All rights reserved. No part of this publications may be reproduced, stored in a retrieval system or transmited in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of Sorin Cerin. One approach among all risky - not of today, yesterday, but from always - because he tend to mix where not even is, the work of poetry, making a kind of philosophizing versified, and willy-nilly, all kinds of punishments and morality.
Not anymore is case to remind ourselves of the words said by Maiorescu, to Panait Cerna, about "philosophical poetry," because the poet, them knows, and, he very well, and precisely that wants to face: the risk of to work only in idea, and, of to subordinate the imaginative, to the conceptual.
Truth be told, it's not for Sorin Cerin, no danger in this sense, for he is in fact a passional, and never reach the serenity and tranquility Apolline of the thought, on the contrary, recites with pathos rather from within a trauma which he tries to a exorcise, and to sublimates, into radical than from inside any peace of thought or a reflexive harmonies.
Even what sounds like an idea nude, transcribed often aphoristic, is actually a burst of attitude, a transcript of emotion - not with coldness, but rather with heat was also remarked, moreover, manner wait wrap pentru a pierde în greutate prophetic of the enunciations.
They attack the Principle of reality, not its accidents. Thus, everything is raised to a dignity problematic, if no and of other nature, and prepared for a processing, densified. Risks of the formula, arise fatal, and here, because is seen immediately the mechanism of to promote the reality to dignity of the lyrism. One of the mechanisms comes from expressionist heritage without that Sorin Cerin to have something else in common with the expressionistsof the capitalized letter, through which establishes suddenly and unpredictably, or humility radicalizedor panic in front of majesty of the word.
Usually the uppercase, baptizes the stratum "conceptual" even if some concepts are metaphorssignaling the problematic alert.
It is true, Sorin Cerin makes excess and wastage, of the uppercase, such that, from a while, they do not more create, any panic, no godliness, because abundance them calms effects of this kind, and spoil them into a sort of grandiloquence.
The other mechanism of the elevation in dignity rely on a certain - perhaps assumed, perhaps premeditated - pretentious discourse, on a thickening lexical, and on a deep and serious declamation.
How is and normal - even inevitable - in a lyrical of reflection what wants to coagulate around certain cores conceptual, the modality immediate of awareness of these nodes conceptual, consists in materializing the abstractions, making them sensual is just their way of to do epiphany lyrical. But at, Sorin Cerin, imaginative mechanics is based on a simple use of the genitive, which materialize the abstractions, from where endless pictures like "the thorns of the Truth," "chimney sweeps of the Fulfillments," " the brushes of Deceptions" etc.
On the scale of decantation in metaphors we stand, thus, only on the first steps, what produces simultaneously, an effect of candor imaginative or discoursivebut and one of uniformity.
Probable but that this confidence in the primary processes is due to the stake on decanting of the thought, stake which let, in subsidiary, the imaginative action and on the one symbolized more so as such.
Мы соблюдали этот договор, предав забвению честолюбивые устремления своего детства, как оставишь их и ты, Олвин. Люди, выстроившие этот город, создавшие общество, населяющее его, безраздельно повелевали силами человеческого разума -- так же как и материей. Они поместили внутри стен этого города все, что могло бы когда-либо понадобиться землянам, после чего постарались, чтобы мы никогда не покинули пределов Диаспара. О, физические препятствия -- они-то как раз наименее существенны.
But not how many or what ideas roam, through Sorin Cerin's poems are, however the most relevant, thing the idea, generally, but and in this particular case, has a degree of indifference, to lyricism.
Beneath the appearance vârsta 57 pierde în greutate a speech projected on "thought", Sorin Cerin promotes, in fact, an lyricism about put to dry of, emotions existential not of intimate emotions.
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The reflexivity of the poems is not, from this perspective, than a kind of penitential attitude, an expression of hierarchies, of violent emotions. Passionate layer is, in reality, the one that shake, and he sees himself in almost all its components, from the ones of blaming, to the ones of piety, or tenderness sublimated or, on the contrary, becoming sentimentalist again.
The poet is, in substance, an exasperated of state of the world and the human condition and starting from here, makes exercises with sarcasm cruel, at least, as, gushon account of "consumer society" or on that of the vanity of "Illusions of the Existence".
It's a fever of a figures of style that contains a curse, which gives impetus to the lyrics, but which especially highlights discoursive, the exasperation in front of this general degradation. So general, that she comprised and transcendental, for Sorin Cerin is more than irritated by the instrumentalization of the God and, of the faith in the world today.
It is the devotional fever from on, the reverse, of imprecations and sarcasm, but precisely she is the one that contaminates all the poems. From a layer of ideals, squashed, comes out, with verve passionate, the attitudes, of Cerin, attitudes eruptive, no matter how, they would be encoded in a lyrical of reflections.
Dissatisfied of "insufficiency of contemporary poetry" in the same article from in România literară, "Literary Romania", reasonably poetess accuses in block, how, that what "delivers" now the creators of poetry, are not than notations of "little feeling", "small despairs" and "small thinking. The cause identified by Magda Cârneci, would be the lack of inspiration, that tension psychical, specific the men of art, an experience spontaneous, what gives birth, uncontrollably, at creation.
It is moment inspiring, in the case of poetry, charged of impulses affective, impossible to defeated rationally, an impulse on that it you have or do not it have, and, of, which is responsible the vocation. Simple, this is the problem, you have vocation, you have inspiration. I have not really an opinion formed about poetry of Magda Cârneci, and I can not know, how often inspiration visits her, but if this state is a grace, longer the case to look for recipes for to a induces?
And yet, in the name of the guild, preoccupation the poetess, for the desired state, focuses interrogative: " We do not know whom belongs the contempt, but we know that the inspiration is of the poet born, not made. The latter not being than a craftsman and an artist.
I have in front three volumes of lyrics of the poet, less known and not devoid of inspiration, Sorin Cerin, ordered in a logical decrescendo, understandable, Non - sense of the Existence, the Great silences, Death, all appeared inat the Publishing Paco, from Bucharest. After the titular ideas, immediately is striking, and poetic vocabulary of the first poem, and you're greeted with the phrase "Illusion of Life" that spelled with capital letters.
It is, in substance, an expression inherited from vocabulary consecrated of the existentialist, enough to suspect what brand will have the poems.
Move forward with reading, being curious to see you how the poet remains on same chord of background, and how deep, how seriously lives in this idea, not at all new. And it is not new for that the roots of the existentialism, reformulated modern, draw their sap from the skepticism of biblical, melancholic Ecclesiastes, discouraged, in the tragic consciousness of finitude as destiny. It is the King biblical, an, existentialist avant la lettre.
He discovers that " weather is to you be born, and a time is to die", otherwise "all is hunting of wind".
What else can be said new in our time, even in personal formula, when the existentialism has been intensively supported philosophically, in centuries XIX, and, XX, from Kierkegaard and up to Sartre, with specific nuances. It is about what you are trying to achieve the poet Sorin Cerin, leaving us, from the beginning, the impression that he lives the miracle creative, the inspiration.
Wanting wait wrap pentru a pierde în greutate guide the reader to search for a specific kind of poetry cultivated in these volumes with one and the same coverauthor subtitled them, ne varietur "Poems of meditation", as and are wait wrap pentru a pierde în greutate the level of ideas.
But how deep and how personal, is the meditation, you can not say than at the end of reading, when you synthesize what namely aspects of ontology and from what perspective, intellectual and emotional, them develop the poet. Certainly, the existentialist poetry vocabulary universal, recognizable, is now redistributed in an another topic, what leads to combinations surprising of newsome daring, or terribly tough, such as those concerning the church.
Мы же не знаем, какой вид излучения они использовали. -- Но ведь должно же быть и что-то. Где, например, сама крепость.
Reading only one of the three volumes is like as you them read on all, are singing on same chord with minimal renewal from, a poem to another. The poet closes in a unitary conceptual sphere, from here the specific rhetoric. Wherever you open one of the volumes, you are in the center of the universe poetic of the same ideas, the same attitude of skepticism outraged.
At the level of language, the same vocabulary, well- tuned with the conceptual sphere, is recombined in new and new phrases with updates related to today's environment, and even immediately of the Being, thrown into the world to atone for the "Original Sin".
The ambition to build a personal meditation, impossible to achieve at the level of poetic vocabulary, already tired, is compensated by the art of combination of the words, without being able to avoid redundant frequency of some phrases.
The most frequent, sometimes deliberately placed and twice in the same poem is "Illusion of Life". Dozens of others keywords, complementary, surprises by ostentatious use, to emphasize the idea of "Non-sense of Existence". The phrase brings here and now, living problematized of the existence is "Consumer Society". Is released from poetry a frenzy of duplication of word, what supports the idea.
Often this exuberant energy of rearrangement of words, covers what you looking for in poems composed on one and the same theme, namely, living intense affective of feeling of "illusion of life" inside, not outside. Here, we more mention of manner to distinguish the expressive words spelled with a capital letter. Rain of uppercase tends to flood few basic meanings of the poems. And more there's a particularity, the punctuation.
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After each verse, finished or not as, understood, grammatical or not, it put a comma; the point is put preferably only after the last verse. Otherwise than biblical Ecclesiastes, our poet, more revolted, than melancholic, do hierarchies of vanities pretty little ordered that you to can follow clear ideas. But it's not the only one. Of blame can be contemporary reality which provokes on multiple planes, poet's sensibility.
The word "the vanity" is engaged in a combination serious, sharp, put to accompany even the phenomenon of birth of the world, for to suggest, finally, by joins culinary very original, willfully, vulgar, disgust, "nausea", ŕ la Sartre, left behind by the consciousness of the absurd of existence.
If, the notions and synthetic concepts contained in words maintains their meaning constant, the fate of the "word" is not the same, seems to go toward exhaustion, as and the force of renewal of poetry.
Have and the words their fate, apart from poetry, as the poet says. At first, paradoxically, "Autumn sentimental" is forsaken by the "harvests passionate of words" frantically collected, by the temper ignited of the poet in love only of certain words, those from existentialist semantics.
And with this fragment I have illustrated the originality resentful word combinations, which give free course the ideas, a poetic attitude provoked by the revolt against the nonsense of existence.
Here the words came back to poetry. But, the wait wrap pentru a pierde în greutate is only the tool what not is only of the poet's, only of his, is the problem of background of existence illusory, perceived as such, in the existentialism terms from the early 21st century.
Crema funcționează și în cazul petelor și vindecă în mod uluitor orice tip de cicatrice. Metoda este surprinzatoare O buna functionare a colonului conduce la o buna functionare a organismului.
This is the core, the leitmotif of dozens of poems signed by Sorin Cerin, distributed studied, I suppose symbolic numerological, in each volume 77 each, neither more or less. He always goes from the beginning with undefeated statements the will, to understand, without accepting, as, thus, may to return toward the knowledge of self. In poetic images rare, is outlined a kind of summary of poetic discourse, focused in the poetry The Hierarchy of the Vanity, ended in contemporaneity terms of the absurd.
It's a way to renew what was more said, that "we eat absurd on bread. It's a transfer of meanings produced by the permanent revolt poured out upon the type of society we live in. Violent language, as poetic arrows thrown and against terrible degradation of politics, gives free course to the ideas, a type nihilistic rebellion, raised to the rank of principle.
Changing the subject, vocable "moment" in relation to "eternity", updates a note from the arsenal of modalități de sănătate pentru femei de a pierde în greutate words from the language of the great existentialist thinker who was the mystic Kierkegaard.
After how attitudes clearly atheist, when it comes to God and the church, in the poems of Cerinupdate hardness of language, with particularities of existentialism of Sartre, while Mathematics of the existence and many other poem, us bring back into the cultural memory the image of that "monde cassé" perceived critical by the frenchman Gabriel Marcel. Perhaps the most dense in complementary concepts the "existence", between the first poems of the first volume, is Lewdness.
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Are attempts to give definitions, to put things in relationship through inversion with sense, again very serious accusatory, like the one with address at "monastery". It remains only the freedom of the being to judge her own existence, eternal fenced to can overcome the absurd. Nature demonstrative of the poet him condemns, extroversion, at excesses, that, scatters, too generous what has gathered hardly from the library of his own life and of books. Paradoxically, the same temperament is the source of power to live authentic feeling of alienation and accentuated loneliness, until to feel his soul as a "house in ruins", from which, gone, the being, fallen into "Nothingness", more has chance, of to be, doomed "Eternity".
Remain many other comments of made at few words the poet's favorite, written with upper case.