrăileanu and Tudor Vianu. At the time, Romanian drama and theatre life3 developed considerably and feminine playwriting benefited from the creative spirit of the epoch and from a more flexible political, social and cultural context. Although it did not fundamentally innovate Romanian dramatic discourse, feminine interwar playwriting furthered the literary tradition initiated by their 19th century predecessors and managed to come up with new topics and typologies. The re-interpretation of past and often forgotten texts is a necessary task for literary history whereby critics complete the information upon which we rely to depict an epoch. [ABSTRACT FROM AUTHOR]

After joining the EU, the concept of European cultural identity became a much debated issue in all the new member states of the Union, alongside with the "old" EU members. Our paper aims to present the contribution brought by Constantin Noica to preserving the spirit of Romanian culture alive during the totalitarian period that our country underwent from 1945 to 1989. We also intend to point out that Constantin Noica's attempt to define the particular profile of our country remains a current topic nowadays. In fact, this topic should be tackled more frequently by students, professors, research workers in order to help us rediscover the European vocation of our culture. [ABSTRACT FROM AUTHOR]

The appearance of feminine theatre in Romania in 1870 (marked by the publication and stage representation of Constanta Dunca-Schiau's play - Martiria inimei) was generated by the educational and cultural emancipation that middle/upper class women started to enjoy both under the influence of the Western feminist movement, and also under the influence of socialist ideas (supported in Romania and spread during the second half of the 19th century and at the beginning of the 20th century by an important number of left-wing oriented magazines). The beginning of feminine theatre lacked aesthetic value almost entirely, but it represented the thematic and typological patterns on which women's dramatic literature was to evolve for almost one hundred years in Romania. [ABSTRACT FROM AUTHOR]

In this paper we intend to point out the aesthetic dimensions of the plays written by Romanian women playwrights under the directions established by the totalitarian regime instituted in our country starting with 1947. The influence which this regime had over theatre in Romania emptied most of the plays - published between 1947 - 1964 - of the metaphysical dimension over life, and thus, made them lack a complex vision over man and the world. The present reader of these plays - written in accordance with the aesthetic directions imposed by the communist regime - will surprisingly find an important number of texts performed on the stage with a view to propagate the supreme political ideology existing at the time. Theater discourse was thus made up of clichés, and had a single aim: to recreate the social, political and economic reality of a country that was once free, and over which the heavy veil of forbidden thinking fell. Attempting to investigate a series of volumes published between 1947-1964 that nowadays are of no interest for stage directors and theatre lovers we actually become witnesses to unforgetfullnes (as Octavian Nicolae, one of Constantin Noica's close friends, says), and in this way we actually manage to go one step up towards the clear horizons of lucid thinking. At the end of our analytical journey we hope that the plays printed by the Romanian women playwrights from 1947 to1964 will appear to the present reader as they really are: with all their strong or weak points, shortcomings or achievements, lacks of innovations or originality, aesthetical value or non-aesthetical value. [ABSTRACT FROM AUTHOR]

The "ideological thaw" that manifested in Romania beginning with 1964 brought a relative tolerance on the part of the communist party as to the freedom of the artistical creative act and it characterized our culture until 1971. The partial regaining of the freedom of creation led to an authonomy of the aesthetic, whose loss transformed our literature between 1947 and 1964 into a "Siberia of the spirit"1. [ABSTRACT FROM AUTHOR]