The Decadent Charm of the Bourgeoisie

The present study is focused on the topic of the realistic novel and of the realistic movie, understood both as an emanation and as a satire of the bourgeoisie. Using the definition of the bourgeois values from Pascal Bruckner’s famous study, The Perpetual Euphoria, the author shows the different types of characters generated by the narrative embodiments of the respective values. The author shows then that the two movies which obviously and radically overthrow the bourgeis conventions of the genre are Luis Buñuel’s Le charme discret de la burgeosie (The Discreet Charm of the Bourgeoise), 1972, and Marco Ferreri’s, La Grande Bouffe (The Grande Blow-Out) (1973). The study shows how these two movies create a new type of hero, resulted from the synthesis of the bourgeois and the decadent values: the decadent bourgeois.
Keywords: history of the European novel, history of cinema, realism, bourgeois values, decadent values, Luis Buñuel, Marco Ferreri, synthesis of realism and decadentism

• * * * Anthologie des préfaces de romans français du XIX-ème siècle / Anthology of critical prefaces to the nineteenth-century French novel, Paris, Julliard, 1964.
• Pascal Bruckner, Euforia perpetuă / Perpetual Euphoria, traducere Cristina şi Costin Popescu, Editura Trei, Bucureşti, 2000.
• Dan Grigorescu / Sorin Alexandrescu, Romanul realist în secolul al XIX-lea / The Realist Novel in the XIXth Century, Editura Enciclopedică română, Bucureşti, 1971.

Re-reading “The Paris Diary”

I aimed to show in this article that Eugen Simion’s Paris Diary (Jurnalul parizian) from 1977 underlines, there is no doubt, a significant moment within the Romanian critic’s career, by prompting a quality leap within his critical style and by decisively orienting the interpreter’s options towards definite research topics. Along with quasi-subjective and personal confessions, rather scanty, The Paris Diary contains a series of essays on various themes, as well as a gallery of portraits, epic sequences (with marked anecdotic and chronicling aspect), fine observations on the intellectuals gathered in Paris and on the specific atmosphere of the 70s. The majority of literary reviewers has already referred to all these features; usually, the argument served so as to enhance the critic’s literary talent, most obvious in the way he turns portraiture into an artistic achievement, in the excellence of memoir-like accounts, in his disposition for aphorism, etc. Not willing to re-play the previous approaches to Eugen Simion’s Diary, it was my intention to catch the overall picture and, subsequently, to pinpoint the place this book has within the Romanian critic’s work. The stages of its popularity show nothing less than the fact that the author made a “lucky” shot and succeeded in writing a text which, also nowadays, retrieves a positive satisfaction while re-read.
Keywords: Authenticity, Confession, Diary of ideas, Mimesis, Autobiographical pact, Urban mythology

• Ov. S. Crohmălniceanu, Eugen Simion: „Timpul trăirii, timpul mărturisirii” (Eugen Simion: “The Time of Living, the Time of Confession”, in „Luceafărul”, issue no. 3, 21 January 1978.
• Mircea A. Diaconu, Eugen Simion. Modernitatea clasicului. O recitire a „Jurnalului parizian” (Eugen Simion. The Modernity of the Classic: a re-reading of the Paris Diary), in „Convorbiri literare”, issue no. 5, May 2013.
• Gabriel Dimisianu, Jurnalul unei experienţe intelectuale (The Diary of an Intellectual Experience), in „România literară”, issue no. 5, 2 February 1978.
• Eugen Negrici, Timpul mărturisirii (The Time of Confession), in „Ramuri”, issue no. 2, February 1978.
• Mircea Zaciu, Timpul trăirii, timpul mărturisirii (The Time of Living, the Time of Confession), in „Steaua”, issue no. 2, February 1978.
• Paul Georgescu, Timpul trăirii – timpul mărturisirii (The Time of Living, the Time of Confession), in „Contemporanul”, issue no. 6, 1978.
• Nicolae Manolescu, Civilizaţia ochiului (The Eye’s Civilisation), in „România literară”, issue no. 11, 16 March 1978.
• Mircea Iorgulescu, Memorialul unui critic (A Critic’s Memoirs), in „Luceafărul”, issue no. 14, 8 April 1978.
• Al. Călinescu, Jurnalul parizian (The Paris Diary), in „Convorbiri literare”, issue no. 4, April 1978.
• Mircea Doru Lesovici, Timpul trăirii, timpul mărturisirii (The Time of Living, the Time of Confession), in „Dialog”, May-June 1978.
• Şerban Cioculescu, Lirica de gândire (On the Poetry of Thinking), in „Flacăra”, 15 June 1978.
• Ion Constantinescu, Excelenţa memorialisticii (The Excellence of Memoirs), in „Ateneu”, June 1978.
• Valeriu Cristea, Timpul reflecţiei (The Time of Reflection), in „România literară”, issue no. 28, 12 July 1979.
• Lucian Raicu, Timpul mărturisirii (The Time of Confession), in „România literară”, issue no. 43, 23 October 1980.
• Constantin Ciopraga, Jurnalul unei experienţe franceze – Eugen Simion (The Diary of a French Experience), in „Dacia literară”, issue no. 3, 2000.
• Andrei Grigor, Eugen Simion. Monografie (Eugen Simion. A Monography), Aula Publishing House, Braşov, 2001.
• Răzvan Voncu, Jurnalul ca spaţiu al libertăţii interioare (The Diary as a Space of Inner Freedom), in „România literară”, 19 October 2006.
• Tudorel Urian, Sous le ciel de Paris, in „România literară”, issue no. 37, 2006.

Eugen Simion – between the uncertainty of the Guelph and the melancholy of the Ghibelline

The distinction Guelph vs. Ghibelline made by Roland Barthes, frequently invoked by Eugen Simion, could be considered a metaphor of the work of literary criticism carried out by the second one. Just like a Solar, Apollonian Guelph, with the building, valuing and hierarchy vocation, E. Simion begins his critical path with well documented, analytical and descriptive studies, professorial even, whether they are about the monographs dedicated to M. Eminescu and E. Lovinescu, or they are oriented towards the postwar literature, to the canonization of which he contributed. In the volumes preceding “Time to Live, Time to Confess”, the critic is searching for a theme which is comprehensive enough to allow him to be both objective and subjective, methodical and pert, voluble and friendly. With the volume “The Parisian Journal”, he finds his own theme – the biographical, “the death of the author”, and thus becomes a Ghibelline – bound to the concrete, the materiality of the world, to the show of the individuality and even to pleasure (reading including). But the reveries and the melancholy of the Ghibelline have not replaced, only competed with the Guelph certainties. Although “Time to Live, Time to Confess” is not only his most friendly and vivid book, but also the most read and appreciated by colleagues, its author has not only persevered on the path opened by discovering his own “creative spirit figure”, but has also continued to write academic literary criticism as well, in an attempt to carry both the Guelph and Ghibelline’s battles. This fight on two fronts deprived the Ghibelline intuitions of the exclusive attention it would have deserved.
Keywords: postwar literary criticism, axiological perspective, lovinescianism, calinescianism, thematism, critical revisionism, intimism, literary canon.

• Gheorghe Grigurcu, Critici români de azi / Romanian Critics of Today, Bucureşti, Ed. Cartea Românească, 1981.
• Nicolae Manolescu, Istoria critică a literaturii române / Critical History of Romanian Literature, Piteşti, Ed. Paralela 45, 2009.
• Lucian Raicu, Critica – formă de viaţă/ Criticism – a Way of Life, Bucureşti, Ed. Cartea Românească, 1976.
• Lucian Raicu, Fragmente de timp / Scraps of Time,Bucureşti, Ed. Cartea Românească, 1984.
• Cornel Regman, Colocvial / Colloquial, Bucureşti, Ed. Eminescu, 1976.
• Eugen Simion, Proza lui Eminescu / Eminescu’s Prose, Bucureşti, EPL, 1964.
• Eugen Simion, Orientări în literatura contemporană / Orientations in Contemporary Literature, Bucureşti, EPL, 1965.
• Eugen Simion, Timpul trăirii, timpul mărturisirii. Jurnal parizian / Time to Live, Time to Confess. The Parisian Journal, Bucureşti, Ed. Cartea Românească, 1977.
• Eugen Simion, Eugen Lovinescu, scepticul mântuit / Eugen Lovinescu, the Expiated Sceptic Bucureşti, Ed. Grai şi Suflet – Cultura naţională, 1996, ediţia a II-a revăzută şi adăugită.
• Eugen Simion, Sfidarea retoricii. Jurnal german / Defying Rhetoric. The German Journal, Bucureşti, Ed. Cartea Românească, 1985.
• Eugen Simion, Scriitori români de azi I / Romanian Writers of Today I, Bucureşti, Ed. Carte Românească, 1978, ediţia a II-a revăzută şi adăugită.
• Eugen Simion, Scriitori români de azi II / Romanian Writers of Today II, Bucureşti, Ed. Cartea Românească, 1976.
• Eugen Simion, Scriitori români de azi III / Romanian Writers of Today III, Bucureşti, Ed. Cartea Românească, 1984.
• Eugen Simion, Scriitori români de azi IV / Romanian Writers of Today IV, Bucureşti, Ed. Cartea Românească, 1989.
• Eugen Simion, În ariergarda avangardei (convorbiri cu Andrei Grigor) / Behind the Avant-garde (Conversations with Andrei Gligor), Bucureşti, Ed. Univers Enciclopedic, 2004.
• Eugen Simion, Întoarcerea autorului / The Return of the Author, Bucureşti, Ed. Cartea Românească, 1981.
• Eugen Simion, Dimineaţa poeţilor / The Poets’ Morning, Bucureşti, Ed. Cartea Românească, 1980.
• Eugen Simion, Moartea lui Mercutio / Mercutio’s Death, Bucureşti, Ed. Nemira, 1993.
• Eugen Simion, Ficţiunea jurnalului intim / The Fiction of the Diary Bucureşti, Ed. Univers Enciclopedic, 2001.

Fantasmatic literature of Ioan Petru Culianu

The literary text is „fantastic” if it transmits fantasy sequences, but the latter term is not represent illusory images or fantasies, but has a philosophical sense. Text performs a double function: on the one hand it is a translator for all the messages coming from the sensible world in a language comprehensible for the soul, on the other hand, is also a way to reveal the soul celestial image carved into it. Literary text will trigger the activation of irrational forms, mystical knowledge. The mythic images appear in the literature of John Peter Culianu because they are hiding biographical experiences in the text, and issues involved in scientific studies. He is adapted the mythical material in his texts. In conclusion, the writer John Peter Culianu is a specialist in handling the fantasy compared to a magician that draws its reader who is identified with the images conveyed in the text.
Keywords: fantastic literature, science fiction, symbolic, literary text, analyse myth

• Culianu, Ioan Petru, Studii româneşti I. Fantasmele nihilismului. Secretul doctorului Eliade (Romanian Studies I. The nihilism Fantasies. The Secret of Dr. Eliade), Ediţia a II-a, Traduceri de Corina Popescu şi Dan Petrescu, Editura Polirom, Iaşi, 2006.
• Culianu, Ioan Petru, Arta fugii (Art escape), Prefaţă de Dan C. Mihăilescu, Editura Polirom, Iaşi, 2002.
• Culianu, Ioan Petru, Călătorii în lumea de dincolo (Travel the world beyond), Ediţia a III-a, Traducere de Gabriela şi Andrei Oişteanu, Cuvânt înainte de Lawrence E. Sullivan (în româneşte de Sorin Antohi), Editura Polirom, Iaşi, 2007.
• Culianu, Ioan Petru, Pergamentul diafan. Ultimele povestiri (Scroll gossamer. The latest stories), Scrise în colaborare cu H. S. Wisner, Traduceri de Mihaela Gliga, Mihai Moroiu şi Dan Petrescu, Postfaţă de Dan-Silviu Boerescu, Editura Nemira, Bucureşti, 1996.
• Antohi, Sorin, Ioan Petru Culianu. Omul şi opera (John Peter Culianu. Man and opera), Editura Polirom, Iaşi, 2003.
• Gavriluţă, Nicu, Culianu, jocurile minţii şi lumile multidimensionale (Culianu, the mind games and worlds multidimensional), Prefaţă de Moshe Idel, Editura Polirom, Iaşi, 2000.
• Gilbert Durand, Figuri mitice şi chipuri ale operei. De la mitocritică la mitanaliză (Mythical figures and opera faces. From critical myth to analise myth), Editura Nemira, Bucureşti, 1998.
• Gheo, Radu Pavel, Despre science fiction (About science-fiction), Ediţia a II-a, Editura Tritonic, Bucureşti, 2007.
• Toma Pavel, Lumi ficţionale (The fictional worlds), Editura Minerva, Bucureşti, 1992.

Eminescu’s editions. The “restitution” criterion

The study signed by Ovidiu Moceanu calls the attention of the readers and researchers of Eminescu’s work to the issue of the criteria underlying the editing of the work, and particularly to the restitution criterion, which represented the starting point for the edition in 1890, devised by V. G. Morţun. Maiorescu’s edition (1893) applied the aesthetic criterion. T. Maiorescu selected those poems he considered more valuable. V. G. Morţun has the merit to have given to public circulation a series of texts from the beginning of the poet’s career and after 1883, a text from Eminescu’s journalistic work, as well as some pieces of prose fiction. The criterion the editor envisaged proposed a restitution of the texts left aside by Maiorescu’s edition. Progressively, the restitutio criterion was to become, especially after Maiorescu entrusted the chest of Eminescu’s manuscripts to the Romanian Academy (1902), a constant area of study for editors. The most competent solution will be brought by Perpessicius’s edition, a genuine restitutio in integrum of Eminescu’s work.
Keywords: Eminescu, editions, criteria, restitutio, V. G. Morţun, T. Maiorescu, aesthetic

• *** Academia Română. Institutul de Istorie şi Teorie Literară „G. Călinescu”, Corpusul receptării critice a operei lui M. Eminescu / The corpus of the critical reception of M. Eminescu’s work. Secolul XIX, vol. I-II / 19th century, vol. 1-2, critical ed. by I. Oprişan and Teodor Vârgolici, Ed. Saeculum I. O., Buc., 2002.
• *** Biblioteca Judeţeană „Mihai Eminescu” Botoşani, Catalogul Fondului Documentar „Mihai Eminescu” / The catalogue of the „Mihai Eminescu” documentary fund. The Ion Rogojanu donation. N.y.
• Bogdan, N. A., Proză şi versuri de M. Eminescu / Prose and poems by M. Eminescu, in „Familia”, 1890, 15 July, p. 3.
• Cimpoi, Mihai, Mihai Eminescu. Dicţionar enciclopedic / Mihai Eminescu. Encyclopedical dictionary, Editura Gunivas (Moldova), Chişinău, 2013.
• Eminescu, M., Opere / Works, vol. I. Critical ed, by Perpessicius, Ed. pentru Literatură şi Artă „Regele Carol II”, Buc., 1939.
• Eminescu, M., Proză si versuri. Editor V.G. Morţun / Prose and poems. Edited by V.G. Morţun, Editura Eminescu, 1990.
• *** Eminescu – Bibliografie / Eminescu – Bibliography, by Elena Conţescu and Aurelia Ionel, introd. study by Acad. Mihai Cimpoi, Ed. Litera Chişinău, 1999.
• Georgescu, Nicolae, Eminescu şi editorii săi / Eminescu and his editors, Ed. Floare albastră, Buc., 2000.
• Georgescu, N., V. G. Morţun sau un scandal rău acoperit / V.G. Morţun or a clumsily covered-up scandal, in „Cultura”, 2010, no. 282, 15 July
• Ibrăileanu, G., Ediţiile poeziilor lui Eminescu / The edition of Eminescu’s poems, in „Viaţa Românească”, XIX, I, 1927, p. 92 passim.
• Ibrăileanu, G., „Postumele” lui Eminescu / Eminescu’s „posthumous” poems, in Studii literare / Literary studies, vol. I, Minerva, Buc., 1979.
• Martinescu, Pericle, Odiseea editării „Poeziilor” lui Eminescu în prima sută de ani (1884-1984) / The Odyssey of the edition of Eminescu’s „Poems” in the last hundred years (1884-1984), Ed. Ex Ponto, Constanţa, 2000.
• Moceanu, Ovidiu, Problema postumelor eminesciene / The problem of Eminescu’s posthumous texts, in „Transilvania”, 2009, no. 8, pp. 1-5.
• Perpessicius, Introducere / Introduction at M. Eminescu, Opere / Works, vol. I, Ed. Vestala şi Ed. Alutus-D, Bucureşti, 1994.

Eminescu’s ironical way of deconstruction

The urban medium is multicultural and these varied cultures cannot be blended into one unified organism, they only create a simulacrum of certain possibilities. Thus there must be an apparatus of some reparatory nature that can equilibrate the powers of those cultures. Poetry is of such nature and its social function appears constantly in the writings of Eminescu. For him, irony becomes an instrument used to highlight the grotesque picture that emerged from intermixing the cultures.
Keywords: urban medium, multiculturality, grotesque, irony, poetry’s social function

• Mihai Eminescu, 2000, Poezii / Poems, Editura Minerva, Bucureşti.
• Radu Vancu, 2011, Eminescu. Trei eseuri / Eminescu. Three essays, Editura InfoArt Media-Argonaut, Sibiu- Cluj-Napoca.
• Gaston Bachelard, 2005, Poetica spaţiului / The Poetics of Space, Editura Paralela 45, Piteşti.
• Virgil Nemoianu, 2004, Îmblânzirea romantismului / The Taming of the Romanticism, Editura Curtea Veche, Bucureşti.
• Andrei Strihan, 1972, Dicţionar de estetică generală / General Dictionary of Esthetics, Editura Politică, Bucureşti.
• Rudolf Steiner, 1890, http://www.spiritualrs.net/Conferinte/GA271/GA271_03Comicul.html
• Valeriu Gherghel, 2012, blog, http://filosofiatis.blogspot.ro/2012/01/snobul-o-fiziologie.html
• Vladimir Jankelevitch, 1994, Ironia / The Irony, Editura Dacia, Cluj-Napoca.

Ideology and Self-consciousness. Perspectives

The Romanian novel from the period 1960-1980 received a fragmentary analysis, placed under the sign of a permanent revision. Becoming a form of resistance by identifying some irradiation points of a proposed freedom only by writer who dares to notice the vices of the political regime and its influence on the simple individual, the Romanian discourse is developed by the use of narrative strategies able to hide the primary meaning. This study aims is to establish some research methods for identifying possible alternatives for analyzing some novels from the Romanian Literature.
Keywords: novel, model, ideology, society, literature, totalitarism

• Aucouturier, Michel, Realismul socialist / Socialist realism, traducere de Lucia Flonta, Cluj-Napoca, Editura Dacia, 2001.
• Bourdieu, Pierre, Regulile artei / The Rules of Art Genesis and Structure of the Literary Field, Bucureşti, Editura Univers, 1998.
• Compagnon, Antoine Demonul teoriei. Literatură şi bun simţ / The Demon of Theory, traducere de Gabriela Marian şi Andrei-Paul Corescu, Cluj-Napoca, Editura Echinocţiu, 2007.
• Cornea, Paul, Interpretare şi raţionalitate / Interpretation and rationality, Iaşi, Editura Polirom, 2006.
• Cros, Edmond, La Sociocritique / Sociocriticism Paris, l’Harmattan, 2003.
• Duchet, Claude, Sociocritique / Sociocriticism, Paris, Nathan, 1979.
• Goldmann, Lucien, Pour une sociologie du roman / For a sociology of the novel, Paris, Gallimard. 1964
• Greimas A. J., Courtès, J., Sémiotique – Dictionnaire raisonné de la théorie du langage / Semiotics – reasoned dictionary of the language theory, éd. Hachette, 1993.
• Hamon, Philippe, Texte et idéologie (Valeurs, hiérarchies et evaluations dans l’oeuvre littéraire) / Text and ideology: for a poetics of the norm, Paris, PUF, 1984.
• Karina Knorr-Cetina, Epistemic Cultures: How the Sciences Make Knowledge, Cambridge Mass. Harvard University Press, 1999.
• Macherey, Pierre, Pour une théorie de la production littéraire / A Theory of Literary Production, Paris, éd. Maspéro, coll. Théorie, 1966.
• Macherey, Pierre, Philosopher avec la littérature. Exercices de philosophie littéraire / Philosophizing with literature. Exercises of literary philosophy, Paris, Edition Herman, 2013.
• Miłosz, Czesław, Gândirea captivă. Eseu despre logocraţiile populare / Captive Mind, traducere de Constantin Geambaşu, Bucureşti, Editura Humanitas, 1996.
• Micu, Dumitru, Romanul românesc contemporan. Realizări, experienţe, direcţii de dezvoltare / Contemporary Romanian novel. Achievements, experiences, development directions, Bucureşti, Editura de Stat pentru Literatură şi Artă, 1959.
• Kundera, Milan, Arta romanului / The Art of the Novel, traducere de Simona Cioculescu, Bucureşti, Editura Humanitas, 2008.
• Negrici, Eugen Literatura română sub comunism. Proza / Romanian literature under communism. Prose, Editura Fundaţiei Pro, 2002
• Popovic, Pierre Imaginaire social et folie littéraire. Le second Empire de Paulin Gagne / Social imaginary and literary madness. The second Empire of Paulin Gagne, Presses de l’Université de Montréal, Montréal, 2008.
• Riziek, Martin, Comment devient-on Kundera? Images de l’écrivain, écrivain de l’image / How to become a Kundera? Images of the writer, writer of the image, Paris, L’Harmattan, «Espaces littéraires», 2001.
• Todorov, Tzvetan, Confruntarea cu extrema. Victime şi torţionari în secolul XX/ Facing the extreme, Bucureşti, Humanitas, 1996.

“Concierto barroco” by Alejo Carpentier. Music and literature

Even after his well-known theory concerning the marvelous real (included in the preface of the first edition of his novel The Kingdom of This World, published in 1949), the Cuban writer Alejo Carpentier continued to be preoccupied with certain aspects related to different problems of magic realist discourse, relating it to the aesthetic domain of music and painting. The novelist tries to prove that the Latin American identity is perfectly expressed by those works of art and by those artists capable to catch the true nature of “The New World”. Therefore, in his novel Concierto barroco (1974) he imagines a miraculous musical encounter that brings together musicians from different epochs and cultural spaces, in order to utter the ultimate truth about the individuality of a continent rather unknown to “The Old World”, but perfectly able to compete with its old values and artistic achievements.
Keywords: literature, music, marvelous real, magic realist discourse, Latin American novel

• Ádám András Kürthy, „Algunos apuntes sobre El acoso y Concierto barroco de Alejo Carpentier” / „Several Notes Regarding The Harassment and The Baroque Concert by Alejo Carpentier, in Lejana. Revista crítica de narrativa breve, no. 6 /2013.
• Mercedes González Kreysa, „Concierto barroco”, una transmutacion plastico-musical en torno a la identidad latinoamericana / „The Baroque Concert”, a Plastical-Musical Transmutation in the Return to the Latin-American Identity. Tesis de grado Magister Literarum en Literatura Latinoamericana, Universidad de Costa Rica, San José,
  1998.
• Dan Munteanu, Prefaţă / Preface, in Alejo Carpentier, Recursul la metodă. Concert baroc / The Recourse to the Method. The Baroque Concert, Bucureşti, Editura Minerva, 1988.
• Klaus Müller-Bergh, „Sentido y color de Concierto barroco” / „Sense and Colour in The Baroque Concert, in Revista Iberoamericana, Vol. XLI, Num. 92-93 (julio-diciembre de 1975).
• Carlos Paz Barahona, „Juego, simbolo y fiesta en Concierto barroco de Alejo Carpentier. Una mirada desde música” / „Play, Symbol and Feast in The Baroque Concert of AlejoCarpentier. A Look into Music”, in Filologia y Linguistica, XXI 1, 71-78, 2005
• Recopilación de textos sobre Alejo Carpentier / A Compilation of Texts on Alejo Carpentier, Havana, 1977.

• Călinescu, George, Istoria literaturii române de la origini până în prezent, Editura Aristarc, Oneşti, 1998.
• Eliade, Mircea, Fragmentarium, Editura Humanitas, Bucureşti, 1994.
• Eliade, Mircea, Jurnal. 1941-1969, Editura Humanitas, Bucureşti, 2004.
• Eliade, Mircea, Jurnal. 1970-1985, Editura Humanitas, Bucureşti, 2004.
• Eliade, Mircea, Jurnal portughez, Editura Humanitas, Bucureşti, 2010.
• Eliade, Mircea, Memorii. 1907-1960, Editura Humanitas, Bucureşti, 2004.
• Kundera, Milan, Arta romanului, Editura Humanitas, Bucureşti, 2008.
• Manea, Norman, Curierul de Est. Dialog cu Edward Kanterian, Editura Polirom, Iaşi, 2010.
• Manea, Norman; Stein, Hannes, Cuvinte din exil, Editura Polirom, Iaşi, 2011.
• Manolescu, Nicolae, Istoria critică a literaturii române, Editura Paralela 45, Piteşti, 2008.
• Ştefănescu, Alex, Istoria literaturii române contemporane. 1941-2000, Editura Maşina de Scris, Bucureşti, 2005.
• Turcuş, Claudiu, Estetica lui Norman Manea, Cartea Românească, Bucureşti, 2012.
• Ungureanu, Cornel, Istoria secretă a literaturii române, Editura Aula, Braşov, 2007.
• Vancu, Radu, Mircea Eliade. Transparenţa grea a miturilor, în Transilvania, nr. 7/2007, p. 92-96.

Dylan Thomas. The Missing Link between the Oraculars and the Confessionals

The present study is interested in the work of Dylan Thomas, as compared with that of his close friend, John Berryman. Born in the same year (1914), they are now the iconic poets of two successive generations – the modernist one, in what concerns Thomas, and the confessional one, in Berryman’s case. The study shows that, even though Thomas is usually seen as a typical high modernist, with an oracular tone and a proclivity for metaphorical hermeticism, he has nevertheless some marks in his poetry proving an adherence to the confessional poetics – as synthesised by his famous programmatic line „Man be my metaphor”. Probably due to his early death, Tomas has never become a truly confessional poet (and there are serious doubts that he would have ever become one for real); but, as both a pre-confessional poet and a high modernist one, he is the missing link between the two poetical generations.
Keywords: history of modern Anglo-Saxon poetry, high modernism, confessional poetics, Dylan Thomas, John Berryman

• Bewley, Marius, Some Aspects of Modern American Poetry, in Modern Poetry. Essays in Criticism, edited by John Hollander, Oxford University Press, 1968
• Budd, Malcolm, Music and the Emotions. The Philosophical Theories, Routledge, London and New York, 2003
• Dickey, James, From Babel to Byzantium: Poets and Poetry Now, New York: Farrar, Straus, and Giroux, 1968
• Dinger, Ed, Seems Like Old Times, Iowa University Press, 1986
• Donelan, James H, Poetry and the Romantic Musical Aesthetic, Cambridge University Press, 2008
• Fauchereau, Serge, Introducere în poezia americană modernă, Bucureşti, Minerva, 1974
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