Pour une mise en ligne sur Épisciences. In considering how to propose a new reading of the writing of Sorana Gurian (1913-1956), a French- and Romanian-language Jewish writer, I will refer to some of her forty-one unpublished texts, including thirty-seven poems and four prose texts, preserved in manuscript or typescript form. These documents have never been discussed or even mentioned in the research on this writer until December 2020. The analysis of this material in the context of Gurian’s writing as a whole allows, in my opinion, to enrich the interpretation of her main texts: her literary drafts, for which I will use the term “pre-text”, give direct access to her creative process, as they contain elements that she will later include in her published texts. Thus, I will present her literary work in a retrograde manner, i.e. through manuscripts and typescripts, so that I can show the importance of some of these unpublished texts, despite their secondary or unofficial character due to their draft status. Pour réfléchir aux moyens de proposer une nouvelle lecture de l’œuvre de Sorana Gurian (1913-1956), une écrivaine juive d’expression française et roumaine, seront mentionnés dans cet article certains de ses quarante-et-un textes inédits, dont trente-sept poèmes et quatre textes en prose, conservés sous forme de manuscrits ou de tapuscrits. Ces documents n’ont jamais été commentés, ni même mentionnés, dans les recherches sur cette écrivaine jusqu’en décembre 2020. L’exploitation de ce matériau replacé dans le contexte de l’ensemble des écrits de Gurian permet, selon moi, d’enrichir l’interprétation de ses textes principaux : ses esquisses et essais littéraires, pour lesquels je vais utiliser le terme d’« avant-texte », donnent un accès direct au processus créatif, car on y retrouve des éléments qu’elle inclura par la suite dans ses textes publiés. Ainsi, je vais présenter son œuvre littéraire de manière rétrograde, c’est-à-dire par l’intermédiaire des manuscrits et tapuscrits, pour établir l’importance considérable de quelques-uns de ces textes inédits malgré leur caractère secondaire ou officieux, lié à leur statut de brouillon.
International audience The case of Sorana Gurian (1913‑1956) allows to examine the situation of multiple exclusion in the 20th century European society: she is a Jewish woman, a stranger accused of espionage and collaboration and her body, disabled and affected by cancer, becomes the main culprit of this plural banishment. The author is a tragic figure: not only because of her life, but also due to the oblivion that her oeuvre fell into – yet original and contemporarily recognized – counting six volumes in French and Romanian and dozens of press publications. In the paper, I propose to read chosen literary chronicles commenting on two Gurian’s editions published in Romania in 1945‑1946 – Zilele nu se întorc niciodată [Days that never return] and Întâmplări între amurg și noapte [Adventures between twilight and night]. These chronicles show the way in which the Other was perceived, in this case – a woman writer, a disabled woman or a Jewish woman in the 20th century. Such perspective aims to show the non‑ aesthetic conditions (gender, corporality, social class, political convictions, ethnic origin, etc.) which have determined Gurian’s appearance and disappearance in the literary scene, and which still influence the way of perceiving her texts in Romania. At the end of this study, I reflect on the possibility of rehabilitating this figure in the history of European literature, that could renew the Romanian literary canon of the 20th century, in which women writers haven’t still found their place. Le cas de Sorana Gurian (1913-1956) permet d’examiner la situation d’une multiple exclusion au sein de la société européenne du xxe siècle : elle est à la fois femme, juive et étrangère, accusée d’espionnage et de collaboration, et son corps, handicapé et touché par le cancer, devient le principal coupable de ce bannissement pluriel. L’auteure est une figure tragique : non seulement par sa vie, mais aussi par l’oubli dans lequel est tombée son œuvre – pourtant originale et reconnue à l’époque –, comptant six volumes en roumain et en français et des dizaines de publications dans la presse. Dans le présent article, je propose une lecture de quelques chroniques littéraires portant sur deux éditions de Gurian parues en Roumanie en 1945-1946 : Zilele nu se întorc niciodată [Les jours ne reviennent jamais] et Întâmplări între amurg și noapte [Aventures entre crépuscule et nuit], qui témoignent de la manière dont on percevait l’Autre, en l’occurrence une femme écrivain, une femme infirme ou bien une femme d’origine juive au xxe siècle. Cette perspective a pour but de montrer les conditionnements autres qu’esthétiques (genre, corporalité, classe sociale, convictions politiques, origine ethnique, etc.) qui ont déterminé l’apparition et la disparition de Gurian sur la scène littéraire, et qui influencent toujours la manière de percevoir ses textes en Roumanie. À la fin de cette étude, je réfléchis à la possibilité de réhabiliter cette figure dans l’histoire de la littérature européenne, ce qui pourrait permettre de rediscuter le canon littéraire roumain du xxe siècle, où les femmes écrivains ne trouvent toujours pas leur place. Przypadek Sorany Gurian (1913‑1956) pozwala zbadać sytuację wielokrotnego wykluczenia w xx‑wiecznym społeczeństwie europejskim: jest ona jednocześnie kobietą, Żydówką, obcą, oskarżoną o szpiegostwo i kolaborację, zaś jej ciało, niepełnosprawne i chore na raka, staje się głównym winowajcą tego mnogiego wygnania. Autorka jest postacią tragiczną nie tylko ze względu na jej życie, lecz również ze względu na zapomnienie, w jakie popadła jej oryginalna i uznana przez współczesnych twórczość, na którą składają się sześć wydań w językach francuskim i rumuńskim oraz dziesiątki publikacji w prasie. W niniejszym artykule odczytuję wybrane kroniki literackie komentujące dwa teksty opublikowane przez Gurian w Rumunii w latach 1945‑1946 – Zilele nu se întorc niciodată [Dni nigdy nie powracają] oraz Întâmplări între amurg și noapte [Zdarzenia między zmierzchem a nocą]. Kroniki te pokazują bowiem, w jaki sposób postrzegano Innego, w tym przypadku – pisarkę, niepełnosprawną kobietę czy Żydówkę w xx wieku. Ta perspektywa ma na celu wskazać uwarunkowania nie‑ estetyczne (płeć, cielesność, klasa społeczna, poglądy polityczne, pochodzenie etniczne itd.), które zdecydowały o pojawieniu i zniknięciu Gurian na scenie literackiej, a które ciągle określają postrzeganie jej tekstów w Rumunii. Na końcu tego studium zastanawiam się nad możliwością rehabilitacji tej postaci w historii literatury europejskiej, co mogłoby z kolei przyczynić się do odnowienia rumuńskiego kanonu literackiego xx wieku, w którym nadal nie ma miejsca dla pisarek. Cazul Soranei Gurian (1913‑1956) ilustrează situația unei excluderi din considerențe multiple în societatea europeană din secolul xx‑lea. Fiind femeie, evreică și străină, acuzată de spionaj și de colaborare, trupul său, cu handicap și atins de cancer, devine principalul vinovat al acestei exilări plurale. Autorea este un personaj tragic: nu numai din cauza vieții sale, ci și din cauza uitării în care a căzut opera sa, totuși originală și recunoscută de către contemporanii ei, compusă din șase volume în limba franceză și în română, precum și de zeci de publicații în presă. În acest articol, propun o lectură a unor cronici literare privind cele două ediții ale Soranei Gurian publicate în România în anii 1945‑1946 – Zilele nu se întorc niciodată și Aventuri între amurg și noapte. Aceste cronici reflectă modul în care se percepe Celălalt, în acest caz – o scriitoare, o femeie cu handicap, o evreică în contextul secolului xx. Această perspectivă are să identifice diferite condiționări (gen, corporalitate, clasă socială, convingeri politice, etnie șamd), care au determinat atît apariția, cît și dispariția lui Gurian de pe scenă literară și care încă înfluențează modul de percepere al textelor sale în România. La sfîrșitul acestui studiu, propun o reflecție asupra posibilității de reabilitare a acestei figuri în istoria literaturii europene, ceea ce ar putea conduce la rediscutarea canonului literar românesc al secolului xx, unde scriitoarele încă nu‑și găsesc locul.
This paper aims to explore Paul Celan’s writings in the Romanian language which have been preserved as manuscripts, and their significance to his very earliest poetry. Firstly, I will reconstruct the Bucharest episode in his life and work and then discuss the nature of the manuscripts that I examined in 2015. I will then recapitulate existing research on these texts. Discussing one of them, I will propose to update their meaning for this poetic work, especially in the context of Jacques Derrida’s Shibboleth for Paul Celan.
Towards a Rehabilitation of a Woman Writer. Elena Ion, Femeia fără chip. Pe urmele Soranei Gurian [The Faceless Woman. On the Trail of Sorana Gurian] This paper aims to discuss the strategies that Elena Ion uses to bring Sorana Gurian and her literary work back into cultural discourse. Firstly, I will recapitulate existing research and the way her writings were received after her death in 1956. I will then present the main objectives and results of Elena Ion’s study, as well as the importance of the new sources she has identified for further research into the work of Sorana Gurian.
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