{"id":487,"date":"2020-10-17T20:13:46","date_gmt":"2020-10-17T20:13:46","guid":{"rendered":"https:\/\/lucianblagacolloquium.wordpress.com\/?page_id=487"},"modified":"2026-04-26T18:40:33","modified_gmt":"2026-04-26T18:40:33","slug":"lucian-blaga-yearbook-2020","status":"publish","type":"page","link":"https:\/\/reviste.ulbsibiu.ro\/clb\/lucian-blaga-yearbook\/lucian-blaga-yearbook-2020\/","title":{"rendered":"Lucian Blaga Yearbook 2020"},"content":{"rendered":"\n
\n
Download now<\/a><\/div>\n\n\n\n
Lucian Blaga yearbook 2020<\/a><\/div>\n<\/div>\n\n\n\n
Alina Bako<\/span><\/a>Download<\/a><\/div>\n\n\n\n
Maria Chiorean<\/span>
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DECOLONIALISM & ANGOAS\u0102 MORAL\u0102: ADOLESCEN\u021aA TURBULENT\u0102 A DECONSTRUC\u021aIEI POSTCOLONIALE<\/strong><\/p>\n\n\n\n

Decolonialism & Moral Anguish: The Turbulent Adolescence of Postcolonial Deconstruction<\/p>\n\n\n\n

Abstract: This paper looks at the relationship between post and decolonialism, two critical movements rooted in political theory and literary studies alike. It considers their similarities and their common ethical stance, while also investigating the reasons for the very necessity of decolonialism as a discipline. The main purpose of the subsequent metacritic analysis (which compares Edward Said\u2019s line of inquiry with recent works by Revathi Krishnaswamy, Walter Mignolo and Sylvia Marcos) is to highlight the methodological evolution that took place especially in the field of literary criticism. Finally, the essay takes into consideration the problematic connections that are being established between European schools of thought and their indigenous counterparts, trying to find ways in which comparatism will not lead to theoretical uniformization, but rather to a set of strategies for reading peripheral literatures and for including them in academic debates on theory.<\/p>\n\n\n\n

Keywords: postcolonialism, decolonialism, deconstruction, localized theory, geopolitics.<\/p>\n\n\n\n

Mihnea B\u00e2lici<\/span>
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POLITICA PROZEI FRACTURISTE<\/strong><\/p>\n\n\n\n

The Politics of Fracturist Prose<\/p>\n\n\n\n

Abstract: This paper is aiming to analyze the prose of the early 2000s\u2019 young authors from an ideological and political point of view. Fracturism was a literary movement with anarchist and insurgent purposes, but the nature of their values was not clarified by the local literary criticism. This thesis suggests a redefinition of the anti-systemic attitude proposed by the Fracturists. Also, another objective is to clarify the relationship of Fracturist prose to the aesthetics\u2019 domain. In this sense, inconsistencies can be observed between the anti-postmodernist obsession of \u201cThe Fracturist Manifesto\u201d and the literary works themselves. Moreover, the subcultural themes as used by the young prose writers become a means of self-promotion in the Romanian literary field from post-Communism.<\/p>\n\n\n\n

Keywords: Fracturism, autofiction, postmodernism, post-Communism, literary field<\/p>\n\n\n\n

Denisa-Maria Fr\u0103tean<\/span>
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FA\u021aETE ALE FEMINIT\u0102\u021aII \u00ceN DRAMATURGIA BLAGIAN\u0102 \u2013 (DE)LIMIT\u0102RI<\/strong><\/p>\n\n\n\n

Facets of Femininity in Blaga\u2019s Dramaturgy \u2013 (De)Limitations<\/p>\n\n\n\n

Abstract: The aim of this paper is to identify the way in which Blaga\u2019s feminine characters deconstruct the canon of feminity imposed at the time. This deconstruction is based on the theory of performative gender imposed by Judith Butler, who emphasized the fact that gender is not innate, but rather constructed. In the second part of the essay, in the form of an ecocritical approach, we proved the idea that there is a tight connection between women and nature on the one hand and natural disasters and patriarchy on the other hand.<\/p>\n\n\n\n

Keywords: feminity, feminism, deconstruction, patriarchy, ecocriticism<\/p>\n\n\n\n

Ionucu Pop<\/span>
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LUCIAN BLAGA \u0218I B. FUNDOIANU \u2013 IPOSTAZE ANTAGONICE \u00ceN CADRUL<\/strong><\/p>\n\n\n\n

\u201eEXPRESIONISMULUI ROM\u00c2NESC\u201d<\/strong><\/p>\n\n\n\n

Lucian Blaga and B. Fundoianu \u2013 Antagonistic Hypostases within \u201cRomanian Expressionism\u201d<\/p>\n\n\n\n

Abstract: The goal of the following paper is to shed more light unto the similarities and the particularities that the works of Lucian Blaga and B. Fundoianu reveal in relation to Expressionism, a current often mentioned in order to catherogirse the two poets. Even though one cannot put the finger on a legitimate Expressionist poetic movement in Romanian culture without a certain ammount of exaggeration, the poetry of the aforementioned figures is undeniably compatible with the current originated from Germany. As I will try to prove, Lucian Blaga and B. Fundoianu can be seen as antagonistic instances in this context, but ultimately revealing a shared expressionist substance upon which the most divergent attitudes are bestowed.<\/p>\n\n\n\n

Keywords: Expressionism, antagonism, territoriality, metaphysics, the apocalyptic<\/p>\n\n\n\n

Alexandra Oltean<\/span>
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BLAGA \u0218I CIORAN \u2013 TRAGEDIA CULTURILOR MICI<\/strong><\/p>\n\n\n\n

Blaga and Cioran \u2013 The Tragedy of Small Cultures<\/p>\n\n\n\n

Abstract: This paper aims to explain the affinities and differences of vision between Lucian Blaga and Emil Cioran on the phenomenon of Romanian historical evolution and national conscience. The two main works analyzed, The Mioritic Space<\/em> and The Transfiguration of Romania<\/em>, are in a passionate dialog, complementing each other in a conceptual and philosophical manner. The influence of Spengler\u2019s philosophy is fervent in the works of the two authors, but it is subject to a strong resemantization process in terms of the dynamics between large<\/em> and small<\/em> cultures<\/em>. The place of Romanian culture and history will be presented empathically pozitive by Lucian Blaga, who will use will use it as a foundation for the picturesque theory of the stylistic array. On the other hand, Emil Cioran will condemn the psychological deficiencies of Romanian culture, incapable of creating history.<\/p>\n\n\n\n

Keywords: history, conscience, national, culture, philosophy<\/p>\n\n\n\n

Ioana Pavel<\/span>
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RIEGL, WORRINGER \u0218I \u201eLECTURILE INFIDELE\u201d ALE STILULUI \u00ceN ESTETICA LUI LUCIAN BLAGA<\/strong><\/p>\n\n\n\n

Riegl, Worringer, and the \u201cUnfaithful Readings\u201d of Style in Lucian Blaga\u2019s Aesthetics<\/p>\n\n\n\n

Abstract: This study aims to illustrate the original assimilation of style in Lucian Blaga\u2019s philosophy. His concept (or idea) of style is developed from the Philosophy of style<\/em> to the Trilogies<\/em>, being tributary to the idealistic philosophy and to the Vienna School of Art History. Of course, this inspiration does not represent an innocent reading of different German studies. By invoking Alois Riegl\u2019s \u201cwill of art\u201d or Wilhelm Worringer\u2019s dichotomy between \u201cabstraction\u201d and \u201cempathy\u201d, Blaga identifies the weaknesses from their work. Without giving up the contradictory and vulnerable aspects, he integrates and assimilates them in his philosophical and aesthetic system.<\/p>\n\n\n\n

Keywords: Lucian Blaga\u2019s philosophy, Alois Riegl, Wilhelm Worringer, style, philosophical and aesthetic system<\/p>\n\n\n\n

Anca Rusu<\/span>
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CALEA (DIN)SPRE EDEN. MOTIVE BIBLICE \u00ceN LIRICA BLAGIAN\u0102<\/strong><\/p>\n\n\n\n

The Path Toward\/ Away from Eden: Biblical Motifs in Blaga\u2019s Poetry<\/p>\n\n\n\n

Abstract: The following paper revolves around the concept of biblical motifs, legends and a series of analyses that occur because of their complex and stately nature. Concerning several aspects regarding the similarities between Blaga\u2019s poetry and biblical myths, this study reflects Blaga\u2019s confrontation with God and an analysis of how he invokes God in his poems. Poems like \u201eParadis \u00een destr\u0103mare\u201d, \u201eBun\u0103vestire\u201d, \u201e\u00cent\u00e2ia duminic\u0103\u201d, \u201eLacrimile\u201d, \u201eIoan se sf\u00e2\u015fie \u00een pustie\u201d, \u201ePe ape\u201d, \u201eBalada fiului pierdut\u201d allowed Blaga to create genuine artistic imagery with a very penetrating content, loaded with biblical motifs.<\/p>\n\n\n\n

Keywords: Bible, God, confrontation, poetry, myths<\/p>\n\n\n\n

Cristina-Daniela Pal<\/span>
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DESPRE \u201eT\u00c2LCUL DRUMULUI\u201d. RETORICA DORULUI \u00ceN POEZIA LUI LUCIAN BLAGA<\/strong><\/p>\n\n\n\n

On the Meaning of Road: The Rhetoric of Longing in Lucian Blaga\u2019s Poetry<\/p>\n\n\n\n

Abstract: The present paper focuses on one of the most unique feelings specific to the romanian culture \u2013 dorul<\/em>. It is an element that occurs in a variety of forms and offers deepness to some of the poet\u2019s lyrical writings. Ideas like the union between the lovers, the melancholy for the lost aspects from the past, suffering and the willingness to reinforce the bond between the individual and the totality of the unharmed Universe are emphasized through dor<\/em>. Because of its inevitable recurrence in life, we interpreted the meanings through a parallel with the motif of the road. Using different themes, motifs, symbols, figures of speech and techniques of construction, Lucian Blaga succeeds in creating an art in which the motif of dor<\/em> appears as a manifestation of the heart, soul and spirit of the individual, as a desire to achieve the integrality<\/p>\n\n\n\n

of existence.<\/p>\n\n\n\n

Keywords: dor, road, soul, aspiration, poetical sense<\/p>\n\n\n\n

Teona Farmatu<\/span>
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PROCEDEUL REPETI\u021aIEI \u0218I VALEN\u021aELE SALE \u2013 INDICATOARE SEMANTICE \u00ceN CONSTRUC\u021aIA POETIC\u0102 BLAGIAN\u0102<\/strong><\/p>\n\n\n\n

The Device of Repetition and Its Valences \u2013 Semantic Indicators in Blagian Poetic Construction<\/p>\n\n\n\n

Abstract: By analyzing the Lucian Blaga\u2019s poetry, this paper aims to argue how the form of poems contributes significantly to the creation of meaning through the stylistic figure of repetition. From the first volume, Poems of light<\/em>, the repetition gains, beyond an aesthetic function, an ontic one specific to the Lucian Blaga\u2019s consubstantiality between the poetic subject and the universe. During this approach, the repetition multiplies its phenomenalizations, in order to a significant part of the global meaning of the text is due to it.<\/p>\n\n\n\n

The major conclusion of this paper consists in highlighting a pattern of a continuous and ethereal aspiration to the self-world osmosis depending on Blaga\u2019s creative stages.<\/p>\n\n\n\n

Keywords: Lucian Blaga\u2019s poetry, repetition, consubstantiality, signifier, signified<\/p>\n\n\n\n

Andreea Zavicsa<\/span>
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DESPRE (POST)COMUNISMUL ROM\u00c2NESC. TREI FORMULE NARATIVE \u0218I TREI STUDII DE CAZ: PETRU CIMPOE\u0218U, DAN LUNGU \u0218I PATRICK MCGUINNESS<\/strong><\/p>\n\n\n\n

On Romanian (Post)Communism: Three Narrative Formulas and Three Case Studies: Petru Cimpoe\u0219u, Dan Lungu, and Patrick McGuinness<\/p>\n\n\n\n

Abstract: This paper aims to analyze the (post)communism era in Romania, as it is portrayed in the novels of Petru Cimpoe\u0219u, Dan Lungu and Patrick McGuinness. The study wants to highlight three different perspectives on the communist regime, depending on the vision of each writer: the existential shades of gray, in the case of Cimpoesu\u2019s novels, the nostalgia of Dan Lungu\u2019s characters, but also the perception of the foreign eye on the totalitarian reality in our country, as for Patrick McGuinness. The paper also emphasizes the reasons why the literary theme of communism still arouses such great interest in contemporary literature and the importance of reading such works through the filter of the present.<\/p>\n\n\n\n

Keywords: (post)communism, reality & fiction, Romania, memories, totalitarism<\/p>\n\n\n\n

Andreea Ana-Maria Barb<\/span>
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TRANSVALORIZ\u0102RI HIPERTEXTUALE \u00ceN PALIMPSESTUL NARATIV SARA<\/em> DE \u015eTEFAN AGOPIAN<\/strong><\/p>\n\n\n\n

Hypertextual Transvaluations in the Narrative Palimpsest Sara<\/em> by \u0218tefan Agopian<\/p>\n\n\n\n

Abstract: In this paper, I will examine the novel Sara, published by Stefan Agopian in 1987. The novel is a rewriting of the Book of Tobit, from the Old Testament, and is preceded by another novel written by the prose writer on the same biblical theme, entitled Tobit<\/em>. I will approach the work from the perspective the overvaluation that certain notions suffer, in the transition from the Bible to its narrative Agopian. Transvalorization is a literary phenomenon discussed by G. Genette in his study, Palimpsestes<\/em> (1982), but my method is not entirely<\/p>\n\n\n\n

faithful to the narrator.<\/p>\n\n\n\n

Keywords: novel, Agopian, biblical theme, Tobit<\/p>\n\n\n\n

C\u0103t\u0103lina Suditu<\/span>
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CRAII DE AZI \u015eI DE IERI. O ANALIZ\u0102 COMPARATIV\u0102 A ROMANELOR IERBAR<\/em> DE ANDREI D\u00d3SA \u015eI CRAII DE CURTEA-VECHE<\/em> DE MATEIU CARAGIALE<\/strong><\/p>\n\n\n\n

The Princes of Yesterday and Today: A Comparative Analysis of Ierbar<\/em> by Andrei D\u00f3sa and Craii de Curtea-Veche<\/em> by Mateiu Caragiale<\/p>\n\n\n\n

Abstact: On the back cover of Andrei D\u00f3sa\u2019s first novel, Ierbar<\/em>, Alexandru Vakulovski, a Moldavian writer and literary critic, highlights the (possible) connection between the characters in D\u00f3sa\u2019s text and the decadent (anti)heroes from Mateiu Caragiale\u2019s Craii de Curtea-Veche<\/em>. Proposing a lucid walk on the reading path opened by Vakulovski, the current paper aims to present a comparative study of the two novels published at a time distance of ninety years to explore the level of kinship on which the narrative actants from the mentioned books are positioned, as well as the similarities and differences of the social, political and economic context in which they are living.<\/p>\n\n\n\n

Keywords: comparative reading, Decadentism, narcotics, crisis<\/p>\n\n\n\n

Mojca Medved\u0161ek, Bla\u017eka M\u00fcller<\/span>
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THE USE OF THE PAST TENSES IN EUROPEAN PORTUGUESE BY SLOVENE STUDENTS: THE CAUSES OF POSSIBLE DEVIATIONS<\/strong><\/p>\n\n\n\n

Abstract: The analysis presented in this article aims to ascertain what conditions of use imply deviations in the use of the Past tenses in European Portuguese (PPS, PPC, PI, PMQC) by Slovene learners of Portuguese, A2-B1 level (QECRL), trying to find explanations for its occurrence. The analysis shows the contrast between European Portuguese and Slovenian language in the domain of the Past tenses in terms of tense and aspect, describes the most frequent and evident deviations in a corpus, consisting of the various genres of texts, worksheets, completed by the students. Several presumptions were verified in the qualitative analysis. Among them, the deviations are in most cases due to the fact that in the sphere of the past, the Slovene language is operating with only one paradigm of the past sphere, the preteklik<\/em> (Past tense), which is supposed to mark all the temporal and aspectual nuances of four Portuguese past tenses of the Indicative. The article tries to underline the different way of marking time and aspect in the respective languages and therefore the students\u2019 difficulties in the perception of temporal and aspectual perfect \/ imperfect conceptualization.<\/p>\n\n\n\n

Keywords: Past tenses, European Portuguese, Slovenian, deviations, temporal and aspectual values, analysis<\/p>\n\n\n\n

Daniar Mutal\u00e2p<\/span>
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O ANALIZ\u0102 DISCURSIV\u0102 ASUPRA CELOR DOU\u0102 DIATE ALE MARIEI CANTEMIR \u0218I A UNUI MODEL TESTAMENTAR INEDIT DE LA SF\u00c2R\u0218ITUL SECOLULUI AL XVIII-LEA<\/strong><\/p>\n\n\n\n

A Discursive Analysis of the Two Letters of Maria Cantemir and an Unpublished Testamentary Model from the Late 18th Century<\/p>\n\n\n\n

Abstract: The present paper endeavours to offer a brief analysis of two wills written by the princess Maria Cantemir (1700-1757) during 1725 and 1757. Using discoursive concepts such as \u201cscene of enunciation\u201d, \u201cdiscursive scenes\u201d and \u201cdiscursive ethos\u201d, followed by stylistics devices, our attempt aimed to capture the process of (re)constructing the self. Thus, comparing the two wills with an unedited testamentary letter sample (Romanian manuscript no. 2120 from Romanian Academy Library Bucharest) and to the process of writing and rewriting, our approach delineates how in articulo mortis Maria Cantemir (re)presents herself as \u201esister princess Maria Cantemirova\u201d.<\/p>\n\n\n\n

Keywords: testamentary letter, wills, Maria Cantemir, scene of enunciation<\/p>\n\n\n\n

Lavinia Tache<\/span>
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VALEN\u021aELE (RE)DUPLIC\u0102RII. CONFIGURA\u021aII POSTUMANISTE LA PHILIP K. DICK \u0218I IAN MCEWAN<\/strong><\/p>\n\n\n\n

The Valences of (Re)duplication: Posthuman Configurations in Philip K. Dick and Ian McEwan<\/p>\n\n\n\n

Abstract: The present study aims to analyze the conceptual perspective on the metamorphosis of the human under the process of duplication and the restitution of the robotic hypostasis. Following the posthumanist theories, this paper focuses mainly on the literary manifestations that envisage the many-sided topic about the human identity\u2019s surcease, namely Do Androids Dream of Electric Sheep? <\/em>and Machines Like Me<\/em>. In both cases, the central function of restructuring reality through the symbol of technological alterity is emphasized; the simulacrum comes within the purview of building versions for a universe where creation does not lead to progress, but, to a certain extent, to destruction and the entanglement of human conciousness. This fact implies that the fictional robots have to be interpreted as an integrant part of a system that ecompasses the lost sense of self. Essential for understanding the cited narratives is the questioning of the Cartesian belief that animals do represent a mechanical behaviour. I argue that the reconstruction of a techological identity bears a double scheme of approaching empathy and identity and accordingly the existence is to be interposed within new frames of thought.<\/p>\n\n\n\n

Keywords: posthumanism, duplication, robophilosophy, uchronia, science fiction<\/p>\n\n\n\n

Eva-Nicoleta Burdu\u0219el<\/span><\/a>Download<\/a><\/div>\n\n\n\n
Valerica Spori\u0219<\/span>
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CREATIVITATEA LEXICAL\u0102 – UN FENOMEN SPECTACULOS \u00ceN JURNALISMUL DE TELEVIZIUNE \u0218I ON-LINE DIN ROM\u00c2NIA<\/strong><\/p>\n\n\n\n

Lexical Creativity \u2013 A Salient Phenomenon in Current Romanian TV and Online Journalism<\/p>\n\n\n\n

Abstract: The article aims to examine an aspect pertaining to lexical neology, i.e. the lexical creativity as reflected in recent TV and online journalism. Lexical creativity articulates interdisciplinarity, the latter represents a \u201bbridge\u201b between the facts of language and those of style. Newly words are created by journalists to serve different purposes ranging from ludic, spontaneous, occasional to deliberate, conscious. Lexical creativity is influenced by different factors such as: analogy, imitation, calque, subjectivity, sensitiveness, context, etc. The language of the media is characterized by dynamics, novelty and accessibility. Through their novelty, words contribute to an enrichment of expressiveness. The newly coined structures are often artificial, the examples analysed in our paper are created by small groups of journalists or by one journalist. The journalists\u2019 intention is to impress, to draw the audience\u2019s attention. I chose to explore the phenomenon of affixation and I selected as lexical bases some neologisms recently borrowed into Romanian from other languages. The corpus comprises recent examples selected by the author from Romanian TV and online journalism, where the phenomenon of lexical creativity is highly displayed. I chose the transcription of new words in accordance with the phonetic-phonological principle specific to the Romanian language and with the current rules pertaining to plurals forms and use of articles.<\/p>\n\n\n\n

Keywords: interdisciplinarity, expressiveness, creativity, affixation, journalism.<\/p>\n\n\n\n

Ana-Blanca Ciocoi-Pop<\/span>
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\u201cUNICUL LUCRU CAPABIL S\u0102 SURPRIND\u0102 UN CR\u00c2MPEI DE VE\u0218NICIE, ESTE ARTA\u201d FORESTIERA FELTRINELLI<\/em>, DE JOACHIM WITTSTOCK, TRADUCERE DE MARIA SASS<\/strong><\/p>\n\n\n\n

\u201cThe Only Thing Capable of Capturing a Fragment of Eternity Is Art\u201d: Forestiera Feltrinelli<\/em> by Joachim Wittstock, translated by Maria Sass<\/p>\n\n\n\n

Abstract: Joachim Wittstock\u2019s novella Forestiera Feltrinelli<\/em>, translated into Romanian by Maria Sass, appeared under the aegis of the Honterus publishing house in Sibiu, in 2019. Combining present-day economic realities, with a parallelism of temporal planes, and the antonimy between the mythical past and the disillusioning present, Wittstock manages to interweave in his most recent volume social and historical analyses, love stories and subtle eroticism, existentialist concerns and political dimensions. The volume can be regarded as an important contribution to a better relationing of the Romanian readership with German literature in Romania, and to a better understanding of the complex thematic and narrative mechanisms in Joachim Wittstock\u2019s works. A fascinating page of the history of Sibiu, of the Romanian Saxons, and of the author\u2019s biography, the volume is a succesful and innovative attempt in the landscape of contemporary Romanian and European literature, and its Romanian translation a welcome and necessary initiative in view of a multicultural understanding of the literatures of ethnic minorities in Romania.<\/p>\n\n\n\n

Keywords: Forestiera Feltrinelli<\/em>, Joachim Wittstock, Maria Sass, literary translation, German literature in Romania, Romanian Saxons, documentary literature, Sibiu<\/p>\n\n\n\n

Valerica Spori\u0219<\/span>
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GRAMATICA CRITIC\u0102 SAU CRITICA GRAMATICII?<\/strong><\/p>\n\n\n\n

Critical Grammar or the Grammar of Critics?<\/p>\n\n\n\n

Abstract: Gramatica critic\u0103 a limbii rom\u00e2ne<\/em> (The Critical Grammar of the Romanian Language), authored by \u0218tefan G\u0103it\u0103naru, was published in 2018, at the University of Pite\u0219ti Publishing House. The launch of this book took place during the National Conference on Adaptation, Conservation and Rejection in the Evolution of the Romanian Cultural\/ Linguistic\/ Literary Phenomenon, held at the Faculty of Letters in Sibiu, on May 24, 2019. The purpose of the book, mentioned by the author in the \u201cPreface,\u201d is to update the grammar research, emphasizing the normative aspect. Thus, we witness a descriptive-normative grammar, with a classical structure: part I \u2013 Morphology and part II \u2013 Syntax, each section comprising the description, analysis and interpretation of specific components. This Critical Grammar brings to the surface controversial aspects regarding the grammatical structure of the Romanian language, with pertinent observations and recommendations, with solid arguments, for or against, from case to case.<\/p>\n\n\n\n

Keywords: The Critical Grammar, Romanian Language, normative aspect<\/p>\n","protected":false},"excerpt":{"rendered":"

DECOLONIALISM & ANGOAS\u0102 MORAL\u0102: ADOLESCEN\u021aA TURBULENT\u0102 A DECONSTRUC\u021aIEI POSTCOLONIALE Decolonialism & Moral Anguish: The Turbulent Adolescence of Postcolonial Deconstruction Abstract: This paper looks at the relationship between post and decolonialism, two critical movements rooted in political theory and literary studies alike. It considers their similarities and their common ethical stance, while also investigating the reasons […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":52,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"templates\/template-full-width.php","meta":[],"_links":{"self":[{"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/pages\/487"}],"collection":[{"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/comments?post=487"}],"version-history":[{"count":8,"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/pages\/487\/revisions"}],"predecessor-version":[{"id":938,"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/pages\/487\/revisions\/938"}],"up":[{"embeddable":true,"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/pages\/52"}],"wp:attachment":[{"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/media?parent=487"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}