Adaptarea cinematografică a romanului „Pădurea spânzuraților” de Liviu Rebreanu ar fi putut fi o coproducție româno-italiană regizată de Glauco Pellegrini. Înainte ca scenaristul Titus Popovici și regizorul Liviu Ciulei să fie implicați în proiectul ecranizării, la Studioul Cinematografic București (SCB) a circulat o variantă de scenariu semnată de scriitorul român Petre Sălcudeanu alături de italienii Ennio De Concini, Franco Rossetti și Glauco Pellegrini. Studiul analizează acest scenariu, păstrat în colecția Arhivei Naționale de Filme (ANF), comparându-l cu romanul lui Rebreanu, și încearcă să explice, pe baza documentelor SCB din Arhivele Naționale ale României, motivele pentru care proiectul coproducției a eșuat.

The relationship between the idea of Harold Bloom's literary canon and the status of his own critic's oeuvre is discussed in the article. Diverse topics and literary styles cultivated by the author of The Anxiety of Influence were characterised and evaluated from the perspective of their canonicality understood as an aesthetic and social value. According to Bloom himself, the canonical texts also offer the spiritual value with help of such tools as irony and metaphor, provoking the readers to assess their own condition. The article presents the Polish reception of Harold Bloom's texts and examines the presence of Polish literature in the Western literary canon designed by him. Its weak representation demands response of the critics who could propose their own list of literary works based on criteria equally strong as Bloom's ones but overcoming his oftentimes colonial, patriarchal and exclusionary influence.

W artykule analizie poddane zostają relacje pomiędzy koncepcją kanonu literackiego Harolda Blooma a statusem jego własnej twórczości krytycznej. Różne tematy i style pisarstwa uprawianego przez autora Lęku przed wpływem zostały scharakteryzowane i ocenione pod kątem ich kanoniczności, rozumianej jako wartość estetyczna i społeczna. Według samego Blooma teksty kanoniczne oferują także wartość duchową, za pomocą takich narzędzi jak ironia i metafora, prowokując czytelników do poznawania własnej kondycji. Artykuł zdaje także sprawę z polskiej recepcji pism Blooma oraz porusza kwestię sposobu, w jaki literatura polska jest obecna w zaprojektowanym przez niego zachodnim kanonie. Jej słaba reprezentacja domaga się odpowiedzi krytyków, którzy mogliby zaproponować własną listę dzieł, według kryteriów podobnie mocnych jak te Bloomowskie, lecz przezwyciężających jego - niejednokrotnie kolonizatorski, patriarchalny i ekskluzywistyczny - wpływ.

Filmologia românească are imperioasă nevoie de cercetări care să nu se limiteze la analiza unor filme sau la urmărirea evoluţiei unui cineast, ci să privească cinematografia românească în ansamblu, pe de o parte în relaţiile sale atât cu societatea autohtonă şi celelalte domenii artistice naţionale, cât şi cu alte ţări şi cinematografiile lor, şi, pe de altă parte, în contextul ideilor despre cinema specifice unei anumite perioade, la noi şi aiurea. Studiul de față reprezintă o primă tentativă de a analiza formarea unui canon cinematografic românesc, în varianta sa „estetică”, în anii 1990, acordând o atenție specială rolului curatoriatului practicat de redactorii Arhivei Naționale de Filme, prin programul Cinematecii Române din București, în procesul de canonizare.

Rozmowa o potrzebie dynamicznej lektury tekstów, odpowiadającej dynamice współczesnego świata, o pożytkach z postkolonializmu i o ruchomym centrum polskiego kanonu literackiego, a także o krakowskiej szkole krytyki i literaturoznawczej praktyce dydaktycznej. Prof. Aleksander Fiut podkreśla, że choć literatura "bywa gabinetem czarnoksiężnika, który miesza różne składniki, szukając recepty na złoto arcydzielności", nie tylko dlatego się nią zajmujemy.

The range of modes through which the new conditions of the postdigital society is leading to a redefinition of the processes of assigning value, and the values themselves, which have hitherto prevailed in the comprehension of cultural heritage, are diverse and broad. Within this framework of critical inquiry, this paper discusses the mechanisms of canon-formation in the context of the web as the new laboratory of cultural production. It is argued that the main dynamics observed can be elucidated under the form of a triad: hypercanonization, socialdecanonization, and transcanonization. These three processes operate simultaneously interlaced and unfold in dialectical tension between the rise of the new (practices, actors, values, ideas), and the maintenance of the old (those structures that already exist). This paper delves into the paths through which such interlace dynamics and tension might reshape the principles by which canonicity develops, as well as poses open questions about the challenges facing us, which should be discussed in further studies and approaches to the problem.

The purpose of the Megilloth within the OT Canon is not well agreed upon within the field of Canon studies. This paper builds on the ideas and work of Timothy J. Stone regarding this topic and develops it in order to find, not only the original and preferable ordering and location of the five Megilloth, but the purpose of this ordering for the development of the biblical theme of the matrix of fear and wisdom.