The representations of gender, ethnicity and class play a particularly significant part in struct... more The representations of gender, ethnicity and class play a particularly significant part in structuring the way in which East European crime fiction makes sense of its cultural identity. Issues of social inequality and discrimination are addressed by the European institutions through the promotion of inter-and multi-cultural values that are meant to foster awareness about social stereotypes and prejudices and promote the artistic expression of more balanced representations (i.e. the EIGE policies). Yet sometimes the gap between the inclusive aims pursued by the European policies and the realities represented in crime films, TV dramas and novels is more than noticeable. This article aims to discuss this fluctuation between disparity, stereotypization, realism and exploitation in the HBO production Shadows (Umbre, 2014-2019).
L'article donne à entendre et analyse la voix de penseurs de l'Europe de l'Est exilés... more L'article donne à entendre et analyse la voix de penseurs de l'Europe de l'Est exilés en Amérique.
Sélection des actes du vingtième congrès de l'Association internationale de littérature compa... more Sélection des actes du vingtième congrès de l'Association internationale de littérature comparée, cet ensemble de volumes engage une réflexion sur les bases d'une critique littéraire comparatiste et sur les relations entre le comparatisme en littérature et dans les autres domaines du savoir et des arts.
Our article focuses on a corpus of crime television series reflecting upon differences between we... more Our article focuses on a corpus of crime television series reflecting upon differences between western and eastern Europe – a phenomenon that we will address as the ‘West–East slope’. The series figure as instances of the struggle for recognition at the level of the social imaginary, between western and eastern Europe. Addressing the double logic of the western narrative on eastern Europe and the eastern narrative of western Europe, one of our main findings is that the recognition aesthetics of eastern Europe produced a multi-layered representation of the West varying from country to country. On the other hand in western productions, there is still a bias towards a more politically correct image of easternness, a state of affairs that is questioned by eastern European attempts to produce their original contents.
KORUNK (KOLOZSVÁR) III. évfolyam, 2021. október : XXXII/10 pp. 42-52. , 11 p. , 2021
Our article focuses on a corpus of crime television series reflecting upon
differences between We... more Our article focuses on a corpus of crime television series reflecting upon differences between Western and Eastern Europe – a phenomenon which we’ll address as the ‘West-East slope.’ The series figure as instances of the struggle for recognition at the level of the social imaginary, between West and East Europe. Addressing the double logic of the Western narrative on Eastern Europe and the Eastern narrative of Western Europe, one of our main findings is that the recognition aesthetics of Eastern Europe produced a multi-layered representation of the West varying from country to country. On the other hand in Western productions there is still a bias toward a more politically correct image of Easternness, a state of affairs which is questioned by Eastern European attempts to produce their original contents.
Our article focuses on a corpus of crime television series reflecting upon differences between we... more Our article focuses on a corpus of crime television series reflecting upon differences between western and eastern Europe – a phenomenon that we will address as the ‘West–East slope’. The series figure as instances of the struggle for recognition at the level of the social imaginary, between western and eastern Europe. Addressing the double logic of the western narrative on eastern Europe and the eastern narrative of western Europe, one of our main findings is that the recognition aesthetics of eastern Europe produced a multi-layered representation of the West varying from country to country. On the other hand in western productions, there is still a bias towards a more politically correct image of easternness, a state of affairs that is questioned by eastern European attempts to produce their original contents.
Acta Universitatis Sapientiae, Philologica, Nov 1, 2019
Crime fiction is currently evolving towards a literary genre which encompasses the intertwining o... more Crime fiction is currently evolving towards a literary genre which encompasses the intertwining of several textual practices, rhetorical modes, cultural identities, and topoi. Multiculturalism and the relation to alterity are gradually conquering the realm of detective fiction, thus rendering the crime enigma or suspense only secondary in comparison to other intellectual "enjeux" of the text. Transgressing the national horizon, contemporary detective fiction in Romanian literature can be thus considered as "world literature" (Nilsson-Damrosch-D'haen 2017) not only because it does not engage representations of Romanian spaces alone but also due to its translatability, its transnational range of cultural values and practices. This article aims to discuss several categories of examples for this fresh diversity that Romanian crime fiction has encountered. Novels written recently by authors such as Petru Berteanu, Caius Dobrescu, Mihaela Apetrei, Alex Leo Şerban, or Eugen Ovidiu Chirovici employ variations such as either alternative narrators or cosmopolitan characters, or contribute to anthologies, writing directly in English in order to gain access to a more complex audience. The paper sets out to analyse the literary or rhetorical devices at work in these transgressional phenomena as well as their effects on contemporary Romanian crime narratives and their possible correlations to transnational phenomena. 1
Acta Universitatis Sapientiae, Philologica, Nov 1, 2019
Crime fiction is currently evolving towards a literary genre which encompasses the intertwining o... more Crime fiction is currently evolving towards a literary genre which encompasses the intertwining of several textual practices, rhetorical modes, cultural identities, and topoi. Multiculturalism and the relation to alterity are gradually conquering the realm of detective fiction, thus rendering the crime enigma or suspense only secondary in comparison to other intellectual "enjeux" of the text. Transgressing the national horizon, contemporary detective fiction in Romanian literature can be thus considered as "world literature" (Nilsson-Damrosch-D'haen 2017) not only because it does not engage representations of Romanian spaces alone but also due to its translatability, its transnational range of cultural values and practices. This article aims to discuss several categories of examples for this fresh diversity that Romanian crime fiction has encountered. Novels written recently by authors such as Petru Berteanu, Caius Dobrescu, Mihaela Apetrei, Alex Leo Şerban, or Eugen Ovidiu Chirovici employ variations such as either alternative narrators or cosmopolitan characters, or contribute to anthologies, writing directly in English in order to gain access to a more complex audience. The paper sets out to analyse the literary or rhetorical devices at work in these transgressional phenomena as well as their effects on contemporary Romanian crime narratives and their possible correlations to transnational phenomena. 1
The representations of gender, ethnicity and class play a particularly significant part in struct... more The representations of gender, ethnicity and class play a particularly significant part in structuring the way in which East European crime fiction makes sense of its cultural identity. Issues of social inequality and discrimination are addressed by the European institutions through the promotion of inter-and multi-cultural values that are meant to foster awareness about social stereotypes and prejudices and promote the artistic expression of more balanced representations (i.e. the EIGE policies). Yet sometimes the gap between the inclusive aims pursued by the European policies and the realities represented in crime films, TV dramas and novels is more than noticeable. This article aims to discuss this fluctuation between disparity, stereotypization, realism and exploitation in the HBO production Shadows (Umbre, 2014-2019).
L'article donne à entendre et analyse la voix de penseurs de l'Europe de l'Est exilés... more L'article donne à entendre et analyse la voix de penseurs de l'Europe de l'Est exilés en Amérique.
Sélection des actes du vingtième congrès de l'Association internationale de littérature compa... more Sélection des actes du vingtième congrès de l'Association internationale de littérature comparée, cet ensemble de volumes engage une réflexion sur les bases d'une critique littéraire comparatiste et sur les relations entre le comparatisme en littérature et dans les autres domaines du savoir et des arts.
Our article focuses on a corpus of crime television series reflecting upon differences between we... more Our article focuses on a corpus of crime television series reflecting upon differences between western and eastern Europe – a phenomenon that we will address as the ‘West–East slope’. The series figure as instances of the struggle for recognition at the level of the social imaginary, between western and eastern Europe. Addressing the double logic of the western narrative on eastern Europe and the eastern narrative of western Europe, one of our main findings is that the recognition aesthetics of eastern Europe produced a multi-layered representation of the West varying from country to country. On the other hand in western productions, there is still a bias towards a more politically correct image of easternness, a state of affairs that is questioned by eastern European attempts to produce their original contents.
KORUNK (KOLOZSVÁR) III. évfolyam, 2021. október : XXXII/10 pp. 42-52. , 11 p. , 2021
Our article focuses on a corpus of crime television series reflecting upon
differences between We... more Our article focuses on a corpus of crime television series reflecting upon differences between Western and Eastern Europe – a phenomenon which we’ll address as the ‘West-East slope.’ The series figure as instances of the struggle for recognition at the level of the social imaginary, between West and East Europe. Addressing the double logic of the Western narrative on Eastern Europe and the Eastern narrative of Western Europe, one of our main findings is that the recognition aesthetics of Eastern Europe produced a multi-layered representation of the West varying from country to country. On the other hand in Western productions there is still a bias toward a more politically correct image of Easternness, a state of affairs which is questioned by Eastern European attempts to produce their original contents.
Our article focuses on a corpus of crime television series reflecting upon differences between we... more Our article focuses on a corpus of crime television series reflecting upon differences between western and eastern Europe – a phenomenon that we will address as the ‘West–East slope’. The series figure as instances of the struggle for recognition at the level of the social imaginary, between western and eastern Europe. Addressing the double logic of the western narrative on eastern Europe and the eastern narrative of western Europe, one of our main findings is that the recognition aesthetics of eastern Europe produced a multi-layered representation of the West varying from country to country. On the other hand in western productions, there is still a bias towards a more politically correct image of easternness, a state of affairs that is questioned by eastern European attempts to produce their original contents.
Acta Universitatis Sapientiae, Philologica, Nov 1, 2019
Crime fiction is currently evolving towards a literary genre which encompasses the intertwining o... more Crime fiction is currently evolving towards a literary genre which encompasses the intertwining of several textual practices, rhetorical modes, cultural identities, and topoi. Multiculturalism and the relation to alterity are gradually conquering the realm of detective fiction, thus rendering the crime enigma or suspense only secondary in comparison to other intellectual "enjeux" of the text. Transgressing the national horizon, contemporary detective fiction in Romanian literature can be thus considered as "world literature" (Nilsson-Damrosch-D'haen 2017) not only because it does not engage representations of Romanian spaces alone but also due to its translatability, its transnational range of cultural values and practices. This article aims to discuss several categories of examples for this fresh diversity that Romanian crime fiction has encountered. Novels written recently by authors such as Petru Berteanu, Caius Dobrescu, Mihaela Apetrei, Alex Leo Şerban, or Eugen Ovidiu Chirovici employ variations such as either alternative narrators or cosmopolitan characters, or contribute to anthologies, writing directly in English in order to gain access to a more complex audience. The paper sets out to analyse the literary or rhetorical devices at work in these transgressional phenomena as well as their effects on contemporary Romanian crime narratives and their possible correlations to transnational phenomena. 1
Acta Universitatis Sapientiae, Philologica, Nov 1, 2019
Crime fiction is currently evolving towards a literary genre which encompasses the intertwining o... more Crime fiction is currently evolving towards a literary genre which encompasses the intertwining of several textual practices, rhetorical modes, cultural identities, and topoi. Multiculturalism and the relation to alterity are gradually conquering the realm of detective fiction, thus rendering the crime enigma or suspense only secondary in comparison to other intellectual "enjeux" of the text. Transgressing the national horizon, contemporary detective fiction in Romanian literature can be thus considered as "world literature" (Nilsson-Damrosch-D'haen 2017) not only because it does not engage representations of Romanian spaces alone but also due to its translatability, its transnational range of cultural values and practices. This article aims to discuss several categories of examples for this fresh diversity that Romanian crime fiction has encountered. Novels written recently by authors such as Petru Berteanu, Caius Dobrescu, Mihaela Apetrei, Alex Leo Şerban, or Eugen Ovidiu Chirovici employ variations such as either alternative narrators or cosmopolitan characters, or contribute to anthologies, writing directly in English in order to gain access to a more complex audience. The paper sets out to analyse the literary or rhetorical devices at work in these transgressional phenomena as well as their effects on contemporary Romanian crime narratives and their possible correlations to transnational phenomena. 1
Uploads
Papers by Roxana Eichel
differences between Western and Eastern Europe – a phenomenon which
we’ll address as the ‘West-East slope.’ The series figure as instances of the struggle for recognition at the level of the social imaginary, between West and East Europe. Addressing the double logic of the Western narrative on Eastern Europe and the Eastern narrative of Western Europe, one of our main findings is that the recognition aesthetics of Eastern Europe produced a multi-layered representation of the West varying from country to country. On the other hand in Western productions there is still a bias toward a more politically correct image of Easternness, a state of affairs which is questioned by Eastern European attempts to produce their original contents.
differences between Western and Eastern Europe – a phenomenon which
we’ll address as the ‘West-East slope.’ The series figure as instances of the struggle for recognition at the level of the social imaginary, between West and East Europe. Addressing the double logic of the Western narrative on Eastern Europe and the Eastern narrative of Western Europe, one of our main findings is that the recognition aesthetics of Eastern Europe produced a multi-layered representation of the West varying from country to country. On the other hand in Western productions there is still a bias toward a more politically correct image of Easternness, a state of affairs which is questioned by Eastern European attempts to produce their original contents.