The night regime of the gastronomic imaginary in literature

or about the unusual character of the food

Abstract:In this article we aim to address the subject of food in literature as an eminently negative factor. Viewed through the prism of the “nocturnal regime of the imaginary” (G. Durand)food can be represented by the mystery of darkness,so that a clear aspect of the “kitchen motif that doubles as an anti-kitchen” (Claude Lévi-Stauss) is fully outlined.We will bring as examples fragments and analyzes of texts from curses, fairy tales, stories, literary texts that containallusions to the gastronomy of negative menus/predispositions that influence personal human behaviorand the negative propensity on others fragments of myths that contain clues about gastronomy and the origin of food in a negative context.We will refer to the indirect description of the character starting from the consumption of food as displeasure,need or habit.We will reflect on the consumption of strange/shocking foodwho turn the characters into superheroes (they have unsuspected powers, they can do what they previously couldn’t),or it put them under the sign of disgrace and repulsion.

Keywords: nocturnal, displeasure, anti-cooking, negative, food, imaginary, disgrace.

The avatars of criticism in the context of cultural wars

Abstract: The article debates the evolutions of “critique” in its philosophical, cultural and institutional meanings, examined in the context of Western cultural wars, on the background of cultural and economic neoliberalism. From an interdisciplinary perspective, tendencies and causes of paradigmatic crises and mutations in the fields of culture and criticism are argued and explained, given their relevance to the current problems faced by both the humanities and our society involved in the dynamics of globalization.

Keywords: Culture Wars, Critique, Cultural Neoliberalism, Globalization, Acceleration, Hermeneutics of Suspicion, Value Incommensurability.

Enantiosemia. The influence of context 

Abstract: We believe that the phenomenon of enantiosemia is a specific manifestation of polysemy. In order not to confuse this phenomenon with the antonymy itself, we find it useful to specify that antonyms are words with different or partially different phonetic bodies. Such an interpretation of enantiosemia seems just ified tous. In relation to antonymy, enantiosemia refers to the internal polysemy, to the polarization of the internal meaning of the word.

 The main cause of enantiosemia is explained by the fact that in the ancient times the roots and their derivatives had common meanings, insufficiently differentiated. With the evolution of thought and language, such meanings have differentiated. From the common sphere of the notion, more definite nuances of the basic meaning were highlighted, which had opposite meanings. We would like to emphasize that with the evolution of thinking and language, such meanings have been differentiated in Romanian by creatings table polylexical units, in this case of set phrases. Cf.: a păgubi which can update its meaning only in context: A l-a păgubit pe B. B a fost păgubit de A. However, only the set phrase can differentiate the opposite semes as meaning: A aduce / face /a pricinui pagubă – a avea / suferi / a păţi pagubă/ Tobring / do / causedamage - tohave / suffer / damage.

Keywords: enantiosemia, polarization of meanings, set phrase, stablepolylexical unit, antonymy.

            Rezumat: Jurnal-roman, Intermezzo este, pentru Marin Mincu, pariul corporalizării scriiturii. Metoda diaristică, cu prerogativa egotismului narativ, e un recurs la autenticitatea discursului. Discursul nemediat, direct de la sursă, este prima opțiune a autorului, considerând că nu e autentic decât ceea ce trece prin tine, simțit cu toți porii, trăit nemijlocit. A doua opțiune narativă este actul de a lua în posesie lumea la modul somatic, visceralizant și de-a o telescopa cerebral, trecând-o în Text. Scriitura devine autentică, la modul radical, necruţător, în sensul că-l vizează în mod total şi integrator pe eul narant, ca subiect autoreflexiv.