Pub Date : 2023-01-01DOI: 10.51391/trva.2023.02.02
Alexandra Oprescu
The manuscript I talk about in this paper – Mihail Sebastianʼs diary from 1930 to 1931 – has been “hidden” in sight for nearly 40 years, in a public library from the cultural center of the country. I insist upon the unpublished content of this notebook, which I show and contextualize. I also discuss the importance of the manuscript, giving some significant details about the appearance of the notebook that housed the novel diary of the The Town with Acacia Trees, a diary kept by Sebastian during his time in Paris (1930-1931). The discovery of this unpublished notebook is per se a turning point for Sebastian’s exegetes.
{"title":"Un manuscris ascuns în văzul lumii: jurnalul lui Mihail Sebastian din anii 1930-1931","authors":"Alexandra Oprescu","doi":"10.51391/trva.2023.02.02","DOIUrl":"https://doi.org/10.51391/trva.2023.02.02","url":null,"abstract":"The manuscript I talk about in this paper – Mihail Sebastianʼs diary from 1930 to 1931 – has been “hidden” in sight for nearly 40 years, in a public library from the cultural center of the country. I insist upon the unpublished content of this notebook, which I show and contextualize. I also discuss the importance of the manuscript, giving some significant details about the appearance of the notebook that housed the novel diary of the The Town with Acacia Trees, a diary kept by Sebastian during his time in Paris (1930-1931). The discovery of this unpublished notebook is per se a turning point for Sebastian’s exegetes.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70876606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.01.08
Mihaela Grancea
While the ’50s represented a new decade of expressiveness in western cinema, along with new ideological approaches, the feature film in the European communist space was determined by the nature of the political totalitarian regimes and the specific phenomena of the “cultural revolution.” In totalitarianism, the relation between civitas/community and the feature film followed the ancient model of the rapport of the Greek city to the civic and ethical finality of the theatre. Under these circumstances, the film becomes the most vulnerable of arts. Cinema was confiscated and transformed into engaged art, with an essential role in building the paradigm of the “new man.” Although the ’50s meant the development of the technical-material modern background, the increase of film production and consumption of feature film, in Romanian cinema, the artistic references were few. The concern for film production of the prewar and interwar periods were drastically limited by the political class and the cultural ignorance of the politruks. The films Nufărul Roșu [The Red Water Lily] (1955), Mingea [The Ball] (1958), and A fost prietenul meu [He Was My Friend] (1963) followed the directions of the Stalinist ideology that lasted longer than in the USSR. Only Elisabeta Bostan overcame the limits imposed by the communist regime and the censorship of the era. Thus, her films still retain the unaltered charm of childhood.
{"title":"Filmul despre și pentru copii în cinemaul stalinist din România","authors":"Mihaela Grancea","doi":"10.51391/trva.2023.01.08","DOIUrl":"https://doi.org/10.51391/trva.2023.01.08","url":null,"abstract":"While the ’50s represented a new decade of expressiveness in western cinema, along with new ideological approaches, the feature film in the European communist space was determined by the nature of the political totalitarian regimes and the specific phenomena of the “cultural revolution.” In totalitarianism, the relation between civitas/community and the feature film followed the ancient model of the rapport of the Greek city to the civic and ethical finality of the theatre. Under these circumstances, the film becomes the most vulnerable of arts. Cinema was confiscated and transformed into engaged art, with an essential role in building the paradigm of the “new man.” Although the ’50s meant the development of the technical-material modern background, the increase of film production and consumption of feature film, in Romanian cinema, the artistic references were few. The concern for film production of the prewar and interwar periods were drastically limited by the political class and the cultural ignorance of the politruks. The films Nufărul Roșu [The Red Water Lily] (1955), Mingea [The Ball] (1958), and A fost prietenul meu [He Was My Friend] (1963) followed the directions of the Stalinist ideology that lasted longer than in the USSR. Only Elisabeta Bostan overcame the limits imposed by the communist regime and the censorship of the era. Thus, her films still retain the unaltered charm of childhood.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70876842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.05-06.08
Bogdan Contea
This paper makes a case for analyzing the way in which the novel of Communism is approached by Mihai Iovănel in his History of Contemporary Romanian Literature: 1990-2020. This is a topic that was intensely discussed by Romanian literary criticism in Post-communism and represents the weakness of Romanian literature, either by it not being able to give a sufficiently convincing novel, or by not being able to agree upon how this novel should look. Accordingly, the critics had difficulties in labeling any novel that had been published after ‘89s as “the novel of communism.” The first part of the article is a panning of recent discussions about this term in relation to the analysis made by Iovănel in his History. The second part aims to trace out a network of this type of novel in the literatures of Central and Eastern Europe and to try to identify its particularities through a comparative analysis. The last part consists of a study case of the novels Acasă, pe câmpia Armaghedonului [At home, on the Field of Armageddon] by Marta Petreu and Bureți de Fag [Oyster Mushrooms] by Mihai Duțescu. The latter has been published after the History and both novels are analyzed from the perspective of the novel of communism.
本文分析了米哈伊·约夫洛涅尔在其《当代罗马尼亚文学史:1990-2020》中描写共产主义小说的方式。后共产主义时期，罗马尼亚文学评论界对这个话题进行了激烈的讨论，这代表了罗马尼亚文学的弱点，要么是无法写出一部足够令人信服的小说，要么是无法就这部小说的外观达成一致。因此，评论家们很难给89年后出版的小说贴上“共产主义小说”的标签。文章的第一部分是对最近关于这一术语的讨论的规划，并与约瑟夫内尔在他的《历史》中所做的分析相联系。第二部分旨在勾勒出这类小说在中欧和东欧文学中的网络，并试图通过比较分析来识别其特殊性。最后以玛尔塔·佩特鲁的小说《在家里，在世界末日的田野上》和米海Duțescu的小说《牡蛎》Bureți de Fag为研究案例。后者是在《历史》之后出版的，本文从共产主义小说的角度对两部小说进行了分析。
{"title":"Romanul comunismului românesc înainte și după Istoria lui Mihai Iovănel","authors":"Bogdan Contea","doi":"10.51391/trva.2023.05-06.08","DOIUrl":"https://doi.org/10.51391/trva.2023.05-06.08","url":null,"abstract":"This paper makes a case for analyzing the way in which the novel of Communism is approached by Mihai Iovănel in his History of Contemporary Romanian Literature: 1990-2020. This is a topic that was intensely discussed by Romanian literary criticism in Post-communism and represents the weakness of Romanian literature, either by it not being able to give a sufficiently convincing novel, or by not being able to agree upon how this novel should look. Accordingly, the critics had difficulties in labeling any novel that had been published after ‘89s as “the novel of communism.” The first part of the article is a panning of recent discussions about this term in relation to the analysis made by Iovănel in his History. The second part aims to trace out a network of this type of novel in the literatures of Central and Eastern Europe and to try to identify its particularities through a comparative analysis. The last part consists of a study case of the novels Acasă, pe câmpia Armaghedonului [At home, on the Field of Armageddon] by Marta Petreu and Bureți de Fag [Oyster Mushrooms] by Mihai Duțescu. The latter has been published after the History and both novels are analyzed from the perspective of the novel of communism.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70877700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.05-06.15
Ioana Toloargă
The present paper proposes the analysis of the dramatic work of Matei Vișniec – a Romanian poet and prose writer, built and validated by the French center as an internationally exportable playwriter, by following the aesthetic-political relationship. I question, above all, the reasons why the parabolic formula is the favorite in the author’s dramaturgy – its causes and effects, in relation to the ideological level and the thematization of the trauma of the communist (/totalitarian) regime. The thesis of my article is that, behind the parable (which implies a form of mediation) and the discursive metaphorism, respectively an apparent aesthetic gratuity, there is a political thesis that can be reinterpreted, reframed by both target audiences: Eastern and Western. Thus, the playwright built at the center and imported by the Romanian periphery accumulates symbolic capital from both territories, defined as a successful as a transnational author.
{"title":"Matei Vișniec. Spațiul românesc al dramaturgiei postdecembriste – teatrul postdramatic","authors":"Ioana Toloargă","doi":"10.51391/trva.2023.05-06.15","DOIUrl":"https://doi.org/10.51391/trva.2023.05-06.15","url":null,"abstract":"The present paper proposes the analysis of the dramatic work of Matei Vișniec – a Romanian poet and prose writer, built and validated by the French center as an internationally exportable playwriter, by following the aesthetic-political relationship. I question, above all, the reasons why the parabolic formula is the favorite in the author’s dramaturgy – its causes and effects, in relation to the ideological level and the thematization of the trauma of the communist (/totalitarian) regime. The thesis of my article is that, behind the parable (which implies a form of mediation) and the discursive metaphorism, respectively an apparent aesthetic gratuity, there is a political thesis that can be reinterpreted, reframed by both target audiences: Eastern and Western. Thus, the playwright built at the center and imported by the Romanian periphery accumulates symbolic capital from both territories, defined as a successful as a transnational author.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70877924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.05-06.17
Mihaela Despan
The paper proposes an analysis of literature’s role in the current Romanian cinematographic context, starting from two case studies: After the Hills (2012) by Cristian Mungiu, based on the novel Spovedanie la Tanacu by Tatiana Niculescu Bran and Moromeții 2 (2018) by Stere Gulea, based on the novels Moromeții vol. II and Viața ca o pradă… by Marin Preda. The approach aims to carry out a comparative analysis regarding both the role played by the literary work in the cinematographic production as well as the valorization of the literary work through the film. In the current socio-cultural context, the artistic impact of a film creates the cultural premises for the propagation of a literary work to several types of audiences. Artistic products derived from literary works develop a series of issues regarding adaptation methods, aesthetic interpretation, and even artistic interference regarding the assimilation of a literary piece in relation to the cinematographic production. The paper presents two case studies to analyze how the literary work appears either as an adjunct to the cinematographic production or as a central element of the filmographic artistic exposition. These case studies are used to determine the role that the film industry has in the processes of internationalization, propagation, and even popularization of a literary work in a Romanian consumer society, which is dangerously far removed from the book industry. Thus, the scientific approach proposes an exploration of literary valorization through cinematographic artistic products in order to popularize and mediate literature in today’s society.
本文从两个案例研究开始，分析了文学在当前罗马尼亚电影环境中的作用:克里斯蒂安·蒙吉(2012年)根据塔蒂亚娜·尼古列斯库·布兰的小说《斯波韦达尼·拉·塔纳库》改编的《After The Hills》和史蒂夫·古莱亚(2018年)根据马林·普雷达的小说《Moromeții vol. II》和《Viața ca o pradu…》改编的《Moromeții 2》。该方法旨在对文学作品在电影制作中所扮演的角色以及文学作品通过电影的价值增值进行比较分析。在当前的社会文化背景下，电影的艺术影响为文学作品向几种类型的观众传播创造了文化前提。从文学作品衍生出来的艺术产品，在改编方法、审美解读、甚至文学作品同化与电影制作的艺术干涉等方面，都产生了一系列问题。本文通过两个案例来分析文学作品是如何作为电影制作的附属品出现的，还是作为电影艺术展示的中心元素出现的。这些案例研究用于确定电影工业在罗马尼亚消费社会中文学作品的国际化、传播甚至普及过程中所起的作用，罗马尼亚消费社会与图书工业相去甚远。因此，科学的方法提出了通过电影艺术产品探索文学价值增值，以普及和调解文学在当今社会。
{"title":"Literatura în cinematografia românească: ecranizări ale operei literare sau surse de inspirație regizorală?","authors":"Mihaela Despan","doi":"10.51391/trva.2023.05-06.17","DOIUrl":"https://doi.org/10.51391/trva.2023.05-06.17","url":null,"abstract":"The paper proposes an analysis of literature’s role in the current Romanian cinematographic context, starting from two case studies: After the Hills (2012) by Cristian Mungiu, based on the novel Spovedanie la Tanacu by Tatiana Niculescu Bran and Moromeții 2 (2018) by Stere Gulea, based on the novels Moromeții vol. II and Viața ca o pradă… by Marin Preda. The approach aims to carry out a comparative analysis regarding both the role played by the literary work in the cinematographic production as well as the valorization of the literary work through the film. In the current socio-cultural context, the artistic impact of a film creates the cultural premises for the propagation of a literary work to several types of audiences. Artistic products derived from literary works develop a series of issues regarding adaptation methods, aesthetic interpretation, and even artistic interference regarding the assimilation of a literary piece in relation to the cinematographic production. The paper presents two case studies to analyze how the literary work appears either as an adjunct to the cinematographic production or as a central element of the filmographic artistic exposition. These case studies are used to determine the role that the film industry has in the processes of internationalization, propagation, and even popularization of a literary work in a Romanian consumer society, which is dangerously far removed from the book industry. Thus, the scientific approach proposes an exploration of literary valorization through cinematographic artistic products in order to popularize and mediate literature in today’s society.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70877937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.04.08
Ștefan Bârzu
There is a long and rich dialogue between the ancient therapeutic practices of the Stoics and contemporary psychotherapeutic fields such as CBT (Cognitive Behavioral Therapy) and DBT (Dialectical Behavior Therapy). Nevertheless, little attention is being given to the pragmatic premises that link the curative operations and the operated world-view of these schools of thought. In this sense, my paper represents and attempt at shedding light on the methodology that grounds this very dialogue in the first place – that being an purely instrumentalist methodology.
{"title":"Turnura Practică a Filosofiei ca Medicină a Sufletului. Maladiile între Filosofia Stoică și Psihiatria Contemporană","authors":"Ștefan Bârzu","doi":"10.51391/trva.2023.04.08","DOIUrl":"https://doi.org/10.51391/trva.2023.04.08","url":null,"abstract":"There is a long and rich dialogue between the ancient therapeutic practices of the Stoics and contemporary psychotherapeutic fields such as CBT (Cognitive Behavioral Therapy) and DBT (Dialectical Behavior Therapy). Nevertheless, little attention is being given to the pragmatic premises that link the curative operations and the operated world-view of these schools of thought. In this sense, my paper represents and attempt at shedding light on the methodology that grounds this very dialogue in the first place – that being an purely instrumentalist methodology.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70877952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.05-06.14
Șerban Mark Pop
Starting from Asbjørn Grønstad’s concepts of biovisuality and the responsibility of forms, the paper analyzes the issues that arise when adapting self-fiction into film. It maps out how the concepts can be applied especially well to self-fiction and New Romanian Cinema, then applies them in a comparative analysis of Cezar Paul-Bădescu’s book, Luminița, mon amour, and Călin Peter Netzer’s movie adaptation, Ana, mon amour. The paper argues that whereas the book’s ambiguity succeeds in transmitting its central themes, the movie fails to faithfully adapt the central ideas due to an inadequate choice in form. Finally, the paper argues that the formal issues cause ethical faults which hinder the transnational effort and negatively influence the worlding process.
本文从Asbjørn Grønstad的生物视觉性和形式责任的概念出发，分析了自述小说改编成电影时出现的问题。它描绘了如何将这些概念很好地应用于自编小说和新罗马尼亚电影，然后将它们应用于对Cezar paul - bourdescu的书Luminița, mon amour和catilin Peter Netzer的电影改编，Ana, mon amour的比较分析。本文认为，小说的模糊性成功地传达了其中心思想，而电影由于形式选择的不足而未能忠实地适应中心思想。最后，本文认为形式问题会导致伦理错误，从而阻碍跨国努力并对世界进程产生负面影响。
{"title":"Etica imaginației în literatură și film: Importanța eticii în internaționalizare și intermedialitate","authors":"Șerban Mark Pop","doi":"10.51391/trva.2023.05-06.14","DOIUrl":"https://doi.org/10.51391/trva.2023.05-06.14","url":null,"abstract":"Starting from Asbjørn Grønstad’s concepts of biovisuality and the responsibility of forms, the paper analyzes the issues that arise when adapting self-fiction into film. It maps out how the concepts can be applied especially well to self-fiction and New Romanian Cinema, then applies them in a comparative analysis of Cezar Paul-Bădescu’s book, Luminița, mon amour, and Călin Peter Netzer’s movie adaptation, Ana, mon amour. The paper argues that whereas the book’s ambiguity succeeds in transmitting its central themes, the movie fails to faithfully adapt the central ideas due to an inadequate choice in form. Finally, the paper argues that the formal issues cause ethical faults which hinder the transnational effort and negatively influence the worlding process.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"44 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70878026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.04.06
Gabriela Vieru, Bogdan Vișan
In this paper we explore the exploitation and the discrimination of the feminine other portrayed in contemporary literature as figure of subalternity in the current neocolonial context. Taking into consideration the logic of modernity and that of coloniality as intrisincally interlinked, and the problematics of speaking and acting as a racialized and, at the same time, sexualized woman in the sex industry, we intend to analyse Michel Houellebecq’s Platform from the vantage point of Subaltern Studies in order to showcase how the feminine condition becomes a problem of consciousness and visibility, and how the exploitation of the feminine other is being deepened in a neocolonialist narrative.
{"title":"Dublă subordonare. Subalternitate în Platforma lui Michel Houellebecq","authors":"Gabriela Vieru, Bogdan Vișan","doi":"10.51391/trva.2023.04.06","DOIUrl":"https://doi.org/10.51391/trva.2023.04.06","url":null,"abstract":"In this paper we explore the exploitation and the discrimination of the feminine other portrayed in contemporary literature as figure of subalternity in the current neocolonial context. Taking into consideration the logic of modernity and that of coloniality as intrisincally interlinked, and the problematics of speaking and acting as a racialized and, at the same time, sexualized woman in the sex industry, we intend to analyse Michel Houellebecq’s Platform from the vantage point of Subaltern Studies in order to showcase how the feminine condition becomes a problem of consciousness and visibility, and how the exploitation of the feminine other is being deepened in a neocolonialist narrative.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70877251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.02.03
Teodora Dumitru
In this essay I bring to attention the event of the recent discovery of an unpublished diary of the Romanian-Jewish literary critic, writer, and diarist Mihail Sebastian (1907-1945). This diary—written between 1930 and 1931—contains fragments that were published in the press of the author’s time (in 1932), but also some passages that remain unpublished until today. All the passages related to the author’s Jewish origins and his anguish of living in a “closed and defined circle,” a metaphor for the real or symbolic ghetto, are unpublished. Also, these unpublished passages expose his strategy for creating and publishing prose fiction: since they are the work of a Jewish author, the characters would be impossible to conceive of as anything other than “Jews,” but, upon publication, the author would delegate them a non-Jewish identity. This strategy would allow Sebastian’s “Jewish-Romanian” “truths” to be communicated publicly, but without explicitly assuming them as such. The information provided by the unpublished fragments of this diary—nowhere expressed so firmly and transparently in author’s writing—reconfigure how Sebastian’s entire oeuvre is to be interpreted, from the first prose fiction intended for publication to his (private) diary, partially published after 1989. I will show in this essay, following unpublished passages from this journal between 1930 and 1931, that all of Sebastian’s writings—both those that apparently ignore the theme of Jewishness and those that approach it head-on—are permeated by the same anguish: the anguish of living and writing in a “closed circle,” a feeling heightened by the increasingly anti-Semitic atmosphere in 1930s Romania. I also prove that Sebastianʼs strategies of obscuring his Jewish identity and indirectly communicating his “truths” as a Romanian Jew are coherent and well connected with his strategies of direct communication of the same “truths.”
{"title":"Ineditul jurnal din 1930-1931 al lui Mihail Sebastian – un preview al întregii sale opere","authors":"Teodora Dumitru","doi":"10.51391/trva.2023.02.03","DOIUrl":"https://doi.org/10.51391/trva.2023.02.03","url":null,"abstract":"In this essay I bring to attention the event of the recent discovery of an unpublished diary of the Romanian-Jewish literary critic, writer, and diarist Mihail Sebastian (1907-1945). This diary—written between 1930 and 1931—contains fragments that were published in the press of the author’s time (in 1932), but also some passages that remain unpublished until today. All the passages related to the author’s Jewish origins and his anguish of living in a “closed and defined circle,” a metaphor for the real or symbolic ghetto, are unpublished. Also, these unpublished passages expose his strategy for creating and publishing prose fiction: since they are the work of a Jewish author, the characters would be impossible to conceive of as anything other than “Jews,” but, upon publication, the author would delegate them a non-Jewish identity. This strategy would allow Sebastian’s “Jewish-Romanian” “truths” to be communicated publicly, but without explicitly assuming them as such. The information provided by the unpublished fragments of this diary—nowhere expressed so firmly and transparently in author’s writing—reconfigure how Sebastian’s entire oeuvre is to be interpreted, from the first prose fiction intended for publication to his (private) diary, partially published after 1989. I will show in this essay, following unpublished passages from this journal between 1930 and 1931, that all of Sebastian’s writings—both those that apparently ignore the theme of Jewishness and those that approach it head-on—are permeated by the same anguish: the anguish of living and writing in a “closed circle,” a feeling heightened by the increasingly anti-Semitic atmosphere in 1930s Romania. I also prove that Sebastianʼs strategies of obscuring his Jewish identity and indirectly communicating his “truths” as a Romanian Jew are coherent and well connected with his strategies of direct communication of the same “truths.”","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70876698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.51391/trva.2023.01.06
Bogdan Popa
Scholars of Romanian cinema (Parvulescu & Turcuș 2021) explored the topic of nostalgia in post-socialism, but they stopped short of analyzing why directors such as Radu Jude refuse to draw on a melancholic view of the past. Similarly, film critics (Gorzo & Lazăr 2022a; Ferencz-Flatz 2017) analyzed the importance of the Jude’s attunement to contemporary cultural forms, but they did not engage with his reluctance to discuss positive aspects of Romanian state socialism. By putting two apparent opposite readings of Radu Jude’s films in conversation, this article investigates Jude’s philosophical technique which I conceptualize as “the construction of a dialectical image”. I draw on films such as I do not care if we go down in history as barbarians (2018), Bad Luck Banging or Loony Porn (2021) and the short film The Potemkinists (2021) to distinguish between a dialectical and a nostalgic use of the socialist past. I concentrate on three main topics: Jude’s interest in capturing the materiality of the present, which he borrows from Siegfried Kracauer’s cinematic materialism; the differences between Walter Benjamin’s dialectics and Jude’s cinema; and the use of comedy in The Potemkinists. My article adds to previous work on Jude’s cinema (Parvulescu & Turcuș 2021; Gorzo & Lazăr 2022; Ferencz-Flatz 2018) a discussion about the uses of nostalgia in Romanian film, a subject that has not been discussed in relation to experimental and avantgarde productions.
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