This article puts forward a quantitative account of the subgenres of the Romanian novel during the 1933-1947 period. It shows the massive domination of the social novel and the Bildungsroman and analyzes the dynamics of genre and popular literature – adventure novels, detective fiction, SF, etc. – within the first period of massive literary production in Romanian literature. The article is the result of the MDRR (Muzeul Digital al Romanului Românesc – The Digital Museum of the Romanian Novel) projects, set out to archive the Romanian production of novels from 1845 (the year of the publication of the – arguably – first Romanian novel) to 1947, right before the establishment of the communist regime. The first part is a quantitative analysis of the novels according to DCRR (Dicționarul cronologic al romanului românesc – The Chronological Dictionary of the Romanian Novel). The second part analyzes the “dynamics of popular subgenres,” meaning adventure novels, policiers, SF novels, and children’s literature. The third part envisions “the social novel” as a predilect genre of the interwar period, the fourth occasions a reading of the “historical novel,” while the last two sections describe the evolution of sentimental and psychological novels.
By analyzing the Lucian Blaga’s poetry, this paper aims to argue how the form of poems contributes significantly to the creation of meaning through the stylistic figure of repetition. From the first volume, „Poems of light”, the repetition gains, beyond an aesthetic function, an ontic one specific to the Lucian Blaga’s consubstantiality between the poetic subject and the universe. During this approach, the repetition multiplies its phenomenalizations, in order to a significant part of the global meaning of the text is due to it. The major conclusion of this paper consists in highlighting a pattern of a continuous and ethereal aspiration to the self-world osmosis depending on Blaga’s creative stages.
This article attempts to clear up the concept of “female writing” such as Hélène Cixous developed it in her manifesto The Laugh of the Medusa. Along with the hard side of Generation 2000, the women also asserted themselvs through a radical attitude, which led to a critical legitimation by exhibiting the forms of discrimination against women, as well to a reductionist labelling with “female poetry”. By analysing the poetics of two different Romanian authors, Svetlana Cârstean and Elena Vlădăreanu, this paper also investigates the applicability of Cixous’ concept to these writers.
Within the frame of theoretical ideas of World Literature methodology, my paper is aiming to reconsider the relationship between the post-war North-American poetry and the Romanian 80s Generation of poets. Being a complex import, this article sheds light on the conditions and the strategies of this phenomenon through a contextual equation which is more important than a strictly textual one. As a major conclusion of this research, the import of North-American poetry forms, models, ideas, as well as of ideological attitudes is the result of the Romanian young authors’ emulation regarding this faraway literary model. Therefore, this relationship between a centre and a (semi)periphery does not imply a colonizing model of a major culture’s hegemony on a minor one.
This article studies the production of the Romanian novel published between 1933 and 1947 by deploying instruments of quantitative analysis. More precisely, based on the corpus resulted from the project The Digital Museum of the Romanian Novel: 1933-1947 (more than 700 digitized novels), our analysis focuses on the canonical writers and their “rivals”, the authors and their novels bypassed by the literary canon, the geographical networks of production and the origin of the authors. The relevance of such a study lies not only in recording the evolution of the Romanian production centers, but also in mapping the formula, the mechanisms and, taking into account the article that analyzes the period 1901-1932, the process of canonization of the Romanian novel published in the first half of the 20th century.
If Mariana Marin’s tragic posture was largely built posthumously by her friends, the ethical one is assumed by the author herself and entitled by a collective ethos in terms of Meizoz. Interdependent, yet with distinct effects, the two categories mentioned – the tragic and the ethical – certify at least two wrong pathways regarding the author’s reception. Firstly, the woman poet becomes a romanticized-heroic fiction. Secondly, the ethical posture, is ambiguous because of a misreading: Mariana Marin’s so-called dissidence – a fake posture that is constructed for her from outside the country (by the two exiled personalities: Monica Lovinescu and Virgil Ierunca, as well as by the American translator Adam J. Sorkin) – versus a social-political engagement, perfectly valid, but which ends up diverting the hermeneutics of the texts towards the univocality of moral strands. So, being a study of the author and tangentially of her poems, I will also discuss the fictionalization of Mariana Marin within some poems by others.
Following the theories about the author’s posture, my paper aims both to reconstruct the path of Mariana Marin’s mythologization and to deconstruct it by establishing two main postures: the tragic posture, congealed mainly post-mortem, and the ethical one, originating in a specific ethos, identifiable in the poet’s biographical-artistic trajectory. Having become a mythologised figure of the 1980s generation, due to the fatalistic correspondences between poems and biography or to the legitimisation of her value by comparison with poets of the same framework, but from the mainstream of world literature (Sylvia Plath, Anne Sexton, Else Lasker-Schüler), Madi – the famous nickname – tends to penetrate abusively, sometimes unjustifiably, into the reception of Mariana Marin’s texts, hence the empirical persona which becomes strongly than the poetic work.
On the background of recent syntheses on the concept of authenticity in Romanian literature and in the light of gender studies in relation to the postcanonical perspective, this paper aims to question a possible alternative of authenticity in two interwar novels written by women: Anișoara Odeanu’s 1934 Într-un cămin de domnișoare [In a Young Ladies’ Home] and Lucia Demetrius’ 1936 Tinerețe [Youth]. While interwar literature outlines a masculine, misogynist and machismo authenticity, based on vitalism and obsession with the experience of the male subject, the alternative of prose written by women proposes an authenticity that is neither doctrinaire nor merely a form. While not configured as an alternative to the ism of male writing’s authenticity, the two novels propose a demonopolisation of authenticity and underline the signs of a counter discourse of women writings within and against a misogynistic society and culture.
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