In these pages we propose a return to the poetry of the ruins cultivated by the Romanian preroman... more In these pages we propose a return to the poetry of the ruins cultivated by the Romanian preromantic poets. If so far this poetry, elegiac and meditative, has been more interested in the way - solemn and ritualized - to recover the national historical past, as well as the legend, ode and myth, it will be approached here as a simple tourist practice: as a way to organize a holiday program and to imagine a time of relaxation. In this way, a relationship is established between frequenting the ruins and the belts of mineral waters and hot baths specific to the 19th century. While, as a literary form, the poetry of the ruins comes close to the travel memorial, Romanian writers often use the two species in parallel, to describe the same trip.
Filologia Modernă: realizări și perspective în context european, 2019
Ceea ce ne propunem e o analiză a modurilor în care e organizată lectura cu voce tare în trei din... more Ceea ce ne propunem e o analiză a modurilor în care e organizată lectura cu voce tare în trei dintre cele mai importante comunități de tip cenaclu din spațiul românesc : Junimea, Sburătorul și Cercul literar de la Sibiu. E vorba de un subiect încă de mare noutate și în spațiul occidental, și deloc discutat până acum pe exemplele pe care le oferă literatura română. O asemenea abordare a vieții de cenaclu conduce, pe de o parte, la ideea că fiecare comunitate literară își generează propriul ritual de lectură, și că acesta nu e transmisibil, și prin urmare nici repetabil. Pe de altă parte, ea se dovedește a fi un instrument de lucru capabil să reveleze felul în care literatura produsă în cenaclu se hrănește ea însăși din particularitățile acestor puneri în scenă, mizând, la rândul său, pe mecanisme de dramatizare.
La mauvaise littérature est condamnée à l'oubli. Limitée aux seules œuvres reconnues, notre conna... more La mauvaise littérature est condamnée à l'oubli. Limitée aux seules œuvres reconnues, notre connaissance de l'espace littéraire est de fait réduite à une part infime de l'ensemble des œuvres. Le « bon goût » opère inlassablement sa sélection parmi elles, malgré sa versatilité à travers l'histoire et en dépit de l'instabilité du canon des grands textes tout comme des institutions chargées de les transmettre. Sont ainsi implacablement rejetés dans l'obscurité des textes de nature diverse : ouvrages ratés, textes mercenaires ou illégitimes, écritures du dimanche, plagiats ou autres impostures, mais aussi ce qui s'est trouvé recueilli sous la notion problématique de paralittérature. Mais le « mauvais », ainsi refoulé par le « bon goût », ne pourrait-il pas être semblable à cette énergie noire, invisible mais fondamentale et prédominante dans l'univers ? L'espace littéraire fait coexister, à travers des systèmes de relations et d'appréciations qui sont au fondement de ce colloque, la grande littérature, avec son alignement de monuments consacrés, et une masse informe d’œuvres oubliées ou méprisées. Pourtant, la première semble bien avoir besoin de la seconde pour exister, s'en détacher comme sur une espèce de fond hétéroclite et anonyme. Au-delà du rôle de faire-valoir qu'on ne saurait lui dénier, quelles sont les fonctions de cette mauvaise littérature dans l'économie du système littéraire ? Quant à notre jugement, qui se forme largement sur le patrimoine accessible et élaboré avant nous, n'est-t-il pas en grande partie déterminé par le jugement de nos devanciers ?
The text aims to revisit C. Noica’s Păltiniș, a space where a “paideic model” was defined and wor... more The text aims to revisit C. Noica’s Păltiniș, a space where a “paideic model” was defined and worked in Romanian culture, in order to look at it not as a utopia, but as a heterotopia: with interest for the factors that set up, there, a specific holiday model. Much has been written about the way in which Păltinișul functioned as a “nowhere” under Romanian communism, setting up, according to a principle of hope, the possibility of a “flight to the top”, and creating a “paradise of culture”, which would make any hell bearable. However, we do not know anything about how this Păltiniş as an interior landscape, built according to a mental scheme, met the real landscape, of the communist Păltiniș, also invented, as a vacation space, also in the early 1970s: a Păltiniş of sports winter and skiers. We will be interested here in the way in which Noica and his two disciples, Gabriel Liiceanu and Andrei Pleșu, do not manage to completely avoid a holiday experience in its classic, purely hedonistic formula. The way in which, emerging for the moment from the austere confines of philosophical discipline, they enter into a regime of desire and pleasure – through sleep, chatter, giggles, infantile behavior, sunshine, idleness, anecdotal.
The text aims to compile a small index of literary forms that are born or only
reappear in holida... more The text aims to compile a small index of literary forms that are born or only reappear in holiday contexts of Romanian writers, being closely related to the place of vacation and the way it is organized. The series of these forms opens with the poetry of the ruins, an imported form, which justifies the mobilization of our romantic poets on a journey to the ruins; and includes several other examples, such as the Montagnard legend (related to the holidays in Bucegi of V.A. Urechiă’s family), the miniature (suggested by the year spent in the C.T.C. sanatorium at Tekirghiol by M. Blecher, together with the painter Lucia Dem. Bălăcescu), the aphorism and the incantation (from the landscapes with clouds by Petru Creția), or the imported form of the Abschiedsduett/ “duet ballad” (called by Andrei Pleșu, to record the “paideic” experience of Păltiniş that he lives with C. Noica and Gabriel Liiceanu).
Studia Universitatis Babeș-Bolyai. Philosophia, 2023
Suffering bodies/ bodies on vacation. Writer M. Blecher and painter Lucia Dem. Bălăcescu in the T... more Suffering bodies/ bodies on vacation. Writer M. Blecher and painter Lucia Dem. Bălăcescu in the Tekirghiol sanatorium. What we propose is an analysis of the creative sharing that two artists, M. Blecher and Lucia Dem. Bălăcescu, both suffering from a bone disease, developed it during their joint hospitalization in the C.T.C sanatorium in Tekirghiol for a year, in 1933-1934. The characteristic of this space is the presence of over 300 children, the sanatorium only exceptionally housing adults. From these children, who have their own way of using play and toys to hide their illness, the two artists learn a childlike way of living their own suffering and feel suggested to cultivate (and) forms of a miniature art. Lucia Dem. Bălăcescu makes a series of 50 mini-gouaches, which he calls Surrealist Fantasies. Blecher, like Robert Walser did in the same years, fantasizes about a miniature writing, designing drawings whose lines are made up of small words to the limit of illegibility.
En 1979 apparaissait en Roumanie, en plein régime totalitaire, un recueil qui s'appelait simpleme... more En 1979 apparaissait en Roumanie, en plein régime totalitaire, un recueil qui s'appelait simplement Les nuages (le texte expose des « tableaux de nues », résultants d'un enregistrement documentaire de type journalier, réalisé à partir des années 1950). Avec un succès de publique immédiat, il sera republié en 1981. Son auteur est Petru Creția (1927-1997). Ce qui fait la particularité de cette perception nuageuse c'est la généralité qui le caractérise, sa capacité de devenir reconnaissable. Les ciels sont ici toujours ténébreux : associés à la fermeture, aux perturbations, à l'emprisonnement, à la mort, aux cataclysmes. Ils sont orageux, le plus souvent nocturnes. Les couleurs s'y estompent, tout comme l'arc-en-ciel. La perception de cette « généralité » (paradoxale, car elle contrevient à l'instabilité phénoménale aérienne) des nuées n'est pas sans relation avec le totalitarisme. C'est comme si, dans un monde (totalitaire) où il n'y avait plus d'espoir, les ciels, eux non plus, ne pouvaient pas être perçus dans la lumière/ comme lumière. Devient possible la définition d'un style météorologique, en fonction non pas de la disposition dans l'espace du contemplateur (Jenny, 2013), mais de son emplacement temporel.
Focusing on a family of writers that of V.A. Urechiă and his sons, Nestor and Alceu, the article ... more Focusing on a family of writers that of V.A. Urechiă and his sons, Nestor and Alceu, the article aims at a comparative analysis of the family's sociability that they develop in the summers spent at their villas in Câmpina and Sinaia, with expeditions in the Bucegi Mountains, and the literature that feeds on these expeditions. Beyond the opportunity offered by the writings of the Urechiă family, we wish to observe the production and efficiency of genealogical forms (Georges Didi-Huberman); the stake of such an approach comes from its historical situation. The moment of founding the Urechia family coincides with the founding of the Romanian culture and nation, making the investigation of their mountain expeditions, genealogical issues, and literary forms gain a political weight with an accent on the nation rather than on the family itself.
One of the most important literary critics of the interwar period, E. Lovinescu was the renowned ... more One of the most important literary critics of the interwar period, E. Lovinescu was the renowned host of the Sburătorul literary circle, which ran in Bucharest for over twenty years. According to this group's two values, the critic was able to define the specific behavior of the man of letters. True vocation is validated, Lovinescu believes, through a prior acknowledgment of the persistent and incessant effort and labor demanded by the production of literature. However, the polarization subsumed by these definitions is not maintained at the level of community behaviors too, as the amphitryon of Sburătorul equally promotes literary figures that are driven by vocation and literary figures that are only circumstantially struck by fortunate occasion.
Widely known for its firm and radical anti-communist standing as well as for its famous radio pro... more Widely known for its firm and radical anti-communist standing as well as for its famous radio program Theses and Antitheses (“Teze și antiteze”) broadcast by Radio Free Europe, Monica Lovinescu (1923-2008) was also the only daughter of the Romanian critic E. Lovinescu, who raised her from her early childhood within the literary circle he used to host in his house. In fact, the members of this literary circle had stood by Monica Lovinescu from her birth to 1943 (when E. Lovinescu, her father and the circle’s amphitryon died). At that time, the daughter had turned 20. Apparently, Monica Lovinescu provides the Romanian literature with an unusual situation — quite scarce, in fact — that might be resembled to Marie Nodier’s, the host’s daughter in the “Arsenal” literary environment. It is, briefly put, the situation of a child “raised” by an entire literary circle (l’enfant de cenacle). Indeed, taking into consideration that the circle’s activities were taking place in the flat of Lovinescu family, one can imagine that the little girl had toddled and grew up among these people. Her favorite game was “playing-the-literary-circle” and, when she began “writing” literature at 5 — before even learning the alphabet — she did it as a game inspired from the adults’ life. Due to this childhood circumstance, her writing has remained highly dependent on the loud-voice readings and, in all likelihood, circumscribed to an infantile spirit, the spirit of a literature that is “played”, thus never assumed entirely. At the same time, the influence does not seem to be unilateral. Not only did the child build herself in a special way due to the circle’s environment, but also the form of sociability re-shaped itself in order to integrate her presence. The writers developed various behaviors, attitudes, and postures in relationship with this “small” presence, investing their efforts in shared activities. Finally, the members of the “Sburătorul” literary circle delivered a circumstantial literature, which has Monica as main subject and object: a literature “for Monica” (dedicated to her) as well as a literature “with Monica”.
Widely known for its firm and radical anti-communist standing as well as for its famous radio pro... more Widely known for its firm and radical anti-communist standing as well as for its famous radio program Theses and Antitheses (“Teze și antiteze”) broadcast by Radio Free Europe, Monica Lovinescu (1923-2008) was also the only daughter of the Romanian critic E. Lovinescu, who raised her from her early childhood within the literary circle he used to host in his house. In fact, the members of this literary circle had stood by Monica Lovinescu from her birth to 1943 (when E. Lovinescu, her father and the circle’s amphitryon died). At that time, the daughter had turned 20. Apparently, Monica Lovinescu provides the Romanian literature with an unusual situation — quite scarce, in fact — that might be resembled to Marie Nodier’s, the host’s daughter in the “Arsenal” literary environment. It is, briefly put, the situation of a child “raised” by an entire literary circle (l’enfant de cenacle). Indeed, taking into consideration that the circle’s activities were taking place in the flat of Lovinescu family, one can imagine that the little girl had toddled and grew up among these people. Her favorite game was “playing-the-literary-circle” and, when she began “writing” literature at 5 — before even learning the alphabet — she did it as a game inspired from the adults’ life. Due to this childhood circumstance, her writing has remained highly dependent on the loud-voice readings and, in all likelihood, circumscribed to an infantile spirit, the spirit of a literature that is “played”, thus never assumed entirely. At the same time, the influence does not seem to be unilateral. Not only did the child build herself in a special way due to the circle’s environment, but also the form of sociability re-shaped itself in order to integrate her presence. The writers developed various behaviors, attitudes, and postures in relationship with this “small” presence, investing their efforts in shared activities. Finally, the members of the “Sburătorul” literary circle delivered a circumstantial literature, which has Monica as main subject and object: a literature “for Monica” (dedicated to her) as well as a literature “with Monica”.
In order to inquire the very possibility of formalizing existences under the Totalitarian regimes... more In order to inquire the very possibility of formalizing existences under the Totalitarian regimes, which was formulated by Hannah Arendt as early as 1951 (The Origins of Totalitarianism), I propose the analysis of several prose writings published during the 1970s and 1980s by several Romanian writers such as Radu Cosașu, Radu Petrescu, Costache Olăreanu, and Petru Creția who, by their birth year (1927 to 1929), belong to the same generation. The special feature of these texts comes from their unfaltering, even obsessive, interest in defining (multiple) ways of existence. Put against the background of the monotonous and grey lives people used to live under Communism, these new forms of life take shape within the formula of a patchwork existence, whose variegated pieces maintain their inherent specificity despite coexistence, sometimes within the frame of one and the same life. In a short text from a volume published after the fall of the Communist regime (Cum poți să fii persan [How Can One Be a Persian], 2002), Costache Olăreanu would label these life-patches as “small life”, “universal life” and “survivals”.
This papers aims to discuss, within a more general frame, is a reflection, the way the intellectu... more This papers aims to discuss, within a more general frame, is a reflection, the way the intellectuals consecrated during the interwar period deal with the aesthetic phenomenon after the establishment of Communism. Even though the aesthetic point of view is not fully abandoned under totalitarianism, any re-emergence implies, in a way or another, a corruption or even a mutation. The present analysis builds around a case study, that is, Ion Biberi’s effort in the early 70’ to take back a critical discourse crediting the values of style and showing an interest in defining ways of existence through art’s mediation. After he delineated, in the 30’, a somatic frame for the coordinates of individual stylistics – his analysis tackling with the forms of corporeal expressivity as well as their ongoing variation, the communist 70s’ encourage him to define a collective stylistics. This is conceived as a form of collective emotion, shared and unique, named by the critic “starea de mulțime” (crowd state). His texts (Poezia, mod de existență; Arta de a scrie și de a vorbi în public; Arta de a trăi) imagine the possibility to correlate the process of demographic amassment with that of mass aestheticizing. In order to discover a practical facet of this relationship, Biberi turns to three types of instruments, which should function, in his opinion, as “active principles”: “poetry in action/ motion”, “good taste”, and “apprenticeship”.
On se propose de faire une radiographie de la relation érotique qui se constitue dans le climat d... more On se propose de faire une radiographie de la relation érotique qui se constitue dans le climat des cénacles littéraires, en partant de la documentation riche qu’offre à ce sujet le plus longévif groupement littéraire roumain, qui a fonctionné à Bucarest entre 1919 et 1943 (Sburătorul). Trois particularités de cet éros nous paraissent particulièrement saillantes. D’abord, il s’agit de la manière physique dans laquelle les écrivains s’impliquent dans leur activité de cénacle: les voisinages qui se constituent à travers la proximité des corps, le toucher auquel ils s’exposent – mais aussi la permutabilité de ces corps. Comme le dispositif spatial qui le reçoit est unique, ils viennent occuper les mêmes positions (chaises, fauteuils, places sur un divan, etc.). Cela fait naître non seulement une sensibilité par rapport à la présence objectivée de l’autre, mais aussi une perception accrue des traces que celui-ci laisse dans l’espace commun. D’où la généralisation de l’affection érotique, une fois avec sa superficie. Une deuxième particularité de l’éros cénaculaire tient de sa répercussion immédiate dans des effets d’écriture. L’impressionnabilité qui lie l’homme-écrivain et la femme-écrivain à l’intérieur du groupe les entraînent dans des pratiques discursives mimétiques, mais les suscitent également à intervenir l’un dans le texte de l’autre. C’est tout un phénomène d’écrire ensemble qui s’y ressource. Enfin, troisième spécificité: dans plusieurs contextes, cet éros est représenté comme une relation entre deux corps de dimensions différentes (l’un grand, l’autre petit), en misant sur la figure de l’incorporation. On parle dans ces cas d’« amitié étrange » ou de « nostalgie ». C’est que, dans l’imagination d’une telle « entité commune », on glisse du corps érotique – vers l’objet phantasmé d’un « corps » du cénacle. L’éros y devient support d’une catachrèse, censé inscrire la relation de l’écrivain avec la communauté qui le contient.
What we are aiming for is a comparative analysis of two representations of the political communit... more What we are aiming for is a comparative analysis of two representations of the political community in the texts of Romanian writers. Ilarie Voronca and Ion Biberi are, in turn, one an avant-garde poet, the other one a novelist, the author of the first Joycean Romanian novel. The community fantasies which they propose do exhibit a strong affinity, although dating from different epochs and developed within different cultural spaces: one in Paris, in the 1930s, the other one in Bucharest during the 1970s. Both have little in common with the representations of the era that produces them. Outlining the political community as a mass that is installed in the street, with an emphasis on body dynamics and the autonomy of individuals in the crowd, they relate better to recent “Occupy”-type manifestations. Instead of functioning as an empathetic environment, where individuals are in sync and all follow the same rhythm, the crowd becomes a revealing element of both the differentiation and of the positive irreductability. On the other hand, this crowd abandons the unique position of discourse (the "we" belonging to a common cause). Instead of slogans, it proffers spontaneous individual speeches, in turn singularized. The political community is illustrated as a community of poets, idealizing a literary life experience.
In these pages we propose a return to the poetry of the ruins cultivated by the Romanian preroman... more In these pages we propose a return to the poetry of the ruins cultivated by the Romanian preromantic poets. If so far this poetry, elegiac and meditative, has been more interested in the way - solemn and ritualized - to recover the national historical past, as well as the legend, ode and myth, it will be approached here as a simple tourist practice: as a way to organize a holiday program and to imagine a time of relaxation. In this way, a relationship is established between frequenting the ruins and the belts of mineral waters and hot baths specific to the 19th century. While, as a literary form, the poetry of the ruins comes close to the travel memorial, Romanian writers often use the two species in parallel, to describe the same trip.
Filologia Modernă: realizări și perspective în context european, 2019
Ceea ce ne propunem e o analiză a modurilor în care e organizată lectura cu voce tare în trei din... more Ceea ce ne propunem e o analiză a modurilor în care e organizată lectura cu voce tare în trei dintre cele mai importante comunități de tip cenaclu din spațiul românesc : Junimea, Sburătorul și Cercul literar de la Sibiu. E vorba de un subiect încă de mare noutate și în spațiul occidental, și deloc discutat până acum pe exemplele pe care le oferă literatura română. O asemenea abordare a vieții de cenaclu conduce, pe de o parte, la ideea că fiecare comunitate literară își generează propriul ritual de lectură, și că acesta nu e transmisibil, și prin urmare nici repetabil. Pe de altă parte, ea se dovedește a fi un instrument de lucru capabil să reveleze felul în care literatura produsă în cenaclu se hrănește ea însăși din particularitățile acestor puneri în scenă, mizând, la rândul său, pe mecanisme de dramatizare.
La mauvaise littérature est condamnée à l'oubli. Limitée aux seules œuvres reconnues, notre conna... more La mauvaise littérature est condamnée à l'oubli. Limitée aux seules œuvres reconnues, notre connaissance de l'espace littéraire est de fait réduite à une part infime de l'ensemble des œuvres. Le « bon goût » opère inlassablement sa sélection parmi elles, malgré sa versatilité à travers l'histoire et en dépit de l'instabilité du canon des grands textes tout comme des institutions chargées de les transmettre. Sont ainsi implacablement rejetés dans l'obscurité des textes de nature diverse : ouvrages ratés, textes mercenaires ou illégitimes, écritures du dimanche, plagiats ou autres impostures, mais aussi ce qui s'est trouvé recueilli sous la notion problématique de paralittérature. Mais le « mauvais », ainsi refoulé par le « bon goût », ne pourrait-il pas être semblable à cette énergie noire, invisible mais fondamentale et prédominante dans l'univers ? L'espace littéraire fait coexister, à travers des systèmes de relations et d'appréciations qui sont au fondement de ce colloque, la grande littérature, avec son alignement de monuments consacrés, et une masse informe d’œuvres oubliées ou méprisées. Pourtant, la première semble bien avoir besoin de la seconde pour exister, s'en détacher comme sur une espèce de fond hétéroclite et anonyme. Au-delà du rôle de faire-valoir qu'on ne saurait lui dénier, quelles sont les fonctions de cette mauvaise littérature dans l'économie du système littéraire ? Quant à notre jugement, qui se forme largement sur le patrimoine accessible et élaboré avant nous, n'est-t-il pas en grande partie déterminé par le jugement de nos devanciers ?
The text aims to revisit C. Noica’s Păltiniș, a space where a “paideic model” was defined and wor... more The text aims to revisit C. Noica’s Păltiniș, a space where a “paideic model” was defined and worked in Romanian culture, in order to look at it not as a utopia, but as a heterotopia: with interest for the factors that set up, there, a specific holiday model. Much has been written about the way in which Păltinișul functioned as a “nowhere” under Romanian communism, setting up, according to a principle of hope, the possibility of a “flight to the top”, and creating a “paradise of culture”, which would make any hell bearable. However, we do not know anything about how this Păltiniş as an interior landscape, built according to a mental scheme, met the real landscape, of the communist Păltiniș, also invented, as a vacation space, also in the early 1970s: a Păltiniş of sports winter and skiers. We will be interested here in the way in which Noica and his two disciples, Gabriel Liiceanu and Andrei Pleșu, do not manage to completely avoid a holiday experience in its classic, purely hedonistic formula. The way in which, emerging for the moment from the austere confines of philosophical discipline, they enter into a regime of desire and pleasure – through sleep, chatter, giggles, infantile behavior, sunshine, idleness, anecdotal.
The text aims to compile a small index of literary forms that are born or only
reappear in holida... more The text aims to compile a small index of literary forms that are born or only reappear in holiday contexts of Romanian writers, being closely related to the place of vacation and the way it is organized. The series of these forms opens with the poetry of the ruins, an imported form, which justifies the mobilization of our romantic poets on a journey to the ruins; and includes several other examples, such as the Montagnard legend (related to the holidays in Bucegi of V.A. Urechiă’s family), the miniature (suggested by the year spent in the C.T.C. sanatorium at Tekirghiol by M. Blecher, together with the painter Lucia Dem. Bălăcescu), the aphorism and the incantation (from the landscapes with clouds by Petru Creția), or the imported form of the Abschiedsduett/ “duet ballad” (called by Andrei Pleșu, to record the “paideic” experience of Păltiniş that he lives with C. Noica and Gabriel Liiceanu).
Studia Universitatis Babeș-Bolyai. Philosophia, 2023
Suffering bodies/ bodies on vacation. Writer M. Blecher and painter Lucia Dem. Bălăcescu in the T... more Suffering bodies/ bodies on vacation. Writer M. Blecher and painter Lucia Dem. Bălăcescu in the Tekirghiol sanatorium. What we propose is an analysis of the creative sharing that two artists, M. Blecher and Lucia Dem. Bălăcescu, both suffering from a bone disease, developed it during their joint hospitalization in the C.T.C sanatorium in Tekirghiol for a year, in 1933-1934. The characteristic of this space is the presence of over 300 children, the sanatorium only exceptionally housing adults. From these children, who have their own way of using play and toys to hide their illness, the two artists learn a childlike way of living their own suffering and feel suggested to cultivate (and) forms of a miniature art. Lucia Dem. Bălăcescu makes a series of 50 mini-gouaches, which he calls Surrealist Fantasies. Blecher, like Robert Walser did in the same years, fantasizes about a miniature writing, designing drawings whose lines are made up of small words to the limit of illegibility.
En 1979 apparaissait en Roumanie, en plein régime totalitaire, un recueil qui s'appelait simpleme... more En 1979 apparaissait en Roumanie, en plein régime totalitaire, un recueil qui s'appelait simplement Les nuages (le texte expose des « tableaux de nues », résultants d'un enregistrement documentaire de type journalier, réalisé à partir des années 1950). Avec un succès de publique immédiat, il sera republié en 1981. Son auteur est Petru Creția (1927-1997). Ce qui fait la particularité de cette perception nuageuse c'est la généralité qui le caractérise, sa capacité de devenir reconnaissable. Les ciels sont ici toujours ténébreux : associés à la fermeture, aux perturbations, à l'emprisonnement, à la mort, aux cataclysmes. Ils sont orageux, le plus souvent nocturnes. Les couleurs s'y estompent, tout comme l'arc-en-ciel. La perception de cette « généralité » (paradoxale, car elle contrevient à l'instabilité phénoménale aérienne) des nuées n'est pas sans relation avec le totalitarisme. C'est comme si, dans un monde (totalitaire) où il n'y avait plus d'espoir, les ciels, eux non plus, ne pouvaient pas être perçus dans la lumière/ comme lumière. Devient possible la définition d'un style météorologique, en fonction non pas de la disposition dans l'espace du contemplateur (Jenny, 2013), mais de son emplacement temporel.
Focusing on a family of writers that of V.A. Urechiă and his sons, Nestor and Alceu, the article ... more Focusing on a family of writers that of V.A. Urechiă and his sons, Nestor and Alceu, the article aims at a comparative analysis of the family's sociability that they develop in the summers spent at their villas in Câmpina and Sinaia, with expeditions in the Bucegi Mountains, and the literature that feeds on these expeditions. Beyond the opportunity offered by the writings of the Urechiă family, we wish to observe the production and efficiency of genealogical forms (Georges Didi-Huberman); the stake of such an approach comes from its historical situation. The moment of founding the Urechia family coincides with the founding of the Romanian culture and nation, making the investigation of their mountain expeditions, genealogical issues, and literary forms gain a political weight with an accent on the nation rather than on the family itself.
One of the most important literary critics of the interwar period, E. Lovinescu was the renowned ... more One of the most important literary critics of the interwar period, E. Lovinescu was the renowned host of the Sburătorul literary circle, which ran in Bucharest for over twenty years. According to this group's two values, the critic was able to define the specific behavior of the man of letters. True vocation is validated, Lovinescu believes, through a prior acknowledgment of the persistent and incessant effort and labor demanded by the production of literature. However, the polarization subsumed by these definitions is not maintained at the level of community behaviors too, as the amphitryon of Sburătorul equally promotes literary figures that are driven by vocation and literary figures that are only circumstantially struck by fortunate occasion.
Widely known for its firm and radical anti-communist standing as well as for its famous radio pro... more Widely known for its firm and radical anti-communist standing as well as for its famous radio program Theses and Antitheses (“Teze și antiteze”) broadcast by Radio Free Europe, Monica Lovinescu (1923-2008) was also the only daughter of the Romanian critic E. Lovinescu, who raised her from her early childhood within the literary circle he used to host in his house. In fact, the members of this literary circle had stood by Monica Lovinescu from her birth to 1943 (when E. Lovinescu, her father and the circle’s amphitryon died). At that time, the daughter had turned 20. Apparently, Monica Lovinescu provides the Romanian literature with an unusual situation — quite scarce, in fact — that might be resembled to Marie Nodier’s, the host’s daughter in the “Arsenal” literary environment. It is, briefly put, the situation of a child “raised” by an entire literary circle (l’enfant de cenacle). Indeed, taking into consideration that the circle’s activities were taking place in the flat of Lovinescu family, one can imagine that the little girl had toddled and grew up among these people. Her favorite game was “playing-the-literary-circle” and, when she began “writing” literature at 5 — before even learning the alphabet — she did it as a game inspired from the adults’ life. Due to this childhood circumstance, her writing has remained highly dependent on the loud-voice readings and, in all likelihood, circumscribed to an infantile spirit, the spirit of a literature that is “played”, thus never assumed entirely. At the same time, the influence does not seem to be unilateral. Not only did the child build herself in a special way due to the circle’s environment, but also the form of sociability re-shaped itself in order to integrate her presence. The writers developed various behaviors, attitudes, and postures in relationship with this “small” presence, investing their efforts in shared activities. Finally, the members of the “Sburătorul” literary circle delivered a circumstantial literature, which has Monica as main subject and object: a literature “for Monica” (dedicated to her) as well as a literature “with Monica”.
Widely known for its firm and radical anti-communist standing as well as for its famous radio pro... more Widely known for its firm and radical anti-communist standing as well as for its famous radio program Theses and Antitheses (“Teze și antiteze”) broadcast by Radio Free Europe, Monica Lovinescu (1923-2008) was also the only daughter of the Romanian critic E. Lovinescu, who raised her from her early childhood within the literary circle he used to host in his house. In fact, the members of this literary circle had stood by Monica Lovinescu from her birth to 1943 (when E. Lovinescu, her father and the circle’s amphitryon died). At that time, the daughter had turned 20. Apparently, Monica Lovinescu provides the Romanian literature with an unusual situation — quite scarce, in fact — that might be resembled to Marie Nodier’s, the host’s daughter in the “Arsenal” literary environment. It is, briefly put, the situation of a child “raised” by an entire literary circle (l’enfant de cenacle). Indeed, taking into consideration that the circle’s activities were taking place in the flat of Lovinescu family, one can imagine that the little girl had toddled and grew up among these people. Her favorite game was “playing-the-literary-circle” and, when she began “writing” literature at 5 — before even learning the alphabet — she did it as a game inspired from the adults’ life. Due to this childhood circumstance, her writing has remained highly dependent on the loud-voice readings and, in all likelihood, circumscribed to an infantile spirit, the spirit of a literature that is “played”, thus never assumed entirely. At the same time, the influence does not seem to be unilateral. Not only did the child build herself in a special way due to the circle’s environment, but also the form of sociability re-shaped itself in order to integrate her presence. The writers developed various behaviors, attitudes, and postures in relationship with this “small” presence, investing their efforts in shared activities. Finally, the members of the “Sburătorul” literary circle delivered a circumstantial literature, which has Monica as main subject and object: a literature “for Monica” (dedicated to her) as well as a literature “with Monica”.
In order to inquire the very possibility of formalizing existences under the Totalitarian regimes... more In order to inquire the very possibility of formalizing existences under the Totalitarian regimes, which was formulated by Hannah Arendt as early as 1951 (The Origins of Totalitarianism), I propose the analysis of several prose writings published during the 1970s and 1980s by several Romanian writers such as Radu Cosașu, Radu Petrescu, Costache Olăreanu, and Petru Creția who, by their birth year (1927 to 1929), belong to the same generation. The special feature of these texts comes from their unfaltering, even obsessive, interest in defining (multiple) ways of existence. Put against the background of the monotonous and grey lives people used to live under Communism, these new forms of life take shape within the formula of a patchwork existence, whose variegated pieces maintain their inherent specificity despite coexistence, sometimes within the frame of one and the same life. In a short text from a volume published after the fall of the Communist regime (Cum poți să fii persan [How Can One Be a Persian], 2002), Costache Olăreanu would label these life-patches as “small life”, “universal life” and “survivals”.
This papers aims to discuss, within a more general frame, is a reflection, the way the intellectu... more This papers aims to discuss, within a more general frame, is a reflection, the way the intellectuals consecrated during the interwar period deal with the aesthetic phenomenon after the establishment of Communism. Even though the aesthetic point of view is not fully abandoned under totalitarianism, any re-emergence implies, in a way or another, a corruption or even a mutation. The present analysis builds around a case study, that is, Ion Biberi’s effort in the early 70’ to take back a critical discourse crediting the values of style and showing an interest in defining ways of existence through art’s mediation. After he delineated, in the 30’, a somatic frame for the coordinates of individual stylistics – his analysis tackling with the forms of corporeal expressivity as well as their ongoing variation, the communist 70s’ encourage him to define a collective stylistics. This is conceived as a form of collective emotion, shared and unique, named by the critic “starea de mulțime” (crowd state). His texts (Poezia, mod de existență; Arta de a scrie și de a vorbi în public; Arta de a trăi) imagine the possibility to correlate the process of demographic amassment with that of mass aestheticizing. In order to discover a practical facet of this relationship, Biberi turns to three types of instruments, which should function, in his opinion, as “active principles”: “poetry in action/ motion”, “good taste”, and “apprenticeship”.
On se propose de faire une radiographie de la relation érotique qui se constitue dans le climat d... more On se propose de faire une radiographie de la relation érotique qui se constitue dans le climat des cénacles littéraires, en partant de la documentation riche qu’offre à ce sujet le plus longévif groupement littéraire roumain, qui a fonctionné à Bucarest entre 1919 et 1943 (Sburătorul). Trois particularités de cet éros nous paraissent particulièrement saillantes. D’abord, il s’agit de la manière physique dans laquelle les écrivains s’impliquent dans leur activité de cénacle: les voisinages qui se constituent à travers la proximité des corps, le toucher auquel ils s’exposent – mais aussi la permutabilité de ces corps. Comme le dispositif spatial qui le reçoit est unique, ils viennent occuper les mêmes positions (chaises, fauteuils, places sur un divan, etc.). Cela fait naître non seulement une sensibilité par rapport à la présence objectivée de l’autre, mais aussi une perception accrue des traces que celui-ci laisse dans l’espace commun. D’où la généralisation de l’affection érotique, une fois avec sa superficie. Une deuxième particularité de l’éros cénaculaire tient de sa répercussion immédiate dans des effets d’écriture. L’impressionnabilité qui lie l’homme-écrivain et la femme-écrivain à l’intérieur du groupe les entraînent dans des pratiques discursives mimétiques, mais les suscitent également à intervenir l’un dans le texte de l’autre. C’est tout un phénomène d’écrire ensemble qui s’y ressource. Enfin, troisième spécificité: dans plusieurs contextes, cet éros est représenté comme une relation entre deux corps de dimensions différentes (l’un grand, l’autre petit), en misant sur la figure de l’incorporation. On parle dans ces cas d’« amitié étrange » ou de « nostalgie ». C’est que, dans l’imagination d’une telle « entité commune », on glisse du corps érotique – vers l’objet phantasmé d’un « corps » du cénacle. L’éros y devient support d’une catachrèse, censé inscrire la relation de l’écrivain avec la communauté qui le contient.
What we are aiming for is a comparative analysis of two representations of the political communit... more What we are aiming for is a comparative analysis of two representations of the political community in the texts of Romanian writers. Ilarie Voronca and Ion Biberi are, in turn, one an avant-garde poet, the other one a novelist, the author of the first Joycean Romanian novel. The community fantasies which they propose do exhibit a strong affinity, although dating from different epochs and developed within different cultural spaces: one in Paris, in the 1930s, the other one in Bucharest during the 1970s. Both have little in common with the representations of the era that produces them. Outlining the political community as a mass that is installed in the street, with an emphasis on body dynamics and the autonomy of individuals in the crowd, they relate better to recent “Occupy”-type manifestations. Instead of functioning as an empathetic environment, where individuals are in sync and all follow the same rhythm, the crowd becomes a revealing element of both the differentiation and of the positive irreductability. On the other hand, this crowd abandons the unique position of discourse (the "we" belonging to a common cause). Instead of slogans, it proffers spontaneous individual speeches, in turn singularized. The political community is illustrated as a community of poets, idealizing a literary life experience.
Between the covers of the current fourth volume, there are fifteen articles and two book reviews ... more Between the covers of the current fourth volume, there are fifteen articles and two book reviews dedicated to first-hand inquiries examined against the backdrop of cogent evidence. An international team of contributors scrutinizes diversified instances, such as historical backgrounds of the Romanian language, the connection between language and mind, interlingual renditions, and the relation between language and society. Written in English, Romanian and French, these essays shape the contours of Romanian works of literature, translation studies, cultural studies, and linguistics.
The third volume of Swedish Journal of Romanian Studies encompasses a wide range of subjects rela... more The third volume of Swedish Journal of Romanian Studies encompasses a wide range of subjects related to Romanian literature, theatre, film, translation studies, and culture. Academics from famed universities situated in Sweden, the Netherlands, Germany, Spain, Bulgaria, and Romania, treat a variety of issues in English, Romanian, French and Spanish. In consequence, the collection of papers provided by this volume includes fourteen articles, a translation and two book reviews.
The text proposes an analysis of the destiny and activity of Elena Văcărescu,
the last descendant... more The text proposes an analysis of the destiny and activity of Elena Văcărescu, the last descendant of the “family of poets” considered to be the founder of Romanian culture – as an exemplary illustration of how a creative life can be affected, in its entirety, by accepting a legacy. From the first moment when, still a teenager, she begins to write verses in French and sees herself sanctioned, through an anathema, by Eminescu, as an unworthy heir – and until the end of her career as a poet in France (distinguished twice with the Award of the French Academy), Elena will only deepen, always reformulating, the consciousness of guilt towards her family, and, through it, towards Romania. This guilt makes her never be able to project herself in relation to her native country, other than in the modest positions of “messenger” and cultural “mediator”, while her adopted country enshrines her as a “poet”.
In this article we examine the careers of writers associated with the Sburătorul group (1918-1943... more In this article we examine the careers of writers associated with the Sburătorul group (1918-1943), a literary circle formed on the basis of common tastes and aesthetic sensibilities, and present an analysis of its impact on them. A rather significant number of these writers submitted to the postwar ideology, agreeing to produce a literature that supported it. Others were imprisoned, and their work was banned. Others still were forced to end their artistic careers and accept various other literary work to earn a living (translation, children's literature). Whether or not they made a 'pact' with the political regime, ultimately all were forced to sacrifice their careers. Irrespective of which line of action they took, they would never be able to capitalise on the literary preparation they had received during the interwar period as members of the Sburătorul group, nor on the writer's life they had committed themselves to as a result of this experience. At the same time, however, the fact that Sburătorul was not simply a literary group but, thanks to its vast membership (more than 100 loyal members), a kind of micro-society allows us to make general observations about the modes in which the 'drama' of literature played out under totalitarianism.
Il y a moins de dix ans, des voix ont commencé à s'exprimer ouvertement en Roumanie en faveur du ... more Il y a moins de dix ans, des voix ont commencé à s'exprimer ouvertement en Roumanie en faveur du retour d'une critique biographique. Dan C. Mihăilescu (n. 1953), un des plus importants chroniqueurs roumains, a initié une campagne pour ce qu'il avait appelé « néobiographisme ». Ilina Gregori (n. 1943), savante d'origine roumaine qui a fait carrière dans l'espace académique allemand, a mis en circulation deux concepts expérimentaux, « parabiographie » et « oniro- biographie », pour les appliquer au cas de Eminescu et Cioran. Le livre de 2005 de Mircea Anghelescu (n. 1941) s'appelait Littérature et biographie, l'essai de Doris Mironescu (n. 1979) paru en 2011 titrait La vie de M. Blecher. Contre la biographie et une vaste synthèse réalisée par Eugen Simion (n. 1933) visait Les genres du biographique. Le mot « biographie » était devenu agrippant, un véritable buzzword, et une fois avec, tout un vocabulaire et une collection d'objets de la réflexion littéraire ont été tacitement réinvestis. Antonio Patraş (n. 1973) a présenté son cycle d'essais sur la littérature des critiques comme une enquête de la « personnalité ». Mais bien d'autre recherches récentes se sont revendiquées tout simplement d'un intérêt pour l'« homme » et d'un effort de « reconduire l'attention vers la présence réelle (de l'écrivain), et non pas à son être de papier », comme écrivait Doris Mironescu dans la préface de son livre. Comment y est-on arrivé ? Car visiblement, en dehors d'une volonté commune de faire sens à travers le procédé biographique, les acteurs de cette réhabilitation de la critique biographique n'appartenaient pas à la même génération ni à la même « école », ne partageaient pas les mêmes opinions littéraires, ne suivaient pas un seul et unique projet.
Ce dossier thématique a son point de départ dans une tentative, assumée comme un défi, d’applique... more Ce dossier thématique a son point de départ dans une tentative, assumée comme un défi, d’appliquer aux réalités des cultures de l’Europe Centrale et de l’Est la bibliographie récente réunie autour des formes de vie. Dans une enquête concernant des contextes particuliers géographiques et historiques, nous nous sommes proposés la focalisation sur un atelier régional des formes de vie, dans lequel la littérature, la pensée et l’éthique se tressent indissociablement : l’Europe de l’Est, comme un cadre de la pluralité des formes et de leur engagement dans la politique et dans la vie
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Conference Presentations
Nathalie HEINICH (Pr, EHESS) La hiérarchie des genres à la lumière de la sociologie des valeurs :
https://webtv.u-picardie.fr/watch_video.php?v=7BBWM727YWKB
Daniel COMPÈRE (MCF, Université Sorbonne Nouvelle - Paris 3) « Mauvais » jugement critique et « bon » succès populaire : l’exemple de Ponson du Terrail :
https://webtv.u-picardie.fr/watch_video.php?v=K3869KD633US
Isabelle RABUT (Pr, INALCO) Quelle valeur accorder au « roman rouge » des années 1950-1960 ? :
https://webtv.u-picardie.fr/watch_video.php?v=AD26WAAO6RUR
Ligia TUDURACHI (Institut de Linguistique et d'Histoire Littéraire « Sextil Pușcariu » - Cluj-Napoca, Roumanie) La littérature totalitaire comme mauvais genre :
https://webtv.u-picardie.fr/watch_video.php?v=KXWMAGAG7A92
Vincent DURAND-DASTÈS (Pr, INALCO) Jiaohua 教化 « Eduquer et transformer » : heurs et malheurs des récits édifiants dans la Chine prémoderne et moderne :
https://webtv.u-picardie.fr/watch_video.php?v=77O3DRY9D3DG
Luce ROUDIER (Université Paris Nanterre) Prendre l'épée et périr par l'épée : petite exploration de la construction d'un « mauvais genre » littéraire :
https://webtv.u-picardie.fr/watch_video.php?v=1BBY85SYBSOG
Jeanne IMBERT (Paris Sorbonne IV) L’intenable posture de l’écrivain mineur en inventeur : le cas Édouard Dujardin, auteur des Lauriers sont coupés :
https://webtv.u-picardie.fr/watch_video.php?v=KHY75WRHYSON
Yves DAVO (MCF, IUT de Bordeaux) Écrire le livre interdit : l’Impubliable Oussama de Norman Spinrad https://webtv.u-picardie.fr/watch_video.php?v=D3NNY53KDSXY
Stéphanie GENTY (MCF, U. d'Evry Val d'Essone) Marilyn French's The Women's Room (1977), or The Polemics of a Feminist Bestseller :
https://webtv.u-picardie.fr/watch_video.php?v=M4DBGBSMH32U
Lara COX (ATER, UPJV) Shadow Women doing the Theatre of the Absurd “badly” and exposing the Gender Blindspots of the Literary Norm :
https://webtv.u-picardie.fr/watch_video.php?v=YUSX74MD6NGU
Myriam KISSEL (Université de La Réunion) Bonne ou mauvaise littérature : dans le miroir de Facebook. Papier vs NTIC :
https://webtv.u-picardie.fr/watch_video.php?v=U16DKHN3DNH7
Michel LIU (PRAG, INALCO) La littérature des cols blancs et l'histoire littéraire chinoise :
https://webtv.u-picardie.fr/watch_video.php?v=YM8X3O15YBGW
Marie LAUREILLARD (MCF, Université Lumière Lyon 2) Ye Lingfeng, un auteur de mauvaise littérature :
https://webtv.u-picardie.fr/watch_video.php?v=Y8BWOX15SK3Y
Papers
interior landscape, built according to a mental scheme, met the real landscape, of the communist Păltiniș, also invented, as a vacation space, also in the early 1970s: a Păltiniş of sports winter and skiers. We will be interested here in the way in which Noica and his two disciples, Gabriel Liiceanu and Andrei Pleșu, do not manage to completely avoid a holiday experience in its classic, purely hedonistic formula. The way in which, emerging for the moment from the austere confines of philosophical discipline, they enter into a regime of desire and pleasure – through sleep, chatter, giggles, infantile behavior, sunshine, idleness, anecdotal.
reappear in holiday contexts of Romanian writers, being closely related to the place of vacation and the way it is organized. The series of these forms opens with the poetry of the ruins, an imported form, which justifies the mobilization of our romantic poets on a journey to the ruins; and includes several other examples, such as the Montagnard legend (related to the holidays in Bucegi of V.A. Urechiă’s family), the miniature (suggested by the year spent in the C.T.C. sanatorium at Tekirghiol by M. Blecher, together with the painter Lucia Dem. Bălăcescu), the aphorism and the incantation (from the landscapes with clouds by Petru Creția), or the imported form of the Abschiedsduett/ “duet ballad” (called by Andrei Pleșu, to record the “paideic” experience of Păltiniş that he lives with C. Noica and Gabriel Liiceanu).
Nathalie HEINICH (Pr, EHESS) La hiérarchie des genres à la lumière de la sociologie des valeurs :
https://webtv.u-picardie.fr/watch_video.php?v=7BBWM727YWKB
Daniel COMPÈRE (MCF, Université Sorbonne Nouvelle - Paris 3) « Mauvais » jugement critique et « bon » succès populaire : l’exemple de Ponson du Terrail :
https://webtv.u-picardie.fr/watch_video.php?v=K3869KD633US
Isabelle RABUT (Pr, INALCO) Quelle valeur accorder au « roman rouge » des années 1950-1960 ? :
https://webtv.u-picardie.fr/watch_video.php?v=AD26WAAO6RUR
Ligia TUDURACHI (Institut de Linguistique et d'Histoire Littéraire « Sextil Pușcariu » - Cluj-Napoca, Roumanie) La littérature totalitaire comme mauvais genre :
https://webtv.u-picardie.fr/watch_video.php?v=KXWMAGAG7A92
Vincent DURAND-DASTÈS (Pr, INALCO) Jiaohua 教化 « Eduquer et transformer » : heurs et malheurs des récits édifiants dans la Chine prémoderne et moderne :
https://webtv.u-picardie.fr/watch_video.php?v=77O3DRY9D3DG
Luce ROUDIER (Université Paris Nanterre) Prendre l'épée et périr par l'épée : petite exploration de la construction d'un « mauvais genre » littéraire :
https://webtv.u-picardie.fr/watch_video.php?v=1BBY85SYBSOG
Jeanne IMBERT (Paris Sorbonne IV) L’intenable posture de l’écrivain mineur en inventeur : le cas Édouard Dujardin, auteur des Lauriers sont coupés :
https://webtv.u-picardie.fr/watch_video.php?v=KHY75WRHYSON
Yves DAVO (MCF, IUT de Bordeaux) Écrire le livre interdit : l’Impubliable Oussama de Norman Spinrad https://webtv.u-picardie.fr/watch_video.php?v=D3NNY53KDSXY
Stéphanie GENTY (MCF, U. d'Evry Val d'Essone) Marilyn French's The Women's Room (1977), or The Polemics of a Feminist Bestseller :
https://webtv.u-picardie.fr/watch_video.php?v=M4DBGBSMH32U
Lara COX (ATER, UPJV) Shadow Women doing the Theatre of the Absurd “badly” and exposing the Gender Blindspots of the Literary Norm :
https://webtv.u-picardie.fr/watch_video.php?v=YUSX74MD6NGU
Myriam KISSEL (Université de La Réunion) Bonne ou mauvaise littérature : dans le miroir de Facebook. Papier vs NTIC :
https://webtv.u-picardie.fr/watch_video.php?v=U16DKHN3DNH7
Michel LIU (PRAG, INALCO) La littérature des cols blancs et l'histoire littéraire chinoise :
https://webtv.u-picardie.fr/watch_video.php?v=YM8X3O15YBGW
Marie LAUREILLARD (MCF, Université Lumière Lyon 2) Ye Lingfeng, un auteur de mauvaise littérature :
https://webtv.u-picardie.fr/watch_video.php?v=Y8BWOX15SK3Y
interior landscape, built according to a mental scheme, met the real landscape, of the communist Păltiniș, also invented, as a vacation space, also in the early 1970s: a Păltiniş of sports winter and skiers. We will be interested here in the way in which Noica and his two disciples, Gabriel Liiceanu and Andrei Pleșu, do not manage to completely avoid a holiday experience in its classic, purely hedonistic formula. The way in which, emerging for the moment from the austere confines of philosophical discipline, they enter into a regime of desire and pleasure – through sleep, chatter, giggles, infantile behavior, sunshine, idleness, anecdotal.
reappear in holiday contexts of Romanian writers, being closely related to the place of vacation and the way it is organized. The series of these forms opens with the poetry of the ruins, an imported form, which justifies the mobilization of our romantic poets on a journey to the ruins; and includes several other examples, such as the Montagnard legend (related to the holidays in Bucegi of V.A. Urechiă’s family), the miniature (suggested by the year spent in the C.T.C. sanatorium at Tekirghiol by M. Blecher, together with the painter Lucia Dem. Bălăcescu), the aphorism and the incantation (from the landscapes with clouds by Petru Creția), or the imported form of the Abschiedsduett/ “duet ballad” (called by Andrei Pleșu, to record the “paideic” experience of Păltiniş that he lives with C. Noica and Gabriel Liiceanu).
the last descendant of the “family of poets” considered to be the founder of Romanian culture – as an exemplary illustration of how a creative life can be affected, in its entirety, by accepting a legacy. From the first moment when, still a teenager, she begins to write verses in French and sees herself sanctioned, through an anathema, by Eminescu, as an unworthy heir – and until the end of her career as a poet in France (distinguished twice with the Award of the French Academy), Elena will only deepen, always reformulating,
the consciousness of guilt towards her family, and, through it, towards Romania. This guilt makes her never be able to project herself in relation to her native country, other than in the modest positions of “messenger” and cultural “mediator”, while her adopted country enshrines her as a “poet”.