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        <title>Lucian Blaga Yearbook Feed</title>
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            <title><![CDATA[Galin Tihanov, Literatură Mondială, Cosmopolitism Și Exil [World Literature, Cosmopolitanism, and Exile], Traducere De Maria Chiorean, Editura Universității „Lucian Blaga” Din Sibiu, 2025, 302 P.]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0026</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Statutul Ontologic Al Limbajului Și Paradigma Biolingvistică. Alexandru Gafton, Biolingvistică: Constituirea Și Funcționarea Limbajului Uman [Biolinguistics: The Formation and Functioning of Language], Editura Universității Din București, 2024, 860 P.]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0025</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Înspre O Dinamică a Paranteticului: Construcțiile Incidente În Momentele Și Schițele Lui Caragiale (Ii)]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0023</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper explores the functions and multiple meanings of parenthetical constructions such as the incident constructions in I.L. Caragiale’s moments and sketches. As parts of the discourse, parentheticals are those expressions that are independent of the host sentence, which function as modifiers, additions to, or comments on the current talk. Even though they are often seen as linguistic ornaments, they play a crucial role in conveying additional information, clarifying ideas, or providing commentary within a sentence. Through a quantitative analysis, we aim to shed light on these linguistic categories to emphasize their importance in the construction of Caragiale’s texts and characters in what concerns the reported speech.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[How Do Children Read About Animals, Death and War?]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0003</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper attempts to question the flawed animal representation in classic children’s novels due to the heavy usage of anthropocentrism, anthropomorphism and speciesism, while questioning the need for allegorical works. Using examples from Anna Sewells, Jack London, Dr. Seuss, as well as Sara Pennypacker, this works analyses old and new children’s literature from an eco-pedagogical perspective, while challenging the way children become serious partners of conversation in eco-focused discussions.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Between Pastoral Roots and Political Shadows: The Visibility and Global Circulation of Romanian Folklore]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0019</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[Romanian folklore, despite its richness, remains marginal within global cultural consciousness compared to German, Russian, or Scandinavian traditions. This essay analyses the historical, political, and cultural factors that have constrained its international visibility, including late scholarly codification, linguistic barriers, political interference during the communist period, and persistent cultural stereotypes. Drawing on folklore studies and translation theory, my essay argues that global circulation depends less on cultural value than on systems of archiving, translation, and mediation. The figure of Dracula is examined as a case study of cultural misrepresentation illustrating how popular culture has simultaneously increased Romania’s visibility but also distorted perceptions of the country. The essay concludes by emphasising the need for more responsible, contextualised forms of cultural mediation.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Dezvoltarea Competenței Pragmatice În Româna Ca Limbă Străină: Între Acte De Vorbire Și Context Comunicațional]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0022</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This study examines the development of pragmatic competence in Romanian as a foreign language (RLS) by analyzing the performance of the directive speech act of requesting in various communicative contexts. The research takes as its starting point the relationship between grammatical competence and pragmatic competence, examining how non-native speakers adapt the discursive structures of requests to contextual parameters such as the degree of formality, social distance, and power relations. The analysis focuses on strategies for performing requests in informal, academic, and institutional contexts, with an emphasis on mitigation mechanisms, the degree of pragmatic indirectness, and illocutionary appropriateness. The corpus consists of utterances obtained through contextualized pragmatic tasks, including controlled production scenarios, rephrasing exercises, and metapragmatic commentary sequences. The results highlight significant variations in the pragmatic configuration of requests depending on the constraints of the interactional context, as well as the presence of recurring patterns of pragmatic transfer and sociopragmatic inadvertence. The study supports the need for the explicit integration of the pragmatic component into RLS pedagogy and contributes to the operationalization of pragmatic competence in foreign language acquisition contexts.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[De Ce a Câștigat Han Kang Premiul Nobel?]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0004</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper explores the relationship between literary awards, translation and the construction of the world literary canon. The author this paper has focused on is Han Kang and her 2024 Nobel Prize win. Starting from the premise that world literature is defined by circulation and translation, as theorized by David Damrosch, the study analyzes how institutional mediators like the Swedish Academy influence global literary visibility. The research employs a methodology that combines a close reading of Han Kang’s The Vegetarian with a comparative analysis of female Nobel laureates from the last decade. The central argument suggests that while the Nobel Prize has recently aimed to address historical imbalances regarding gender and geographical representation—increasingly favoring authors from the “Global South” or semi-peripheral cultures like South Korea—the selection process remains fundamentally conservative. By examining The Vegetarian through a feminist lens, the paper highlights how themes of social rebellion and resistance against patriarchal norms align with contemporary global social discourses. Ultimately, the study concludes that literary prizes function as powerful agents of consecration that both challenge and reproduce existing power dynamics within the transnational literary field.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[De La Normă La Uz: Noul Îndreptar Ortografic, Ortoepic, Morfologic Și De Punctuație Și Reconfigurarea Discursului Normativ În Limba Română Contemporană]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0024</link>
            <guid isPermaLink="false">/article/10.2478/clb-2025-0024</guid>
            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This article examines the sixth edition of the Orthographic, Orthoepic, Morphological and Punctuation Guide (2024) in relation to the broader tradition of Romanian normative linguistics. Rather than treating the volume as a mere update of earlier editions, the study investigates its role in the reconfiguration of normative discourse and in the changing relationship between linguistic norm and actual language use. The analysis adopts a qualitative-comparative approach, considering the Guide in relation to previous editions of the Orthographic, Orthoepic and Punctuation Guide and to the successive editions of the Orthographic, Orthoepic and Morphological Dictionary of Romanian (DOOM). The article focuses on the main areas addressed by the new edition: orthography, orthoepy, morphology and punctuation. Particular attention is given to the inclusion of a morphological component, the harmonization with DOOM3, the treatment of recent lexical borrowings, the selection of examples relevant to current usage difficulties and the increased emphasis on pedagogical accessibility. The study also discusses the balance between continuity and innovation by examining what the new Guide preserves, modifies, simplifies or leaves outside its scope. The findings suggest that the importance of the new Guide lies less in radical normative reform than in a shift in the way linguistic norms are selected, explained and transmitted. While preserving the core principles of Romanian standard language codification, the volume adopts a more user-oriented and functionally motivated approach. It can therefore be interpreted both as an instrument of normative continuity and as a response to the linguistic challenges generated by globalization, digital communication and accelerated language change.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Adio, Utopie? Anatomia Conștiinței Unui (Anti) Comunist: Ion D. Sîrbu]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0015</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[One of the first missions of post-1989 Romanian literature was to recover the texts or authors who had faced censorship and communist repression. In this context, we witness the posthumous vindication of I. D. Sîrbu, a leftist intellectual who endured the repressive measures of the communist regime from the “obsessive decade” up to the final years of his life and the end of the Ceaușescu era. His marginalization—within the literary and cultural sphere—caused by his persistent opposition to the regime, limited his options to writing in secret, for the drawer. It was only after the events of 1989 that this drawer could be opened. In this paper, following the theoretical model of Galin Tihanov regarding literature’s regimes of relevance, we aim to demonstrate that I.D. Sîrbu never abandoned his leftist convictions, despite the seemingly paradoxical fact that he strongly denounced the totalitarian practices of communism. His drawer literature remains relevant, particularly within the post-communist context of Eastern European states. Thus, recognizing the political regime as the dominant regime of relevance in Sîrbu’s literature, we will analyze his journalistic texts from the period of “utopian” adherence to the leftist movement and part of posthumous writings. What emerges is the image of an intellectual whose proven utopian beliefs did not align with the ideological direction taken by totalitarian regimes. Despite repression, he rejected the (slightly) possible option of exile in the West, choosing instead to make literature his space of testimony.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Literatura Pentru Copii În România După Comunism: Între Critica Estetică Și Critica Ideologică]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0006</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This article examines Romanian children’s literature after 1989 from a dual perspective: aesthetic and ideological. Starting from the observation that children’s literature has long been treated either as a minor literary field or as a primarily educational instrument, the study argues for an integrative critical approach capable of acknowledging both literary value and socio-cultural relevance. The article first outlines the post-1989 institutional context of Romanian children’s literature, marked by discontinuities, editorial reconstruction, translation flows and new mechanisms of legitimation. It then discusses the tension between aesthetic and ideological criticism in postcommunist Romanian literary discourse. Finally, through five case studies, the article demonstrates that ideology does not function as an external message added to literary form, but is mediated precisely through genre, voice, rhythm, intertextuality, narrative structure and theatricality. The central claim is that Romanian children’s literature after communism must be critically reevaluated as an autonomous and relevant part of contemporary literature, capable of participating both in the national canon and in broader comparative discussions.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Jertfa Zidirii În Balada Meșterului Manole Și Reinterpretările Sale Culturale]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0020</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[The paper aims to approach Legenda Meșterului Manole [Legend of Master Manole] from an intertextual perspective, establishing connections between several concepts. These are present in the works Comentarii la Legenda Meșterului Manole [Commentaries on the Legend of Master Manole] by Mircea Eliade, the play Meșterul Manole [Master Manole, 1927] by Lucian Blaga, and the rock-symphonic opera Meșterul Manole [Master Manole, 2013], with a libretto by Victor Cârcu and music by Josef Kappl. The study focuses on fundamental paradoxes, tracing the evolution of the motif of “sacrifice of construction” from a contemporary historical perspective. The first part of the paper will outline the relationships between construction rites and the legend/ballad. It will highlight aspects concerning the archaic phenomenon of the construction myth, an element that led to the emergence of a significant number of legends similar to the one discussed, as presented in Mircea Eliade’s texts. In the second part of the paper, correlations will be observed between the text of the legend/ballad and Lucian Blaga’s drama of ideas, as well as the rock-symphonic opera in the form of a libretto. By placing them in parallel, one can identify and analyze common elements between Blaga’s drama and the popular version of the legend, such as the central theme of sacrifice or the tragic ending. Moreover, by comparing the drama Master Manole and the libretto, recurring features at the level of the formal aspects of the dramatic text will be identified. At the same time, attention will be drawn to the contemporary tendency to move from rite to spectacle, reflecting a broader trend of the spectacularization of traditional forms (a shift from a type of rural folklore to a model of urban folklore, in which certain semantic coordinates are reinterpreted).]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Arhive Uitate: O Lectură În Cheie Mnemonică a Prozei Lui Paul Goma]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0014</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This article examines the ways in which Paul Goma’s literature becomes a mnemonic instrument whereby the image of the prison, excluded from the official discourse of the totalitarian system, is recovered, thus creating a space for the negotiation between forgetting and remembering a collective trauma. The novels Gherla and Patimile după Pitești are part of a series of texts that not only document a historical and political episode but also contribute to a process of completing the perspective on a period interpreted and represented in various forms depending on social, ethical and ideological implications. The functionality of the concept of “collective memory” or “cultural memory”, defined by Jan Assmann and Aleida Assman is essential in understanding memory as a dynamic phenomenon, mediated by certain factors and which remains, regardless of the historical period we refer to, integrated in a rapport of force with the power. In this sense, Paul Goma’s prose does not stop at depicting fragments of individual memory, on the contrary, it encourages the conscious activation, through diverse narrative forms, of a political history and the solidarity of a community that shares a collective memory, the main consequence being the creation of a resistance framework before an ideological selections of memory.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Poezia Experimental-Științifică: Modele, Coduri Și Principii De Construcție]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0007</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[One of the ideas underlying this study is that modernity has imposed a mode of thinking based on artificial categorial separations (nature vs. culture/politics, subject vs. object, human vs. non-human), which implicitly led to the emergence of modern literature as a form of resistance to science—often at a declarative level than in practice. Post-millennial experimental-scientific poetry, whose stakes I will attempt to outline here, reconciles these categories by articulating new modes of subjectivity and redefining the human in relation to nonhuman elements and to the limits of (trans)poetic language. The basic premise underlying the building of the argument is that Romanian poetry has largely proven resistant to the epistemological field of technosciences, using their resources for exclusively aesthetic purposes, as was the case in high modernism or neomodernism. After approximately two decades following the democratization of literary discourses, poetry begins to internalize techno-scientific frameworks, employing their tools as a code for redefining and (re) engaging the self within an expanded network of agents and phenomena, grounded in tacit political and ethical bases. The case studies will capture the formulas orchestrated by several representative voices of this poetic direction, such as val chimic, Gabi Eftimie, Vlad Moldovan and Mihók Tamás. The symmetrization of intertextual forms of existence is achieved through hybridization, this type of discourse revealing an ontological pluralism, a network distributed across modes of being.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Cuvinte Critice: Aproprieri Și Reaproprieri Ale Poeticii Argheziene În Critica Românească]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0016</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[By instrumentalizing the concept of a “regime of relevance,” proposed by Galin Tihanov in his volume The Birth and Death of Literary Theory: Regimes of Relevance in Russia and Beyond, this research focuses on the figure of a canonical author, examined through the evolution of literary criticism’s perspective on him. More specifically, the present study traces the ways in which Romanian critical discourse has appropriated and re-appropriated the poetics of Tudor Arghezi as a formative canonical model, both during the period immediately contemporary to the author and in the period following his death. From the interwar period, the critics G. Călinescu and E. Lovinescu will be considered, in order to highlight the relationship they establish between the poet and modernism. As for the postwar period, the reception of Arghezi’s work will be examined in two stages that are paradigmatic for the evolution of Romanian literary criticism. The first is represented by Nicolae Manolescu and Nicolae Balotă, as exponents of the 1960s generation, while the second corresponds to Romanian postmodernism, represented by Mircea Cărtărescu and Gheorghe Crăciun. The aim of the research is to shed light on how Arghezi’s poetics has been valued, assessed, reassessed, or even reconfigured by the critical discourse of these two periods. On the one hand, this type of discourse is constructed according to the sensibilities and artistic beliefs of literary critics; on the other, it is shaped by the cultural dominants of each historical period. The case study of Tudor Arghezi constitutes the object of this metacritical exercise, as the central position he occupies in the history of Romanian literature grants him the status of a reference point both for literary posterity and for his own critical posterity.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Lecturi Geocentrate Deschise: Trilogia Gabrielei Adameșteanu La Intersecția Regimurilor De Relevanță]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0010</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This article examines how space and corporality interact in Gabriela Adameșteanu‘s trilogy, a Romanian writer known for her innovative modality of undertaking political topics, identity themes and social commentaries. This paper aims to demonstrate the way in which the regimes of relevance as proposed by Galin Tihanov coexist in Adameșteanu‘s fictional worlds. The textual analysis of Drumul egal al fiecărei zile (1975), Provizorat (2010), Fontana di Trevi (2018) serves to this critical investigation by showcasing the intimate relationship between space, place and body. This research is also exploring the relations of power and the dynamics between female subject/writer and communist society. Building on Paul Rodaway‘s theory, I analyse four space themes: the society, the body, Bucharest and private spaces, as reflected through the eyes of the narrative voice. This paper explores how writing about female experiences, with an accent on growth, social status and symbolic capital, all through interacting with different spaces and places, transforms these texts into corporal writings.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Life Writing, Autofiction and Late Career (Non)Fiction: Keeping Memory Alive]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0017</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[The present essay aims to perform an analysis of life writing endorsed by several interconnected and equally relevant perspectives: memoir writing related to the intellectual and cultural context of a particular age and the enduring power of nonfiction to keep individual and collective memory alive. My analysis aims to accomplish the goal of calling attention to the contemporary revival of nonfiction and essayistic literature due to the unparalleled ability of combining a most personal and subjective authorial tone with the propensity for engaging in a dialogical interaction with the reader who will be invited to embark on a challenging and rewarding journey of probing into the self and continuous search for identity. In this respect, I am pleading for the revival of life writing—illustrate by autofiction, and memoir in contemporary literature—significantly connected to the theory of late career construction in writing.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[From Saint to Bottom: Fan Fiction Ca Practică Queer]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0002</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper aims to analyze fan fiction in order to highlight both its relevance within the context of contemporary Romanian literature and the ways in which queer literature emerges on digital platforms with subversive potential. Fan fiction—used to expand popular narrative universes or to reimagine canonical figures—operates beyond any classical regime of aesthetic or institutional validation. Moreover, queer fan fiction provides a counterweight to the tendencies of the contemporary Romanian literary landscape, which remains predominantly conservative. In this regard, drawing on the theory of the fourth regime of relevance, namely the participatory one, I propose to analyze the value of emergent narrative forms in Romanian literature. An early attempt to resignify the relationship between Mihai Eminescu and Ion Creangă through a queer lens can already be identified in Un bulgăre de humă [A Lump of Clay] (1990), signaling a latent openness within the canon to subversive reinterpretations that contemporary fan fiction further develops. This idea is continued in a selection of texts published on the platform Archive of Our Own (AO3). Thus, the case study will focus primarily on works tagged Ion Creangă/ Mihai Eminescu, in which the tension between canon and subversive becomes revealing for new queer literary practices.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Analiza Limbajului Poetic Contemporan]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0021</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper examines the influence of social media and digital communication environments on the linguistic and formal transformations of contemporary Romanian poetry. It argues that poetic discourse is increasingly shaped by the speed, aesthetics, and interactional norms of online platforms such as Instagram, where literary production circulates in hybridized and highly accessible forms. Drawing on theoretical perspectives from internet linguistics, posthumanist studies and digital literary studies, this article analyzes the emergence of new poetic registers marked by abbreviation, emotive symbols or informal syntax. The study combines conceptual analysis with close readings of a selected corpus consisting of the volumes Softboi mimosa by Tudor Pop and poems published on Instagram by Vlad Drăgoi. These case studies demonstrate how digital environments reshape poetic voice, textual materiality, and author–reader relations, while simultaneously challenging conventional distinctions between literature, everyday discourse, and mediated self-performance. Thus, I will show that contemporary Romanian poetry is undergoing significant reconfiguration under the pressure of a networked culture and that digitally disseminated poetry should be recognized as a legitimate and necessary object of literary and linguistic inquiry.]]></description>
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        <item>
            <title><![CDATA[Geofeminism În Ca Și Cum Nimic Nu S-Ar Fi Întâmplat De Alina Nelega]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0008</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[Broadly speaking, the geofeminist approach aims to establish a nuanced and inclusive understanding of social space, one grounded on the interdependence of genders and heterogeneous means of expressing identity. On a more specific level, namely, the literary field, geofeminism seeks to map spatiality from the perspective of the female characters. With this in mind, my paper puts forward a geofeminist reading of ca și cum nimic nu s-ar fi întâmplat by Alina Nelega (2021), starting from general geocritical concepts such as Henri Lefebvre’s the production of space and Edward W. Soja’s third-space, peaking with the geofeminist directions that explore how relations of power, family dynamics, women’s gender roles, and intimate space overlap. The analysis expands on how the female body is policed within these environments and how Cristina and Nana must constantly negotiate their identities within a geography that seeks to marginalize them. Using this direction, this paper investigates, on one hand, how the main female characters create ‘alternative’ geographies where they can subvert oppressive norms and express their authentic selves. On the other hand, the following study verifies the specificity of queer migration and how moving across borders is profoundly linked to testing the boundaries of sexuality and gender norms.]]></description>
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            <title><![CDATA[The Poetics of Silence: Self-Effacing Language in Beckett’s Short Works]]></title>
            <link>https://reference-global.com/article/10.2478/clb-2025-0001</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This article examines Samuel Beckett’s short prose and late dramatic writing as a sustained experiment in self-effacing language, where silence functions not as a symbolic absence but as a structural and experiential condition of writing itself. Through close readings of The Unnamable and the short play What Where, the analysis shows how Beckett internalises the conflict between form and formlessness into the texture of the text, replacing character, plot, and psychological interiority with a persistent textual voice that speaks only in order to expose the insufficiency of speech. Drawing on early formalist criticism (Maurice Nadeau), Maurice Blanchot’s notion of literary disappearance, and Beckett’s own reflections on the misuse of language, the article proposes silence as a real, material, and corporeal presence rather than a purely negative or deferred one. While acknowledging the relevance of poststructuralist and Deleuzian frameworks, the article ultimately contends that Beckett resists theoretical capture through a deadpan seriousness in which “nothing” designates not the absence of meaning, but the insistence of silence as the condition of literary continuation.]]></description>
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