{"id":1115,"date":"2026-05-18T13:03:46","date_gmt":"2026-05-18T10:03:46","guid":{"rendered":"https:\/\/grants.ulbsibiu.ro\/cocerc\/?p=1115"},"modified":"2026-05-18T15:22:13","modified_gmt":"2026-05-18T12:22:13","slug":"interviu-cu-proffesor-franco-moretti","status":"publish","type":"post","link":"https:\/\/grants.ulbsibiu.ro\/cocerc\/interviu-cu-proffesor-franco-moretti\/","title":{"rendered":"Interviu cu Professor Franco Moretti | English &#038; Romanian | Audio available"},"content":{"rendered":"\n<p class=\"has-small-font-size\">Listen to the interview here (English version):<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/grants.ulbsibiu.ro\/cocerc\/wp-content\/uploads\/Interviu-Franco_Moretti.mp3\"><\/audio><\/figure>\n\n\n\n<p><strong>English version (Original)<\/strong><\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Professor Franco Moretti is an Italian literary scholar best known for developing \u201cdistant reading\u201d, the study of large \u2013 scale patterns across many texts instead of close analysis of a few individual works.<\/strong> <strong>At Stanford University, where he taught, was the co \u2013 founder of the Stanford Literary Lab in 2010. His major works include <em>Graphs<\/em>, <em>Maps<\/em>, <em>Trees<\/em>, <em>Atlas of the European Novel<\/em>, and <em>Distant Reading<\/em>.<\/strong> <em>Distant reading<\/em>, according to Prof. Franco Moretti, means that instead of reading one book very closely, you look at thousands of books from far away to see big patterns. Close reading is like studying one tree carefully: its leaves, bark, branches, and texture. Distant reading is like looking at the whole forest from above &nbsp;\u2013 &nbsp;seeing patterns, shapes, growth, gaps, and changes you could never notice from one tree alone.<\/p>\n\n\n\n<p class=\"has-small-font-size\"><em>An interview conducted by Ileana Racoviceanu, Manager CoCERC \u2013 ULBS.<\/em><\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Interviewer:<\/strong>&nbsp;Professor Moretti, thank you for taking your time to sit with me today for a few moments. And I am going to ask you a few questions. For instance, if you were beginning your research career today, in the age of AI and massive digital archives, what new literary problem would you want to investigate first?<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Prof. Franco Moretti:<\/strong>&nbsp;Well, probably the same problem we tried to investigate at the Literary Lab about, what, twelve years ago, did not succeed in solving. That is to say, the&nbsp;<strong>logic of literary innovation<\/strong>, and more specifically, whether literary innovation proceeds randomly \u2013 as in an evolutionary model \u2013 or is oriented always towards foreseeable and foreseen results. So, it really has to do with the nature of innovation, but also with the nature of cultural history at large. This is what I would like to study first, because it&#8217;s the biggest problem.<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Interviewer:<\/strong>&nbsp;In&nbsp;<em>distant reading<\/em>, the method that you developed, what do you think is gained by abstraction, and what must inevitably be sacrificed? What are the limits of extreme synthesis? And I would like to add to this, how did this idea of distant reading come up to you?<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Prof. Franco Moretti:<\/strong>&nbsp;The idea came out of research I started doing, actually, when I was working on&nbsp;<strong>literary geography<\/strong>. I realized that in order to make maps of literature \u2013 however conceived \u2013 one had to abstract certain features from the texts that were going to be mapped. I only realized the importance of the process of abstraction later, but once I realized that, it seemed clear to me that it could apply not just to literary geography, but to other fields as well.<\/p>\n\n\n\n<p class=\"has-small-font-size\">What is&nbsp;<strong>gained by abstraction<\/strong>&nbsp;is a simplification of the literary structure to fewer elements; therefore, one can track them through history and operate comparative work more easily. What is&nbsp;<strong>lost<\/strong>, as always with abstraction, is the concreteness of the individual case. But in the process of knowledge, this is always the case: in order to know, we have to reduce and abstract, and if we didn&#8217;t do that, we would never really know anything.<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Interviewer:<\/strong>&nbsp;Your work often uses models from geography, economics, evolution, and statistics. How do you decide when a model or instrument from outside literary studies is genuinely useful for literary research?<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Prof. Franco Moretti:<\/strong>&nbsp;Well, it&#8217;s not really a matter of decision. It&#8217;s more a process that goes like this: I\u2019ve always liked to read outside of the discipline of literary criticism \u2013 outside of the humanities even \u2013 because I like the natural sciences a lot, but then of course also sociology, linguistics, anthropology, etc. And so, every now and then, when I am studying a specific issue \u2013 a specific literary issue, a theoretical problem, or a historical configuration \u2013 I remember a model in another discipline that maybe could help understanding the problem I have in front of me. So, it&#8217;s not a decision; it&#8217;s more a realization that a model to solve the literary puzzle has been developed in a non \u2013 literary discipline. Which one? This is completely&#8230; it depends on&#8230; not on randomness, but it can&#8217;t be predicted. I mean, it has to do with the problem I&#8217;m trying to solve.<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Interviewer:<\/strong>&nbsp;What would it be necessary to multiply and transfer the Literary Lab methodology in another university, like this one we have&#8230; we are here now in Sibiu?<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Prof. Franco Moretti:<\/strong>&nbsp;It doesn&#8217;t take much. We started with half a dozen people, and you know, I was the only professor; the rest were all students and a technical collaborator. What is needed is:<\/p>\n\n\n\n<ul>\n<li class=\"has-small-font-size\"><strong>Researchers<\/strong>&nbsp;who have an interest in the scientific process.<\/li>\n\n\n\n<li class=\"has-small-font-size\"><strong>Other researchers<\/strong>&nbsp;(or the same ones) who also know how to program and how to deal with algorithms more generally.<\/li>\n<\/ul>\n\n\n\n<p class=\"has-small-font-size\">So, it requires&nbsp;<strong>literary research questions<\/strong>&nbsp;that have already a sort of scientific ring to them, and literary scholars who have some kind of scientific preparation. This is really not much to ask; it\u2019s basically half a dozen individuals with a certain intellectual predisposition and knowledge. Put it like this, it sounds simple, but actually, it\u2019s not so simple because that kind of literary researcher is not a frequent type. So, it is not easy to put together even half a dozen of those. But it doesn&#8217;t require money, it doesn&#8217;t require time, it doesn&#8217;t require space&#8230; none of the usual lamentations that have to do with how difficult it is to do research apply. There is no funding necessary, even though, of course, funding is always welcome, but it\u2019s just a predisposition of the intellect, really.<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Interviewer:<\/strong>&nbsp;You know, we&#8230; more than a year ago, about two years ago, we started a program, an internal program about teaching young, very young children how to research. It\u2019s called&nbsp;<em>&#8220;Research in the Language of Children.&#8221;<\/em>&nbsp;So, I have a question for you: they were as young as six, seven, eight years old, and they took it very, very light, and they were enthusiastic and happy to not be given homework, but to research. It was a very different thing for them to do. So my question is, when do you think it&#8217;s most appropriate to expose children to research and vocabulary related to research, and why?<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Prof. Franco Moretti:<\/strong>&nbsp;I think you did the right thing, and it&#8217;s a wonderful thing that you did it. I wish my son had been exposed to this kind of idea when he was six, seven, or eight. I wish I had been exposed to this kind of idea when I was that age. I think, you know, obviously a lot has to do with the kind of research you ask them to do, but it seems to me that one can start as early as you did and that it&#8217;s a wonderful thing to do so, actually.<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Interviewer:<\/strong>&nbsp;Yeah, basically we let them research and study whatever raised their interest, and they have to choose a common interest in a group. Thank you very much! It was a pleasure talking to you. Enjoy your stay in Sibiu.<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Prof. Franco Moretti:<\/strong>&nbsp;It was a pleasure talking to you. Thank you.<\/p>\n\n\n\n<p class=\"has-normal-font-size\"><strong>Romanian version (Translated)<\/strong><\/p>\n\n\n\n<p class=\"has-small-font-size\">Profesorul Franco Moretti este un cercet\u0103tor Italian \u00een domeniul literar, cunoscut mai ales pentru dezvoltarea conceptului de \u201electur\u0103 (de) la distan\u021b\u0103\u201d (<em>distant reading<\/em>), care urm\u0103re\u0219te studiul tiparelor care pot s\u0103 apar\u0103 \u00een numeroase texte, abordate la scar\u0103 larg\u0103, prin compara\u021bie cu o analiz\u0103 atent\u0103 a unor lucr\u0103ri individuale. La Universitatea Stanford, unde a predat, a fost co\u2013fondatorul <em>Stanford Literary Lab<\/em>, \u00een 2010. Lucr\u0103rile sale majore includ <strong><em>Graphs<\/em><\/strong>, <strong><em>Maps<\/em><\/strong>, <strong><em>Trees<\/em><\/strong>, <strong><em>Atlas of the European Novel<\/em><\/strong> \u0219i <strong><em>Distant Reading<\/em><\/strong>. Lectura (de) la distan\u021b\u0103, conform prof. Franco Moretti, presupune ca, \u00een locul lecturii atente a unui singur volum, s\u0103 se efectueze o analiz\u0103 de la distan\u021b\u0103, a unui num\u0103r foarte mare de volume, cu scopul de a sesiza tiparele mari, observabile la scar\u0103 larg\u0103. Conceptul ar putea fi \u00een\u021beles mai bine printr-o analogie:<\/p>\n\n\n\n<ul>\n<li class=\"has-small-font-size\">lectura atent\u0103 (close reading) ar putea fi asimilat\u0103 cu studiul atent al unui singur copac: frunzele, scoar\u021ba, ramurile \u0219i textura acestuia.<\/li>\n\n\n\n<li class=\"has-small-font-size\">lectura (de) la distan\u021b\u0103 ar putea fi asimilat\u0103 cu analiza \u201ede sus\u201c a \u00eentregii p\u0103duri \u2013 observ\u00e2nd tiparele, formele, cre\u0219terea, golurile \u0219i schimb\u0103rile care ar putea sc\u0103pa unei analize de aproape, atunci c\u00e2nd aobiectul observ\u0103rii \u00eel constituie un singur copac. &nbsp;<\/li>\n<\/ul>\n\n\n\n<p class=\"has-small-font-size\"><em>Un interviu realizat de Ileana Racoviceanu, Manager CoCERC \u2013 ULBS. &nbsp;<\/em><\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Intervievator:<\/strong> Profesore Moretti, v\u0103 mul\u021bumesc pentru c\u0103 v-a\u021bi f\u0103cut timp s\u0103 sta\u021bi de vorb\u0103 cu mine ast\u0103zi, pentru c\u00e2teva momente. V\u0103 voi adresa c\u00e2teva \u00eentreb\u0103ri. De exemplu, dac\u0103 v-a\u021bi \u00eencepe cariera de cercetare ast\u0103zi, \u00een era inteligen\u021bei artificiale \u0219i a arhivelor digitale masive, ce problem\u0103 literar\u0103 nou\u0103 a\u021bi dori s\u0103 investiga\u021bi mai \u00eent\u00e2i?<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Prof. Franco Moretti:<\/strong> Ei bine, probabil c\u0103 a\u0219 analiza aceea\u0219i problem\u0103 pe care am \u00eencercat s\u0103 o investig\u0103m la <strong><em>Literary Lab<\/em><\/strong>, \u00een urm\u0103 cu vreo doisprezece ani \u0219i pe care nu am reu\u0219it s\u0103 o rezolv\u0103m. Aceasta este <strong>logica inova\u021biei literare<\/strong> \u0219i, mai specific, dac\u0103 inova\u021bia literar\u0103 evolueaz\u0103 aleatoriu \u2013 ca \u00eentr-un model evolu\u021bionist \u2013 sau este orientat\u0103 \u00eentotdeauna c\u0103tre rezultate previzibile \u0219i prev\u0103zute. Deci, are de-a face cu natura inova\u021biei, dar \u0219i cu natura istoriei culturale \u00een ansamblu. Aceasta este ceea ce a\u0219 dori s\u0103 studiez mai \u00eent\u00e2i, pentru c\u0103 este cea mai mare problem\u0103.<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Intervievator:<\/strong> \u00cen lectura (de) la distan\u021b\u0103, metoda pe care a\u021bi dezvoltat-o, ce crede\u021bi c\u0103 se c\u00e2\u0219tig\u0103 prin abstractizare \u0219i ce trebuie sacrificat inevitabil? Care sunt limitele sintezei extreme? \u0218i a\u0219 dori s\u0103 adaug, cum v-a venit aceast\u0103 idee a lecturii (de) la distan\u021b\u0103?<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Prof. Franco Moretti:<\/strong> Ideea a venit din cercet\u0103rile pe care am \u00eenceput s\u0103 le fac, de fapt, c\u00e2nd lucram la <strong>geografia literar\u0103<\/strong>. Mi-am dat seama c\u0103, pentru a face h\u0103r\u021bi ale literaturii \u2013 indiferent de modul \u00een care erau concepute \u2013 trebuia s\u0103 extrag anumite tr\u0103s\u0103turi din textele care urmau s\u0103 fie cartografiate. Am realizat importan\u021ba procesului de abstractizare abia mai t\u00e2rziu, dar odat\u0103 ce am \u00een\u021beles asta, mi s-a p\u0103rut foarte clar c\u0103 se poate aplica nu doar geografiei literare, ci \u0219i altor domenii.<\/p>\n\n\n\n<p class=\"has-small-font-size\">Ceea ce se <strong>c\u00e2\u0219tig\u0103 prin abstractizare<\/strong> este o simplificare a structurii literare \u00een mai pu\u021bine elemente; prin urmare, acestea pot fi urm\u0103rite de-a lungul istoriei devenind mai simplu de realizat studii comparative. Ceea ce se <strong>pierde<\/strong>, ca \u00eentotdeauna \u00een cazul abstractiz\u0103rii, este concrete\u021bea cazului individual. Dar \u00een procesul cunoa\u0219terii, acesta este \u00eentotdeauna cazul: pentru a cunoa\u0219te, trebuie s\u0103 reducem \u0219i s\u0103 abstractiz\u0103m, iar dac\u0103 nu am face asta, nu am \u0219ti niciodat\u0103 nimic cu adev\u0103rat.<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Intervievator:<\/strong> Lucr\u0103rile dumneavoastr\u0103 folosesc adesea modele din geografie, economie, evolu\u021bie \u0219i statistic\u0103. Cum decide\u021bi c\u00e2nd un model sau un instrument din afara studiilor literare propriu-zise este cu adev\u0103rat util pentru cercetarea literar\u0103?<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Prof. Franco Moretti:<\/strong> Ei bine, nu este chiar o chestiune de decizie. Este mai degrab\u0103 un proces care decurge astfel: mi-a pl\u0103cut \u00eentotdeauna s\u0103 citesc \u00een afara disciplinei criticii literare \u2013 chiar \u0219i \u00een afara disciplinelor umaniste \u2013 pentru c\u0103 \u00eemi plac foarte mult \u0219tiin\u021bele naturii, dar apoi, desigur, \u0219i sociologia, lingvistica, antropologia etc. \u0218i astfel, din c\u00e2nd \u00een c\u00e2nd, c\u00e2nd studiez o problem\u0103 specific\u0103 \u2013 o problem\u0103 literar\u0103 specific\u0103, o problem\u0103 teoretic\u0103 sau o configura\u021bie istoric\u0103 \u2013 \u00eemi amintesc de un model dintr-o alt\u0103 disciplin\u0103 care ar putea ajuta la \u00een\u021belegerea problemei pe care o am \u00een fa\u021b\u0103. Deci, nu este o decizie; este mai degrab\u0103 o urmare a faptului c\u0103 am identificat un model, dezvoltat anterior \u00een cadrul sau pentru o disciplin\u0103 non-literar\u0103, ofer\u0103 o solu\u021bie pentru rezolvarea unui puzzle literar. Care anume? Acest lucru este complet&#8230; sau depinde de&#8230; nu de hazard, dar nu poate fi prezis cu exactitate. Vreau s\u0103 spun c\u0103 are de-a face cu problema pe care \u00eencerc s\u0103 o rezolv la un moment dat.<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Intervievator:<\/strong> Ce ar fi necesar pentru a multiplica \u0219i a transfera metodologia <strong><em>Literary Lab<\/em><\/strong> \u00eentr-o alt\u0103 universitate, cum este aceasta&#8230; unde suntem aici \u0219i acum, la Sibiu?<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Prof. Franco Moretti:<\/strong> Nu este nevoie de mult. Am \u00eenceput cu o jum\u0103tate de duzin\u0103 de oameni \u0219i, \u0219ti\u021bi, eu eram singurul profesor; restul erau studen\u021bi \u0219i un colaborator tehnic. Ceea ce este necesar sunt:<\/p>\n\n\n\n<ul>\n<li class=\"has-small-font-size\"><strong>Cercet\u0103tori<\/strong> care au un interes pentru procesul \u0219tiin\u021bific.<\/li>\n\n\n\n<li class=\"has-small-font-size\"><strong>Al\u021bi cercet\u0103tori<\/strong> (sau aceia\u0219i) care \u0219tiu, de asemenea, s\u0103 programeze \u0219i cum s\u0103 gestioneze algoritmii \u00een general.<\/li>\n<\/ul>\n\n\n\n<p class=\"has-small-font-size\">A\u0219adar, este nevoie de <strong>\u00eentreb\u0103ri care privesc cercetarea literar\u0103<\/strong> \u0219i care au deja o tent\u0103 \u0219tiin\u021bific\u0103 \u0219i de cercet\u0103tori interesa\u021bi de studiul domeniului literar \u0219i care au \u0219i o preg\u0103tire \u0219tiin\u021bific\u0103. Chiar nu este vorba de prea multe cerin\u021be; este vorba, \u00een esen\u021b\u0103, de o jum\u0103tate de duzin\u0103 de indivizi cu o anumit\u0103 predispozi\u021bie intelectual\u0103 \u0219i de cuno\u0219tin\u021be \u00een domeniul de referin\u021b\u0103. Pus astfel, sun\u0103 simplu, dar, de fapt, nu este at\u00e2t de simplu, deoarece acel tip de cercet\u0103tor literar nu este unul foarte frecvent \u00eent\u00e2lnit. Deci, nu este u\u0219or s\u0103 aduni nici m\u0103car \u0219ase astfel de oameni. Dar nu necesit\u0103 bani, nu necesit\u0103 timp, nu necesit\u0103 spa\u021biu&#8230; niciuna dintre lament\u0103rile obi\u0219nuite legate de c\u00e2t de greu este s\u0103 faci cercetare nu se aplic\u0103 aici. Nu este necesar\u0103 finan\u021barea, de\u0219i, desigur, finan\u021barea este \u00eentotdeauna binevenit\u0103, dar este vorba cu adev\u0103rat despre de o predispozi\u021bie intelectual\u0103 a celor care urmeaz\u0103 s\u0103 fie implica\u021bi.<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Intervievator:<\/strong> \u0218ti\u021bi, noi&#8230; acum mai bine de un an, acum vreo doi ani, am \u00eenceput un program, un program intern despre cum s\u0103 \u00eei \u00eenv\u0103\u021b\u0103m pe copiii mici, foarte mici, s\u0103 cerceteze. Se nume\u0219te <strong>\u201eCercetarea pe limba copiilor\u201d<\/strong>. A\u0219adar, am o \u00eentrebare pentru dumneavoastr\u0103 \u2013 copiii pe care i-am implicat aveau v\u00e2rste de \u0219ase, \u0219apte, opt ani \u0219i au privit totul cu mult\u0103 lejeritate, au fost entuziasma\u021bi \u0219i ferici\u021bi s\u0103 nu primeasc\u0103 teme pentru acas\u0103, ci s\u0103 cerceteze. A fost un lucru foarte diferit pentru ei. Deci, \u00eentrebarea mea este: c\u00e2nd crede\u021bi c\u0103 este cel mai potrivit s\u0103 expunem copiii la cercetare \u0219i la vocabularul legat de cercetare \u0219i de ce?<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Prof. Franco Moretti:<\/strong> Cred c\u0103 a\u021bi f\u0103cut ceea ce trebuie \u0219i este un lucru minunat c\u0103 l-a\u021bi f\u0103cut. Mi-a\u0219 fi dorit ca fiul meu s\u0103 fi fost expus la acest tip de idee c\u00e2nd avea \u0219ase, \u0219apte sau opt ani. Mi-a\u0219 fi dorit ca eu s\u0103 fi fost expus la acest tip de idee, c\u00e2nd aveam acea v\u00e2rst\u0103. Cred c\u0103, evident, multe depind de tipul de cercetare pe care le cere\u021bi s\u0103 o fac\u0103, dar mi se pare c\u0103 se poate \u00eencepe la fel de devreme cum a\u021bi f\u0103cut-o voi \u0219i c\u0103 este un lucru minunat s\u0103 faci asta, de fapt.<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Intervievator:<\/strong> Da, practic i-am l\u0103sat s\u0103 cerceteze \u0219i s\u0103 studieze orice le st\u00e2rnea interesul, iar ei trebuiau s\u0103-\u0219i aleag\u0103 un subiect de interes comun \u00een grupul lor de lucru. V\u0103 mul\u021bumesc foarte mult! A fost o pl\u0103cere s\u0103 vorbesc cu dumneavoastr\u0103. Bucura\u021bi-v\u0103 de \u0219ederea la Sibiu.<\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>Prof. Franco Moretti:<\/strong> A fost o pl\u0103cere s\u0103 vorbesc cu dumneavoastr\u0103. V\u0103 mul\u021bumesc.<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Listen to the interview here (English version): English version (Original) Professor Franco Moretti is an Italian literary scholar best known for developing \u201cdistant reading\u201d, the study of large \u2013 scale [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1135,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[32],"tags":[],"_links":{"self":[{"href":"https:\/\/grants.ulbsibiu.ro\/cocerc\/wp-json\/wp\/v2\/posts\/1115"}],"collection":[{"href":"https:\/\/grants.ulbsibiu.ro\/cocerc\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/grants.ulbsibiu.ro\/cocerc\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/grants.ulbsibiu.ro\/cocerc\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/grants.ulbsibiu.ro\/cocerc\/wp-json\/wp\/v2\/comments?post=1115"}],"version-history":[{"count":7,"href":"https:\/\/grants.ulbsibiu.ro\/cocerc\/wp-json\/wp\/v2\/posts\/1115\/revisions"}],"predecessor-version":[{"id":1134,"href":"https:\/\/grants.ulbsibiu.ro\/cocerc\/wp-json\/wp\/v2\/posts\/1115\/revisions\/1134"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/grants.ulbsibiu.ro\/cocerc\/wp-json\/wp\/v2\/media\/1135"}],"wp:attachment":[{"href":"https:\/\/grants.ulbsibiu.ro\/cocerc\/wp-json\/wp\/v2\/media?parent=1115"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/grants.ulbsibiu.ro\/cocerc\/wp-json\/wp\/v2\/categories?post=1115"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/grants.ulbsibiu.ro\/cocerc\/wp-json\/wp\/v2\/tags?post=1115"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}