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To clarify, frumoasele straine me just say that not only frumoasele straine Cartarescu Romania’s most gifted and famous writer, but his name and a possible Nobel Prize have often been mentioned in the same breath, at home and abroad. At once sad and hilarious, “light” and deep, critical and touching, Frumoasele straine is the three-part countersaga of the famous Romanian writer as twenty-first-century world schlemiel.
Except that, of course, we are not dealing with screenplays, or anything of that nature, but with a more complex genre, a hybrid lodged at the crossroads of fiction and nonfiction, a sort of slightly fictionalized travel narrative where realistic observation and self-observation, on the frumoasele straine hand, and cultural commentary, on the other, combine into frumoasele straine, well-aimed satire.
They are billed “road movies” by the frumoasele straine blurb–the English phrase is actually used there, and aptly so. Keyword Title Author Topic. But, because the protagonist of the stories is Cartarescu himself–or “Cartarescu,” rather, the author’s frumoasele straine alter ego–this satire has a self-satiric or, more exactly, self-deprecating component.
Frumoasele Straine – Mircea Cartarescu | Insipiring words | Pinterest
frumoasele straine The writer urges the reader not to take him too seriously frumoasele straine he himself declines to do so in the first place.
From the Land of the Moon. Mar 1, Words: The first is titled “Anthrax’; the second in translation”Beautiful Foreign Women, or How I Was a Run-of-the-Mill Author”; and the third, also in translation, “Bacovian [Story],” with a reference to Romanian poet George Bacovia and the depressive, small-town world evoked obsessively by this belated frumoasele straine.
Rhetorically and frumoaeele, this is a smart move. World Literature Today Article Type: Thus, the stories in atraine book paint the picture of a “picaro” Cartarescu, frumoasele straine “Cartarescuas-the-famous-author” traveling through his country’s backwater towns Bacovia’s destitute eastern Romania or through cosmopolitan western Europe and running, over and over again, into quasi-surreal situations, which he narrates with comic gusto.
Indeed, Kafka–a “soft” one, a “Kafka a la Roumaine–is at home both in the amusing-grotesque “Anthrax” episode recounted in the opening text as much as in the “French tour” story, frumoasele straine ten Romanian frumoasele straine are paraded before French audiences like so many hunger artists.
This has made him into a celebrity in a society still unprepared to handle stardom culture and where, accordingly, renowned people are simultaneously admired and envied, if not hated, for the frumkasele reasons. In the process, he makes fun of frumoasele straine, too, of the “celebrity” he has become, frumoasele straine only to be detested by petty “competitors” at home or to be treated as a space alien by surprisingly frumoasele straine audiences in Southern France.
What unifies the two frumoasele straine, we discover, is the Kafkaesque absurd of the incidents derived from ignorance and cultural misunderstanding.
I call the texts narratives for lack of a better term. Retrieved Jul 27 from https: