REPLICATING THE QUINTESSENTIAL FEATURES OF ENGLISH NATIONAL IDENTITY IN JULIAN BARNES’ ENGLAND, ENGLAND

Mihaela CULEA

admin 15 Jan 2019

In his novel England, England, Barnes imagines a grand Project that promises an authentically English experience offered by a small replica of England on the Isle of Wight, a reconstruction skilfully based on a list of Fifty Quintessences of Englishness. Guided by a strong belief that “we are the new pioneers, we must sell our past to other nations as their future” (Barnes, 2012: 40), the engineers of the Project exploit the necessity of replicating history and culture for business purposes. The paper explores some of these aspects, with a central interest in the concept of Englishness, that all-encompassing collection of identity markers unifying the English people, as it is satirically re-evaluated, reactivated, replicated, reconstructed and even reinvented by Barnes’ fictional work.

ROMANIAN NEW CINEMA: REPRESENTING NATIONAL IDENTITIES IN A GLOBAL WORLD

ANCA MITROI SPRENGER

admin 23 Jul 2014

Since 1995, Romanian cinema has become one of the most visible and discussed phenomena in international film festivals and cinema journals. This phenomenon can be seen as a reaction to the nationalist, populist, and patriotic cinema: instead of focusing on the nationalist image of a glorious Romania(like in the communist era) they often focus on the dysfunctional or antagonistic relationship of Romaniawith the rest of world. This paper shows that many post-1990 movies depict the relationship between Romaniaand the world as a failed “graft”, Romanian society and the Romanians playing the role of a “foreign body” rejected by the others. If communist movies represented the West as a source of danger and death, one can find similar representations in the New Wave films, but for totally different reasons.  In movies like Nae Caranfil’s Asphalt Tango, in Mircea Daneliuc’s The Snails’ Senator, in Cristian Mungiu’s Occident, or Beyond the Hills, the failed graft ofRomania into the Western World is symbolically represented by comic idiosyncrasies but also infection, sickness, tragedy, and even death.

NATIONAL IMAGINARIUM IN WORLD CINEMA. A BINARY PERSPECTIVE

DIANA ELENA POPA

admin 27 Jul 2012

The present paper reinforces the claim that the category of the ‘national’ and the space of the ‘national’ are to be perceived as ideological and political constructions, which, in cinematic representations, may vary from resistance to or collusion with the Hollywoodian tradition. Subsequently, we argue that there is no ideal national cinema model, which may express and explore pure, authentic national identities and indigenous cultural traditions. However, any national cinema, as part of world cinema should be able to mediate meaning and therefore has an impact on the issuing culture. Thus, national cinema becomes an ideological instrument deeply rooted in the semantics of the given society. The concept of national imaginary is used in its Lacanian acceptance of the term and will be further applied on two distinct African representations in The Perfect Picture and Mooladé.