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In poetry,relies on gusts reflexive and on the sapiential enthusiasm, cultivating, how says alone in the subtitle of the Non-sense of the Existence, from here the poems "of meditation". 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.
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, pierde greutatea traduceți în engleză 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 more prophetic of the enunciations.
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But, how the method, of, the taking off, lyrical, consists in a kind of elevation of everything that comes, up to the dignity of articulating their reflexive from where the listing, any references to immediately, whether biographical or more than thatthe poems by Cerin, undertake steep in the equations big existential and definitive, and they not lose time in, domestic confessions.
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.
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.
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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.
It is insinuated - of lest, even establishes - and here is an obvious procedure of imaginative recipe, redundant over tolerant. 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, 7 SORIN CERIN - DEATH 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 nanny dawn pierde in greutate, 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.
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.
Death - Philosophical poems by Sorin Cerin
On the contrary, in way somewhat paradoxically, decisive, not only defining, it's the attitude in which they gather, the nanny dawn pierde in greutate in which coagulates.
Beneath the appearance of a speech projected on "thought", Sorin Cerin promotes, in fact, an lyricism about put to dry of, emotions existential not of intimate 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".
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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. 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.
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The latter not being than a craftsman and an artist. 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 nanny dawn pierde in greutate, 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.
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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. A poem in the terms, of the existentialism status, more can interested the being of the our days, slave of the visual image and the Internet, only through adaptations or additions updated, complementary the central idea, and not finally, by the power of the return over of the self.