{"id":681,"date":"2022-01-17T16:25:19","date_gmt":"2022-01-17T16:25:19","guid":{"rendered":"https:\/\/magazines.ulbsibiu.ro\/lucianblagacolloquium\/?page_id=681"},"modified":"2026-04-26T14:02:29","modified_gmt":"2026-04-26T14:02:29","slug":"current-issue-2","status":"publish","type":"page","link":"https:\/\/reviste.ulbsibiu.ro\/clb\/lucian-blaga-yearbook\/current-issue-2\/","title":{"rendered":"Lucian Blaga Yearbook 2021"},"content":{"rendered":"\n
Caietele Lucian Blaga XXII, no. 1-2 (2021) – Full issue<\/a>Download<\/a><\/div>\n\n\n\n
Alina Bako<\/span>
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LUCIAN BLAGA, DINSPRE \u201eALEGORIILE NA\u021aIONALE\u201d<\/strong> SPRE WORLD LITERATURE<\/strong><\/p>\n\n\n\n

Lucian Blaga from \u201cNational Allegories\u201d to World Literature<\/p>\n\n\n\n

Abstract: Whether we refer to Lucian Blaga\u2019s inclusion in a hyper-canon, or we choose to focus on his relationship with European cultures or his incursions into the realm of philosophy, the contextualization of his work can only be achieved by going down a two-way street; can we refer to Blaga as a German author of Romanian expression, as he was considered to be by some of his contemporaries, or can we refer to him as Romanian Goethe, as he was named upon the release of his translation of Faust? These are just a few lines of thought the present study is based on.<\/p>\n\n\n\n

Keywords: Blaga, hyper-canon, European determinants, spatial morphogenesis, Romanianism, World Literature<\/p>\n\n\n\n

Ioana Toloarg\u0103<\/span>

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DRAMATURGIA MITOPOETIC\u0102 A LUI BLAGA \u0218I RESCRIEREA<\/strong> CANONULUI REDEMP\u021aIUNII<\/strong><\/p>\n\n\n\n

Blaga\u2019s Mythopoetic Dramaturgy and the Rewriting of the Canon of Redemption<\/p>\n\n\n\n

Abstract: Taking in consideration a broad perspective on Romanian literature and the prevalence of the Byzantine religious model, the orthodox background that provides the dichotomie Good-Bad or Beautiful-Ugly as a statement, the present paper analyses Lucian Blaga\u2019s plays (Tulburarea apelor<\/em> and Me\u0219terul Manole<\/em>) as an alternative model. The European cultural influences, the Gnostic, the psychoanalytic and aesthetic visions, the religious syncretism, the mythical and poetic, tragic and expresionst dimensions of his works are the premises of considering Blaga a rewriter of the redemption\u2019s canon for his heroes. Firstly, the present paper proposes reading the plays through Goethe\u2019s grind \u2013 the two souls theory (that of the day and that of the night) corresponding to the maternal and the paternal images, in relation with Blaga\u2019s biography. On the other hand, taking in consideration Nietzsche\u2019s theory about ancient tragedy, it analyses the rapport between apollonian and dionysian elements, but also the faustization of the heroes. If masculine characters can be related to different faustic steps, the women have both angelic and mephistophelean features \u2013 there are correspondents to the Anima, or to the Shadow, in the Jungian archetypes, to the biblical fallen angel or to the ancient Bacchanta. Nona remains a femnine Mephisto or a Sucubous that reshapes the patter of temptention into the erotic seduction while Mira can be seen as a Margareta or even as a Helena, while the church that Manole built on the foundation of her sacrifice can be read in the same grind as Euphorion \u2013 the symbol of Beauty and Perfection or of Manole-Faust\u2019s new soul. The question if Nona and Mira can represent (or not) the Eternal Feminin and the salvation of heroes is sill valid. However, describing the Priest and Manole as dramatic (not as tragic heroes, although we can talk about the resurrection of Hybris, Hamartia, Catastrophe and a possible Nemesis), in relation with a non-Crestian, Gnostic, Bogumilic or Pantheist God (a Deus absconditus or Deus otiosus), their redemption is a non-canonic one. Although the answer that the author provides if we are talking about a damnation or about a path to redemption, from the religious point of view, the priest\u2019s salvation is a Pantheist one, while Manole\u2019s redemption can be seen as an aesthetic one. Both parralel with the classic possibilities of saving heroes, alternative models that rewrite the canon of redemption.<\/p>\n\n\n\n

Keywords: the canon of redemption, plays, Blaga\u2019s biography, models, heroes<\/p>\n\n\n\n

Mihai-Andrei Laz\u0103r<\/span>
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FINALITATEA SIMBOLIC-MITIC\u0102 A CREA\u021aIEI DE SENS \u00ceN<\/strong> CONFIGURAREA ONTO-TEOFANIEI POETICE BLAGIENE<\/strong><\/p>\n\n\n\n

The Symbolic-Mythic Purpose of Meaning-Creation in the Configuration of Blaga\u2019s Poetic Onto-theophany<\/p>\n\n\n\n

Abstract: In this paper, we seek to demonstrate how Lucian Blaga\u2019s poetic universe is double layered, in the sense that one can distinguish between, on the one hand, a phenomenological plane, characterized by a pervasive sense of the inexorable passage of time and of human mortability and, on the other hand, a supramundane (noumenal) plane which, in a profane world, has become unattainable and therefore intensifies the individual\u2019s sense of loneliness and estrangement from a sacred universe. We attempt to show how there two planes interfere, mainly through revelations of the divine (epiphanies). In our paper, we follow a poetic and stylistic approach, founded on Mircea Borcil\u0103\u2019s attempt to formulate a poetic typology aiming to highlight the intrinsec mechanisms of a poetic finality oriented towards the creation of meaning, therefore inscribing Blaga\u2019s poetry on the coordinates of a symbolic-mythical pattern. The linguist\u2019s theory draws on Blaga\u2019s conception of the duality of metaphor (\u201cplasticizant\u0103\u201d and \u201crevelatorie\u201d), the latter having a revelatory function and being subdivided by Borcil\u0103 according to a cultural finality into a \u201cplastic\u201d finality in creating poetic meaning, whose universe of reference will be modelled upon the phenomenological world, and a \u201crevelatory\u201d finality, whose universe of reference will be modelled upon a noumenal, transmundane world.<\/p>\n\n\n\n

Keywords: <\/em>phenomenological plane, noumenal plane, epiphany, symbolic-mythical pattern,\u201crevelatory\u201d finality<\/p>\n\n\n\n

Gabriela-Raluca Du\u021b\u0103<\/span>
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POETICA DIVINIT\u0102\u021aII \u00ceN VOLUMUL POEMELE LUMINII<\/em><\/strong><\/p>\n\n\n\n

The Poetics of Divinity in the Volume Poems of Light<\/em><\/p>\n\n\n\n

Abstract: The purpose of this work is to analyze, both in terms of interpretation and occurrence, the religious elements of Lucian Blaga\u2019s volume \u201cPoems of Light\u201d (\u201cPoemele Luminii\u201d), namely the links between the figures of divinity and the individual, the latter being seen in its inferior, ephemeral condition, which in fact prevents him from identifying with the deity in question, but which does not stop him from aspiring to the absolute.<\/p>\n\n\n\n

Keywords: divinity, original sin, individual, Genesis, concordances<\/p>\n\n\n\n

Emanuel Lupa\u0219cu-Dobo\u0219<\/span>
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DESPRE FUNC\u021aIONALITATEA POETICO-STILISTIC\u0102 A<\/strong> STRUCTURII ADVERSATIVE \u00ceN C\u00c2TEVA POEME ALE LUI<\/strong> LUCIAN BLAGA<\/strong><\/p>\n\n\n\n

On the Poetic-Stylistic Functionality of the Adversative Structure in Several Poems by Lucian Blaga<\/p>\n\n\n\n

Abstract: This paper starts from the theoretical support of some central figures in the field of study of Lucian Blaga\u2019s works: Mircea Borcil\u0103 and Mircea Scarlat. The first outlook that this essay will focus on the linguist and poetician from Cluj, Mircea Borcil\u0103, with his esteemed article from 1987 (\u201cContribu\u021bii la elaborarea unei tipologii a textelor poetice\u201d). The other perspective is that of Mircea Scarlat, from The History of Romanian Poetry<\/em> (vol. III). In the articulation of Blaga\u2019s poetics, the exegete finds important the adversative structure as strategies of establishing the poetic tension and polarization of the world newly created. Thus, the purpose of this essay is to emphasize\/ demonstrate the fact that the poetic finality of the creation of worlds motivates even the linguistic structures, and the poetic meaning is vertebrated by, but also beyond the linguistic \u201cmaterial\u201d. These mechanisms of meaning articulation through and beyond language will be followed in the poems as \u201cFlori de mac” (from the volume Pa\u0219ii profetului<\/em>), \u201cParadis \u00een destr\u0103mare” (from the volume Laud\u0103 somnului<\/em>) and \u201cIsus \u0219i Magdalena” from the Lucian Blaga\u2019s unpublished poems.<\/p>\n\n\n\n

Keywords: poetics, adversative structures, articulation of meaning, dialectics, metaphor, polarities<\/p>\n\n\n\n

Mihaela-Oana Gogo\u0219eanu<\/span>
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BLAGA-CIORAN: INCURSIUNI \u00ceN MARGINEA FIIN\u021aEI<\/strong><\/p>\n\n\n\n

Blaga-Cioran: Incursions on the Margins of Being<\/p>\n\n\n\n

Abstract: The following paper focuses on what lies between transcendence and reality, between self and non-self, between bounded and infinite, it focuses on that included third which contradicts Aristotelian logic and which is represented by the margin itself, by the boundary between these concepts, as it is reflected in the texts of Lucian Blaga and Emil Cioran. The role of the limit is analysed especially in those contexts in which, in addition to spatial references, the limit has a figurative meaning, that of term at the intersection of an antithetical binomial that advances the being, in Hegel\u2019s vision, towards becoming. Consequently, the paper will refer to texts from Blaga\u2019s poetry, where there are twenty occurrences of the word \u201climit\u201d (Romanian: \u201cmargine\u201d), six of which meet the semantic condition mentioned above, but also in Cioran\u2019s texts that treat this matter.<\/p>\n\n\n\n

Keywords: Lucian Blaga, Emil Cioran, limit, philosophy, being<\/p>\n\n\n\n

Florina-Maria Anderc\u0103u<\/span>
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FR\u0102M\u00c2NT\u0102RILE OMULUI CREATOR \u00ceN \u201eTINDA \u00ceNF\u0102PTUIRII\u201d.<\/strong> ME\u0218TERUL MANOLE LA LUCIAN BLAGA \u0218I VALERIU ANANIA<\/strong><\/p>\n\n\n\n

The Creator Man\u2019s Inner Turmoil in \u201cThe Vestibule of Fulfilment.\u201d Manole Master in Lucian Blaga and Valeriu Anania <\/p>\n\n\n\n

Abstract: For a vast period of the human history, the whole universe has been perceived as creation. In a created cosmos people create following the example of divinity and \u201cany creation has a model: the way in which gods created the Universe\u201d (Eliade, Sacrul \u0219i profanul<\/em> 25). Lucian Blaga illustrated this fact in one of his poems in his unique manner: \u201cThrough all eras\/ what a clod in torment!\/ Under all spheres\/ Everything begets\u201d (\u201cThrough all eras,\u201d t. n.). Creation is the wonderful constant of existence through aeons. This paper will analyse how the creator\u2019s condition is unfolded in two dramatic texts which belong to different literary periods of Romanian literature: Me\u0219terul Manole<\/em> by Lucian Blaga and Me\u0219terul Manole<\/em> by Valeriu Anania.<\/p>\n\n\n\n

Keywords: creation, destiny, love, Master Manole, sacrifice<\/p>\n\n\n\n

Rebeca Murgu<\/span>
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IPOSTAZE ALE LUI ULISE<\/strong> \u00ceN LIRICA LUI BLAGA, VORONCA \u0218I SORESCU<\/strong><\/p>\n\n\n\n

The Manifestations of Ulysses in the Poetry of Blaga, Voronca, and Sorescu<\/p>\n\n\n\n

Abstract: This study is based on the analysis of the ancient Greek myth of Ulysses, which has been reproduced in various reinterpretations over time. However, the purpose of this paper is to highlight the myth of Ulysses in the vision of three important Romanian writers: Lucian Blaga, Ilarie Voronca and Marin Sorescu. To be more specific, the work will focus on the hypostases in which the protagonist of the Odyssey<\/em> is outlined in the verses of these writers. We will notice during the research that, in the case of each writer mentioned above, Ulysses acquires personal nuances with an impressive note of originality.<\/p>\n\n\n\n

Keywords: hypostasis, intertextuality, myth, reinterpretation, Ulysses<\/p>\n\n\n\n

Ioana Hod\u00e2rn\u0103u<\/span>
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JERTFA PENTRU CREA\u021aIE:<\/strong> MITUL ESTETIC LA LUCIAN BLAGA \u0218I HENRIK IBSEN<\/strong><\/p>\n\n\n\n

Sacrifice for Creation: The Aesthetic Myth in Lucian Blaga and Henrik Ibsen<\/p>\n\n\n\n

Abstract: This paper tackles the myth of creation through sacrifice as depicted in Lucian Blaga\u2019s theatrical piece \u201cThe master builder Manole\u201d (\u201eMe\u0219terul Manole\u201d, 1927) and Henrik Ibsen\u2019s \u201cThe Master Builder\u201d (\u201eConstructorul Solness\u201d, 1892). The purpose of this paper is, therefore, to explore the ways in which this myth passes through different european cultures. The symbols which gravitates around these literary works become premises for a paradigmatic, psychoanalytic and anthropological analysis.<\/p>\n\n\n\n

Keywords: myth, offering, creation, Blaga, Ibsen<\/p>\n\n\n\n

Ioana Petcu<\/span>
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CUM V\u0102 (MAI) PLACE SHAKESPEARE? DRAMATURGI ROM\u00c2NI SUB SEMNUL BARDULUI: MARIN SORESCU, MATEI VI\u0218NIEC, OLIVIA NEGREAN<\/strong><\/p>\n\n\n\n

How Do You (Still) Like Shakespeare? Romanian Playwrights under the Sign of the Bard: Marin Sorescu, Matei Vi\u0219niec, Olivia Negrean<\/p>\n\n\n\n

Abstract: Three plays, three styles, three testimonies about the artist and the space of art of performance, from the \u201880s until today, three decentralizing visions, but also tangents. V\u0103rul Shakespeare<\/em> (Cousin Shakespeare) is one of Marin Sorescu\u2019s lesser-known and hardly-edited texts. Beyond the inter- and metatextual juggling, beyond the playful discourse and the theatrical effects, the Romanian writer emphasizes the encounter between the language of Elizabethan poetry and the local comic. Richard III visits director Vsevolod Meyerhold in Richard al III-lea se interzice<\/em> (Richard III is forbidden) by Matei Vi\u015fniec. Like a self-portrait, perhaps, of the author slipped into Meyerhold\u2019s character, the play returns \u2013 through paradoxes, theatricality, intersections between times, cultures and authorial voices \u2013 to a message as clear as possible about the artist\u2019s freedom, a message that (proof being the current global situation) the aforementioned aspects are of a continuous topicality.<\/p>\n\n\n\n

Keywords: intertextuality, Marin Sorescu, Matei Vi\u0219niec, Olivia Negrean, Romanian Romanian playwrights<\/p>\n\n\n\n

Ana-Blanca Ciocoi-Pop<\/span>
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EASTERN\/WESTERN PLACE AND PLACELESSNESS<\/strong> IN SALMAN RUSHDIE\u2019S<\/strong> \u201cAT THE AUCTION OF THE RUBY SLIPPERS\u201d<\/strong><\/p>\n\n\n\n

Abstract: Written in 1994, Salman Rushdie\u2019s story \u201cAt the Auction of the Ruby Slippers\u201d, part of the volume suggestively entitled East, West, perfectly thematizes and predicts the East-West cultural conflict which would dominate most of 20th and 21st century politics, economy, and discourse. The story deliberately blurs the dividing line between real and fictional in a magical realist text which masterfully narrates Rushdie\u2019s lifelong identity struggle. With much irony and wit, the multicultural author dwells on what he perceives as obvious shortcomings of both the Eastern and the Western culture. The cultural discourse is permanently intertwined with the one related to ethical versus immoral behavior, and our cultural conditioning which makes us have obviously biased views towards both, as well as with the importance of spatial and cultural paradigms and senses of belonging. Rushdie\u2019s story transposes historical and cultural realities into the realm of the fictional, drawing heavily on nowadays\u2019 global understanding of the terms \u201chome\u201d and \u201cidentity\u201d, which have become painfully fluid concepts. Place and placelessness thus beome the central axes around which the story\u2019s culturally tinged narrative evolves.<\/p>\n\n\n\n

Keywords: Salman Rushdie, cultural conflict, identity, moral degeneration, globalization, place<\/p>\n\n\n\n

Iulia-Maria Tic\u0103r\u0103u<\/span>
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MIHAIL SEBASTIAN \u2013 RASISM, RENEGARE \u0218I HULIGANISM<\/strong><\/p>\n\n\n\n

Mihail Sebastian \u2013 Racism, Renunciation, and Hooliganism <\/p>\n\n\n\n

Abstract: The accusations and controversies arising from the appearance of the novel For Two Thousand Years..<\/em> are numerous. Some of the most radical are accusations of anti-Semitism and repudiation <\/em>of Sebastian\u2019s own Jewish ancestry. Through How I Became a Hooligan<\/em>, Mihail Sebastian <\/em>responds to these accusations by emphasizing that Jewishness is presented in the novel from a <\/em>metaphysical perspective, leaving aside politics and everything that politics implies.<\/p>\n\n\n\n

Key words: Mihail Sebastian, For Two Thousand Years…<\/em>, anti-Semitism, Jewish<\/p>\n\n\n\n

Teona Farmatu<\/span>
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CONDI\u021aIILE \u0218I STRATEGIILE UNUI TRANSFER DE<\/strong> CAPITAL CULTURAL: IMPORTUL POEZIEI AMERICANE<\/strong> \u00ceN OPTZECISMUL ROM\u00c2NESC<\/strong><\/p>\n\n\n\n

Conditions and Strategies of a Cultural Capital Transfer: The Import of American Poetry into Romanian Eighties Poetry<\/p>\n\n\n\n

Abstract: 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\u2019 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\u2019s hegemony on a minor one.<\/p>\n\n\n\n

Keywords: 80s Generation, North-American poetry schools, Monday Literary Circle, emulation model, strategies, ideological conditions<\/p>\n\n\n\n

Bianca Maria Partenie<\/span>
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TRANSPAREN\u021aA<\/em><\/strong> CA POSTUMANISM:<\/strong> O RESTAURARE A OMULUI \u00ceN LITERATUR\u0102<\/strong><\/p>\n\n\n\n

Transparency <\/em>as Posthumanism: A Restoration of the Human in Literature<\/p>\n\n\n\n

Abstract: The present study aims to encapsulate the emergence of the posthumanism (and of the posthuman, implicitly), seen as profoundly human, in Radu Vancu\u2019s Transparen\u021ba<\/em>. The starting point for selecting the characteristics of such a posthumanism peculiar to Radu Vancu is represented by his literary study Elegie pentru uman: o critic\u0103 a modernit\u0103\u021bii poetice de la Pound la C\u0103rt\u0103rescu<\/em>. From his analysis upon the antihuman side of modernity\u2019s project, I extract the four typologies through which literature has fought against (the social, political and artistic) dehumanization: corporeal, confessional, maximalist and sacred. Following at the same time Elegie pentru uman<\/em> and Transparen\u021ba<\/em> I reach the conclusion that Radu Vancu uses in his novel all the aforementioned typologies in his project to restore the human. In other words, Elegie pentru uman<\/em>, in its first part, is, in a way, an ars poetica, a drawing in nuce of the forthcoming novel. To this group of four typologies enlisted by Radu Vancu, I will add one more, peculiar to his writing, which emerges from the study as well as from the novel: poeticality. The fifth category looms in the novel\u2019s writing and in the reference to Ion Mure\u0219an within Elegie pentru uman<\/em>. Ion Mure\u0219an described literature as the immune system, while the poets are seen as the antibodies of society. Thus, the poeticality within the novel is an immune system which helps the restoration of the human, becoming a key element of the posthuman fiction in Radu Vancu\u2019s text. The second part of the study will focus on the close reading of the function of some fictional objects in the posthuman narrative of Transparen\u021ba<\/em>. The selected fictional objects are the ones which are vital for the human salvation from the dehumanizing ghosts of recent history. Such fictional objects are: the body, the light, the text, the reader, Mega, Sibiu etc. Seen through the filter of a posthumanism deeply human at its core, the novel presents the story of a narrator who whishes to restore his lover and, implicitly, the whole world. To conclude in Dostoyevskian terms: humanity will save the world.<\/p>\n\n\n\n

Keywords: posthumanism, posthuman, restoration, fictional objects, corporality<\/p>\n\n\n\n

Index vol. XXII (1-2)<\/p>\n\n\n\n

https:\/\/magazines.ulbsibiu.ro\/lucianblagacolloquium\/wp-content\/uploads\/2022\/02\/Content-Specification-Document_CLB_10.2478clb-2021.pdf<\/a><\/p>\n\n\n\n

Index vol XXII (3)<\/p>\n\n\n\n

https:\/\/magazines.ulbsibiu.ro\/lucianblagacolloquium\/wp-content\/uploads\/2022\/08\/CUPRINS_nou_CLB2021_vol.3.pdf<\/a><\/p>\n\n\n\n

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<\/p>\n","protected":false},"excerpt":{"rendered":"

LUCIAN BLAGA, DINSPRE \u201eALEGORIILE NA\u021aIONALE\u201d SPRE WORLD LITERATURE Lucian Blaga from \u201cNational Allegories\u201d to World Literature Abstract: Whether we refer to Lucian Blaga\u2019s inclusion in a hyper-canon, or we choose to focus on his relationship with European cultures or his incursions into the realm of philosophy, the contextualization of his work can only be achieved by […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":52,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"templates\/template-full-width.php","meta":[],"_links":{"self":[{"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/pages\/681"}],"collection":[{"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/comments?post=681"}],"version-history":[{"count":10,"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/pages\/681\/revisions"}],"predecessor-version":[{"id":896,"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/pages\/681\/revisions\/896"}],"up":[{"embeddable":true,"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/pages\/52"}],"wp:attachment":[{"href":"https:\/\/reviste.ulbsibiu.ro\/clb\/wp-json\/wp\/v2\/media?parent=681"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}