Latin nouns ending in -antia, -entia, <strong>and</strong> those <strong>of</strong> Polish origin ending in - ancja, -encja, <strong>of</strong> Hungarian origin ending in -ancia, -encia, <strong>of</strong> Serbo-Croatian origin ending in -ancija, -encija, <strong>of</strong> French origin ending in -ance, -ence, <strong>of</strong> Italian origin ending in -anza, -enza, <strong>of</strong> German origin ending in -anz, -enz were adapted to the Romanian <strong>language</strong> ending in -anţă, -enţă. Such examples may be: clemenţă, indipendenţă / independenţă, corespondenţă / corispondenţă, dipendenţă / dependenţă, regenţă, siguranţă, speranţă, violenţă, abondanţă / abundanţă, importanţă, indiferenţă, inteligenţă, neglijenţă. All these neological nouns ending in -enţă had doublets in -inţă, which were also used by Bolintineanu: independinţă, inteliginţă, indiferinţă. The adaptation <strong>of</strong> neologisms ending in -tor, be they nouns or adjectives, was made following the pattern <strong>of</strong> the inherited or derived words with the suffix -tor: autor, factor, imperator, orator, protector, sculptor, senator, vizitator, actor, tutor etc. Similar to the nouns <strong>and</strong> adjectives ending in -tor / -toriu, are those ending in - sor (-zor) / -soriu (-zoriu), neologisms that came from the Latin -(s)sor / -sorius, the French - (s)seur / -soire, the Italian -(s)sore / -sorio, the German -(s)sor: agresor, cenzor, furnizor etc. The neological nouns <strong>of</strong> Latin origin ending in -or / -oris, <strong>of</strong> French origin ending in -eur, <strong>of</strong> Italian origin ending in -ore were adapted to Romanian ending in - oare. Under this form they appear in Bolintineanu, too: ardoare, c<strong>and</strong>oare, culoare / coloare, onoare, pudoare, savoare, splendoare etc. In the 19 th century, these nouns had a variant in -or: ardor, color, favor, eror, licor, onor, oror, splendor, vigor. The noun amor is used by Bolintineanu also with its form amoare, a fact that proves the presence <strong>of</strong> some variants ending in -oară, -oră, but which are less representative for this writer. In terms <strong>of</strong> morphology, the most common variations are found when establishing the gender <strong>of</strong> neological nouns. Thus, there appear the following forms which are different from the contemporary literary <strong>language</strong> (accdg. Mancaş, 1974: 42): - neuter forms for feminine forms: problem, color, onor, favor. - feminine forms for neuter forms: o strată for un strat, murmură for murmur. - neuter forms for masculine forms: individe for indivizi - masculine forms for neuter forms: secoli, timpi. - masculine forms for feminine forms: eliţi, formi, un lesped. It is to be noted that the plural desinence -i <strong>of</strong> the feminine nouns with the singular in -ă is more frequently used in the Wallachian dialects. The verbal forms are used by Bolintineanu both without a suffix (forms which in the contemporary Romanian <strong>language</strong> do have a suffix): să complecte for să completeze, o devoară for o devorează, să protégé for să protejeze, <strong>and</strong> with a suffix (forms which in the contemporary Romanian <strong>language</strong> do not have a suffix anymore): circulează for circulă, să meriteze for să merite, să compromiteze for să compromită. The semantic adaptation <strong>of</strong> neologisms is based on calques, elements that in the period <strong>of</strong> transition were very frequent. There are three main types <strong>of</strong> calques: - semantic calques: conlucrător "colaborator" < fr. collaborateur, aplecare "înclinaţie" < fr. inclination, conlucra "colabora" < fr. collaborer, înrăurire "influenţă" < fr. influence, privire "aspect" < fr. regard. - structure calques: desplăceri "neplăceri" < fr. déplaisir, it. dispiacere, simţământ "sentiment" < fr. sentiment, presentiment < fr. pressentiment.
- phraseological calques: ai pietate de mine < fr. avoir pitié; îţi cer pardon < fr. dem<strong>and</strong>er (le) pardon; Elena se puse la piano < fr. se mettre au piano; Toată ziua Elescu o trecu la Elena < cf. fr. passer la journée. At the <strong>language</strong> level, one can not speak about a lexical rule either in the works <strong>of</strong> the writers <strong>of</strong> 1848 or in any other period. What is to be noted is that between 1830 - 1870, regionalisms <strong>and</strong> archaisms were used by all Romanian writers. In Bolintineanu’s poems <strong>and</strong> novels there are more regionalisms specific to Wallachia: îmbălsămit, îmsmălţat, să turbur, complângeri, căutare / cătare "privire", mumă, cată a slăbi "a încerca", baibuh, hârburile "rămăşiţele", pacinaţilor, hârcele, franşă , hotarnicul, huleşte "înjură", a înturna "a se întoarce", soaţă "soţie", butilci "sticle", să atriste "a întrista", trebuie a te corigea "a te corecta" etc.. The archaisms used by Bolintineanu <strong>and</strong> by the Wallachian writers <strong>of</strong> this period are largely modern Greek or Turkish terms, elements <strong>of</strong> the passive vocabulary: hadân, chercheză, hurioară, sarai, hadini, geamia, beghir, alcovanul, havuzu, cafazul, hanimă, padişah, ghiaură, porfir, ciflicuri, hrăpiri, fiastri etc.. It is to be mentioned that the vocabulary <strong>of</strong> Bolintineanu’s work did not follow a single tendency that existed in the epoch, but it is more a mixture <strong>of</strong> the proposed theories, especially in terms <strong>of</strong> the adaptation <strong>of</strong> neologisms. The use <strong>of</strong> archaisms <strong>and</strong> regionalisms, although they are not normally accepted by the tendency <strong>of</strong> modernization <strong>of</strong> the <strong>language</strong>, appears in the works <strong>of</strong> the writers <strong>of</strong> 1848, <strong>and</strong> consequently in that <strong>of</strong> Bolintineanu, due to the need to express terms related to events occurring in that period or another. Bibliography Bulgăr, Gh., Problemele limbii literare în concepţia scriitorilor români, Bucureşti, Editura Didactică şi Pedagogică, 1966 Diaconescu, P., Structură şi evoluţie în morfologia substantivului românesc, Bucureşti, Editura Academiei, 1970 Diaconescu, P., Elemente de istorie a limbii române literare moderne, Bucureşti, Editura Universităţii din Bucureşti, 1974 Mancaş, M., Istoria limbii române literare. Perioada modernă (secolul al XIX-lea), Bucureşti, Tipografia Universităţii din Bucureşti, 1974 Ursu, N.A., Ursu, D., Împrumutul lexical în procesul modernizării limbii române literare, I, Studiu lingvistic şi de istorie culturală, Iaşi, Editura Cronica, 2004.
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MINISTERUL EDUCAŢIEI, CERCETĂRII,
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Alliance Française Ecaterina Stroe
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Syntactic Structures in Old Romania
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BRIEF NOTES ON THE IMAGINARY SPACE
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Eminescu a fost socotit un poet na
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DONC 1 Abstract: This article outli
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déroulement et le fait qu’ils ob
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« contextuel ». Même si les vale
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LEGI Mold., = Carte romînească de
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L1 Acquisition and Negative Evidenc
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significantly better that all other
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After the administration of the pre
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TIMES OF LITERATURE AND POLITICAL I
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communism, about the instauration o
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From this perspective, the curricul
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LA FAMILIA EN EL TIEMPO Y ESPACIO E
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período de abulia 1 . A causa de l
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2.2. La familia nuclear Teóricamen
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Unidos, por medio de diferentes per
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Cueto Pérez, M., Aspectos sistemá
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autour de cette interruption de la
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L’arrêt de l’horloge est un si
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Bibliographie Călinescu, George, I
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MDN (2007) - The Comprehensive Dict
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dicarboxilic < engl. dicarboxylic d
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during their adaptation process. Th
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Le processus du calque est importan
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en roumain comme post- déterminant
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...într-aceĭa jupăneasa Ancaa n-
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The elements of the periphrasis cou
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amŭ fostŭ cugetatŭ (CCînv, 6);
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POURQUOI EST-CE QUE LES MOTS DISPAR
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dans les langues romanes, soit un c
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ABOUT THE RELATIONSHIP BETWEEN MODA
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indicative (due to its phonological
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TEMPORAL ASPECTS IN THE ROMANIAN FA
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It was specified that the imperfect
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estriştii aprig vânt" (19), "Nu s
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în umbră" (38), "apele purtau o m
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SYNTACTIC STRUCTURES IN OLD ROMANIA
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(Crest: 53); Aduşu elu înraintea
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5. Conclusions Although the syntact
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The pattern of the examples also in
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întoarce-se şi mâneca cătră Ze
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CHARACTERISTIC FEATURES OF PROPER N
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MEDIEVAL PATTERNS IN MIRON COSTIN'S
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considerations about the precarity
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TEMPS, HISTOIRE ET SPIRITUALITÉ DA
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Stéphane a percé tous les secrets
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Il y a d’abord Chronos, l’écou
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chercheur éternel de réponses, Vi
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Bibliographie Eliade, M., Fragment
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créative de la biographie dans l
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holbanian vit une scission intérie
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THE OTHER WORLD IN THE ROMANIAN FOL
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Hero’s obsessive quest - extended
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şedeau încremenite şi mute în s
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SPACE AND TIME IN CAMIL PETRESCU’
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them, etc.) and those that do not c
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holidays and death days here. There
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“SCRISOAREA I” BY M. EMINESCU.
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J'étais seul avant la création et
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THE SPACE-TIME DIMENSION IN “THE
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Roderick’s room is described by t
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Roderick tried to listen with ease
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Picture 1. René Magritte, LA CHUTE
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used as a means of access to commun
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extended by the lifelong learning p
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country such as Romania, by its Lat
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of this approach are important in o
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market in Romania (considering the
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mentality in the reception horizon.
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multiples [...], est présenté com
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artistes pauvres dont la perte est
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ASPECTS DU MYTHE DU POUVOIR DANS LE
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oublié ses ancêtres, qu’il soit
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Et bien sûr, on doit réfléchir a
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commercial, the receiver/addressee
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Initial Situation The hero begins a
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important elements that help buildi
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d’analyse » (Munteanu, 1981: 44)
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EMBLÈMES (IN)ACTUELS DE LA CULTURE
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Dans le contexte décrit du moderni
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même esprit du renoncement à l’
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En contrepoint, il y a des écrivai
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THE OIL LANDSCAPE IN GEO BOGZA’S
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despair of soul and hunger of bones
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LE VERSANT SUBJECTIF DES MYTHES ET
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tient bon: « Je n’avale pas mes
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(humains, animaux, formes de relief
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coutume qu’ils peuvent garder pou
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of the fundamental themes of Blaga
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today/free of yesterday" outlines a
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Lucian Blaga, argues: "indefinite i
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ut the evaluative means of interpre
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prose that he started, right in tha