| 1. |
- Bagiu, Lucian
(författare)
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Despre Sebastian, Sorescu, Dosoftei, Derrida și limba română
- 2016
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Bok (refereegranskat)abstract
- The book is a collection of the articles the author has published between 2003-2015, in Romanian or English, in various academic journals. Some of them are concerned with the dramaturgy of Mihail Sebastian (Jocul de-a vacanța), of Marin Sorescu (Paracliserul), the translations and versifing of the Psalms by Dosoftei, Derrida's deconstruction philosophy as opposed to Saussure's structuralism, teaching of Romanian language to foreign students in various universities (NTNU, Charles University in Prague, 1 Decembrie 1918 University in Alba Iulia, Lund University), three interviews with the author in Romanian media (2009, 2013, 2016) etc.
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| 2. |
- Bagiu, Lucian, et al.
(författare)
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Dicționarul personajelor din teatrul lui Lucian Blaga
- 2005
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Mira is the perfect purity where the demonic of the master mason has no access. The craftsman’s wife is the embodiment of innocence, the heavenly depiction of mankind as opposed to demonic Manole. “Serenity” and “light” are words that repeatedly occur in her monologue thus suggesting the plenitudine of being she is about to conceive when she would be raising into the light her perfect precious, the church. Găman is the embodiment and the expression of the dark, ancient faith of the earth’s powers. The very appearance of the character in the story of the play seems to be part of a different logic, the fabulosity, the heresy, “fairy-tale like figure”. He utters the words dissonantly and links the sentences into texts that have seemingly no logic for he professes a magic ritual, usually unconsciously, while falling into a trance, ecstatically, mediated by sleeping commonly. Through this ritual he enables the connection with another world, that of the powers of the earth. The builders imagine through their sensitive responses a generic humanity. They are masons by spiritual vocation, actually emissaries of the anonymous crowd. Manole’s journeymen stay for the dramatic swing between the ideal and egotism, which precedes the collective creation of a miracle, if committed in the name of humanity. The third mason, while explaining the work of art, metamorphoses it from an aesthetic to a religious asset. The sixth mason is the most outlined of all builders for he carries out a separate part that is to constantly gainsay Manole, to incite to insubordination and rebellion. The eighth mason is fully aware of the outstanding artistic accomplishment of all builders, their edifice about to become a cultural and even political symbol of the nation. There are several characters with a brief appearance in the history of the drama, thus having an apparent minor significance in designing the play. They seem to be mere “working tools” for the playwright. However when relating them to the major issues of the literary product and if integrating them in a larger vision of the whole creation of the author their significance and role can be outlined in a more adequate manner. The Herald may stand for the impossibility of the common man to understand the drama of the artist, for the incapacity of a mediocre person to assimilate the aspirations of the genius. The Second Carter is a good opportunity to express the middle-ages relations between the Orthodoxy of the Romanians and the Lutheranism of the Saxons in Transylvania, the Protestantism and the whole religious Reform having been rejected naturally by the Romanian people. The Third Carter is the pretext to express in an artistic manner a historical reality, i.e. the major role Târgovişte played as a spiritual focal point for the Romanian middle-ages Orthodoxy, but also as a centre for the religious printings in Romanian or Slavonic languages. Also one can distinguish the suggestion of a light irony on the behalf of the author with regards to the human prosaic hypostasis of the Romanian Orthodox priests when associating their two fundamental habits, anointing the priests and taking care of their own housekeeping. The Voivode is an image of a person with a subtle, diplomatic intelligence that leaves room for a waggish wit. He is fully aware of his condition as patron of church building. He hesitates between two decisions he should make concerning Manole the Craftsman: either to highly praise the artist, the creator or to sentence to death the human murderer. Whichever decision he would make, he knows very well his prerogative as a ruler is absolute and supreme, the middle-ages autocracy allowing him anything. Having a refined spirit, the Voivode understands from the very beginning both the superlative features of the creation and the sacrifice of the creator. His attitude seems to be benevolent, conciliatory, as he is very satisfied with the “gift” of the Masons – in his view the church belongs both to the ruler and to God. It becomes obvious the Voivode urges Manole to enjoy the “fruit of his endeavor andof his hands”. He forgives Manole, having been convinced that at the Last Judgment the church Manole has built would exculpate him of all sins. After Manole commits suicide the Voivode pays him the proper respect. The whole portrait configures the Voivode as an exceptional ambassador of his people, at a far distance from the bloody figure portrayed in some variants of the folk ballad, closer to the real historical character, the benefactor of the Argeş Monastery, Neagoe.
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| 3. |
- Bagiu, Lucian
(författare)
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Lucian Blaga și teatrul : Eseu despre absolutul estetic
- 2014
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Bok (refereegranskat)abstract
- The book analyzes each of the ten plays written by Lucian Blaga, with a focus both on Romanian mythology/history/cultural identity and on the European influences (such as philosophical - Spengler, Nietzsche etc., psychological - Jung, Freud, literary - Wedekind, Strindberg.). All plays are related to Lucian Blaga's larger work - poetry, philosophy, essay, memoirs.
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| 4. |
- Bagiu, Lucian, et al.
(författare)
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Mihail Sebastian. Teatru. Dicţionar de personaje
- 2007
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- The essay aims to identify the genesis of the first dramatic protagonists Mihail Sebastian imagined, both the autobiographical and the literary earlier experiences and expressions of his playwriting philosophy of the evasion, a philosophy that is to be regarded as a prototype for his future drama. For this a rather exhaustive synthesis of the critical references is required as well as a minute hermeneutic approach of the text itself. Mihail Sebastian imagined and created Jocul de-a vacanţa (Holiday Games) (1936) in order to induce the fulfillment of his own dream of happiness, to draw the outline of his own image of the expected beloved woman, never met in real life. His refusal to accept the lamentable end of a ridiculous and strange love affair unleashed the psychological outlet: fulfillment and requital through work of art. His own thoughts, never carried out by the actress Leni Caler through gestures, words and deeds, were about to be “endured” by her idealized – yet unreal – hypostasis, the literary character Corina. In this fabricated world the playwright’s intention is to bring into life the reverse situation of Odette and Swann, in a happiness game that is to evade the distress of the ordinary. To what extent the consummation is possible even in this ingenuous space of abeyance in the non-reality is yet again an argument for the author’s innermost adherence to the utopia: both in the ordinary figurative meaning of the expression, i.e. an ideal world (eu-topos) belonging however to fancy, chimera, and dream and in its literal etymological signification, i.e. ou-topos, no-place, place which does not exist. In Jocul de-a vacanţa (Holiday Games) the role conferred to the feminine character goes beyond the plain symbolical function of the assertion of love, thus giving consistency to man’s dream. In this case the woman institutes both the accomplishment and the deletion of the erotic game, for an elementary reason: suppressing the game for as long as it belonged to the evasion from reality the woman interferes at the proper time, before the reality would ruin the chimera. It is the woman’s ending, not man’s, as she is having the insight to make possible the permanence of love not through the perpetuation of the erotic affair, but through the acknowledgement of an Omni temporal virtuality. Corina abolishes the love in order to secure the idea of love. The soulful upbringing is possible only in the escapist, chimeric, fanciful world of the imaginary idealism. The role the character Bogoiu plays in the history of the drama is in a class of its own. He develops into a main character, compared with Ştefan Valeriu and Corina, the legitimate protagonists. The original intention of the author may have been different, Bogoiu was likely planned as one of the secondary dramatis personage; however the personage asserted itself, un-designed, and thus it became the “keystone” that ensures equilibrium for the whole framework. In a much too daring headstrong psycho-analytical hypothesis one could say the three of them are complementary sides of a whole where the woman stands for the super-ego (consciousness), the man for the ego (sub consciousness) and Bogoiu for the id (unconsciousness). Our brief foray into the analyses of a subordinate character of Mihail Sebastian’s first play aims to exceed the simple emphasize of his rather over-simplified comic role to the proposal of a myth-criticism approach. It suggests that the apparent merry Major could be considered as a literary manifestation of a European everlasting grievous archetype, that of the Fisher King, both in its old Arthurian noble symbolism and its late decaying significance from Eliot’s The Waste Land. Jeff has the role of the immature confused boy who is in love with a young woman. He experiences an attraction which is never-ending, paralyzing, swallowing-up and impossible either to repress or to express. He is an unfit and helpless mute witness of the love story that is unfolding between the two grownups and protagonists, Corina and Ştefan Valeriu. He may also be regarded as a variable face of the mature hero, not in opposition, but in an intricate comrade relation. His “coming into being” experience may or may not develop into the failure outcome of the grownup. Madame Vintilă, an honest human being in her own way, yet mediocre and ordinary, rather frivolous, is a deconstruction of the feminine ideal. A mature woman, loquacious and voluptuous, who is presumably living back home a drab, petty life is looking for a way to unleash her sexual bedevils and accomplish her turbid dreams during a month of holiday. Agneş is outlined by means of her continuous absence from the stage, thus the young Hungarian servant becomes “a false diminutive Godot” of the play. Mister and Misses is an intruding risible couple that stands for the “real world” outside, thus invading like a morbid plague the chimeric realm of the holiday play. Their appearance stands for the ultimate confrontation between the two incompatible worlds, i.e. the sterility of the bourgeois quotidian and the escape into the phantasm. From this point onward the doom of the holiday ship is decided: the distress in the melancholy harbor where it left from.
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| 5. |
- Bagiu, Lucian, et al.
(författare)
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Presa românească şi ideea naţională : antologie de articole politice şi poezii patriotice, cronologie şi dosar critic
- 2006
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Abstract in Romanian Lucrarea a fost gândită să pună în valoare următoarele aspecte: Momente şi aspecte din lupta ideologică şi politică a românilor, reflectate în presă; Idealul naţional şi poezia transilvăneană; Momente ale luptelor naţionale ale românilor oglindite de revista „Familia” în perioada mişcării memorandiste; Cronologie privind acţiunile culturale şi politice din ţinutul Albei Iulia, excerptate din presa timpului; Dosar critic privind presa transilvăneană. Toate acestea sunt însoţite de un amplu studiu introductiv privind momentele mai importante care definesc configurarea şi îmbogăţirea conceptuală şi faptică a idealului naţional până în 1918.
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| 6. |
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| 7. |
- Cutas, Daniela, 1978
(författare)
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GenEtica Reproducerii : The GenEthics of Reproduction
- 2007
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- The book comprises three parts: (1) a general presentation and analysis of the main relevant concepts: bioethics, human genetic engineering, eugenics, disability and, particularly, of the relations between these; (2) the analysis of two documents of the Council of Europe (the so called “Bioethics Convention” and its first protocol), and the reconstruction of the debates surrounding their primary concerns: human dignity and rights in relation to the prospect of human genetic engineering; and (3) the analysis of a Romanian draft law on human assisted reproduction and of the Romanian legislative endeavours and debates regarding human genetic engineering.
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| 8. |
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| 9. |
- Nicolau, Felix
(författare)
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Codul lui Eminescu : Titan, demon si geniu in opera poetica a lui M. Eminescu
- 2010
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Bok (refereegranskat)abstract
- Titan, Demon and Genius in the Poetical Work of Mihai Eminescu is a book that furthers on the interpretation of the most representative Eminescu’s poems and also of his lyrical theatre. Besides, a special chapter is dedicated to the cultural context of the second half of the 19th century and another one records the literary works inspired by Eminescu’s works and personality throughout the 20th century.The research is realized with comparative methods, strategy that involved tackling and solving numerous translation problems when parallels were drawn to American and English romanticist works.Structurally, the book is founded on a three-level approach. The main intention was to highlight the evolution of triad: the demon’s fury and revolt, mostly set among narcissistic coordinates, are re-valued with the titanic character in the fight for public welfare and for spiritual evolution of the human species. Contrary to those opinions that apprehended genius as a defeated, exhausted titan, I tried to demonstrate that this stage represents the climax in the intellectual ascension of Eminescu’s triadic character. The genius’s involvement is obvious in The Dramatic Dodecameron, where Eminescu shapes the matrix of a national mythology founded on Dacian and Muşatinic bases. The literary analyses are constantly supported by concepts and philosophical theories that intersected the writer’s encyclopaedic preoccupations. Of crucial importance was the relief given to Eminescu’s gnoseological connections with alchemy, theology, and with the diverse gnoses. All these influences and personal developments offer universal radiation to a creativity that moved from the exotic romanticism to the hyper-stylized baroque, and up to the ascetic and perfectly balanced classicism.
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| 10. |
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