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Ion Vartan. Personalitatea autorului. De ce? Jump to. Sections of this page. Accessibility Help. Email or Phone Password Forgot account? See more of Parohia Ioan Evanghelistul on Facebook. Log In. Forgot account? Not Now. Visitor Posts. Information about Page Insights Data. Location: Great Church yard. SONET BY G Bacovia Sonnet reading, published in the author's first volume, is representative of both the type of modernist sensitivity and the manner, the Bacovian creation recipe The chosen title, seemingly trivial, sends to the idea of coercion, of tensing the human condition in the subjective perception of the author, given the acceptance of the term - the term - that of a fixed, rigorous lyrigorous especially Italian sonnet -, guiding the receiver towards pressing character of the universe, inadequate, inadequate to the hopes of the spirit.

The theme addressed is, as with the poem Lead, the human condition. The message that is released from the dramatic confession of the lyrical self is inadequacy of existence to the aspirations of the human being. The reading belongs to the lyrical genre through the deeply subjective character, personal of the unmistakable type of sensitivity and the vision lived and shared, through the mode of exposure - the lyrical monologue with descriptive inserts -, through the species addressed, its own genre, by weighing images in expression, through lyrical tension, compositional organization in paintings and sequences, prozodic component, resort to lyrical self as a court communicating the reader the fictional universe.

The lyrical self shares its sense of desolation, of disapproval for the unacceptable human condition in the form of the artistic image central symbol of a dark, wet, unsanitary realm, improper to the very elementary existence, which man cannot evade. To figure this space, the poet resorts to a number of reasons and symbols such as that of the outskirts slums , night, lanterns, pub, turmentation, disease, walls, etc.

The structure of the poetry is its own Italian sonnet: two carens and two third parties, with the mention that here the formal rigors of the species gain expressive value, amplifying the feeling of claustration in the hostile environment. Compositionally, we distinguish two plans: that of the outer universe, shaped in the first painting, which corresponds to the carens, and that of the inner universe, contained in the tertine.

Incipiting, placing the human condition under the night, guides the lecturer towards perceiving existence as nonsense, as a burden for the man with free aspirations. In order to potentiate this state of mind, the paradigm of darkness, made by obsessive resuming visual images centered on the semantic field composed of the words: night, fog, tired, without distance, smoked, black.

Environmental hostility is perceived painfully, in all ways, easier by resort to synesthesia: It's a wet, hard night, you drowning outside. The darkness of the night, emphasized by the presence of overwhelming fog, cannot be countered by lanterns, with the determinants of the noun-image constituting in a series, in a list of tired, sad personifying epithets that constitute projections of the lyrical self on the imagined universe.

Against this background, the weight of the nominal group, especially through without distance or smoked overwhelms that of the burning verb which, here, no longer means living, release energy, activates, but rather, they are tired, agonizing. Visual image from the first lyrical sequence verses in which the outer plane outside is shaped, a tactile one, kinesthetic wet , quickly followed, hallucinating, as in a nightmare, in the spirit of ascending gradation , of the fatal consequence: you drown.

If, formally, syntactically, we find the usual Bacovian paratax here, the end of the verse is a consecution, the follow, the dramatic consequence of the premise. The resort to the ellipse, the suppression of natural, logically the need here that it is justified not only prozodic by the need to preserve the measure , but also through the weather effect printed to dynamics, the consequences of outer evil on human being, giving density to the image and thus highlighting the suffocating effect of drawing up the world on the sensitivity of the poet.

The regional form, willfully negligent of plural muggles increases, through the nature of asonance and alteration the sense of deformity of the world. The premises, far from being able to provide protection, are invaded by water, here agent of destruction, presented through a hyperbolizing motor image: flood Walls, which in a natural order should protect, are already old, i.

The expression communicates the imminence of the collapse. The world hosted under such circumstances, methonothin is suggested, reduced to cough, to the natural, irreversible consequence of evil.

In that verse, in that verse, the role of phonetic means, of alteration, especially, to potentiate the hearing-dynamic image, the iambul highlighting the rattling sound of the manifesthesia: and hear them cough in the bitter sec; also the originality of synesthesia.

The second painting depicts the lyrical self prey to degradation, alienation in this hostile setting. The reference to the two poets, Poe and Verlaine, is considering the affinity of the lyrical self with them on the perception of the world, similarities consisting of hallucinating visions, in the feeling of euphoria. The gestures and manifestations they attribute - fumble, no longer shut up - translate the dissolution of personality, alienation, the inability of agreement between spirit and matter.

To note again the complex character of the image taken through the onomatopeic verb, in which the asonance with alteration coexists, suggesting confused sound, degringolada. The verbs fall and fall back from the end highlight the degradation, loss of trust, perpetual death - the surface of Bacovian work.

Degradation is also suggested in the grotesque image. Then, with steps of a funny measure attributed to the being, in the delusional gesture caused by the absence of any hope. It is the image of the new type of sensitivity, corresponding to symbolism. The man of cities, the outskirts no longer sees even the romantic solution to take refuge in the dream in the past, in fantastic.

The vocabulary used largely belongs to the main lexical fund, according to the banality of the existence represented. I draw attention through the archaic sound, pub, lanterns, and will. The embraced rhyme, like the fixed measure of 11 syllables or the rigorous strophic organization potentiates, as means of prozody, the hostile character of the figurative universe. Ion Vartan Translated. In order to understand him properly, the context in which he started his work and the premises of his theoretical and creative evolution should be addressed.

The interwar period, perceived as particularly fast for the Romanian cultural evolution, was favored, on the one hand, by the climate of creative emulation from the era, amid the restoration of peace and the achievement of the Romanian national ideal, the union. The method of expression addressed more and more in the age is the essay because of its supplements, the adequacy for the movement of ideas, the pretence to the more faithful communication of self and intuitions.

Essayers replace the scholar's speech, often pretentious, doc, heavy, with a supple one, more suitable for the disclosure of the divanation and digression that makes more room, expressing the subjectivity of the emitter's personality.

The writer observes the acquisitions recorded by psychology and the discrepancies between them and how the man was still represented in our literature. The vision of man, enshrined in realistic literature, was predominantly scientific, the character being conceived as a product of the environment, as an effect of a sum of causes, thus fully intelligible, with unitary behavior as a whole, predictable, typical.

Therefore, instead of the rational method, the cause-effect report, pretending in the study of the exact science, the writer takes into account others, such as Bergson's intuitionism and Husserl's phenomenology. He understands that psychic life is spontaneity and perpetual creation, and the human being - a continuous becoming. To this end he will choose the subjective bill novel, in which the weight of the sequences that show the impact of events in the consciousness and in the sensitivity of the characters will be so great, that it will generate a distinctive, psychological plan, powered by the self-analysis of the actress.

To this end, it will also predict the renewal of the hero, replacing the one centered mostly on action with a reflective one, concerned until obsession with the elucidation of his self-reflexive, trained and connected as a spiritual level of Europe. The new hero, as Camil Petrescu sees him, will be the exponent of the new world that says in interwar Romania.

The rural world, captive to overwhelming material and social problems, is being competed more and more by the city. The bourgeoisie, more emancipated, more trained, faces new problems, and the new reality demands the right to artistic representation. The renewal was supposed to happen, in the Camilpetrescian vision, and in the writing level.

The crafted narrative could no longer guarantee originality and affirmation, the consecration: what Rebreanu had accomplished in the appearance of the composition, the rigor of the articulation of the sequences and episodes, Sadoveanu had succeeded as insolite of the saying. Instead of the composition studied, rigorous, the theorist proposes to note the flow of narrator hero's memories, the order of sequences being determined by the whims of involuntary memory, often triggered by random factors v.

Here is, therefore, an important aspect of how the subjective novel should be understood: not just written in the first person and not only from the perspective of a character involved in events, but to explicitly propose a personalized vision, a unique reflection izat on life, through a unique type of sensitivity and consciousness.

Camilpetrescian heroes live especially on the sentimental, subjective dimension, often can but not always! The most pregnant novelty brought by the writer is therefore at the level of the hero, which must be animated by the personal horizon, by firm beliefs, by responsibility, to have, as the title of one of the plays, 'strong soul'. With such an endowment, the Camilpetrescian hero will be found constantly clash with the people. If we add the unmistakable nerve of writing and the tense, dramatic air of the proposed human existence, we have some of the aunts that make Camilpetrescian opera a fact not only of uniqueness, but also a landmark for the authentic creative spirit.

Parohia Ioan Evanghelistul updated their status. Program liturgic: -miercuri, Liturgy Lord Ascension Translated. Holy Liturgy, Sunday of the blind. We are waiting for you on Friday, in the yard of the Great Church, starting at Christ is risen! The church is also open for individual worship and prayer. IOAN 5, In these there were many sick people: blind, lame, dry, waiting for the movement of water.

For an angel of the Lord descended from time to time into bathing and disturbed the water, and whoever entered first after the water disorder, was made himself healthy by any disease was contained. And there was a man who had been sick for thirty-eight years.

Jesus, seeing this one lying and knowing he's been like this for a long time, said: Do you want to get healthy? The sick replied, Lord, I have no man to throw me into the bath, when the water is troubled; that until I come, another one comes down before me. Jesus said to him: Get up, take your bed and walk! And immediately the man got healthy, took his bed and walked. But that day it was Saturday. So the Jews said to the healed one: It is Saturday and it is not allowed to take your bed.

He answered them: He who made me healthy, He said to me: Take your bed and walk. They asked him: Who is the man who said to you: Take your bed and walk? And the healed did not know who he was, for Jesus had stepped away from the crowd that was in that place. After this, Jesus found him in the temple and said, Behold you have become healthy. From now on do not sin, so that something worse will happen to you.

Then the man left and told the Jews that Jesus was the One who made him healthy. John 5, Translated. That He receives you when you fall to Him, He who welcomed you when you leaned on his chest; whom pray, by God, the worder, and the cloud of the heathens put on us to waste, asking us peace and great mercy.

Prude women's Sunday is all Christian women's day. Why is that? Because they were made an example for serving them in contemporary society. Christian women are thus called to be confessors of life and not of death, giving birth to life, for their salvation and the multiplication of the human nation.


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