Abordarea coordonării prin joncțiune din perspectivă evolutivă a urmărit să edifice valorile discursive ale conectorilor, în formula completă a tiparelor acestei relații sintactice, și felul în care norma literară a selectat în timp elementele din fiecare subclasă. Au fost preluate informațiile statistice și cele referitoare la distribuția în ariile dialectale din studiile de specialitate recente, lucrarea recurgînd numai la exemplificări diverse, din textele românești ale primelor trei secole, evidențiind astfel continuitatea proceselor. Obiectivul principal al cercetării a fost integrarea în sistemul coordonării a tiparelor pe care cercetarea de pînă acum le-a neglijat în cea mai mare parte, chiar cînd era vorba de limba română actuală. A fost descrisă, de asemenea, (la raportul adversativ) și coordonarea din frazele de tip periodic, concesivă și condițională (aceasta din urmă nesemnalată în limba actuală), ca un fapt de continuitate: latina populară – limba română.

This paper aims at discussing some problems of the contemporary art through some of Arthur Danto’s theories. The concept of the end of art, the new way of making art, how to understand the contemporary art are some fundamental problems of nowadays art criticism. Comparisons among artistic techniques used by various avant-gardist movements, especially cubist, abstractionist and dadaist ones are intended to build a comprehensive image of the evolution in art creativity towards post-wars period represented by new contributions (Andy Warhol and Joseph Beuys). These examples prove that the contemporary art needs a more attentive interpretation and a better understanding of the material-form connection within the art work and the process of plastic creativity.

إن موضوع الناقة –الراحلة- موجود في القصيدة النبطية التقليدية بملامح تشبه إلى حد كبير ملامح موضوع الناقة في القصيدة العربية الجاهلية. ولكن هذا البحث يناقش تطورا طرأ على موضوع الناقة في القصيدة النبطية من التقليدية إلى التجديد منذ نهايات القرن الماضي. فقد انتقل موضوع الناقة في القصيدة النبطية من المفهوم الوصفي البيولوجي للناقة كراحلة للشاعر إلى رمز لدور القصيدة ذاتها خلال السنوات المتأخرة للشعر النبطي. والسبب الأول في ذلك هو انتهاء عهد الترحال بواسطة الناقة مع ظهور الدول المركزية في جزيرة العرب، واستبدال الناقة بالمركبات الحديثة مما جعلها تنحصر في إطار الرمزية. وأقصد بإطار الرمزية، أن الناقة في القصيدة تعني القصيدة ذاتها ولا تعني غيرها. وأما السبب الثاني وهو مقترن بالسبب الأول، فبعد ظهور الدول المركزية بدأت تنتشر الثقافة الكتابية على حساب الثقافة الشفاهية وبذلك تغيرت طبيعة القصيدة واتجهت نحو نهج جديد متأثر بثقافة المجتمع الكتابي. وعلى ضوء ذلك قمنا في هذا البحث بتحليل ثلاث قصائد من الشعر النبطي. قصيدة للشاعر الكويتي حمود البدر المتوفى سنة 1915م، وهي على النهج الكلاسيكي الذي يستخدم فيها الشاعر موضوع الناقة بصفاتها البيولوجية التقليدية. أما القصيدتان الجديدتان نهجا واللتان تعاملتا مع موضوع الناقة كرمز للقصيدة، فلشاعرين ما يزالان على قيد الحياة. الأولى للشاعر السعودي مساعد ربيع الرشيدي والثانية للشاعر القطري محمد ابن فطيس المري. The Modern Use of The She-Camel`s Theme in Contemporary Nabati Poetry In this paper I attempt to discuss the development of the she-camel`s motif in the Nabati poetry using some poems composed during the last thirty years. The motif of the she-camel exists in both classical and modern poetry and in both formal (Faṣīh) and colloquial language. But this paper argues that the motif of the she-camel has changed from the biological description of the she-camel that existed in the classical Arabic poem, to a mere symbol of the poem itself in the modern Nabati poem. My task here is to track the change in the motif of the she-camel in the classical poetry and modern Nabati poetry within the historical and cultural contexts of each poem. I will use the concept of (orality and literacy) that Walter Ong and Ruth Finnegan studied, to understand the reason behind the modern use of the theme of the she-camel in contemporary Nabati poetry.

Bells used in Christian churches are documentary sources due to the inscriptions, decorations and coats of arms available on them. Depending on the language in which the inscriptions were made, old bells had different names. The bells used to be donated to the churches by private persons, by the right of the founder, or by communities; the oldest bells of the medieval Moldavian state date back to the reign of Stephen the Great. The alloy used for bell casting contained copper, brass and a minor amount of silver or other elements. Bellfounders were itinerant, traveling from church to church to cast bells, the furnaces were built on sites, and the casting of large bells was carried out only during the warmer months. The most lasting operation was building the furnace and constructing the mold, and the most dangerous process was pouring the melt metal in a mold. This was followed by controlled cooling the bell, removing the mold material after the metal has solidifi ed, and finishing t...

In the history of Romanian literature in Bessarabia Creangă's modelling role is exem¬pli¬fied especially during the turning periods, when the concept of literature is radicalized (years 20-30, 60, 80). Across different searches and wanderings of prose writers, namely, the organicist perspective of the structure of the Bessarabian literary phenomenon elucidates the importance of the Creangă model in overcoming the different complexes, among which, especially, of the narrow-minded Romanian.

يهدف هذا البحث إلى الوقوف على الأمور الآتية: أولا: الكشفِ عن موقف المستشرق الألمانيّ فولفديتريش فيشر (ت 2013م) في تأثر النّحو العربيّ بالأَنْحاء الأخرى (اليونانيّة والسّريانيّة) في أوّل نشأته قبل سيبويه، وبيان الحجج التي اتّكأ عليها وإبطالها؛ إذْ كان فيشر يدور في فلك غيره من المستشرقين، ولم يصدر في طَرْحِه الموضوعَ عن وعيٍ بتاريخ المرحلة. ثانيًا: بيانِ القيمة العلميَّة لكتاب "مفاتيح العلوم" للخوارزميّ الكاتب، الذي انطلق منه فيشر لإثبات فرضيّة التأثّر التي بنى عليها مقالته، والإشارة إلى أنّه لا يشكّل علامةً دالّة في سياق التأريخ للدرس النّحويّ وتطوّره. ثالثًا: إبطالِ الفصل الجائر بين سيبويه وأستاذه الخليل في تاريخ الدرس النّحوي، وأنّ الخليل يشكّل عنده نهاية مرحلة التأثر المزعومة، في حينَ جَعَل سيبويهِ يمثّل بداية مرحلة عربيّة، تَأَسَّسَ فيها النّحو العربيّ خالصًا من شوائب التأثّر ودواعيه. This research aims at the following: First: exploring the role of the German orientalist Wolfdietrich Fischer in the influence other grammars (Greek, and Syriac) had on Arabic syntax in the early stages of its emergence before Sibawayh, and demonstrating the arguments he considered then invalidate them. Fisher was taking from other Orientalists, therefore, his argument on the subject was without true awareness on the history of the stage. Second: Stating the academic value of Al-Khawarizmi's book "Keys to Sciences", which Fischer used to prove the influence theory on which he built his research at, and highlighting that he stands not a mark in the history of Syntax and its development. Third: repeal the unjust separation between Sibawayh and his mentor Al-Khalil on the Syntax history, and that Al-Khalil is for him the end of this supposed influence stage while he made Sibawayh represent the beginning of an Arab stage in which Arabic syntax was established purely and away from influence relations and grounds.

This paper discusses the interaction between the discourses of empire and nation as it emerged in the debates about the proper object of research and the criteria for legitimacy of the newly founded discipline of ethnography in the Russian Empire in the last decades of the 18 th and throughout the 19 th century. A special emphasis will be laid upon the particular features of the appearance and evolution of ethnographic preoccupations in the Russian Empire starting with the second half of the 18 th century, when the first attempts at the synthesis and classification of ethnographic enquiries can be discerned, and spanning the first half of the 19 th century. In this context, the case of Bessarabia represents an illustrative example of the uneasy interaction between the specialized and supposedly "objective" knowledge of learned experts and the agendas of the central and local authorities and officials. My basic goal has been to uncover the relationship between the "imp...

This paragraph examines the impact of Creangă' narrative modelon Paul Goma's prose. The relationship between the character and the author, the narrative figures, the stylistic dominants of the story "Amintiri din copilărie" by Ion Creangă and the novel "Din calidor"by Paul Goma are analysed. It examines the dialogical poetics of the novel, the dialectical relations of the bivoc word, the hybrid construction, plurilingvism, the instinctive genius sense of the language, the intrinsec elements of the narrative model in the line of the Creangă-Sadoveanu tradition.