| 1. |
- 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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| 2. |
- 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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| 3. |
- 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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| 4. |
- Bagiu, Lucian, et al.
(författare)
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"Fartate" and "Nefartate" in Lucian Blaga's Arca lui Noe
- 2016
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Ingår i: Journal of Romanian Literary Studies. - 2248-3004. ; :8, s. 177-187
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Tidskriftsartikel (refereegranskat)abstract
- "Arca lui Noe" ("Noah’s Ark", 1944) is based on a folk tale influenced by Bogomilism. Brother and Unbrother stand for the antinomic duality of the absolute principle. Fellow and Unfellow are indestructibly united. Unbrother cannot be mastered and Brother would be an ontic sterility if his fellow absent. However the Bogomilic vision becomes complicated in Blaga's meaning. The greybeard Brother, the Patriarch is "the forefather of all ancestors" who comes "from here and from further away", that is the archetype monad. Yet, if Unbrother is the shadow of Brother, one has to conclude that he dates from the same beginnings, also "the forefather of all ancestors". Therefore, who and where might be their father? If not "in existence" anymore, then the mankind might have been left at the mercy of an amicable but eternal facing of the two brothers. The prototype of humanity looks like a waste, a spiritual mutant so the will of the Patriarch arises with a drastic determination. If the mankind created in the likeness of Brother bears more resemblance to Unbrother, then the Patriarch himself is about to find his own needlessness. Thus a new series of ontology is to be created in order to provide another chance to the ontic itself. Through a coincidentia oppositorum we can assert that in "Manole, the Craftsman" life is a receptacle for creation whereas in "Noah’s Ark" the creation is the sole receptacle for life. One could argue a Sophianic expectation (adapted by the philosopher Lucian Blaga from Spengler and Frobenius, the transcendent descending, revealing itself in a embodiment of the universe): the Ark itself rises as the supreme receptacle of Life, assigned by the absolute.
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| 5. |
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| 6. |
- Bagiu, Lucian, et al.
(författare)
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Lucian Blaga and "Zamolxis" : The Revolt of Our Non-Latin Nature
- 2010
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Ingår i: Proceedings of the International Conference Language, Literature and Foreign Language Teaching : Interdisciplinarity and Transdisciplinarity in Language, Literature, and Foreign Language Teaching Methodology. - 9789731890746 ; , s. 311-322
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Bokkapitel (refereegranskat)abstract
- "Zalmoxis" is a dramatic poem in which each character autonomously structures his own discursive lyric, expressing thus a variety of concepts over the spiritual foundation of the Dacians. The charm of each nuance in part relates in the last instance, the mode in which the author understands the proper structure of the actual dramatic perspective above the revolt of our non-Latin foundation. The new god is a vain and vengeful one. His emergence from the data of the natural condition of humanity tries the character who is both chthonic and Dyonisiac of the new religion. The solution to transform the prophet Zalmoxis into one of the gods of the traditional polytheistic religion appears rightfully inherent, the only compromise possible for a community unprepared and incapable of being initiated into monotheism. The Dacians would close their eyes to the teachings of the Blind One while in a spiritual night they are complacent, so evident because they cannot perceive the truth; they cannot live the religious revelation the way it is very possible to do. The Dacians were not Greek, but to catalogue their faith whether by the embodiment of the Dyonisiac, or the regimentation of the Apollonian means to denature the true spiritual dimensions that were impossible for them to define in the first place. The Dacians configured by Lucian Blaga in “Zalmoxis” have a heterogenous character in comparison with the concept of humanity. They are an imperfect construct, their community is undefined, and it is but an embryo of society. The interpretation in conformity with Dacians, who would have been more than men, is illusory; Dacians appear as something less than men. Their incapacity to frame within a specific divine project need not be viewed as a spiritual failure. Moreover, the Dacians were not yet ontologically completed and thus were unprepared for the revelation of the new faith of the Blind One. The original mystery of existence cannot be, therefore, overcome: you, as a man, endowed or not, to intuit, however incomplete, imperfect and partial, you are finally forced to let him subjugate you. To recognize oneself bound in the face of the mystery means, at most, to know it luciferically, meaning the guarantee of survival of the secret beyond yourself. It is tragedy from hereon in, but all the greatness of the human condition as well, because the ontological destiny of man is to live in the “horizon of mysteries” and to be endowed with “revelation” that is realized through the act of creation, from the prophet. The destiny of the prophet Zalmoxis would have been to sacrifice himself for his entire people, as a kind of scapegoat over whom he concentrates the sins of the community, sacrificed by people in order to be forgiven and saved by gods. Once they have accomplished the killing of the prophet Zalmoxis, killing even his statue, the Dacians earn the revelation of the myth of the Blind One. Post facto they seem to believe that The Blind One is, from this day forward, among them, theirs, themselves. In Lucian Blaga’s debut play he does not reconfigure the cult of Zalmoxis in his historical markings, but rather creates a space in which the creative imagination of the poet begets his own myth. Between the chthonic and the uranic, in Blaga’s play, it is possible that Zalmoxis could have lost contact with his kind. Starting from an existential dimension so specific and familiar of his people, namely the chthonic, Zalmoxis will have estranged himself to Dacians through his overstay in a cave, where in his attempt to embrace a new dimension—the uranic—seemed too much to those below, who, prisoners of their own spiritual limitations, ontological or drastically sanctioned and from within a primary instinct of self-protection. However, the myth is born spontaneously after the disappearance of the prophet, the intuition and consciousness of the Dacians suggesting a revelation. Sacrificing his messenger, the Blind One guaranteed his being in the horizon of immortality.
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| 7. |
- 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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| 8. |
- Bagiu, Lucian, et al.
(författare)
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The Image of the Romanians in the Travelling Impressions of 17th Century Scandinavians
- 2013
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Ingår i: Metafore ale devenirii din perspectiva migraţiei contemporane. Naţional şi internaţional în limba şi cultura română. - 9786065401297 ; Academia Română – Institutul de Filologie Română „A. Philippide”, s. 387-403
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Bokkapitel (refereegranskat)abstract
- The work is a translation in English after the Romanian versions from the volume Călători străini despre Țările Române, vol. 5,volum îngrijit de Maria Holban, București, Editura Științifică, 1973, p. 60−68, p. 439−454. 1.The Account of the Travel in Wallachia. By Paul Strassburg, Secret Counsellor of the King of Sweden And Messenger to the Sultan Murad the 4th 2.The Account of the Swedish Diplomatic Agent Iohann Mayer Concerning His Journey through Moldavia, May, 12th – 31st, 1651
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