Art Reviews

Komizm obecny jest w sztuce, zaryzykuję to stwierdzenie, "od zawsze". Wprawdzie część traktatu Arystotelesa poświęcona komedii nie przetrwała do naszych czasów, jednak znane są wystawiane w starożytnej Grecji komedie Arystofanesa czy biesiadna liryka Anakreonta. Co więcej, już w średniowieczu powstawały miniatury o humorystycznym charakterze; funkcjonował także drugi obieg literacki, zwany literaturą jarmarczną, sławiący nie czyny władców i rycerzy, ale krotochwile Sowizdrzała. Wystawa Kuby Maciejczyka wpisuje się w tę tradycję. Autor urodził się w 1994 roku w Wadowicach i jest absolwentem Wydziału Sztuki UKEN w Krakowie; obecnie przygotowuje doktorat w Instytucie Sztuk Pięknych Uniwersytetu Rzeszowskiego pod kierunkiem Jadwigi Sawickiej. Twórczość Maciejczyka obejmuje działania tekstowo-wizualne i performatywne. Interesują go, jak sam stwierdza, nieuchronność przemijania i "nieuchwytność sensu wszystkich zjawisk". Artysta jest bacznym obserwatorem życia codziennego, cechuje go duża wrażliwość na prozodię potocznych praktyk komunikacyjnych, a to, co zasłyszy, często zapisuje na swoich płótnach. W ramach wystawy indywidualnej Maciejczyk, we współpracy z kuratorem Jakubem Pojdą, zaproponował formę przestrzennej instalacji malarskiej,

In some respects, this biennial began with a first dispatch dropped on 6 December 2024, in Mousse, six months to the day before its physical opening. While many biennials are developed in the utmost secrecy, curator Chus Martínez offered the opposite. In the following 25 weekly chronicles, Martínez's guiding principles-health, love and wealth-weaved connections, welcomed other words, accrued meaning, convened 25 artists, became incantations and eventually assembled around four sites to form a multi-accented chorus. Martínez's spatial choreography for the biennial, themed as The Oracle: On Fantasy and Freedom, echoes her diaristic approach: it traces a short itinerary between Tivoli Park and the Ljubljanica river along city streets, bridges and shadowed paths.

Ein Gespenst geht um in Europa-das Gespenst des Kommunismus." (O fantomă bântuie prin Europa-fantoma comunismului.)-scriau Karl Marx şi Friedrich Engels în binecunoscutul "Manifest der Kommunistischen Partei". O fantomă bântuie prin Comoşteni (şi nu numai, Comoşteniul e doar un simbol) asupra fiecărui individ, dar şi asupra comunităţii, a întregii societăţi: fantoma comunismului (şi a ceea ce el a făcut din oameni). Aceeaşi stafie bântuie aşadar prin cartea Doinei Ruşti "Fantoma din moară", coagulând destine în jurul nimicului. În jurul nimicului sunt structurate societatea, comunitatea, personajele romanului. Stafia este tocmai simbolul golului cu care a operat comunismul, al golului pe care l-a lăsat în urmă. Pentru că Maxu a existat, desigur (ca personaj în roman, cel puţin), dar scrierea nu este construită în jurul plenitudinii fiinţei sale, ci în jurul stafiei-simbol al nimicului, al golului ontologic.

Drawing with Dedication: The Pen-and-Ink World of Tanweer Farooqi
By
Dr. Sajjad Haider
In fine arts pen-and-ink is a labor-intensive medium that requires excessive efforts to acquire precision. In this medium, every line is final, leaving no room for correction; even a single mistake can ruin the entire piece. Mastery in it requires immense dedication, as it involves creating effects similar to those achieved with color and brush using only a single-sized pen nib and consistent ink flow. A critical skill in this medium is controlling the pen’s pressure to transfer just the right amount of ink onto the paper, achieving a delicate interplay of light and shadow. Compared to other fine art mediums, pen-and-ink is meticulous, demanding each stroke to be applied with precision and care. Even a minor error can undo hours of effort. The most important aspect of pen-and-ink drawings lies in the artist's ability to produce precise lines and compelling compositions.
In Pakistan’s art world, Tanweer Farooqi stands out as the only artist exclusively dedicated to pen-and-ink drawings. He has consistently produced masterpieces for over four decades in this medium. His unwavering focus and mastery of strokes evoke awe in viewers. Tanweer Farooqi’s unique style lies in his ability to create near-realistic effects in a medium known for its simplicity and challenges. His portraits vividly capture expressions, and his drawings often feel like paintings. Notably, he is the only artist in Pakistan to introduce colored inks into pen-and-ink art, a medium traditionally limited to black or sepia tones. Typically, artists add color by applying watercolor washes, but Farooqi innovated by using colored inks to create shades and textures that mimic brushstrokes, adding a new dimension to the form. This distinctive approach sets him apart from other artists working in the medium. His work spans diverse subjects, from portraits to urban life. His architectural sketches and street scenes are rich in texture, light, and shadow, capturing even the finest details, such as wall scars and textures. Each drawing reflects his meticulous attention to detail, ensuring that no aspect is overlooked.
Tanweer Farooqi often recalls his mentor, the late Eqbal Mehdi, who trained him in the art of pen-and-ink. Mehdi, a legendary figure in this medium, earned acclaim from art critics and audiences alike. Farooqi attributes his success to his mentor's guidance and glorifies his brilliance in transforming pen-and-ink drawings from commercial illustrations into celebrated works of fine art. Traditionally, pen-and-ink illustrations featured in digests were produced by either salaried or freelance artists and were regarded purely as commercial work, Farooqi shared. However, Eqbal Mehdi revolutionized this perception by transforming these illustrations into standalone art pieces. His innovative approach elevated pen-and-ink to a distinguished status within Pakistan's art scene.
Carrying forward the legacy of his mentor, Tanweer Farooqi has set remarkable standards in pen-and-ink art. His realistic drawings demonstrate unmatched mastery of strokes, captivating viewers with their lifelike detail and depth. When we observe Tanweer Farooqi’s drawing, what immediately captivates the eye is the remarkable attention to fine detail that extends seamlessly across the entire composition. No section is neglected; every inch is treated with equal care and consideration, reflecting a fastidious hand and a deeply attentive artistic vision. Farooqi explains that this precision is rooted in years of disciplined training.
He speaks openly about his pursuit of perfection, confessing that even at this mature stage in his artistic journey, each new project brings with it a familiar flutter of fear. Yet just moments into the process, that fear dissolves, overtaken by the rhythm of creation. I asked Farooqi about the pleasure he finds in this labor of love while drawing. He responded that now, he is perhaps more concerned with achieving perfection and maintaining a professional standard than with the sheer pleasure of drawing itself. However, upon the completion of each project, he takes delight in his own work, a sense of fulfillment that reinvigorates him, fueling his spirit to approach the next endeavor with the same passion.
Within the styles of Pen-and-Ink, there are subtle variations in execution. In addition to lines, artists also employ dots and semi-circles to create depth and texture. However, for Farooqi, the line remains central to his personal aesthetic. Even in the tiniest corners of his compositions, he prefers line over dot. This preference has now become his signature style, distinguishing him from other Pen-and-Ink artists. Another noteworthy aspect I have observed in his work is his ability to depict the varied textures of the fabrics worn by his subjects. One can clearly distinguish between the roughness of denim jeans and the smooth shine of a silky parachute jacket through the lines he renders on paper. Farooqi shared that, beyond capturing the texture of clothing, an artist should also remain mindful of the body beneath the fabric. Anatomy plays a crucial role in figure drawing and portraits. In his cityscapes, the presence of light and air is palpable. He explained that it is the mastery of an artist to bring life to a drawing, which requires continuous practice. Tanweer Farooqi’s drawings are a visual feast for drawing enthusiasts.
Tanweer Farooqi voices a deep concern for the future of Pen-and-Ink art in Pakistan. This traditional, labor-intensive technique demands both patience and precision. With fewer artists dedicating themselves to this meticulous medium, he fears it is gradually fading into obscurity. The scarcity of essential materials, such as quality nibs and other specialized supplies, adds another layer of difficulty to sustaining the practice. He describes it as a vanishing medium that requires deliberate preservation. Rooted in the classical school of thought, Farooqi adheres to a traditional method where entire compositions are rendered through short, delicate strokes. He suggests that the technique should be reimagined and stylized to connect with contemporary audiences and appeal to a new generation of artists.
Born in 1964 in Nazimabad, Karachi, Tanweer Farooqi’s real name is Noor-ul-Anwar Farooqi. However, he has been called "Tanweer" since childhood, a common tradition in families from Uttar Pradesh. This nickname eventually became his artistic identity. Tanweer Farooqi’s artistic journey is a testament to unwavering dedication and excellence. His work not only upholds the legacy of his mentor but also elevates the medium to new heights, securing its place in Pakistan's cultural and artistic heritage. Farooqi's art, deeply rooted in tradition yet innovative in execution, exemplifies the enduring appeal of pen-and-ink. His recent creations stand as masterpieces, serving as invaluable references for fine arts students and aspiring artists alike. Preserving his work in museums, art galleries, and fine arts institutions would not only honor his legacy but also ensure that future generations continue to draw inspiration from his expertise. Tanweer Farooqi’s contributions to Pakistan’s art scene are invaluable and deserving of recognition at the governmental level.



About the Writer:
Dr. Sajjad Haider is an anthropologist serving at Quaid-i-Azam University, Islamabad. He has diverse teaching and research interests within the discipline of anthropology, including arts, media, digital culture, globalization, and active citizenship. Beyond academia, he nurtures a deep passion for fine arts, especially visual arts, and actively advocates for the advancement of the arts and artists alike.
Web sajjadhaider.bio.link

"Fii acolo unde ești" - interview cu Cristina A. Bejan (realizat de Cătălina Novac) Revista NEUMA, Romania

Nr. 11-12 (85-86) 2024, pp. 24-29

https://www.revistaneuma.ro/

https://www.calameo.com/read/0077912055ebe07c7e401#google_vignette

Este texto toma como base una serie de charlas mantenidas en 2024 con el artista Carey (José Luis Carrasco Reyes), en múltiples visitas a su casa-estudio ubicada en el sur de la ciudad de México. Aunque se toma en cuenta lo hablado con el artista, el autor del presente texto vierte aquí sus propias impresiones y reflexiones. La tristeza del diablo es el título de una canción mostrada por el artista al autor en una de estas visitas y charlas.

Volumul de față cuprinde o selecție din scrierile din tinerețe ale Doamnei de Staël: povestirea Zulma, nuvelele Mirza sau scrisoarea unui călător, Adela și Teodor, Povestea vieții Paulinei, biografia istorică Povestea vieții doamnei Jane Gray. Le considerăm parte din creația de tinerețe a autoarei lor în care exercițiul literar este evident, ca pregătire a romanelor și a eseurilor de maturitate. Îngemănarea traducerii cu argumentația analizei critice m-a ajutat la emiterea unui punct de vedere prob și echilibrat asupra uneia dintre marile scriitoare ale literaturii franceze. Traducerea textelor Doamnei de la Coppet este un exercițiu intelectual îmbogățitor și complementar, grație căruia am sesizat nuanțe mai ascunse, revelate doar prin apropierea intimă de text.

This paper is the result of the concatenation
of two Teaching Innovation projects that
we hope may have continuity, entitled Micro-
Story Contest on Asia. They start with a
proposal of interactive / collaborative work
between researchers and undergraduate students,
whose tangible objective is the creation
of a support educational material with learning
activities in digital format, focused on
the area of knowledge Oriental Language and
Culture, in which this type of material is scarce
and sometimes without quality. The aim is to
approximate these cultural areas to students
and the general public. The fact of hanging the
material, with free access in the network, will
allow what is done in the university to benefit
the society. The satisfaction of the students
has been maximum according to the results of
the surveys.

Good Girls. Memory, Desire, Power is an international contemporary feminist art exhibition running at the National Museum of Contemporary Art (MNAC) in Bucharest in 2013.
The “Good Girls”, a prosaic title inspire by two previous curatorial projects, brings up again the  “bad girls” paradigm coined  by Marcia Tucker in the 1990s, a moment relating to American  feminism-influenced artists and curators; the “No More Bad Girls?” exhibition in Vienna  2010 is the other connection, which investigates alternative geographies and multiple cultural identities in this age of globalization. Starting with the ‘90s Romanian female artists and curators have organized some smaller displays dedicated to feminist art and art made of women. “Good Girls” focuses on female artist works focused on memory, desire and power. Most of the participating artists live and work in Europe, half of them being Romanian. The exhibition is curated by Bojana Pejic and Olivia Nitis.

Oscar Wilde (1854-1900) was an Irish playwright, poet, novelist and essayist who was tried for gross indecency and condemned to two years hard labor atReading prison, outside London. Two years after leaving prison, he died in Paris, a ruined and broken man. 2 Henry Murger (1822-1861) was a French poet and novelist. 3 Italian composers Ruggeri Leoncavallo (1897), and Giacomo Puccini (1896) are also known for their operas Pagliacci and Tosca respectively

The review of "I am Artist" an exhibition by a select group of artists that cuts across diverse media comes with a lot of expectations. The exhibition title was quite fascinating, hence the attraction for this review. Having a holistic view of the entire exhibition provided the platform to examine each piece of work in their presentation. The curator did a very professional work in the sequence of arrangement of the works on display. The exhibition space was adequate and well lit, the ventilation was adequate with an ambiance of satisfaction. A personal interview with the curator set the tone for the review of this exhibition as her in-depth knowledge of exhibition organisation and installation attests. Artist interviewed were more excited about the composition of the exhibition which included performance and runaway fashion show, as well as other exquisite wall hanging paintings, sculpture and drawings. The review that follows is an attempt to give a bird's-eye view of the ensemble.

Studiul de față analizează reprezentarea scriitorului Mircea Cărtărescu în Spania, cu instrumentele teoriei spațiilor culturale (Even-Zohar, Bourdieu, Casanova), a marketing-ului literar și a retoricii paratextuale (Genette, Cadioli, Squires, Moran). Trebuie precizat de la început că este vorba despre o dublă work in progress sau o dublă "călătorie în desfășurare". În primul rând, nu se poate afirma că actualmente ar exista, la rigoare, un brand Cărtărescu în Spania, așadar un construct imagologic suficient de notoriu și de stabil al acestui autor și al literaturii sale, ci doar ceea ce Dominique Maingueneau numește "imagine de autor", adică o "realitate instabilă și confuză, produsul unei interacțiuni între participanți eterogeni" 12. Teoreticianul francez se referă la o proiecție generată inevitabil de orice comunicare publică a figurii unui autor. Diferența dintre conceptul definit de Maingueneau și brandul de autor s-ar putea stabili în funcție de criterii precum gradul de notorietate, stabilitate și valoare comercială. Cu toate că e greu de stabilit momentul exact al obținerii "masei critice" în procesul de branding, se poate constata, totuși, că până la data la care a fost elaborat acest articol, nu au fost satisfăcuți sau au fost satisfăcuți insuficient o serie de parametri ce caracterizează brandurile literare ale scriitorilor traduși. De exemplu, deși orice traducere presupune o legitimare 3 , existența fizică a operei traduse pe rafturile librăriilor spaniole nu este suficientă pentru transformarea autorului român într-o marcă prestigioasă, atâta timp cât difuzarea și expunerea lasă de dorit, iar durata de viață a unei cărți pe raft este, în Spania și nu numai acolo, extrem de redusă, datorită absolutizării imperativului comercial 4. Apoi, traducerile din opera scriitorului român nu au fost recenzate și evaluate de criticii spanioli cei mai prestigioși ai momentului, adevărați "symbolic brokers", cum îi numea Peter McDonald 5 , care au capacitatea de a impune un set de trăsături estetice definitorii, recurente în discursul critic posterior.

Women artists of different generations have worked tirelessly against the odds of precarious conditions and a lack of recognition. In the constant struggle against the power structures that are at least partly responsible for almost all delayed careers, many of these artists have developed a recalcitrance that is reflected in their work. In the case of Penny Goring, whose first solo exhibition in a German gallery is just closing at Molitor, this strength stems not least from obsessively working through personal pain. As Marie Arleth Skov points out, Goring succeeds in transforming trauma into poetic artworks that seem imbued by the power their maker has invested to create them.

The article illustrates how the didactic triad reading-comprehension-interpretation can be applied to develop these competences while teaching Shakespeare by Marin Sorescu. The essential aim of the demonstration is to mobilize reception resources in such a manner as to make the act of teaching-learning-assessing culminate in students’ creative manifestations.

El presente artículo aborda el contexto histórico, social y estético de la obra para Saxofón solo Phoenix del compositor japonés Ryo Noda, teniendo como propósito principal la ampliación de las posibilidades interpretativas de dicha pieza musical. De esta manera, se reconstruye el contexto histórico y social de la obra teniendo en cuenta tanto los elementos biográficos del autor, como los elementos concernientes a la concepción y construcción de la obra, entre ellos la influencia de la tradición musical y estética del Japón, la flauta shakuhachi, el mito del ave fénix, la posmodernidad, el concepto de worldwide style  o músicas del mundo y la noción del campo extendido en las artes. Consecuentemente, se espera que esta revisión pueda contribuir con el conocimiento alrededor del repertorio académico y contemporáneo para saxofón, así como con el fortalecimiento de la visión de la interpretación musical, otorgándole sentido y significado al acto creativo que implica tal construcción interpretativa.

Palabras Clave: Ryo Noda, Saxofón, Phoenix, Contexto, Estética, Interpretación Musical.

Volumul conține lucrările Colocviului colocviului organizat în zilele de 23 și 24 septembrie 2004 de Institutul de Filosofie și Psihologie al Academiei Române și de Catedra de Filosofie Teoretică și Logică a Facultății de Filosofie a Universității din București

An inventory of projects, exhibitions, and happenings in the Low Countries and beyond between 1960 and 1970. Since 2005, the 0-INSTITUTE* has collected archive material with a team of art historians and conducted interviews with eyewitnesses, including artists, friends, and organizers. This publication presents the result of the preliminary research, which began in 2018, in preparation for the Yayoi Kusama retrospective exhibition at the Gropius Bau in Berlin in 2021.

Première revue parisienne consacrée à la critique des arts décoratifs contemporains, Art et Décoration accompagne l’évolution de l’actualité artistique de l’Art nouveau aux prémices de l’Art déco. À travers le décryptage de l’action critique et théorique de la revue se dessine le panorama d’une période aussi riche que complexe.

We aim to present in this article the evolution of Latin-American poetry translated into Romanian in the first two decades of the Communist Regime, with a methodology which is based predominantly on a distant reading, able to allow us a quantitative analysis of cultural production. We are looking into themes such as: who are the Latin American poets
translated between 1945 and 1964 or to what extent the translated verses accelerate or slow down the process of abandoning the Soviet slogans associated with the first years of communist rule. We are also interested to see if we can talk about the influence of these poets in the Romanian literary space and how the fate of their works in Romania is intertwined with the changes in politics and cultural policy of that period. We can observe that in the first stage of the Romanian communist regime, a poetry of pure propaganda is especially published, where the ideological message prevails over the artistic quality (and thus the presence of many obscure or almost forgotten poets is explained). Likewise, we can observe that the predominant figure is that of Pablo Neruda, converted into the very incarnation of the militant communist poet. In a second stage, which
corresponds to the short “cultural liberalization” between 1953 and 1956, Latin American poetry published in the Romanian media follows the line of dogmatic socialist realism, without reflecting in the least this tenuous liberalization. A great opening towards the Latin American continent is evident after the victory of the Cuban Revolution in 1959, and we can
see also that in the early years of the 1960s, Latin American poetry had an excellent diffusion in the Romanian cultural space. From the point of view of the reader’s expectations, the authors of the “Latin American Boom” which were going to be published in Romania after 1965, they were received in Romania on a fertile ground, one prepared by poets as Pablo
Neruda, Nicolás Guillén, César Vallejo, Raúl González Tuñón. Their poetry initially played the role of propaganda “noise” along with all the “progressive” literature translated from all the five continents and it slowly advanced towards the first literary discovery of Latin America in socialist Romania.

En esta investigación se centra en un variado corpus de carteles y folletos turísticos sobre Japón, destinados esencialmente al público foráneo, a través de los cuales examinaremos, valoraremos y cuantificaremos la manera en la que el patrimonio japonés —material e inmaterial— ha sido retratado por el negocio turístico y, por tanto, percibido por el público general. Para ello, ofreceremos algunos rasgos generales sobre las consideraciones del Patrimonio Cultural en Japón y las representaciones que del mismo se hace en los materiales de publicidad y difusión turísticos. Por último, reflexionaremos sobre las notables ausencias de ciertos elementos dentro de estos materiales.In this paper we will study a broad corpus of Japan-themed tourist posters and brochures, principally intended for a foreign audience; through them we will examine, assess and evaluate the way Japanese cultural heritage —both tangible and intangible— has been portrayed by the tourism industry and, therefore, percei...

Este artículo gira en torno a un estudio sobre determinadas esculturas que, por sus características formales y, sobre todo, conceptuales, se desarrollan en la civilización occidental y en la civilización oriental, debido-y este es el eje central del estudio-a un proceso de observación de la realidad de la naturaleza que las hace conceptualmente análogas.

La Guerra Sino-Japonesa (1894-1895) fue un conflicto militar entre la dinastía Qing de China y el Imperio de Japón, que tuvo lugar durante el desarrollo de la era Meiji, y cuyo propósito era conseguir el dominio de Corea. Este acontecimiento histórico tuvo mucha repercusión en el arte, tanto es así que se produjeron grandes cantidades de estampas de guerra (sensō-e) durante los últimos años del siglo XIX, y que fueron compradas ya en el siglo XX por coleccionistas de todo el mundo. El interés llega hasta la actualidad, como por ejemplo Emilio Bujalance, coleccionista español que ha ido adquiriendo a lo largo de los años estos ukiyo-e y junto a otros de temas muy variados, ha ido formando su propia colección. El objeto de estudio del trabajo de investigación ha sido la catalogación de las estampas que narran la Guerra Sino-Japonesa de la Colección Bujalance

Aqui, numa seleção que se guiou muito por minha curiosidade, escolhi estes sete poemas para traduzir. Propositalmente o primeiro deles se chama Curiosidade. Na sequência, ainda explorando a temática da curiosidade, ou antes, da criatividade, aparece Perpetuum mobile, com claras notas de sarcasmo. Finamente irônico, Na aula dá relevo à subversão que é ter ideias próprias. Ainda no ambiente escolar, Retroversão amplia a discussão sobre criação e sobre a própria compreensão do ser quando, metalinguisticamente, trata o tema da tradução. Esse poema, até onde sei, já foi traduzido por Rosemary Arrojo (em Oficina de Tradução) e Carlos Alberto Faraco (em Depois de Babel), ambos a partir de versões do inglês, com o título Tradução. Em direção a uma simbologia particular, mas também de forma metapoética, Sozinho adota um tom mais íntimo, o mesmo tom que ganha ares de confissão e pessimismo em Doença (este já traduzido por Luciano Maia, 1995). Por fim, com uma atenção menos íntima, Ritmo encerra, sem solução nenhuma, essa pequena seleção que eu gostaria que oferecesse uma breve ideia da obra poética de Sorescu, que um dia disse (não sei onde): “a palavra dita é uma fronteira transposta; pelo ato de dizer alguma coisa, eu falho em dizer tantas outras coisas.”

By studying the importance of specialist art periodicals in creating the artistic, economic and cultural-historical value of modern art and visual culture, this volume is dedicated to the history and legacy of specialist art reviews, bulletins, and magazines across Europe in the early to mid-twentieth century. It assembles historical case studies on European modern art periodicals (British, French, German, Belgian, Finnish, Danish), presenting new research on the multiple meanings that such specialist publications assume within the history of modern art. Paying special attention to the interdependence of the art market and the art press, and reflecting upon the fresh insights that new forms of reading bring, each chapter broadens our historical understanding of the modern art review.

By studying the importance of specialist art periodicals in creating the artistic, economic and cultural-historical value of modern art and visual culture, this volume is dedicated to the history and legacy of specialist art reviews, bulletins, and magazines across Europe in the early to mid-twentieth century. It assembles historical case studies on European modern art periodicals (British, French, German, Belgian, Finnish, Danish), presenting new research on the multiple meanings that such specialist publications assume within the history of modern art. Paying special attention to the interdependence of the art market and the art press, and reflecting upon the fresh insights that new forms of reading bring, each chapter broadens our historical understanding of the modern art review.

In contemporary visual culture, Catherine Malabou's concept of "plasticity" offers an opportunity to reflect on the potential of what lies between the dualisms imposed by Western culture, such as nature and culture(artifact), what is considered male and female, artificial and natural. Plasticity characterizes the relationship between materiality and accidental events accompanying the evolution of form, which, taking on a new shape, irreversibly destroys the possibility of returning to the previous form. For Malabou, plasticity means the ability to evolve the form of the subject and the accompanying enthusiasm to give or take a new shape through the conscious selection of the components that constitute it. It seems that it is in this key that the Warsaw artist, Szawel Płóciennik, creates non-binary bodies on the painting canvas, escaping the classical aesthetic categories. Like the artists who created the neo-avant-garde canon of the 1980s, Płóciennik is not indifferent to the socio-political context of his times. In his deliberations, he analyses contemporary critical discourse, trying to work through the problems faced by his masters and the contemporary Polish artistic community.

The article illustrates how the didactic triad reading-comprehension-interpretation can be applied to develop these competences while teaching Shakespeare by Marin Sorescu. The essential aim of the demonstration is to mobilize reception resources in such a manner as to make the act of teaching-learning-assessing culminate in students’ creative manifestations.

Ion Barbu’s poetry is subject to a very diverse rea ding system, nuanced depending on the reader’s value judgment. In a synthesized formula, Barbu’s poetry is “the secondary game”, a phrase of which acceptation is based on the ideas of a gre t poetic language theorist: Eugen Coseriu. To that Provided by Diacronia.ro for IP 54.70.40.11 (2020-03-13 10:01:01 UTC) BDD-A1240 © 2011 Editura Academiei POEZIA LUI ION BARBU. PERSPECTIVA COŞERIANĂ 345 effect, we have kept track of what the author calls “secondary game”, of some programmatic statements of Coseriu, essential for the poetry lan gu ge’s theory in general. We have started from Coşeriu’s acknowledgment of “poetic language”, as an “ bsolute language”, a fundamental idea, based, in its turn, on important Heideggerian and C roceean anticipation, but one which the Tübingen late clerk developed, differently, within his own „ i tegrallist” concept upon the language as “primary principle and foundation” of all cultural activitie s, and we...