The concept of “feminine writing” has caused much controversy in time. It appeared in France afte... more The concept of “feminine writing” has caused much controversy in time. It appeared in France after the feminist movements in 1970, as a reaction to the lack of visibility of women writers, and it had three important stages. The first, temporally placed right after the events, whose spokeswoman was Helene Cixous and was marked by her disputatious spirit. In the second stage, between the 80s and the 90s, a less troubled period, as the revolutionary enthusiasm decreased, the works of reference are those signed by Beatrice Didier and Christine Plante. A third stage is the one we are in at the moment – the stage from the beginning of the millennium – characterized by the fact that gender studies are more and more frequent and the efforts to reinstate a literature that has been ignored for a long time, as well as the concern to bring to the fore the literary femininity multiply. If in the period before the postmodernist era feminine literature had certain peculiarities due also to the soc...
Logos Universality Mentality Education Novelty: Philosophy and Humanistic Sciences, 2017
) is a writer that has been completely ignored by literary histories. Her profile is presented on... more ) is a writer that has been completely ignored by literary histories. Her profile is presented only in recent dictionaries and the bibliographical references regarding her activity are limited only to a few dozen titles. In the writer's biography there are still unexplored aspects and sometimes even flaws. Nevertheless, her life was dedicated to cultural values and her literary activity was rewarded with the Alina Ştirbey Prize and with the Academy's Award, which she received three times. The novel "Blandina", written in French and having the subtitle "Une âme s'ouvre à la vie" ("A Soul Opens to Life"), came out in 1980, thirty years after the writer's death, translated by Emilia Şt. Milicescu. An autobiographical novel, a Bildungsroman that restores the life line, the experiences connected to her intellectual and spiritual formation and her burning passion for work, "Blandina" remained, just like the author's other novels, unknown to the public, as well as to the chroniclers of those times. The protagonist crosses a path of self-knowledge, doubled by the achievement of virtues. The path to wisdom is sprinkled, just like in fairytales or in initiatory stories, with tasks that she must accomplish by fighting instincts or vices. Thus, writing becomes a place of searching for one's identity and the ethical dimension is one of the main keys of reading.
If we browse through the literary histories, we surprisingly notice that, at least until recent d... more If we browse through the literary histories, we surprisingly notice that, at least until recent days, women writers are almost absent. What is the cause for such a phenomenon? Is there a feminine literature, or is it rather an invention of the feminists? If there is, is it a literature of the periphery? Is the alleged marginality a sociological problem or one of history of mentalities? Can we define it without making reference to the "masculine" literature? Here are some questions which prove the fact that the problem is a complex one that can hardly be put into strict conceptual frameworks. There are partisans of feminine literature, but there are also sceptics. We are going to try to define the concept reviewing different opinions that have been expressed starting with the beginning of the 20 th century, when the first women writers made their presence known, until the present days, when the phenomenon of feminine literature became a very well-known one in the literary field. Abandoning the dichotomy masculinefeminine or even the lack of differentiation, ideas that were manifested in the writing field too, become a symptom of modernity. Confronted with the perspective of absolute equality, but also with her desire to still be a woman, the "female writer" must face the new challenges of today's world.
Logos Universality Mentality Education Novelty: Philosophy and Humanistic Sciences, 2015
The relationship with the other is the key to the notion of "otherness". This relationship is pla... more The relationship with the other is the key to the notion of "otherness". This relationship is placed in the center of two different works with respect to the formal completion: one is a parable, The Parable of the Good Samaritan, the other is a fairytale, The Old Woman's Daughter and the Old Man's Daughter. What they have in common is the presence of a character that contradicts the idea of selfishness, specific for the ordinary people, and the notion of negative devaluation of the unknown person, highlighted by anthropologists. Both works place in the center the notion of "otherness" and they highlight two possible attitudes connected to this: that other person can become "a limit" or "an object" in the fulfillment of the existential adventure. In other words, that person can be a step towards moral perfection or, on the contrary, a limit in the way of personal development. The two "spiritual creations" (the parable and the fairytale) put into question a moral problem, that of the person next to us or "the Other one", they both comprise a debate on ethical matters and they are built on the relationship I -the other one, placing in the center the same type of character: "the good man", gifted with a high ethical sense, the one who, in his journey through life, shows no indifference, but he constantly relates to the person next to him -"the other one" whom, most of the times, is seen in opposition with or they have a conflictual relationship. At the same time, both works comprise the subject of "the road", that of "the journey".
Dans la deuxième partie du XIXe siècle, les femmes qui osent écrire et publier sont encore très p... more Dans la deuxième partie du XIXe siècle, les femmes qui osent écrire et publier sont encore très peu nombreuses. Face à une société qui les rejette ou qui les traite de bas bleus, elles sont à la recherche de solutions et celles qu’elles trouvent sont soit se cacher sous des apparences d‘hommes et publier sous pseudonyme, soit par contre, approfondir le féminin et écrire une littérature du moi : journal, autobiographie, roman épistolaire.Margareta Miller-Verghy (1865-1953), une écrivaine ignorée par les histoires littéraires, qui est pourtant parmi les premières écrivaines francophones roumaines, commence sa carrière littéraire en publiant sous pseudonyme. Ses romans, dont le dernier Blandina, qui paraît à titre posthume et en traduction roumaine, témoignent de cette littérature à forte dimension autobiographique. Son destin traverse deux siècles et peut être considéré comme représentatif du chemin que la femme-écrivain parcourt à partir de l’époque du mépris et de la méfiance du XIX...
Reading is dangerous act for a woman – just remember the fate of Emma Bovary. Writing is even wor... more Reading is dangerous act for a woman – just remember the fate of Emma Bovary. Writing is even worse. Being a woman and a writer in the 19th century is completely undesirable, because femininity and celebrity are two incompatible concepts. The fate of women writers was, at that time, still uncertain. Indeed, reading, and even more, writing, was for them "the forbidden fruit". Because of their position of subordination in relation to man, very often they had to keep quiet. Silence means total acceptance, keeping your head down, not having the right to speak in political assemblies and elsewhere in any meeting place. Women were driven from the great places where public life took place: the Stock Exchange, the Bank, the Parliament, the big business markets, clubs, cafes, and even libraries. Now, becoming a writer means speaking, "talking to each other" because literature means expressing oneself. This is why becoming a writer was a challenge that few women dared to t...
Margareta Miller-Verghy (1865-1953) is a writer that has been completely ignored by literary hist... more Margareta Miller-Verghy (1865-1953) is a writer that has been completely ignored by literary histories. Her profile is presented only in recent dictionaries and the bibliographical references regarding her activity are limited only to a few dozen titles. In the writer’s biography there are still unexplored aspects and sometimes even flaws. Nevertheless, her life was dedicated to cultural values and her literary activity was rewarded with the Alina Ştirbey Prize and with the Academy’s Award, which she received three times. The novel “Blandina”, written in French and having the subtitle “Une âme s’ouvre à la vie” (“A Soul Opens to Life”), came out in 1980, thirty years after the writer’s death, translated by Emilia Şt. Milicescu. An autobiographical novel, a Bildungsroman that restores the life line, the experiences connected to her intellectual and spiritual formation and her burning passion for work, “Blandina” remained, just like the author’s other novels, unknown to the public, as well as to the chroniclers of those times. The protagonist crosses a path of self-knowledge, doubled by the achievement of virtues. The path to wisdom is sprinkled, just like in fairytales or in initiatory stories, with tasks that she must accomplish by fighting instincts or vices. Thus, writing becomes a place of searching for one’s identity and the ethical dimension is one of the main keys of reading.
Margareta Miller-Verghy, L'autre lumière (Cealaltă lumină), le roman d'une quête intérieure Mihae... more Margareta Miller-Verghy, L'autre lumière (Cealaltă lumină), le roman d'une quête intérieure Mihaela DUMITRU BACALI Margareta Miller-Verghy is almost an unknown name in Romanian literature, a woman writer completely ignored by literary histories. She only appears in recent dictionaries such as that of Marian Papahagi, Aurel Sasu and Mircea Zaciu (Dicţionarul scriitorilor români (The Dictionary of the Romanian Writers), 2001) or that of the Romanian Academy (2005). However, she left for posterity a diverse literary work and she put her life in the service of cultural values and high ethical ideals. The novel Cealaltă lumină (The Other Light), published in 1944, for which the author received the Academy's Prize, is an autobiographical novel. It tells the story of the shattering experience of losing one's eyesight, but at the same time that of finding another light, an interior one, which the protagonist, an alter-ego of the author, discovers after the acceptance of suffering and renunciations. A novel of becoming, it is also a novel whose topics are suffering and love. Both of them seem to be placed under a magnifying glass, where even the tiniest details grow and are increasing in a hallucinatory manner.
Margareta Miller-Verghy (1865-1953) este o scriitoare complet ignorată de istoriile literare. Men... more Margareta Miller-Verghy (1865-1953) este o scriitoare complet ignorată de istoriile literare. Menționată doar în dicționare recente, cum este cel al Academiei Române, în cel realizat de Mircea Zaciu, Marian Papahagi și Aurel Sasu, sau în „Dicționarul cronologic al romanului românesc”, referințele bibliografice privitoare la activitatea sa literară se rezumă la câteva titluri, în biografiile existente sunt inexactități, iar o parte însemnată a operei sale (în special dramaturgie) se află încă în manuscris. La întrebarea „De ce a fost ignorată?” există două posibile răspunsuri: fie că a fost considerată o scriitoare minoră, fie că, din anumite motive, independente de valoarea operei, a rămas necunoscută. Dar, așa cum bine remarcă Bianca Burța-Cernat în foarte documentatul său studiu asupra literaturii feminine interbelice, scriitorii marginali pot fi minori sau conjuncturali, aceștia din urmă fiind cotați mai jos decât ar fi meritat, într-un anumit context cultural. În urma unei eventuale relecturi, ei pot fi reevaluați și „repuși în drepturi”. Scriitoarea de care ne ocupăm reprezintă un caz particular de marginalitate literară, pe de o parte pentru că aparține pionierelor literaturii feminine la noi, iar pe de alta pentru că ea însăși nu a râvnit niciodată celebritatea. Dovadă sunt pseudonimele literare pe care le-a avut (Ariel, Dionis, Mama Lola, Marg.M.V., Marmil, Ion Pravilă, Ilie Cambrea), dar și faptul că mult timp ea nu și-a semnat cărțile, convinsă că „omul scrie numai pentru a servi o idee și de la scris nu trebuie să aștepte nimic pentru sine, nici glorie, nici bani”.
The present article represents an analysis of the relationship between two major Romanian writers... more The present article represents an analysis of the relationship between two major Romanian writers, Lucian Blaga and Nicolae Iorga, quite friendly in its beginnings, but trasnformed in a strong opposition with the gradual assertion of the poet in the literary life of the period. Which were the causes of this radical change, and also which were its consequences ? The article aims at answering these two questions, which, as simple as they may seem, actually realize an overview of the whole cultural field of the Romanian interwar.
The concept of "feminine writing" has caused much controversy in time. It appeared in France afte... more The concept of "feminine writing" has caused much controversy in time. It appeared in France after the feminist movements in 1970, as a reaction to the lack of visibility of women writers, and it had three important stages. The first, temporally placed right after the events, whose spokeswoman was Hélène Cixous and was marked by her disputatious spirit. In the second stage, between the 80s and the 90s, a less troubled period, as the revolutionary enthusiasm decreased, the works of reference are those signed by Béatrice Didier and Christine Planté. A third stage is the one we are in at the moment -the stage from the beginning of the millennium -characterized by the fact that gender studies are more and more frequent and the efforts to reinstate a literature that has been ignored for a long time, as well as the concern to bring to the fore the literary femininity multiply. If in the period before the postmodernist era feminine literature had certain peculiarities due also to the social situation of women in a masculine society, nowadays the process of un-differentiation -a reflex of an equality that women gained with so much difficulty -is also manifested in the writing field.
Dabei geht es um ein authentisches mystisches Erlebnis, gleichzeitig aber auch um einen mythische... more Dabei geht es um ein authentisches mystisches Erlebnis, gleichzeitig aber auch um einen mythische Denkweise. Die meisten dieser Elemente kommen in dem Gedicht Eu nu strivesc corola de minuni a lumii (in etwa: Ich zerdrücke nicht die Wunderblütenkrone der Welt) vor, sie durchdringen jedoch die gesamte Lyrik Blagas. Zudem gibt es in seiner Dichtung eine Reihe mythisch-mystischer Elemente, darunter auch spezifisch rumänische, und, davon ausgehend, eine gewisse Mythisierungstendenz. Stichwörter: Rumänische Literatur, Lucian Blaga, Dichtung, Mysteriums
If we browse through the literary histories, we surprisingly notice that, at least until recent d... more If we browse through the literary histories, we surprisingly notice that, at least until recent days, women writers are almost absent. What is the cause for such a phenomenon? Is there a feminine literature, or is it rather an invention of the feminists? If there is, is it a literature of the periphery? Is the alleged marginality a sociological problem or one of history of mentalities? Can we define it without making reference to the " masculine " literature? Here are some questions which prove the fact that the problem is a complex one that can hardly be put into strict conceptual frameworks. There are partisans of feminine literature, but there are also skeptics. We are going to try to define the concept reviewing different opinions that have been expressed starting with the beginning of the 20 th century, when the first women writers made their presence known, until the present days, when the phenomenon of feminine literature became a very well-known one in the literary field. Abandoning the dichotomy masculine-feminine or even the lack of differentiation, ideas that were manifested in the writing field too, become a symptom of modernity. Confronted with the perspective of absolute equality, but also with her desire to still be a woman, the " female writer " must face the new challenges of today's world.
Margareta Miller-Verghy (1865-1953) is a writer that has been completely ignored by literary hist... more Margareta Miller-Verghy (1865-1953) is a writer that has been completely ignored by literary histories. Her profile is presented only in recent dictionaries and the bibliographical references regarding her activity are limited only to a few dozen titles. In the writer’s biography there are still unexplored aspects and sometimes even flaws. Nevertheless, her life was dedicated to cultural values and her literary activity was rewarded with the Alina Ştirbey Prize and with the Academy’s Award, which she received three times. The novel “Blandina”, written in French and having the subtitle “Une âme s’ouvre à la vie” (“A Soul Opens to Life”), came out in 1980, thirty years after the writer’s death, translated by Emilia Şt. Milicescu. An autobiographical novel, a Bildungsroman that restores the life line, the experiences connected to her intellectual and spiritual formation and her burning passion for work, “Blandina” remained, just like the author’s other novels, unknown to the public, as well as to the chroniclers of those times. The protagonist crosses a path of self-knowledge, doubled by the achievement of virtues. The path to wisdom is sprinkled, just like in fairytales or in initiatory stories, with tasks that she must accomplish by fighting instincts or vices. Thus, writing becomes a place of searching for one’s identity and the ethical dimension is one of the main keys of reading.
The concept of “feminine writing” has caused much controversy in time. It appeared in France afte... more The concept of “feminine writing” has caused much controversy in time. It appeared in France after the feminist movements in 1970, as a reaction to the lack of visibility of women writers, and it had three important stages. The first, temporally placed right after the events, whose spokeswoman was Helene Cixous and was marked by her disputatious spirit. In the second stage, between the 80s and the 90s, a less troubled period, as the revolutionary enthusiasm decreased, the works of reference are those signed by Beatrice Didier and Christine Plante. A third stage is the one we are in at the moment – the stage from the beginning of the millennium – characterized by the fact that gender studies are more and more frequent and the efforts to reinstate a literature that has been ignored for a long time, as well as the concern to bring to the fore the literary femininity multiply. If in the period before the postmodernist era feminine literature had certain peculiarities due also to the soc...
Logos Universality Mentality Education Novelty: Philosophy and Humanistic Sciences, 2017
) is a writer that has been completely ignored by literary histories. Her profile is presented on... more ) is a writer that has been completely ignored by literary histories. Her profile is presented only in recent dictionaries and the bibliographical references regarding her activity are limited only to a few dozen titles. In the writer's biography there are still unexplored aspects and sometimes even flaws. Nevertheless, her life was dedicated to cultural values and her literary activity was rewarded with the Alina Ştirbey Prize and with the Academy's Award, which she received three times. The novel "Blandina", written in French and having the subtitle "Une âme s'ouvre à la vie" ("A Soul Opens to Life"), came out in 1980, thirty years after the writer's death, translated by Emilia Şt. Milicescu. An autobiographical novel, a Bildungsroman that restores the life line, the experiences connected to her intellectual and spiritual formation and her burning passion for work, "Blandina" remained, just like the author's other novels, unknown to the public, as well as to the chroniclers of those times. The protagonist crosses a path of self-knowledge, doubled by the achievement of virtues. The path to wisdom is sprinkled, just like in fairytales or in initiatory stories, with tasks that she must accomplish by fighting instincts or vices. Thus, writing becomes a place of searching for one's identity and the ethical dimension is one of the main keys of reading.
If we browse through the literary histories, we surprisingly notice that, at least until recent d... more If we browse through the literary histories, we surprisingly notice that, at least until recent days, women writers are almost absent. What is the cause for such a phenomenon? Is there a feminine literature, or is it rather an invention of the feminists? If there is, is it a literature of the periphery? Is the alleged marginality a sociological problem or one of history of mentalities? Can we define it without making reference to the "masculine" literature? Here are some questions which prove the fact that the problem is a complex one that can hardly be put into strict conceptual frameworks. There are partisans of feminine literature, but there are also sceptics. We are going to try to define the concept reviewing different opinions that have been expressed starting with the beginning of the 20 th century, when the first women writers made their presence known, until the present days, when the phenomenon of feminine literature became a very well-known one in the literary field. Abandoning the dichotomy masculinefeminine or even the lack of differentiation, ideas that were manifested in the writing field too, become a symptom of modernity. Confronted with the perspective of absolute equality, but also with her desire to still be a woman, the "female writer" must face the new challenges of today's world.
Logos Universality Mentality Education Novelty: Philosophy and Humanistic Sciences, 2015
The relationship with the other is the key to the notion of "otherness". This relationship is pla... more The relationship with the other is the key to the notion of "otherness". This relationship is placed in the center of two different works with respect to the formal completion: one is a parable, The Parable of the Good Samaritan, the other is a fairytale, The Old Woman's Daughter and the Old Man's Daughter. What they have in common is the presence of a character that contradicts the idea of selfishness, specific for the ordinary people, and the notion of negative devaluation of the unknown person, highlighted by anthropologists. Both works place in the center the notion of "otherness" and they highlight two possible attitudes connected to this: that other person can become "a limit" or "an object" in the fulfillment of the existential adventure. In other words, that person can be a step towards moral perfection or, on the contrary, a limit in the way of personal development. The two "spiritual creations" (the parable and the fairytale) put into question a moral problem, that of the person next to us or "the Other one", they both comprise a debate on ethical matters and they are built on the relationship I -the other one, placing in the center the same type of character: "the good man", gifted with a high ethical sense, the one who, in his journey through life, shows no indifference, but he constantly relates to the person next to him -"the other one" whom, most of the times, is seen in opposition with or they have a conflictual relationship. At the same time, both works comprise the subject of "the road", that of "the journey".
Dans la deuxième partie du XIXe siècle, les femmes qui osent écrire et publier sont encore très p... more Dans la deuxième partie du XIXe siècle, les femmes qui osent écrire et publier sont encore très peu nombreuses. Face à une société qui les rejette ou qui les traite de bas bleus, elles sont à la recherche de solutions et celles qu’elles trouvent sont soit se cacher sous des apparences d‘hommes et publier sous pseudonyme, soit par contre, approfondir le féminin et écrire une littérature du moi : journal, autobiographie, roman épistolaire.Margareta Miller-Verghy (1865-1953), une écrivaine ignorée par les histoires littéraires, qui est pourtant parmi les premières écrivaines francophones roumaines, commence sa carrière littéraire en publiant sous pseudonyme. Ses romans, dont le dernier Blandina, qui paraît à titre posthume et en traduction roumaine, témoignent de cette littérature à forte dimension autobiographique. Son destin traverse deux siècles et peut être considéré comme représentatif du chemin que la femme-écrivain parcourt à partir de l’époque du mépris et de la méfiance du XIX...
Reading is dangerous act for a woman – just remember the fate of Emma Bovary. Writing is even wor... more Reading is dangerous act for a woman – just remember the fate of Emma Bovary. Writing is even worse. Being a woman and a writer in the 19th century is completely undesirable, because femininity and celebrity are two incompatible concepts. The fate of women writers was, at that time, still uncertain. Indeed, reading, and even more, writing, was for them "the forbidden fruit". Because of their position of subordination in relation to man, very often they had to keep quiet. Silence means total acceptance, keeping your head down, not having the right to speak in political assemblies and elsewhere in any meeting place. Women were driven from the great places where public life took place: the Stock Exchange, the Bank, the Parliament, the big business markets, clubs, cafes, and even libraries. Now, becoming a writer means speaking, "talking to each other" because literature means expressing oneself. This is why becoming a writer was a challenge that few women dared to t...
Margareta Miller-Verghy (1865-1953) is a writer that has been completely ignored by literary hist... more Margareta Miller-Verghy (1865-1953) is a writer that has been completely ignored by literary histories. Her profile is presented only in recent dictionaries and the bibliographical references regarding her activity are limited only to a few dozen titles. In the writer’s biography there are still unexplored aspects and sometimes even flaws. Nevertheless, her life was dedicated to cultural values and her literary activity was rewarded with the Alina Ştirbey Prize and with the Academy’s Award, which she received three times. The novel “Blandina”, written in French and having the subtitle “Une âme s’ouvre à la vie” (“A Soul Opens to Life”), came out in 1980, thirty years after the writer’s death, translated by Emilia Şt. Milicescu. An autobiographical novel, a Bildungsroman that restores the life line, the experiences connected to her intellectual and spiritual formation and her burning passion for work, “Blandina” remained, just like the author’s other novels, unknown to the public, as well as to the chroniclers of those times. The protagonist crosses a path of self-knowledge, doubled by the achievement of virtues. The path to wisdom is sprinkled, just like in fairytales or in initiatory stories, with tasks that she must accomplish by fighting instincts or vices. Thus, writing becomes a place of searching for one’s identity and the ethical dimension is one of the main keys of reading.
Margareta Miller-Verghy, L'autre lumière (Cealaltă lumină), le roman d'une quête intérieure Mihae... more Margareta Miller-Verghy, L'autre lumière (Cealaltă lumină), le roman d'une quête intérieure Mihaela DUMITRU BACALI Margareta Miller-Verghy is almost an unknown name in Romanian literature, a woman writer completely ignored by literary histories. She only appears in recent dictionaries such as that of Marian Papahagi, Aurel Sasu and Mircea Zaciu (Dicţionarul scriitorilor români (The Dictionary of the Romanian Writers), 2001) or that of the Romanian Academy (2005). However, she left for posterity a diverse literary work and she put her life in the service of cultural values and high ethical ideals. The novel Cealaltă lumină (The Other Light), published in 1944, for which the author received the Academy's Prize, is an autobiographical novel. It tells the story of the shattering experience of losing one's eyesight, but at the same time that of finding another light, an interior one, which the protagonist, an alter-ego of the author, discovers after the acceptance of suffering and renunciations. A novel of becoming, it is also a novel whose topics are suffering and love. Both of them seem to be placed under a magnifying glass, where even the tiniest details grow and are increasing in a hallucinatory manner.
Margareta Miller-Verghy (1865-1953) este o scriitoare complet ignorată de istoriile literare. Men... more Margareta Miller-Verghy (1865-1953) este o scriitoare complet ignorată de istoriile literare. Menționată doar în dicționare recente, cum este cel al Academiei Române, în cel realizat de Mircea Zaciu, Marian Papahagi și Aurel Sasu, sau în „Dicționarul cronologic al romanului românesc”, referințele bibliografice privitoare la activitatea sa literară se rezumă la câteva titluri, în biografiile existente sunt inexactități, iar o parte însemnată a operei sale (în special dramaturgie) se află încă în manuscris. La întrebarea „De ce a fost ignorată?” există două posibile răspunsuri: fie că a fost considerată o scriitoare minoră, fie că, din anumite motive, independente de valoarea operei, a rămas necunoscută. Dar, așa cum bine remarcă Bianca Burța-Cernat în foarte documentatul său studiu asupra literaturii feminine interbelice, scriitorii marginali pot fi minori sau conjuncturali, aceștia din urmă fiind cotați mai jos decât ar fi meritat, într-un anumit context cultural. În urma unei eventuale relecturi, ei pot fi reevaluați și „repuși în drepturi”. Scriitoarea de care ne ocupăm reprezintă un caz particular de marginalitate literară, pe de o parte pentru că aparține pionierelor literaturii feminine la noi, iar pe de alta pentru că ea însăși nu a râvnit niciodată celebritatea. Dovadă sunt pseudonimele literare pe care le-a avut (Ariel, Dionis, Mama Lola, Marg.M.V., Marmil, Ion Pravilă, Ilie Cambrea), dar și faptul că mult timp ea nu și-a semnat cărțile, convinsă că „omul scrie numai pentru a servi o idee și de la scris nu trebuie să aștepte nimic pentru sine, nici glorie, nici bani”.
The present article represents an analysis of the relationship between two major Romanian writers... more The present article represents an analysis of the relationship between two major Romanian writers, Lucian Blaga and Nicolae Iorga, quite friendly in its beginnings, but trasnformed in a strong opposition with the gradual assertion of the poet in the literary life of the period. Which were the causes of this radical change, and also which were its consequences ? The article aims at answering these two questions, which, as simple as they may seem, actually realize an overview of the whole cultural field of the Romanian interwar.
The concept of "feminine writing" has caused much controversy in time. It appeared in France afte... more The concept of "feminine writing" has caused much controversy in time. It appeared in France after the feminist movements in 1970, as a reaction to the lack of visibility of women writers, and it had three important stages. The first, temporally placed right after the events, whose spokeswoman was Hélène Cixous and was marked by her disputatious spirit. In the second stage, between the 80s and the 90s, a less troubled period, as the revolutionary enthusiasm decreased, the works of reference are those signed by Béatrice Didier and Christine Planté. A third stage is the one we are in at the moment -the stage from the beginning of the millennium -characterized by the fact that gender studies are more and more frequent and the efforts to reinstate a literature that has been ignored for a long time, as well as the concern to bring to the fore the literary femininity multiply. If in the period before the postmodernist era feminine literature had certain peculiarities due also to the social situation of women in a masculine society, nowadays the process of un-differentiation -a reflex of an equality that women gained with so much difficulty -is also manifested in the writing field.
Dabei geht es um ein authentisches mystisches Erlebnis, gleichzeitig aber auch um einen mythische... more Dabei geht es um ein authentisches mystisches Erlebnis, gleichzeitig aber auch um einen mythische Denkweise. Die meisten dieser Elemente kommen in dem Gedicht Eu nu strivesc corola de minuni a lumii (in etwa: Ich zerdrücke nicht die Wunderblütenkrone der Welt) vor, sie durchdringen jedoch die gesamte Lyrik Blagas. Zudem gibt es in seiner Dichtung eine Reihe mythisch-mystischer Elemente, darunter auch spezifisch rumänische, und, davon ausgehend, eine gewisse Mythisierungstendenz. Stichwörter: Rumänische Literatur, Lucian Blaga, Dichtung, Mysteriums
If we browse through the literary histories, we surprisingly notice that, at least until recent d... more If we browse through the literary histories, we surprisingly notice that, at least until recent days, women writers are almost absent. What is the cause for such a phenomenon? Is there a feminine literature, or is it rather an invention of the feminists? If there is, is it a literature of the periphery? Is the alleged marginality a sociological problem or one of history of mentalities? Can we define it without making reference to the " masculine " literature? Here are some questions which prove the fact that the problem is a complex one that can hardly be put into strict conceptual frameworks. There are partisans of feminine literature, but there are also skeptics. We are going to try to define the concept reviewing different opinions that have been expressed starting with the beginning of the 20 th century, when the first women writers made their presence known, until the present days, when the phenomenon of feminine literature became a very well-known one in the literary field. Abandoning the dichotomy masculine-feminine or even the lack of differentiation, ideas that were manifested in the writing field too, become a symptom of modernity. Confronted with the perspective of absolute equality, but also with her desire to still be a woman, the " female writer " must face the new challenges of today's world.
Margareta Miller-Verghy (1865-1953) is a writer that has been completely ignored by literary hist... more Margareta Miller-Verghy (1865-1953) is a writer that has been completely ignored by literary histories. Her profile is presented only in recent dictionaries and the bibliographical references regarding her activity are limited only to a few dozen titles. In the writer’s biography there are still unexplored aspects and sometimes even flaws. Nevertheless, her life was dedicated to cultural values and her literary activity was rewarded with the Alina Ştirbey Prize and with the Academy’s Award, which she received three times. The novel “Blandina”, written in French and having the subtitle “Une âme s’ouvre à la vie” (“A Soul Opens to Life”), came out in 1980, thirty years after the writer’s death, translated by Emilia Şt. Milicescu. An autobiographical novel, a Bildungsroman that restores the life line, the experiences connected to her intellectual and spiritual formation and her burning passion for work, “Blandina” remained, just like the author’s other novels, unknown to the public, as well as to the chroniclers of those times. The protagonist crosses a path of self-knowledge, doubled by the achievement of virtues. The path to wisdom is sprinkled, just like in fairytales or in initiatory stories, with tasks that she must accomplish by fighting instincts or vices. Thus, writing becomes a place of searching for one’s identity and the ethical dimension is one of the main keys of reading.
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La întrebarea „De ce a fost ignorată?” există două posibile răspunsuri: fie că a fost considerată o scriitoare minoră, fie că, din anumite motive, independente de valoarea operei, a rămas necunoscută. Dar, așa cum bine remarcă Bianca Burța-Cernat în foarte documentatul său studiu asupra literaturii feminine interbelice, scriitorii marginali pot fi minori sau conjuncturali, aceștia din urmă fiind cotați mai jos decât ar fi meritat, într-un anumit context cultural. În urma unei eventuale relecturi, ei pot fi reevaluați și „repuși în drepturi”. Scriitoarea de care ne ocupăm reprezintă un caz particular de marginalitate literară, pe de o parte pentru că aparține pionierelor literaturii feminine la noi, iar pe de alta pentru că ea însăși nu a râvnit niciodată celebritatea. Dovadă sunt pseudonimele literare pe care le-a avut (Ariel, Dionis, Mama Lola, Marg.M.V., Marmil, Ion Pravilă, Ilie Cambrea), dar și faptul că mult timp ea nu și-a semnat cărțile, convinsă că „omul scrie numai pentru a servi o idee și de la scris nu trebuie să aștepte nimic pentru sine, nici glorie, nici bani”.
and Nicolae Iorga, quite friendly in its beginnings, but trasnformed in a strong opposition with the gradual assertion
of the poet in the literary life of the period. Which were the causes of this radical change, and also which were its
consequences ? The article aims at answering these two questions, which, as simple as they may seem, actually realize an
overview of the whole cultural field of the Romanian interwar.
La întrebarea „De ce a fost ignorată?” există două posibile răspunsuri: fie că a fost considerată o scriitoare minoră, fie că, din anumite motive, independente de valoarea operei, a rămas necunoscută. Dar, așa cum bine remarcă Bianca Burța-Cernat în foarte documentatul său studiu asupra literaturii feminine interbelice, scriitorii marginali pot fi minori sau conjuncturali, aceștia din urmă fiind cotați mai jos decât ar fi meritat, într-un anumit context cultural. În urma unei eventuale relecturi, ei pot fi reevaluați și „repuși în drepturi”. Scriitoarea de care ne ocupăm reprezintă un caz particular de marginalitate literară, pe de o parte pentru că aparține pionierelor literaturii feminine la noi, iar pe de alta pentru că ea însăși nu a râvnit niciodată celebritatea. Dovadă sunt pseudonimele literare pe care le-a avut (Ariel, Dionis, Mama Lola, Marg.M.V., Marmil, Ion Pravilă, Ilie Cambrea), dar și faptul că mult timp ea nu și-a semnat cărțile, convinsă că „omul scrie numai pentru a servi o idee și de la scris nu trebuie să aștepte nimic pentru sine, nici glorie, nici bani”.
and Nicolae Iorga, quite friendly in its beginnings, but trasnformed in a strong opposition with the gradual assertion
of the poet in the literary life of the period. Which were the causes of this radical change, and also which were its
consequences ? The article aims at answering these two questions, which, as simple as they may seem, actually realize an
overview of the whole cultural field of the Romanian interwar.