Meridian Critic

The article analyses the notion of stereotype, understood as expression of collective social opinion, a kind of statistical average of current opinions reflecting a series of prejudice in contemporary society. Every stereotype is highly abstract, distant from reality and aiming at generalization and simplification of its concrete significance. We refer only to some stereotypes belonging to our patriarchal society, namely: the inferior condition of the woman in relation to the man, that is the social discrimination of women, implicitly.
Advertising is a kind of subjective, not objective, communication, its aim being to influence opinions, to form tastes, to modify attitudes, to determine choices in a consumerist society. Advertising is a social phenomenon, a cultural and psychological one, the stereotype thus becoming obvious and succeeding in creating a strong semiotic impact. Stereotypes and prejudice deeply rooted in people’s minds and conveyed from generation to generation are very persuasive factors. Commercial advertising offers, this way, not only a product to be used, but also life models, legitimate behaviour, perpetuating a style to follow.

In everyday speech, stereotypes may often be charged with rather a negative connotation. In his drama, Eduardo De Filippo, a name that stands for the quintessential Naples character, makes vivid use of all sorts of stereotypes (linguistic, behavioral, religious a. s. o.) specific for his fellow-country people – not in order to highlight any inferior or comic aspects of a civilization, but on the contrary, in order to justify his characters and place them in a particularly consistent context.
Luca Cupiello’s obsession with the Christmas manger; the entire community’s reluctance to touch the dead (be they even fake!) in the play Napoli milionaria; or the prevalent confidence in the capability of the dead to disclose winning lottery numbers in the play Non ti pago!; the consecration of such domestic rituals as the morning coffee a. s. o. – may serve as only a few of the illustrations of cultural stereotyping endowed with a positive significance in De Filippo’s drama. Never meaning to transform stereotypes into models, or even into exemplary patterns, De Filippo actually makes up a genuine catalog of repetitive behavior instances – defining for the natives of Naples.

In the present paper the authors analyse the current francophilophonic discourse with a special focus on the stereotypes it engenders. We will first detail the concept of francophilophonie and its influence in Romania and then analyse stereotypes based on a corpus made up of official documents, namely: speeches delivered by Mme Michaëlle Jean, Secretary General of La Francophonie and by Mr. Michel Frankard, a reputable linguist and Francophonie-promoter, as well as the French-Speaking Parliamentary Assembly’s Notification at the Dakar Summit (September 2014). Our analysis aims at exposing the effects of stereotypes, whether positive or negative, on the dynamics of contemporary Francophonie, in general, and of the Romanian Francophonie, in particular.

A fragment from an extensive research that concerns the relationship between the criticism of I. Negoiţescu, a refined aesthete, and Ion Agârbiceanu's prose,asocialand ethically engagedprose, this study aims to argue how, anadeptof the aesthetic autonomy and of the need to synchronize the Romanian culture with the European values, just like E. Lovinescu,his magister., I. Negoiţescu exceeds Lovinescu’s approach, by constructing his own aesthetic.Therefore, we take into consideration Negoiţescu's earlyconfessions, when he adhered to the Iron Guard, his ideas expressed in the Sibiu Literary Circle Manifesto, his own confession in favor of Lovinescu, as well asthe way in which he is perceived by the Romanian literary criticism. Overall, it is argued Negoiţescu's option for exceedingthe aestheticsin favor of supra-individual values. Among the arguments, we also invoke here his opinions and those of his colleagues from the Sibiu Literary Circleabout I.L. Caragiale

Variation is a multidimensional phenomenon that has not received adequate attention so far. In addition to its purely linguistic aspects, variation is also a result of the national linguistic mentality, which depends on linguistic, social, political and cultural factors. The examination of variation involves a study of national characteristics, which do not reside in culture (language) as an object, as an ontological reality, but in culture (language) as a subject, as a gnoseological reality.

The article is carefully focused on a strategy of translation constantly used by Ioan Piauriu Molnar in the Romanian version of Claude François Xavier Millot’s work, Eléments d’histoire générale ancienne et moderne. It is about interpolation, which explains (by synonyms or paraphrases) the numerous neologisms introduced in the text.

Stereotyping is a transversal concept which targets any compartment of communication, observed from complementary theoretical perspectives. In this article, we clarify some of the concepts and terms “stereotype” and “cliché” and we show that whereas there are numerous approaches to the stereotype role regarding artistic discourse in foreign literature, this research is still incipient in Romanian bibliography.

Submitted to a critical review, the notion of linguistic cliché reveals an insufficient determination of its content. Moreover, cliché is a rather subjective term which encompasses different fixed constructions repeatedly employed in various communicative situations. If we are to consider the constant negative undertones of clichés, we might assume that such linguistic constructions are unattestable in the works of great poets such as Mihai Eminescu. Hence, there is an inevitable incompatibility between the value of a text (especially literary texts) and the presence of clichés in the economy of such texts. In reality, things are fundamentally different because linguistic clichés are not only a necessary condition for the functioning of any language, but also a means of making texts more distinguishable. The negative undertones of clichés reside either in their incongruity to the structures of an ideal language or in their capacity of representing ideatic requisites of specific historical moments

This paper investigates how the popular gender-related mentality (in all its representations) is reflected in language facts known as linguistic cliches. We made a selection of language material varying in complexity from collocations to proverbs and, for the most part, the application is made on examples taken from Iuliu Zanne’s Proberbele românilor, but includes alsophrases recorded in other famous lexicographic works

The linguistic stereotypes refer to those linguistic constructions that occur in a speech depending on the degree to which a certain language can influence another. In our survey we intend to analyze the spoken Italian language by the Romanians who live in Italy and find themselves right at the beginning of learning the new language when alterations may appear due to the influence of the Romanian language. An important role in speaking a foreign language in a correct manner is the correct equivalent of the message that someone would like to transmit from one language to another.

Our paper focuses on finding out the content, origin and functions of a particular syntactic and semantico-pragmatic sterotype in Paul’s Epistle to the Romans. Our findings – which are positive as to the structural value of the stereotype under investigation – involve a broader characterization of the religious functional style in terms of form and content.

The present paper does not pretend to be a history of the fairy-tales, but to underline those aspects that are considered to be stereotypes, focusing mainly on those discursive formulas that are common both in Romanian and Spanish texts that have their origin far back in folk literature and oral traditions

The complexity of human language manifested through multiple forms of transmission the communication message was, is and will be notified by speakers, but at the same time was, is and will be studied by linguists, in general, and by pragmatics in particular. The major differences between what is said through linguistic material used and what is actually meant to be said, in fact, what it is wanted to be transmitted and countless modality by which this can be achieved, it represents a rich study material. The ambiguities of language in daily conversations are created because so much verbal clichés are used in daily speech, political speech, and media discourse.
In this work, we refer to the meaning, the context and the ambiguity, the three essential elements for creating the message, transmission, reception and, especially, its interpretation, referring to some oral stereotypes that we will analyze in semantic, syntactic and pragmatic terms.

A poet of the postmodernist group of the 80s, Magda Cârneci has published in 2011 her first novel, FEM, an “autofiction” – as she labels it – which confesses experiences and moods of growing femininity. Through its visionary and imagistic elements, the novel is very much indebted to the doubovskian autofictional pattern and request a reading closely related to a spiritual biography designed by the recurrent symbols, obsessive images and poetic discourse. Its adherence to the autofictional rhetoric sustain the authenticity project through biographical identifications which patterns a dynamic identity symbolically mapped through the constants of the feminine writing: corporeality, exploration of sexuality, fracture of the self. On the other hand, these constants tend to turn the discourse into a stereotype of the feminine writing. From this point of view, the present study aims at analyzing the dynamic between the authentic expression of the feminine nature and the social, cultural and linguistic stereotypes.

In the large sphere the speech analysis supposes nowadays and, particularly, the argumentation analysis, considered a branch of the former, the stereotype, together with the topoϊ or the commonplaces, is analyzed as one of the forms of the doxa. This perspective, we adopt in the study, corresponds to the integrative tendency of speech analysis, proposed by Ruth Amossy. This ensemble of beliefs, opinions and representations specific to a community, play in nowadays occasional religious speech, as a coded discursive genre, distinct from other preaching forms, an important part, tracing new perspectives of research both regarding the way the speech architecture is supported, starting from the previous agreement, and concerning how this built doxasticspace reveals what we are going to define in our study as interdiscursive dialogism. The application part of the study will have as a source of analysis the corpus of pareneses which I gathered, transcribed compliant to the conventions, from an audio-video format, published in Luminiţa Hoarţă Cărăuşu, Corpus de limbă română vorbită actuală nedialectală,„Alexandru Ioan Cuza” University Publishing House of Iaşi, Iaşi, 2013, p. 60-99.

Emerged after the political and economic centralization of states within the EU, Brussels language is a variant of the old language used in the communist period, developed in the administrative field, but non persuasive and not manipulated, but direct and corrective to the national policies. Brussels language corresponds to a supranational transmitter and to a national - institutional receptor, constituting a formula of vertical communication, expressed generally by linguistic stereotypes. The analysis of the texts from the present study shows that in the current state of the Romanian language, the notion of language Brussels is only a conjectural label of the language without being subject to the rules of language in order to fit

Cet article «Les Discours répété dans les titres des articles de la presse féminine Roumain et Italien» analyse la présence des énoncés appartenant au «discours répété» – généralement considéré comme un stéréotype lexicale –, discours qui se caractérise par une grande diversité (expressions idiomatiques, locutions expressives, proverbes, mots devenus «célébres», titres de certaines oeuvres littéraires, citations, etc.) en titres des articles de la presse féminine. Ces énoncés n’apparaissent avec leur forme canonique, mais étant soumis à des transformations qui se réalisent, par l’intermédiaire d’une substitution. Le recours aux énoncés appartenant au discours répété traduire les intentions des médias féminins de faciliter le contact avec le destinataire du message et le désir que le slogan publicitaire soit retenu plus facilement.

As prayers born from deep sorrow, from a wandering off from the Path and a “fading of soul”, the wail psalms differentiate themselves from other psalm categories, on the one hand, through tone. Born from the thirst for God, the wail and the repentance represent not only a state of penitence, but also a secret process of recognition, assumption, return, re-finding, at the end of which lies the metanoia and the light from which joy, reconciliation, trust and contentment emerge. On the other hand, the wail psalms have a different structure as compared to other psalms. The present scientific paper aims to identify to what extent the constituent structure of the wail psalms has recurrent items. Furthermore, it aims to analyse the way in which the structure of one wail psalm is similar to others of the same kind, and whether this feature becomes (or not) a stereotypical trait for the psalms under analysis.

Between repeated discourse and the inflexible structures of the wooden language, linguistic stereotypes are dialectal constructions linguistically stable, that maintain the determinism of the signification created in the diachronic evolution of language,wich is characteristic to the repeated discourse, but instead, loses gradually its functions and causes the appearance of some incompatibilities at the level of syntagmatic relations, being a precursor of the artificial structures specific to the wooden language.
Our study proposes an analysis of the way linguistic stereotypes solidarize with thought stereotypes, and become causal factors for the conventional assignment of sense in the case of wooden language structures and of the gradual corruption process of their functions, in the totalitarian discourse.

The acute reliance on clichés reflects on the one hand a general and inevitable but intrinsec feature of language, inscribed in its "genetic code". On the other hand, from the perspective of social psychology, it reflects a broader phenomenon that marks the human mind, in order to simplify the complex set of stimuli from the environment. Apparently, linguistic clichés arise adverse reactions, especially from stylistics’, being disqualified and strongly perceived as a deviation from the aesthetic imperatives promoted under the auspices of the Romanticism: the cult of individual creative expression, the obstinate rejection of banality associated with topoï. However, this paper aims to outline the main directions by which sociology and other related disciplines reevaluate the status of clichés as vital structures in the coagulation of modern society which is being fractured and atomised.
The complexity of this linguistic phenomenon is visible in the polymorphous nature of the concept, able to enter into relationship of partial synonymy with a number of related terms (stereotype, poncif, template, verbal automatism, topoi, matrix, pattern, repeated discourse). In the context of this conceptual nebulosity, it is required to rethink the fuzzy boundaries and relationship between these frequently used concepts within current linguitic studies and perhaps, even refine the theory of cliché from the new perspectives of social psychology, psychology, sociology of mass communication. Consequently, in order to have a coherent overview on the phenomenon, our investigation aims at outlining the interdisciplinary theoretical horizon necessary for the radiography of the linguistic cliché by corroborating the main linguistic approaches, especially from the Francophone space (Ruth Amossy, Herscberg Pierrot, Henri Quéré, Riffaterre) and Anglophone space (Ryan Stark, Gary Olson) with sociology and social psychology’s perspectives (Anton Zijderveld, Gabriel Tarde).

This article aims to present some of the stereotypes concerning Jews, present in the Romanian and European culture, focusing on the legend of the wandering Jew. A legend that created a stereotype of a man with no homeland, no home, untrustworthy.In studied works of popular culture, literature, cultural anthropology, philosophy, psychoanalysis and Linguistics, we watched the clichés that comprise the physical portrait, professional, spiritual, moral and religious of “"the imaginary Jew” and the balancing of the border between reality and imaginary.Starting from the premise that we study an act of speech, therefore, a form of linguistic action, we have also indicated the discursive Imaging that proposes the transmission of a collective, persuasive message, with the clear intent of the speaker to influence another person.

Salué pour «avoir inventée un mythe, Pamela Lyndon Travers refusa humblement d’assumer les mérites de la « naissance» de Mary Poppins. Bien que d’accord avec la prémisse de C. S. Lewis déclarant qu’«il y a un seul créateur et nous mélangeons simplement les éléments qu’il nous donne», l’auteur née en Australie affirme que son protagoniste vient de venir à elle comme partie de la sagesse antique héritée des dieux qui coule dans le sang humain.
En divers articles réunis sous le titre «Ce que l’abeille sait. Réflexions sur mythe, symbole et histoire», Pamela invoque les concepts du «chaudron» celte, de la «rêverie» australienne ou des connaissances secrètes des druides comme source d’inspiration, en admettant avoir emprunté librement des histoires de la tradition universelle et réarrangé leurs événements pour correspondre à la « nécessité intérieure des choses.»
Selon son point de vue, le fait que les mêmes histoires surgissent ailleurs dans le monde témoigne du fait que le grain se trouve dans l’homme même, le navire à travers lequel le mythe se donne de la force. L’homme peut « seulement se connecter », mais ne jamais réellement créer ou inventer.

Europe is faced with the lack of encouraging the ethnic and cultural diversity, an issue that brings consequences, the most problematic being the confrontation of ethnic minorities with various obstacles such as marginalization, exclusion and discrimination. Also, the tendency of people to accept and assume stereotypes and prejudices, formed between different social groups, brings with itself discriminatory facts and attitudes.
Since Romani people start to coexist with other populations, this minority has been associated with negative social images and has been subjected to many discriminatory attitudes and speeches, fact that exists nowadays with regularity.

Patrick Modiano, the 2014 Nobel award winner, depicts in his writings - more than any other French contemporary novelist – the space of France seen as a “terred’accueil” for many persons, especially Jews who had to leave their homelands during the Second World War. The very heart of France, Paris is not only the “villelumière” much praised by the artists of all times and cultures, but also a space where memory is present at any street corner, especially the sad and painful remembrance of the anti-Jewish attitude.
This is why our paper will deal with some of the most outstanding aspects concerning France during the XXth century, which are related in Modiano’s writings (Ronde de nuit, Livret de famille, Unejeunesse) with memory, especially the Holocaust and the Vichy collaboration experience.

This work is intended to be an initial approximation on the importance of the body in the poetry of Ausiàs March. The women of Ausiàs March are very different from those of the troubadours, the “dolce stil novo” or Petrarca. We believe that difference is mainly due to the “embodiment” or corporality of the women in the poetry of Ausiás March.

“De la historia presente de algún hombre” is the part where some of the most remarkable aspects of Enrique Badosa's poetic works are represented, such as his shyness in exposing his personal circumstances and the serenity characteristic of his poetic discourse. Belonging to Historias en Venecia, one of the capital works of its author, it is also a wonderful example of the thematisation of clothing as a vehicle to symbolize values related to the introspection of the poetic speaker andhis critical representation of society. The article touches on the author's gramatical strategies to hide beneath clothes made of words, and thoroughly analyses those poems dealing with the topic of clothing to detail the symbolism in each garment, proving, furthermore, how a seemingly light topic can be treated with a complete lack of frivolity.

The paper entitled A Myth in Triple Hypostasis. Metamorphosis of the Tragic examines the myth of Phaedra, transfigured in classical Greek tragedy (Euripides), in the post- classical Latin (Seneca) and in the existentialist (Miguel de Unamuno) ones. The analysis reveals the transformation of the concept of tragic in relation to the development of critical consciousness, asserting the identity and responsibility towards the other by the protagonist.

The first-hand experience of living in an oppresive society cannot be without consequences, especially in the case of a reflexive and visionary spirit. Dumitru Radu Popa is a Romanian auhor whose narrative writings reflect life by creating fictional dystopian worlds inspired from his experiences. This paper aims at exploring some of his writings included in the Skenzemon! volume, published in 2005, in order to highlight their dystopian nature. Our analysis will lay emphasis both on the features that Radu Popa’s universe has in common with the universe put together by the classical narratives in dystopian fiction, and the ones making his works stand out.

Le grand domaine du mythe s’ouvre aux enquêtes les plus différentes, en saisissant les gens de lettres et ceux de sciences, dans la même mesure. C’est la raison pour laquelle le mythe a bénéficié, au fil des années, de plusieures interprétations, en représentant un point de départ et l’un d’arrivée également pour tous les rechercheurs. On obtient ainsi beaucoup de points de vue et toutes ces interprétations, qu’on pourrait étudier tout le long d’une histoire, se raniment sans cesse. Il semble qu’une doctrine des mythes ne puisse rien éliminer, de ce qui fut, un temps durant, un thème d’explication. Le seul élément unificateur de toutes ces théories concernant le mythe est représenté par le symbole. C’est-à-dire le mythe envelope le symbole et, en essayant de comprendre le monde, il faut déchiffrer correctement les mystères qui sont cachés dans les symbols, à leur tour contenus par les mythes. Les derniers se retrouvent dans les oevres littéraires qui peuvent être miex réceptées à l’aide de la grille mythique. Cet effort mène à une interpretation qui dans la théorie littéraire porte le nom de mythocritique.
Un tel exercice de l’exègese essaie de realiser Vasile Lovinescu dans la littérature roumaine et, par l’intermédiaire de ce travail, nous nous proposerons d’investiguer ses méthodes particulières d’interprétation de l’oevre littéraire à l’aide du mythe, qui, de cette manière, devient un instrument critique qui rend l’originalité à son discours. Vasile Lovinescu s’approche de mythe qu’il considère le noyau de compréhension de l’univers métaphysique dont il se sent attiré grâce aux convinctions empreuntées de son maître spirituel, René Guénon. Il se propose de les identifier dans la culture traditionnelle roumaine, matérialisées dans les productions du folklore et de la littérature.

The present study analysis the epic texts of Traian Chelariu in order to identify the penmanship, the recurrent themes and the subversive messages, so in order to identify all the common points/ the pattern of these texts. With fantastic flavor or real, with actions from urban or rural areas, in group of intellectuals or illiterate people, with young or elder characters, in the middle of a love story or in the middle of a story about freedom in a society, the Chelariu’ prose crosses different levels of life, with the detachment of a objective narrator who recounts a seemingly minor event that at some point bursts in contingent.

The present work has as its main aim to identify the themes and recurrent reasons in Max Blecher’s writings, sending us to Charles Mauron’s theoretical psychocritical grid. In the first phase of our step, Blecher’s texts will be superposed with the intention of finding those association networks materialized in obsessive metaphors (example: thirst- suicide- dark- shipwreck- pack of cards – death), then they will be analyzed noticing different metamorphosis of those groups of images which run to the revelation of the personal myth. In conclusion, Max Blecher’s writing will be perceived as a conglomerate of symbols which, once decoded, will reveal the writer’s identityfantastic projection.

The French-Canadian writer Gabrielle Roy makes her debut in writing as a journalist. Thus she is practicing her writing skills but also is collecting facts and observations that will be found in her fictions. Some of her articles, essays and documentaries have been republished in Fragiles lumières de la terre, the object of study for the present article. Our aim is to reconstruct the becoming and evolution of the Québec writer and to identify the sources which inspired her fictions.

In the interwar Bukovina has developed only in the second half of the fourth decade (’30 ) a new generation of writers , which aims to synchronize with the literature of the Old Kingdom . Interwar Romanian literature in Bucovina lies not in terms of value ,, in the first line manager can sometimes do the second, but here there is a creative effervescence and an inaugural spirit that can not be overlooked, for this even alter the fact of the Romanian literature entirety Romanian native Bukovina becomes a topos which often inaccessible and so charming , research Bucovina language writers , can also be a solution to recover the identity of Bucovina Romanian language literature.

The essay, a literature border which tends to become a veritable genre with its own identity, has experienced in Romanian literature a winding road from the position of stepchildren of a form of writing devoid of originality, a text in which there are mixed all types of writing without precise identity, up to favorite form of contemporary literature. Whatever are the judgments which has been subjected by literary critics, severe or permissive, essay seems to have its own system of laws, it’s own source of life, and, beyond symbolic boundaries, although its essence seems to be one unbounded, it currently looming as an essential component of our literature, confirming its synchronization with the universal literature.

The mannequin show window has evolved meteorically in a short period of time, renouncing to be a human replica to become a real “artistic creation”: an abstract entity, which consciously or unconsciously, contains almost enigmatic elements that configure it as a contemporary art piece that continually evolves in its conception, thus becoming one of the most developed sculptural elements since its creation until the last decades. Similarly, the mannequin is part of a wider reflection on modernity and the human condition, and maintains its enigmatic power on the already demonstrated ability to embody a fiction on the border of the imagined and the real. The most prominent artists of the twentieth century to today have recycling the mannequin, rebuilt and used it on stage, being elected to witness the dynamism and anxieties of modern ever changing world.

The paper considers one of the controversial issues of grammar Romanian: syntactic discontinuity. This has gone quite recently the attention of researchers by offering a series of solutions to the problems generated by each specific syntax structures characteristic of oral variant of Romanian. They analyzed a series of texts that reflect the specific Romanian language spoken in Ukraine.

Lexical ambiguity is perhaps one of the main causes of linguistic confusion in translating texts between two genetically related languages. Polysemantic words can have a bilateral correspondence in both languages, but often this is not the case, so their translation depends mostly on the context, i. e. the syntagmatic relations with other words. Our paper aims to present two different situations that illustrate the behavior of polysemantic words in translation.

This research on the analysis of scientific discourse is part of a series of approaches to this type of discourse in terms of Imaginary linguistic theory. This is a natural continuation of a research stage dedicated to the study of scientific corpus with some operative instruments which is focused on normative interference existing between several corpus samples extracts from a field of study rather special – the forestry.

The latest essay written by Roger Grenier, « Le Palais des livres » (2011), is an engaging confession made by a professional from the world of writers and publishers. Our paper is aimed at scrutinizing the poïétic consistency of his texts. More precisely, it will focus on the extent to which the author’s experience as an avid reader and writer results both in his examination of the creative strain of different authors and in his autobiographical enterprise which reveals the intimacy of his own creative act. Our research dwells on the peculiarities of this type of critical discourse centered on the mechanisms of the literary creation, both from the producer’s and the receiver’s points of view.

My article deals with the toponymy of the hills from the village of Baia, which belonged to the old Mălini District from Moldavia Region. The new values and valences of these topomyms are bound to the fact that historical and archaeological evidence provide a new perspective upon the oiconims of the region.

It is well known that the author is at the origin of his work and makes it virtual-real. The report between the author’s biography and his work is described by Valéry, Proust, Flaubert and Stendhal: «work is created by a deeply I, secret, mythical, expressed by the concept “a hand which writes”. The work of art is valued in communication with others. The value of a work is inconformity with predetermined rules and, to be recognized, it must be certified and consecrated. Comprehension and reception are ways of interacting; in the first, cognitive processes prevail, in the second the emotional and rewarding ones. Nowadays, it appears that the distance between the publication and translation of a work which won an important award is increasingly short, due to the importance shown by the translation agencies and market demands. Whatever the reasons of self-translation and translation, “minority cultures” and translated authors should be grateful to translators’ interest as representatives of a different horizon than of the author or the public source.

When literary translation is concerned, we need to refer, at the same time, to the adaptation of the text to the culture of a different people. During history, literature benefited from the minute labor of translation, which generated texts with different degrees of difficulty, going from the faithful copies of the original to its actual rewriting. In translating literature in Romanian, there is a tendency to avoid certain words that are considered to be unacceptable for the reader. Our paper intends to analyze certain aspects regarding the way deviation from the original text misleads the reader, by separating him from the real ambiance described in a literary text and by forcing him into his own culture. One of the most frequent misconceptions is that a good translator is the one who has high linguistic competences in both language; but a good translator, besides being a linguist, must also be a mediator between the two cultures. Therefore, the source-language text and the target-language text must be equivalent, not identical, as the work of a literary translator is set on the premises of creativity.

The recent Romanian migration abroad is little known and studied scientifically, despite the fact that it is a current and largely debated topic, due to its social, economic and political consequences. Though it has a temporary character, it is almost certain that in the next decades it will turn into definitive migration, especially in case of the children who migrated together with their families or were born in the receiving countries. Clarifying and building the identity of the second generation of Romanians living in Spain is a phenomenon that deserves special analysis.The migrants’ identity is understood as a result of intersectorial identification, which requires an interdisciplinary approach.
The present article tackles the identity of the second generation of migrants from the perspective of the intercultural and transnationalism paradigms and aims to answer the following questions: what are the differences between the first and the second generations of migrants? why do some of the migrants’ children declare themselves Spaniards? do they want to come back to their home country? do they speak Romanian? In what circumstances do they use the Romanian language?

More than thirty years ago, Spain included in the teaching of the foreign languages the element of interculturality. Such influences as other sciences (sociolinguistics or ethnolinguistic) and the contextual globalization urged a dramatically changes in the classes of foreign languages teaching and didactics. On other hand, countries as Romania, from the Eastern part of Europe, tried to recuperate essential techniques and “modes” and models on the run. Learning foreign languages in countries as Romania is a matter of surviving and it is up seen with great admiration when it occurs and with disappointment when it doesn’t. Very good with the languages, the average Romanian has a good level of English (superior to B2) and it is likely to have a good dominion (A2-B1) of at least other two or three. As a consequence, the Romanian authors of manuals for Romanian as a foreign language had as a referent a student that has to learn and has all the determination to do it, which doesn’t make them perfect to be used in a distinct country.
In Spain the context is extremely different as we are dealing with a self-sufficient dominant language and culture that hadn’t had the need to learn other language as Spanish was spread worldwide. The Spanish student We’ll try to demonstrate that the intercultural element is not a crush between cultures, but in the same time it is not enough to present into a manual eight students from eight different countries to assure the integration intercultural of the otherness.
The present article has been presented at the International Conference Romania – spaţii şi medii culturale romanice, organized at the University of Leipzig in October of 2015 by the Institute of Romance Studies of Leipzig.

This paper aims to establish the main discursive communities and genre networks from within the multiversity. After analyzing the academic environment of the university from the perspective of the discursive communities theory proposed by Swales, we consider that the University is a macro-discursive community (MCD) divided into two smaller discursive communities, a scientific one and an administrative one. Since we consider that a genre network corresponds to each discursive community, we have identified within the MCD a scientific network, an administrative network and a public network, the latter being necessary for both discursive communities and their communication with the public. If the scientific network and its genres are repeatedly analyzed, those of the administrative network are neglected, although the importance of these genres for the multiversity is crucial.