MARIN SORESCU, THE DEVOURER OF …upm.ro/cci/CCI-04/Lit/Lit 04 99.pdfA hermeneutist and well-schooled critic, a theoretician formed at Mihail Dragomirescus school [14], Marin Sorescu

Iulian Boldea, Dumitru-Mircea Buda (Editors) CONVERGENT DISCOURSES. Exploring the Contexts of Communication Arhipelag XXI Press, Tîrgu Mureș, 2016 ISBN: 978-606-8624-17-4 Section: Literature

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MARIN SORESCU, THE DEVOURER OF MYTHOLOGIES AND THE RETURN TO BEGINNINGS

Ion Popescu-Brădiceni

Lecturer, PhD, ”Constantin Brâncuşi” University of Târgu-Jiu

Abstract: It exists in the work of Marin Sorescu a recurrent- redundant mythology: one that is

universal and one absorbed by the culture and Romanian civilization. Feeding his lyrical-

fiction and mythical folk speech from the sea of myths and relatedlogos, of equivalent meta-

texts, this work has cryptic and visible that have new meanings that are compliant with the

models that are specific to the traditional and autochthonous mental horizon. In the subtext of

the parody tone, the work of Marin Sorescu bleeds, it fears, it revolts, it scowls, it marvels, it

quakes from its foundation, it digs deep, with archeological-anthropological ambitions,

verbatim reports endangered languages, it rediscovers sunken but undecomposed Titanics, it

rummages morphological substrates, replete with metaphorical-metonymic and allegorical-

symbolic substances that are still alive, of a freshness whose disappointment will never find its

firth.

Keywords: sacred, essence, tide, paradise, becoming, retelling.

Marin Sorescu somehow has the obsession that ‘’the myth is only folklore to a certain

point, when it heads towards the zenith of memory…Getting to the origins, climbing towards

the gods’’. [1]

For him the magical practices, the rituals, the aspects of the myth were still existing, the

eruptions of the sacred into the world keep on happening. The myths have unthought-of,

therapeutic energies; they are linked to initiation practices. For instance, the rebirth is important,

or the second birth (the mystical one).

Myths – says Marin Sorescu – ‘’are precious documents of the human model, reduced

to its essences’’, which keep on ‘’clenching our thirst of reconciling the divine, the sacred in

ourselves with the profane – also within us – and from outside ourselves’’. [2]

A lyrics of the essences was written by Grigore Vieru. By portraying him, Marin

Sorescu defines himself as into a mirror and oneself. ‘’Is Grigore Vieru a disciple of Orpheus,

whom, just like the mythical master, cannot deny himself the vocation to look behind?Just for

once, with all the depth in the eyes, at least once, with all the life from within life’’. [3]


904

Grigore Vieru – and this is a known fact – has obsessive themes in ancestries of all

kinds: his sources, the popular and classic tradition, the Romanian language, his home, the land

and mother as a main symbol. Reading his works – M.S. thinks – ‘’beyond words, there is

something: poetry. And beyond poetry there is yet something: philosophy. Your thought flies

away towards the idea of an essential being, to the problems related to the return in Time’’. [4]

Thus, the poetry of Grigore Vieru prolongs the echoes of ethnic sensitivity, by adding

to them new nuances: ‘’A particularity of this creation would be the craftsmanship to limit with

modesty, merging with the voices coming from a generous tradition’’. [5]

Speaking about Mihai Eminescu (‘’the devourer of mythologies ends up by nesting in a

myth: the myth of Eminescu’’), Marin Sorescu says: ‘’All the saps of our folklore can be found

here… Eminescu took words out of our mouths… And spoke with them, with the words of our

folklore and of our historians, and our poets’’.[6]

By briefly analysing his poetry, he notices, with his rare intelligence, the fundamental

dimensions of Eminescu’s style more of a Nordic manner than Mediterranean.

Something long abandoned starts to take shape again ‘’in its rhythmic tide’’. His

nationalism wants to revenge the ancient domestic element. That civilization of the wood which

disappears and renews itself after a number of seasons. That secret culture, without any other

writing than the one of one’s forehead, of destiny, and from the peasant’s tally and the circles

in the trees, one merges Zamolxe with Odin, once again pictures heroes wandering through

thick forests, with magical springs and fairy-tale openings, an Eden perpetuated in the midst of

nature, as in ‘’Miorita’’, an age of dreaming, alike ‘’illo tempore’’ –the past of true creation.

Eminescu’s poems are invaded by powerful and wild fragrances, of old heresies and boreal

superstitions.

Like Eminescu, of course, Marin Sorescu had constantly followed, to an obsession, the

deciphering of some forgotten, archeus, founding substrates.

Also in ‘’Take it easy with the piano down the stairs’’, Marin Sorescu dedicates to

Eminescu a brilliant epigone, by George Magheru, whose poetry puts back in use, names of

gods, goddesses, myths and is of an unusual verve, denoting cosmogonic ambitions.

‘’On top of the classic opening, there fall the snowflakes of a modern paradise’’. [7]

Even Nichita Stanescu obeys to the metaconcept that poetry must rely on archetypes/

myths/ symbols etc. The unending count of gods and mythical beings that any poet that takes

himself seriously usually turns tocan be explained through the concept of the eternal

becoming.While, N.S. – says Marin Sorescu – ‘’is, firstly, a singer of the states of spirit, of

feelings caught in whirlpools, in anever ending process of becoming’’. [8] In Stanescu’s poetry,

‘’there is the atmosphere out of a love story, where everything has to be different, where one

confides to the silences and words have different meanings’’. [9]


905

Marin Sorescu’s comment on Constantin Noica’s works supplies other components

assimilated by the author: ‘’Constantin Noica tells stories and retells them with a meaning. He

tells Ispirescu clearly with the same attention and care with which he retold Hegel’’. [10]

Marin Sorescu reveals to whom wants to know an extraordinary detail: Noica had the

burning desire to build himself ‘’a house’’, somewhere, near Bucharest, a sort of Oltenia type

of fortified house, with thick walls, well rooted in the Romanian soil and style. The myth, the

motive, the symbol, the allegory of the house is the same with the institution of a sacred stable

place in a desert of profane quick-sand, with the dislocation of its own being from the futile

mundane life and its transmutation in a protected, sacred place. The same ‘’house’’ can be

interpreted as a sequel from a ritual of initiation, recurrent in the Romanian and Balkan carol.

Eventually, Noica retreated from the world in Paltinis, up in the mountains, on the intra-

Carpathian domestic space, close to the heavens (and with Eden – n.m.). Marin Sorescu also

built such a house in his hometown of Bulzesti, probably from the same obsession in his

traditionally-organic and personate – matric subconsciousness.

‘’Constantin Noica – I quote with un-dissimulated joy – hunts for words that keep the

ancestral spirit, going back to the old chronicles, looking in ballads or Anton Pann, and always

returning with enthusiasm to Eminescu’’. [11]

Watching, as one would be on top of a mountain, the national becoming, Noica proposed

to us a map of the Romanian being with a series of consecrated landmarks. Marin Sorescu in

his turn consecrates them through personal opinions, exploiting however necessary the

transpersonal ones, such as the ones emitted by Lucian Blaga, to whom one feels related due to

the fact that his works is still little known in the world and, implicitly, responsible because one

is ‘’a sad truth and a subject of meditation’’.

‘’Blaga is a creator of lyric universe – says rakishly Marin Sorescu. Sometimes his

philosophy has been criticized because it was lacking a system’’. ‘’I would say that the

philosophic system – he further says –is the space under which there it springs with a magic,

archaic and modern perception at the same time. The more archaic the more modern’’. [12]

Like Constantin Brancusi (‘’the fabulous Oltenia dweller’’), Lucian Blaga knew

himself how to turn the archaic into modern. Him too, in the semantic world, gave modernity

to the ancient and had happily baptized the horizon that fits this ancient space: the domestic

rolling hills space. ‘’Like in an immense alchemist’s recipient, with every verse of Blaga, a drop

of Romanian spirit gets spilled into this space, a drop in which there coexist, in hard to define

and separate proportions, the ancestral paganism, the Zamolxian transcendence, the

Mediterranean light, Latin and thick dark forests. There is a lot of Eminescu in Blaga, one will

surprisingly notice, and there is a lot of popular poetry in Blaga’’. [13]


906

A hermeneutist and well-schooled critic, a theoretician formed at Mihail

Dragomirescu’s school [14], Marin Sorescu drafts a map of the po(i)etic identity for Blaga, onto

which he lays the distinctive traits:

- The gentle pressure of contemplation,

- The fixed point: the see-through mystery of things (‘’the object is concentrically

unravelled, down to its mystery, which then blossoms, augmenting the corolla of

wonders’’),

- Studying, with the help of poetic means, of the eternal return to that time,

- The somewhat ceremonious poetry, with virtues of a ritual,

- The unusual austerity although the aureole remains visible,

- The state of intense living, the loose exclamation or imploring the limits.

Vasile Voiculescu gets repositioned (reinstituted) among the interwar classics that have

reached the wonder of the ultimate knowledge, ‘’this atmosphere of pious ceremonial

absorbing the magic and emanating holiness’’. [15] ‘’Never has the metaphysical emptiness

been probed, in our space, with such an avid orbit. And with such capacity for a Romanian

stylization, reminding one of the naïve fragility of the glass icons or of the gentle and reconciled

philosophy of our fairy-tales (the fairy-tales would be the popular garments of the Romanian

language)’’. [16]

Just like he proceeded with Blaga, he musters his courage and sets of to comment on

Voiculescu’s work, fixing his main authorial coordinates, subtly suggesting to us, that I might

recoil them on his creative and transcreative figure:

- The plasticity of the domestic submission of our words,

- The stubbornness of the lodging in the spirit,

- The adornment of the Christian universe, canonized however by a plastic peasantry

vision (‘’this almost turns the fervour worldly, it gives it peace of mind and a

merging with nature’’),

- The holiness and the ecstasy emanate a state of nature,

- The poems with the virtue and simplicity of the home and stable icons.

Nicolae Iorga’s poetry – Marin Sorescu thinks – consists of ‘’the tension state of the

structure, in the freshness of the feeling, which exults and ripples like a sea siphon offshore’’.

[17]

Tudor Arghezi’s one (poetry) would reorganize itself within ‘’a universe for the

celebration of the Romanian language’’. [18] Andrei Andreevici Voznesenski [19] would be

connected to the highest tension as well. On stage he seemed like in a state of trance, he stepped

as if within a magic circle, he changed, his voice was different, his gaze also different.

Marin Sorescu resembles the Russian poet; he believes, just like the Russian poet does,

in the representative power of poetry. The poet is not so much a chosen one, but a sensitivity

predestined to become emblematic for a people. ‘’The force of poetry consists in that it contains


907

a concentrated spirituality of its people. We are mentioning the big poets of course. That is why

all the peoples nurture their singers, the lyrical voices’’. [20]

In ‘’A transversal section through a smell’’ [21], Marin Sorescu writes that in Romania

poetry flies with wings of wood like in the ballad of The Manole Meister, to such an extent that

even non-poetry can become poetry, depending on who writes it.

Marin Sorescu’s non-poetry would be that of ‘’Onwards to the bats’’ (I-VI). The six

volumes limit the monography of an imaginary land, Bulzesti, presented as being the centre of

the world, sketches an Oltenia metaphysics, in which all the characters receive mythical

proportions. ‘’Onwards to the bats’’ is ‘’a delightful defiance of the traditional rhetoric of

poetry – Eugen Simion says in an enthusiastic and motivated manner. It is a defiance of the

modern lyrics, which eliminates the epic, the anecdotes and generalizes usually the symbols,

includes the message and makes the language a code for the initiated ones.

Marin Sorescu turns the glove of this poetry and shows its anaesthetic nodes, the harsh

fabric of elementary life. The typical moments are written down in some pages that make no

effort to embellish the facts or to change them with the help of the figurative speech. The

language is (says Ion Barbu) willingly ‘’silly’’, however of a refinement which comes from

‘’the smart use of oral speech’’. ‘’The lyric – I continue to quote Eugen Simion’s considerations

– comes from the harsh and profound philosophy that these false cuts express. Philosophy,

morals, the typology of an old world (s.m.) which, in its simplicity, has a high sense of existence,

and does without knowing it, like the Greek shepherds and navigators, deeds that would go

down into legend’’. [22]

The entire theatre of Sorescu has poetic transparencies, because the tension of ideas

and the translation of some human attitudes into big symbols are not lacking lyrical sense or

dramatism.

The three masterpieces of world theatre, Jonah, The Candle Lighter, The Mother Bee

are the acquisitions of a spiritual search. Marin Sorescu develops in the trilogy ‘’The Thirst of

the salt mountain’’ the issue of the exit from an enclosed space like into a primary space (the

fish, the cathedral, the house).

In ‘’The Candle Lighter’’, for instance, there appears the theme of seeing a mission

through to the end with the price of the sacrifice and the motive of the stake, the burning of the

body in the fire of faith and spiritual reconciliation.

Eugen Simion is right: there are in this text full of subtleties and fine ironies a series

of symbols.

The first is that of going deep within the walls of the cathedral, which means giving it

a history, a tradition, to put behind a symbolic object (the cathedral) a history which would

reinforce the idea of duration and durability.


908

The second one is that of the road – upwards, which consists of the spiritual liberation

through transcendence.

The third one is the symbol of creation which consists of a forgiveness, a total

involvement and an unrepeatable experience. In fact, the deeds of the candle lighter have a

higher meaning and participate to a coherent architecture of the imaginary whose arrow stabs

interrogatively into the infinity.

Yet another conclusion is inherent: Sorescu’s spirit permanently confronts itself with

a reality which never ceases to fabricate unrealities.

Practically, the cycle, ‘’Onwards to the bats’’ is equivalent with Marin Sorescu’s

return home in a both geographically andartistic manner. The world of ‘’Onwards to the bats’’

is enough in itself, the only mythology that it excepts is the folkloric one, the only past being

that of the community: ancient beliefs, archetypal memories, perennial laws of life. ‘’The

volume constitutes, indeed, a very special manner to discover the abyssal psychology, the

socially profound character of the deepest layers’’.[23]

The return to the initial sources is a recuperation of the archaic village, of the symbols

being in an interior communication process, ironically and ingenuously initiated about the

heroic world through fatherhood and integrity. It signifies at the same time also the return to

the literary form previous to the separation into genres, of literature as wholeness, as a

transmission of feelings and reflexions on the existence, as a story of life and as life itself.

NOTES:

1. Marin Sorescu: ''Take it easy with the piano on the stairs''. Literary chronicles;

Cartea Romaneasca Publishing, Bucharest, 1985, p. 23

2. Marin Sorescu: Op. cit, p. 24

3. Marin Sorescu: Treaty of inspiration; Scrisul Romanesc Publishing, Craiova, 1985,

pp. 142-145

4. Marin Sorescu: Op. cit., ibid

5. Idem, ibid

6. Marin Sorescu: Library of Romanian poetry; edited by Mihaela Constantinescu and

Virginia Sorescu; Creuzet Publishing, 1997, pp. 275-302

7. Marin Sorescu "Take it easy with the piano on the stairs"; quoted publishing house,

see the chronicle "George Magheru, a poet wronged. Other posthumous poems" with the

motto"Grow-n yard of a pariah", pp.319 - 330


909

8. Idem, ibid; see the chronicle "Nikita Stanescu: A Vision of Feelings", pp. 31-38

9. Ibid

10. Ibid; see the chronicle "Noica and the feeling of being", pp. 31-38

11. Ibid

12. Marin Sorescu: Library of Romanian poetry, quoted publishing house; see "Lucian

Blaga. Burdened halo ", pp. 326-328

13. Ibid, Ibid

14. There are critics forcing the closure and opening times and one knows their hand

after the damage brought to "the being of literature'', as Mihail Dragomirescu likes to say. To

the "Science and technology of literature" as we would add; See Marin Sorescu "Take it easy

with the piano on the stairs", quoted publishing house, p. 322

15. Idem, ibid; see "Vasile Voiculescu, a layman Fra Angelico Romanian poetry", pp.

281-296

16. Ibid

17. Marin Sorescu: Library of Romanian poetry; cited edition; pp. 313-320

18. Ibid, Ibid, pp. 322-325

19. Andrei Andreyevich Voznesensk, Russian poet: Mosaic (1960), Parables (1961)

Triangular Pear (1962), Anti-worlds (1964), cello, oak leaf (1974-1975)

20. Marin Sorescu "Treaty of inspiration": Scrisul Romanesc Publishing, Craiova,

1985, pp.146 - 148, see dialogue with A. A. Voznesensk "I write under an impulse... an energy

far stronger than me"

21. Ibid, Ibid, pp. 155-158. Transversality is a specific concept of Romanian

transmodernism.

22. Eugen Simion: Romanian Writers today (III); David; Litera Publishing, Bucharest-

Chisinau, 1998, pp. 161-167

23. Mihaela Andreescu: Marin Sorescu. Snapshot critic; Albatros Publishing,

Bucharest, 1983, p. 195

Bibliography


910

I.A. Dictionaries.

1. Alex T. Mucchieli: The Dictionary of qualitative methods in the humanities and

social sciences; Translation by Veronica Suciu; Polirom Publishing, Iaşi, 2002.

2. Romulus Vulcănescu: Dictionary of ethnology; Albatros Publishing, Bucharest,

1971.

3. Tim O'Sullivan, John Hartley, Danny Saunders, Martin Montgomery, John Fiske:

Basic concepts of communication sciences and cultural studies; Polirom Publishing, Iaşi, 2001;

Monica Mitarca translation.

4. François Gresle,Panoff Michel, Michel Perrin, Pierre Tripier: Dictionary of

Humanities Anthropology / Sociology; Translation by Irina Negrea, Nemira Publishing,

Bucharest, 2000.

5. Victor Kernbach: Dictionary of General Mythology; afterword by Gh. Vlăduţescu,

Del. and Enciclop. Publishing, Bucharest 1989.

6. Doina Rusti: Dictionary of Symbols from the work of MirceaEliade; Coresi

Publishing, Bucharest, 1997.

7. Marian Popa: Dictionary of contemporary Romanian literature; Albatros Publishing,

Bucharest, 1977.

8. Ivan Evseev: Dictionary of symbols; Vox Publishing, Bucharest, 2007.

9. Jean Chevalier, Alain Gheerbrant: Dictionary of symbols; Artemis Publishing,

Bucharest, 1994.

B. I. Stories of Romanian literature.

1. Marin Bucur (coordinator): I. Contemporary Romanian Literature Poetry; S. R. R.

Academy Publishing, Bucharest, 1980.

2. Nicolae Manolescu: Critical History of Romanian literature. 5 centuries of literature;

Paralela 45 Publishing, Pitesti, 2008.

3. DumitruMicu: History of Romanian Literature. From popular creation to

postmodernism; Saeculum Publishing 1.0., Bucharest, 2007.

4. Ion Rotaru: A History of Romanian Literature (III), 1944-1984; Minerva Publishing,

Bucharest, 1987.

5. The. Piru: History of Romanian Literature from the beginning to today; Univers

Publishing, Bucharest, 1981.


911

6. Cornel Ungureanu: Geography of Romanian Literature Today, Vol. I. Muntenia;

Paralela 45 Publishing, Pitesti 2003.

I. C. Synthesis.

1. Constantin Ciopraga: Personality Romanian literature; European Institute, Iasi,

1997.

2. Aurelius Goci: Genesis and structure of Romanian poetry in the twentieth century;

100 + 1 Gramar Publishing, Bucharest, 2001.

3.Gheorghe Grigurcu: Romanian poets today; Cartea Romaneasca Publishing,

Bucharest, 1979.

4. Nicolae Manolescu: About poetry; Cartea Romaneasca Publishing; Bucharest,

1987.

5. Eugen Negrici: Illusions of Romanian literature; C. R. Publishing, Bucharest, 2008.

6. Eugen Simion: Romanian Writers today (I); C. R. Publishing, Bucharest, 1978.

7. Eugen Simion: Romanian Writers today (III); David. Litera Publishing, Bucharest -

Chisinau, 1998.

I.D. studies and articles.

1.Mihaela Andreescu: Marin Sorescu in the volume "Snapshot critical"; Albatros

Publishing, Bucharest 1983.

2. MirceaIorgulescu Wax and seal; Cartea Romaneasca Publishing, Bucharest, 1982;

See "Contemporary Poems: A tale of peasants", pp. 146-149.

3. Eugen Negrici: Figure of creative spirit; Cartea Romaneasca Publishing, Bucharest

1978, see "Under pressure boundaries", pp.136 - 164.

4. Romulus - Iulian Olariu: Solirarii, MJM Publishing, Craiova, 2011, see "Scale and

thread" in the poetry of Marin Sorescu, pp. 74 -76.

5. Ion Pop: Game poetry; Cartea Romaneasca Publishing, Bucharest, 1985; see

"Empire parody" Marin Sorescu, pp. 206-329.

6. Ion Popescu-Bradiceni: Hermeneutics and the Romanian literary language issues;

AlexandruŞtefulescu Publishing, Targu - Jiu, 2002; see Generation 60. Contemporary

Romanian poets. Mediterranean scale cross deity or as Marin Sorescu realms of poetry, pp. 247-

253.

7. Ion Popescu-Bradiceni: Crystallization hazard; Star Napoca Publishing, Cluj, 2008;

see Marin Sorescu: A transmodernistavant la lettre, pp. 42-48.


912

E. I. Sorescu’s literary works.

Poetry.

1. Marin Sorescu: The bats; Eminescu Publishing, Bucharest, 1973.

2. Marin Sorescu: Poems; Albatros Publishing, Bucharest, 1976.

3. Marin Sorescu: The spell-singers; Cartea Romaneasca Publishing, Craiova, 1987.

4. Marin Sorescu: The bats; Cartea Romaneasca Publishing, Bucharest, 1986.

5. Marin Sorescu: Water alive, dead water; Cartea Romaneasca Publishing, Craiova,

1996.

6. Marin Sorescu: Poetry / Poesie / Poems; Arti Charts Giacone, Romania / Cheri

(Tomina) 1995.

7. Marin Sorescu: Bridge (Latest) Creuzet Publishing, 1997.

8. Marin Sorescu: Coronation; Foundation "Marin Sorescu" 2000.

Theatre.

9. Marin Sorescu: Theatre; Cartea Romaneasca Publishing, Craiova, 1980.

10. Marin Sorescu: Iona (Theatre); Creuzet Publishing, 1995.

Prose.

11. Marin Sorescu: Three front teeth; Creuzet Publishing, 1993.

Critics.

12. Marin Sorescu: Easy piano stairs; Cartea Romaneasca Publishing, Bucharest,

1985.

13. Marin Sorescu: Library of Romanian poetry; Creuzet Publishing, 1997.

II.A. Works published during his lifetime and posthumous. Poetry.

1. Marin Sorescu: Frames. Twenty-five poems by Marin Sorescu; English version and

foreword by Roy MacGregor-Hastie / Frame. Twenty-five poems by Marin Sorescu; English

versions and introduction by Roy MacGregor-Hastie; Eminescu Publishing, Bucharest, 1972

2. Marin Sorescu: holiday traveling; Cartea Romaneasca Publishing, Bucharest, 1978

3. Marin Sorescu: Vision hole (Roman idly); Albatros Publishing, Bucharest 1982


913

4. Marin Sorescu: Fountains at sea; Eminescu Publishing, Bucharest 1982

5. Marin Sorescu: The equator and the poles; Flacara Publishing, Timisoara, 1989

6. Marin Sorescu: Poems chosen censorship; Cardinal Publishing, Bucharest, 1991

7. Marin Sorescu: The Bats. Book VI; Foundation "Marin Sorescu" 1998

8. Marin Sorescu: The effect of a pyramid; Foundation Publishing "Marin Sorescu"

1998

9. Marin Sorescu: original lyrics; edition and an afterword by George Sorescu; Alma

Publishing, Craiova, 2002

10. Marin Sorescu: Sonnets novel; Edition and foreword by George Sorescu

11. Marin Sorescu: Treaty of inspiration; Cartea Romaneasca Publishing, Craiova,

1985 (dialogues and Portraits, Anthology of poets and poetry)

II. B. Summaries.

1. Lucian Blaga: Trilogy of Culture. Horizon and style. Mioritic space. Genesis of

Metaphor and Meaning of Culture; Ven. in. DumitruGhişe; Universal Literature Publishing,

Bucharest, 1967, see "Horizon and style", pp. 8-118

2. IoanViorelBoldureanu: Beliefs and magical practices. Essay on traditional mental

horizon; Brumar Publishing, Timisoara, 2000

3. IoanViorelBoldureanu: Universe legend. Essay on traditional mental horizon II;

West University of Timisoara Publishing, 2003

4. Tudor Cătineanu: "Physical" configurations and metaphysical exercises; Eikon

Publishing, Cluj-Napoca, 2013

5. Mihai Coman: Studies mythology; Nemira Publishing, Bucharest, 2009

6. MirceaEliade: The myth of the eternal return. Myths, dreams and mysteries;

translation by Maria Ivănescu and Cezar Ivănescu; St. Publishing, Bucharest, 1991

7. MirceaEliade: Road to the center; anthology compiled by Liiceanu and Andrei

Plesu; Univers Publishing, Bucharest, 1991

8. MirceaEliade: sacred and profane; translation by BrânduşaPrelipceanu; Humanitas

Publishing, Bucharest, 1995

9. James George Frazer: The Golden Bough (I-IV); translation, foreword and

chronology of Octavian Nistor, notes by Gabriela Duda; B.P.T., Minerva Publishing,

Bucharest, 1980


914

10. Elena Niculiţă-Voronca: Datinele and beliefs Romanian people; I.O. Saeculum

Publishing, Bucharest, 1998 (I + II) Edited and introduction by Jordan Datcu

11. Andrei Oişteanu: Reasons and symbolic meanings mito-Romanian traditional

culture; Minerva Publishing, Bucharest, 1989

12. Romulus Vulcănescu: Romanian mythology; R.S.R. Academy Publishing,

Bucharest, 1989

II. C. Studies, papers and essays.

1. Lucian Blaga: Horizons and stages; Minerva Publishing, Bucharest, 1990

2. Jean Burgos: For a poetic imagination; translation by Gabriela Duda and Micaela

Gulea; foreword by Gabriela Duda; Univers Publishing, Bucureşti, 1988

3. Calinescu: The modern concept of poetry. From romanticism to the avant-garde;

postf. The I.B. Broke; Paralela 45 Publishing, Pitesti, 2005

4. Calinescu: To read, reread. Towards a poetics of (re) reading; translation by Virgil

Stanciu; Polirom Publishing, Iaşi, 2003

5. Jacques Derrida: Dissemination; translation and foreword by C.M. Ionescu;

Universenciclopedic Publishing, Bucharest, 1997

6. Lorentz Dittmann: Style. Symbol. Structure. Studies on the categories of art;

translation and foreword by Amelia Paul; Meridian Publishing; Bucharest, 1988

7. Gilbert Durant: Arts and archetypes; Religion of art; translation by Andrei

Niculescu; Meridian Publishing, Bucharest, 2003

8. Ion Popescu-Bradiceni: Myth of Eden / Paradise / Heaven in Romanian interwar

poetry. Literary models; Casa Cartii De Stiinta Publishing; Cluj-Napoca, 2003

9. Marcel Raymond: From Baudelaire to Surrealism; translation by Leonid Dimov

Documents

MARIN SORESCU, THE DEVOURER OF …upm.ro/cci/CCI-04/Lit/Lit 04 99.pdfA hermeneutist and well-schooled critic, a theoretician formed at Mihail Dragomirescus school [14], Marin Sorescu