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Asemenea lui Anouilh care și-a dat seama că nu are biografie, dar, citesc, se bucură teribil pentru asta, la fel nici eu nu am biografie, numai că pe mine acest lucru nici nu mă bucură, nici nu mă împinge la disperare.
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Discussion held in Timișoara on June 13-14, 2000 with the members of the cultural studies group "A Treia Europa".
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Din umbra timpului vin spre noi, prin operele lor nemuritoare, scriitorii unui sfârșit de secol caracterizatprintr-o mișcare literară care a contribuit la nașterea prozei moderne în literatura maghiară. Câțiva dintre acești creatori, printre care și scriitorul Gozsdu Elek (1849-1919), au fost dați uitării. „Cavalerul ceții”, cum a fost denumit de critica literară, a fost considerat mult timp un scriitor care și-a întrerupt cariera în plină vigoare. Motivele misterioase ale „înfrângerii” sale s-au datorat în primul rândfaptului că acest „Turgheniev maghiar”, la vârsta de 60 de ani, după ce a publicat două romane și mai multe volume de proză, s-a retras din viața literară. A rămas doar întrebarea : ce a făcut între anii 1905 și 1919 (la Timișoara, ca procuror-șef regal, deci o persoană importantă a urbei) ? In anul 1965 am descoperit un manuscris voluminos (9 volume) : scrisorile lui Gozsdu adresate doamnei Anna Weisz (Goldschmidt). Descoperirea a fost răsunătoare. Gozsdu și-a scris asfel ultima operă - un roman epistolar -, în care vom găsi toate valențele unei mișcări literare care dorea să plaseze literatura maghiară pe coordonatele literaturii europene. Studierea în profunzime a stărilor afective, observarea frumuseții ascunse a lucrurilor, încărcăturafilozofică a textului suntformele prin care se exprimă modernitatea în opera scriitorului maghiar. Rezultatul este un limbaj elevat, cu inserții originale din texte preluate din literaturile franceză, engleză, germană etc. în 1969 am publicat o selecție - o treime - din acest manuscris la Editura pentru Literatură din București, sub titlul Scrisorile Anei. După trei decenii, în vara acestui an, am reușit, cu sprijinul istoricului literar și eseistului Alexa Kâroly din Budapesta, să public integral, la Editura Kortărs, manuscrisul descoperit în urmă cu trei decenii. Kertünk Istennel hatâros (Grădina noastră binecuvântată) cuprinde peste 500 de scrisori, note explicative și studii, care dezleagă „misterul”pe baza cercetărilor și a documentelor existente. Am tradus din această carte câteva scrisori pe care le public alăturat și care sper că vorface ca în inimile cititorilor să vibreze atmosfera specifică a orașului nostru. înainte de a le citi, însă, vă propun să reconstruim decorul : să ne închipuim că suntem într-o grădină fermecătoare, inundată de flori, străjuită de copaci printre care zboară Pasărea albastră a lui Maurice Maeterlink, unde răsună poeziile lui Baudelaire sau sonetele lui Shakespeare, iar dinspre o fereastră deschisă se aude muzica lui Chopin... Un bărbat.
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Investigations by: Georg Aescht, Sorin Alexandrescu, Mircea Anghelescu, Florin Bănescu, Romulus Bucur, Ion Bulei, Augustin Buzura, Ruxandra Cesereanu, Radu Ciobanu, Jean Grosu, Ion Ianoși, Victor Ivanovici, Nicolae Manolescu, Annemarie Podlipny-Hehn, Gheorghe Schwartz, Ondrej Stefanko, Petre Stoica, Mihai Șora, Doina Uricariu, Eugen Uricaru, Richard Wagner.
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Our magazine offers you some exclusive interviews: "Third Europe" in conversation with Mariana Șora, Mihai Șora, Nicolae Breban, Daniel Chirot.
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Mitteleuropa se naște sub semnul revizionismului. Se vor granițe noi, în numele unor criterii rasiale culminante la Auschwitz. De altfel, subliniază preopinenții lui Kundera (studiul său a stârnit nu doar aplauze furtunoase, ci și furtuni polemice), e corect să scriem că Mitteleuropa are, de fapt, două centre : Viena culturii și Auschwitz-ul asasinatului. Cei care privesc cu circumspecție termenul nu uită să evoce anii de formare ai lui Hitler, într-o Vienă antisemită. Mitul Vienei paradisiace este subminat de un altul, cel puțin la fel de viguros : acela al orașului infernal, aflat sub întreitul blestem al antisemitismului, al Casei imperiale degenerate și al kitsch-ului.
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Raportul Centru - margine, relație morală, politică, ideologică pe care cele mai recente poziții ideologice tind să o detensioneze, atinge cote paroxistice la începutul secolului în Austria habsburgică. Modelul imperial își reduce drastic fascinația și, firește, capacitatea de a ține sub control mișcările centrifuge care visează să-i disloce. Sistemul de norme și valori care dădea coerență și coeziune lumii habsburgice e din ce în ce mai corodat, pe măsură ce altul, sau altele, marginale până atunci, acaparează mentalul colectiv și individual. Noile ideologii politice, economice și culturale asaltează cu virulență un Centru din ce în ce mai discreditat, încercând să i se substituie. Vechile codificări morale, politice și culturale, vechile instituții și idealuri, care dominaseră întreg secolul al XIX-lea în numele unui universalism monarhic, se sublimează într-o vocație represivă. Centralitatea, în mod esențial dominatoare și normativă, își amplifică rolul represiv, până la a face din acesta funcția sa peremptorie.
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28 iunie 1914 - istoria la răscruce de drumuri. Despre ziua cu pricina se vor scrie câteva milioane de pagini. între cei care o vor invoca, memorialiști, romancieri (Musil, Broch, Kusniewicz, Rebreanu, Hasek, Bruno Brehm ș.a.), genii sau autori anonimi. Dar în Timișoara, atunci, în prima zi, a începutului ? În ziarele de limbă germană ?
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Europa deține în cel mai înalt grad secretul renașterilor. Profund atașată valorilor, principiilor și instituțiilor cu care se identifică, ea își extrage din propria-i memorie o forță creatoare întotdeauna pregătită de reînnoire. Se pare că pentru ea uitarea nu este niciodată definită, îndrăgostită de modernitate, ea cultivă nostalgia, această cutie a Pandorei din care scoate, cînd le sosește din nou ceasul, imaginile și simbolurile care, așa cum se știe, „au dispărut pentru totdeauna”. în acest fel personalitățile istorice, capodoperele artistice și instituțiile din Atena și din Roma continuă să acționeze printr-un spirit european care triază cu grijă „lucrurile învechite” și păstrează tot ceea ce are valoare de exemplu.
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This paper explores the relationship between reality and dream, between the real and the unreal in the Francophone imaginary. It describes the evolution of this relationship in all its aspects and approaches starting from the Romantics. The analysis is based on Francophone literature in Belgium, which is characterized by an intricate tension between the real and the unreal. Ulenspiegel’s Legend by Charles De Coster is considered to be the founding text on human propensity to dream and it paves the way for Modernist aesthetic theories. The same approach can be found in Maurice Maeterlink’s works where the threshold between reality and unreality is widely discussed. Franz Hellens, who promoted the fantastic in his works, wrote what can be termed as an extension of surrealism in Belgian literature, while Michel de Ghelderode associated onirism with painting-ness. The power of dreams in Marguerite Yourcenar’s characters relied on the theory of the communicating vessels, and Jean Ray adopted a classical fantastic centered on the paranormal. The paper ends with Paul Willems whose works are imbued with onirism and magic realism.
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Novel with biographical echoes, "Le Horla" by Guy de Maupassant join the series of fantasy stories that explore the human dyad, or the double of the individual. Made in the form of a (fake) private diary that involves both author and reader, the novel develops an approach that pendulum between several “realities” through questions of identity. Lost between reality and dream, reason and madness, logical and fantastic, the character-narrator offers the reader the possibility of deciding, for himself, whether the reveals events could be considered as rational or whether they cross the threshold of the supernatural. Consequently, we offer a fine analysis of this dramatic ambiguity which is maintained by the distinct points of view of the author and the narrator.
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Charles Perrault’s “Blue Beard” was classified among initiation tales, in which the door, the key, the threshold symbolize mystery, death danger, as well as the saving of the young wife. Critical interpretations compared Greek and Roman characters: the gods Janus, Saturn and Chronos, who all had keys and cutting objects to split time. There is a possible connection with the Breton legend of Gilles de Rais (XVth century), as well as with the folk motif of the sun which killed dawn and of day which killed night. We intend to emphasize stylistic features and contexts, where the threshold, the door and the key appear from the beginning to the end, in order to show that these are the essential points which assure the progress of narration; we comment upon their linguistic achievement through presentatives, conjunctions and adverbs, which are used to interrupt a state and to mark renewal and the passage to another state. These verbal forms convey surprise, with respect to the marvelous and the unexpected, to those who read or listen to the tale.
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"The Second Chance" [La Seconde Chance] is the second novel that C. V. Gheorghiu, the Romanian writer of French expression, published in France, after the Second World War. The author considers that the title mirrors perfectly the definition of the exiled and his intention of highlighting the drama of the man that is forced to leave his own country and live in another space - a « second hand life » perceived as a second chance. The space imagined in the narrative is dualistic, with characters pondering between identity and otherness, interior and exterior, the threshold among these two universes being s symbolic of freedom and captivity. This paper has the objective of identifying the meanings that C. V. Gheorghiu attributes to the space of the action and to the cultural content featured by the binary construction of the spatial coordinates.
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"Blue Beard" by Amélie Nothomb illustrates from the very beginning certain elements of intertextuality and seeks to enrich the famous story of Charles Perrault through an insolit perspective and innovative style, dynamic dialogues and powerful characters showing extreme passions. One can identify here the phenomenology of the mystery referring to a secret chamber, associated with inexpressible things, whose indiscretion becomes overwhelming. Stepping through the door (“l’entr-ouvert”) - unavoidable and terrifying place, means beyond doubt changing the characters’s lives. Our study mainly refers to a comparative analysis which focuses both on the metamorphosis of the story into a novel and the avatars of the latter one along the process of narration or adaptation from Blue Beard myth in a modern context, in short, the premises of an original writing, surprising and profound at the same time.
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From the fervent universe of “The Mystic Lamb” to the tranquility of bourgeois interiors hiding secrets, Dutch painting evokes an ever more symbolic space marked by thresholds, doors and stairs, cautious or exuberant windows, interior courtyards conducive to melancholy and meditation. French writers have often revealed their attraction for Flemish and Dutch masters: Théophile Gautier (“A Tour in Belgium and Holland”), Gérard de Nerval (“Lorely. Souvenirs d'Allemagne”), Baudelaire (“Les Phares”), Marcel Proust (“The Prisoner”), Paul Valéry (“The Return from Holland”), Marguerite Yourcenar (“L’oeuvre au noir”) comment on the works of these painters, with whom they experienced subtle aesthetic affinities. The paper is an attempt to achieve a diachronic division of two centuries in order to observe certain modifications concerning the representation of space in Flemish and Dutch painting, modifications which took place from the late Middle Ages to the Golden Age, including the Renaissance.
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This research tries to propose a different attempt to approach the writings of and the critique discourse on Eugène Ionesco. The basic guidelines consist of the means of reflecting derived from what could still be named theory of literature. The possibilities of questioning the functioning of literature and of literary criticism are, in principle, rendered visible and intelligible by the domain of theory. It is in this sense that we consider theory as a central threshold before the text, since theory comes before practice or, in other words, theories regulate the reading of a text. The text is preceded by the conventions of reading and by horizons of the reader. But theoretical discourse represents a chance to contribute to their exposure and it helps to question how the text is made (constrained) to signify. After sketching the theoretical sphere, we test certain hypotheses starting from the prefaces and the introduction to the English and French editions of “The Theater of the Absurd”. Moreover, we choose a short text included in “Présent passé, passé present” in order to illustrate a theoretical reading. Thus we bring to light a configuration of theoretical means related to the practices of the critique and literary discourses.
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During the 19th century, the French model exerted a decisive influence on the modernizing Romanian social, intellectual and cultural life, integrating mentalities of Western Europe different from the Eastern “models” - Turkish, Greek, Russian - until then. French influence reached its peak and manifested itself in almost all areas of social and cultural life. The Romanians found in French culture and spirituality a source of inspiration, a model, a training base. Through French influence, Romanian culture crosses the threshold to modernity. One can observe the readiness of the Romanians to push the door of the West, an action capable of triggering a series of visible and irreversible acts for the creation of the modern state.
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The article focuses on the problem of Towiański’s attitude to poetry. The starting point is the convictions established in the literature on the subject of Master Andrzej’s negative approach to art and the deprecating attitude to the works of poets – adepts of his science. The text is an attempt to revise the common findings expressed by outstanding literary historians such as Konrad Górski or Alina Kowalczykowa.
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In the first part of the article, the author analyses Zygmunt Krasiński’s attitude to Towianism seen as a kind of religious doctrine, based primarily on the writer’s letters to various addressees. It is emphasised that at first Krasiński approached Towiański’s ideas open-mindedly and even found in them some important elements that were in line with his own philosophy of history. In later years, after the Spring of Nations, his attitude changed considerably as he began to consider Towianism one of the greatest threats to Polishness. The second part of the article contains a comprehensive reconstruction of Krasiński’s attitude towards Andrzej Towiański as a public figure. The writer devoted much attention to the phenomenon of magnetism which, as he suspected, was used by Towiański in the relations with his followers and other people around him. On the other hand, he maintained a distance from the suspicion that Master Andrzej was a Russian agent. Krasiński did not consider Towiański a prophet but a “mighty” (strong) personality and thought some of his religious ideas worth attention. Later, Krasiński significantly changed his attitude towards Towiański and after 1848 consistently described him as a personal enemy and an “agent of hell”.
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This article on “to be exposed or not to be exposed to Turkish experiences”; Starting from the 1970s with a little more precision until today, the properties of Turkish Music, where people listen to it, in what environments, by which instruments, and what quality of music listening to the ears of our people are exposed to have been examined. During these periods, the importance of mass media such as radio and television was emphasized. Starting from the beginning of the period when radio and television were single-channel, it was explained how our Turkish Music came to the present day, with the multi-channel mass media following each other, how to run the competition. It was stated that the first Turkish Music Conservatory, which was established in Istanbul in 1975, is important for living under the roof of the state, that our music is one of the most valuable elements of our cultural values, and that we have a very valuable treasure such as classical Turkish Music and Turkish Folk Music. In the conclusion part, we tried to explain our thoughts and recommendations such as what kind of way should be followed in order to spread and keep our national music protections alive, what kind of music policy should be followed, which institutions should cooperate in these needs.
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