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1
MINISTERUL EDUCAŢIEI ŞI CERCETĂRII
UNIVERSITATEA ,,1 DECEMBRIE 1918” DIN ALBA IULIA
ŞCOALA DOCTORALĂ DE FILOLOGIE
Summary of PhD Thesis
THE SYMBOLISM OF SACREDNESS
IN GRIGORE VIERU`S POETRY
PhD Supervisor:
Prof. univ. dr. habil. DIANA CÂMPAN
PhD Candidate:
MELENCEANU (GÎSCĂ) RAISA
Cahul, The Republic of Moldova
ALBA IULIA
2020
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CONTENT
INTRODUCTION.........................................................................................................................4
Chapter I. MEANINGS OF SACREDNESS. THEORIES, CONCEPTS AND
VARIATIONS IN ARTISTIC IMAGINARY...........................................................................13
I.1. Sacredness – the concept and flexibility of definitions. Meanings and characteristics of
sacredness............................................................................................................................. .........13
I.2. Theorists and theoretical studies on sacredness......................................................................20
I.3. Image, imagination, imaginary – theoretical conceptualisations............................................32
I.3.1. Symbolic imaginary - functions, peculiarities, reflections.......................................38
Chapter II. GRIGORE VIERU – MAJOR THEMES OF HIS WORK AND THE
VOCATION OF SELF DEFINITION......................................................................................75
II.1. Directions and critical receptions of Grigore Vieru’s oeuvre................................................75
II.2. From the poetic imaginary of first poems to major poetry....................................................88
II.2.1. Childhood poetry - the state of being a child..........................................................99
II.3. Maternal principle – a substitute of eternity........................................................................111
II.4. Ethnic and national symbols................................................................................................116
II.4.1. Ancestral tongue – a landmark of national consciousness...................................116
II.4.2. Birthplace – a treasury of values...........................................................................119
II.4.3. Parental home – a torturous longing.....................................................................121
II.4.4. Village – the matrix of spiritual endowments.......................................................122
II.4.5. The Prut River – the cradle of brotherhood..........................................................123
II.5. Biblical Symbols – pious spiritual exaltation......................................................................124
II.5.1. Divinity - searching for the absolute....................................................................124
II.5.2. The Cross/crucifixion - the meeting place with God.............................................128
II.5.3. Prayer - the breath of the soul...............................................................................128
II.6. Plant and animal worlds – symbols and associations...........................................................130
II.6.1. Flower, grass and tree............................................................................................130
II.6.2. Blackbird, cuckoo, nightingale, swallow and raven..............................................133
II.6.3. Bee and ant............................................................................................................137
II.7. Ascensional symbols – images and meanings.....................................................................139
II.7.1. Mountain – a symbol of transcendence.................................................................139
II.7.2. Flight – the image of unlimited possibilities.........................................................141
II.8. Astral and terrestrial symbols – transitional stages of existence.........................................142
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II.8.1. Sky and earth – two extremes in the space of existence........................................142
II.8.2. Sun and moon – spiritual fulness..........................................................................144
II.8.3. Star – unexplored poetic meanings.......................................................................148
Chapter III. SACRED TOPOI AND BIBLICAL IMAGINARY IN GRIGORE VIERU’S
WORK........................................................................................................................................156
III.1. Biblical text – fundamental reference and symbolic nucleus in Grigore Vieru’s poetry...156
III.2. Symbolic imaginary and a potential poetics of the sacred.................................................169
III.3. Sacred topoi in Grigore Vieru’s poetry..............................................................................181
III.3.1. Childhood – the mystery of revealing the future..................................................183
III.3.2. Mother – the representation of the infinite..........................................................186
III.3.3. Home country – a constituent element of existence.............................................190
III.3.4. Mother tongue – an inalienable component of national specificity.....................194
III.3.5. Village and parental home – indispensable entities.............................................199
III.3.6. Bread – the physical and spiritual food of the nation..........................................201
Chapter IV. THE CONSTANTS OF POETIC VISION – BETWEEN RELIGIOUS
IMAGINARY AND THE SYMBOLIC VIRTUES OF IDENTITY.....................................205
IV.1. Maternal principle – the dominant of Grigore Vieru’s lyrics.............................................205
IV.2. Beloved woman – a divine medicine..................................................................................211
IV.3. Homeland – a child wrapped in barbed wire.....................................................................216
IV.4. Doina – a symbol of Romanian existence...........................................................................224
IV.5. The poetry of peace – symbolic projections.......................................................................226
CONCLUSIONS........................................................................................................................233
BIBLIOGRAPHY................................................................................................................. .....238
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Keywords: sacred, biblical imaginary, motifs, symbols, poetry, Grigore Vieru, literary criticism,
poetic vision, sacred topoi
Grigore Vieru’s literary work presents a special interest in literary criticism, constantly
provoking debates and reinterpretations in terms of value or from ethical, aesthetic, historical and
literary points of view. Consequently, the popularity of his poems extends beyond the Prut River.
Grigore Vieru’s poetry reflects the national and spiritual values, as well as ideals, of his people
in a simple but highly symbolic artistic way, as the Transylvanian poet is, according to his own
way of viewing himself, “soul from the people’s soul”. Grigore Vieru particularly explored the
topics and motifs that are relevant to his cultural identity, greatly contributing to the reunification
of the national consciousness, the shaping of spiritual mentality and the education of the young
generation in an unfavourable social, political and historical climate.
The doctoral dissertation The Symbolism of Sacredness in Grigore Vieru’s Poetry deals
with a rich area of research, focusing on the literary work of the Bessarabian poet Grigore Vieru
and analysing the manner in which the symbolism of sacredness and thematic symbolic nuclei
are created, their validation and effervescence, from the perspective of religious imaginary and
the chance of decisive meanings to become a personal myth. Grigore Vieru’s lyrics is
characterised by a time-tested dynamism, which is focused on an imaginary with a unique
visionary background and on a series of themes and motifs with unusual creative resonance. This
unique universe is associated with the national cultural complex, considering the creed, traditions
and folk genius that were conveyed for centuries. From this perspective, the poet systematises
his own images, symbols and myths, giving them complete freedom to constantly update and
produce new semantic systems which favour, in their turn, the association between the product
of Grigore Vieru’s poetic imaginary, his personal product and the imaginary of other poems. The
system of images frequently encountered in the poet’s oeuvre: the heart, fire, spring, tear,
country, tree, leaf, star, ear, earth, poppy, light, salt, etc. confirms the author’s perception of
reality and penetrate, through poetic text, into the reader’s mind and feelings, adapting itself to
the pre-existing imaginary, favouring the adaptation to abstract representations, which are used
through logic. Any of these images carries and produces meanings at present, but it is not
excluded that they will continue to produce meanings in the future as well, acting differently on
knowledge approach and on the reader. For these reasons, one finds that Grigore Vieru’s poetic
imaginary has unexpected depths, which sketch imagistic density, exceeding any limit of
intuitive knowledge. With the purpose of understanding the structure related to the depth of the
text, decoding was applied in certain cases, which enabled the analysis of multiple images whose
meanings are evident and relatively easy to be perceived, while others refer to the revealing
space of a cultural community.
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This doctoral dissertation is not intended to deal with monographic extension, but aims at
revisiting Grigore Vieru’s poetry with specific analytical instruments, activated from the theory
of imaginary, archetypology, cultural anthropology, theology and philosophy, with the intention
of highlighting the capacity of certain recurrent symbols to construct a special poetics, deeply
anchored in the germinative nucleus of the sacred. It should be mentioned from the outset that in
Grigore Vieru’s artistic imaginary, some matrices of the individual, national or universal being
are considered sacred, not only receiving a metaphorical or allegorical core, but being also
deeply anchored in a personal myth, recurrent throughout the poet’s literary output. This is the
reason why the study aims at analytically accessing the core of lyrical emotion and
hermeneutically investigating the principle itself, which is particularly activated in the poet’s
work: his lyrics is in its entirety a long and essential confessional exercise, life sequences being
mirrored symmetrically and overtly in the imaginary creator. What the poet sublimates and
sacralises is necessarily a component of the ontological and affective overlay that defines high
conscience, which is independent of the profane or the little history.
The main goal and objectives of the research. The present study starts from the
premise that Grigore Vieru’s entire literary work can be analysed using new approaches,
different from or complementary to those which were adopted to date, relating to the
perspectives of literary criticism, as well as various stylistic, thematic and socio-cultural
approaches, which highlight the predisposition of Grigore Vieru’s poetry to open itself through
its deep meanings, from the viewpoint of the phenomenological and hermeneutical definition of
sacredness. In addition, the research focuses on the significance of diverse structures of symbolic
imaginary in Grigore Vieru’s poems, pursuing the aim of diversifying, emphasising, completing
and structuring the exegetical inventory related to the poet’s oeuvre.
The topic of the dissertation is current in the context of the immanent events of recent
times, when the poet’s personality and work, both very popular and frequently invoked in the
present day, are ready to begin an open battle with the supreme judge – time. Therefore, in order
to contribute to the valorisation and preservation of the treasury of Grigore Vieru’s work, the
most precious aspects of his works are foregrounded. The importance and relevance of the topic
biblical imaginary and the symbolism of sacredness are fully argued through appropriate
aesthetic evidence of his poems that, pursuing a noble mission, contributed to the protection of
national identity, as well as of cultural and patrimonial heritage, to the preservation and
dissemination of historical truth, the poet himself sowing kindness and mercy, being a spiritual
model worthy to be followed through faith, devotion, honour, dignity, humanity, honesty –
values that defined him throughout his life. This multiple perspective constitutes the element of
novelty of the present research, applied, in a practical manner, in the last part of the paper, in
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which the most popular symbols, archetypes and ethno-symbols subsumed to the sacredness
characterising Grigore Vieru’s lyrics are analysed. Out of all images and symbols included in
various contexts of the poet’s work, those having specific features, traditional and national tint,
as well as deeply anchored in the Romanian cultural area and artistic imaginary were primarily
selected. A conclusive image of integrative space is home country, which sums up the other
symbols, such as: mother tongue, parental home, the Prut River, native village, tricolour, the
bread from the table, etc. All these are true representations of Romanian society, acting as
equivalents of the belonging to this people and being a distinguishing sign, a space of longing
and abundance, as well as a symbol of physical and spiritual existence, etc.
An impetus for researching the topic is provided by numerous Bessarabian intellectuals,
who urge people to preserve Grigore Vieru’s memory alive, to be worthy of his name and world-
famous personality, showing admiration and respect for his clear conscience and for his work
that gives prominence to authentic truth and everything of Romanian origin.
The general objectives of the doctoral dissertation pursue the approaches and practical
determinations of sacredness regarding its definition and scientific relatedness, as opposed to the
profane and the effects of the desacralised world upon the modern man in a society with a
marked decline in religiousness. On the other hand, the objectives deal with the functionality of
symbolic imaginary concerning the mechanisms of logic in the textualisation of images at the
level of understanding and interpretation of poetic content. Moreover, the study aims at
analysing compositional structures, highlighting the poet’s way of conceptualization, thinking
and expression in evolutionary terms, from the poetry for children to that of maturity, and
particularly emphasising the way of designating an analytical-scientific approach, based on the
most recent theories in the study of imaginary as a whole, which determine specific structures of
the schemes and grids related to symbol images, transfiguring them into poetic language.
The originality of the present research consists in associating the poetic study with the
approaches to sacredness and various theories about the imaginary; in proposing a detailed
analysis based on the rewarding principle of approaching a literary work in the context of
Romanian literature; highlighting Grigore Vieru’s artistic creed and creative personality,
beginning with origins poetry, establishing the organic connection between the poet, maternal
principle and childhood, and ending with the big architecture of the conscience that gets off the
paradigm of the profane and overtly enters the philosophical edifice of the self and the house of
the religiosity of being. Moreover, a special attention is drawn to the close connection between
the poet and the fundamental elements of Romanian existence, his indisputable contribution to
children’s harmonious development into adulthood, in order to initiate them into the world’s
mysteries and accelerate their spiritual growth. On the other hand, the study emphasises the
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poet’s predilection for folklore, limit situations, the dialogical condition of the person, and the
dominants of Bessarabian lyrical poetry. It foregrounds the poet’s attempts to return to national
sacred elements, to the relationship between the sacred and the profane, as well as to the
dialogue between generations, all being perfectly included in the same visionary context.
The doctoral dissertation is structured into four chapters, revolving around the main topic,
starting from theoretical landmarks and continuing with the application of a multiple
hermeneutics to the poet’s oeuvre.
The first chapter, Meanings of sacredness. Theories, concepts and variations in artistic
imaginary, deals with certain theoretical landmarks regarding the approaches and characteristics
of sacredness and pinpoints the main coordinates of the imaginary by revisiting consecrated,
essential landmarks, particularly focusing on symbolic imaginary from the viewpoint of the
exhaustive analysis of conceptual fields, in an attempt to reveal Grigore Vieru’s work through an
appropriate systematisation of study and analysis tools. Consequently, the theoretical research of
the literary and artistic imaginary is concerned with the functions and values of the image to the
full extent of cognitive activities, as well as with the role of the poetic word in the enhancement
of the imaginary and the transfiguration process of facts into images.
The first subchapter, Sacredness – the concept and flexibility of definitions. Meanings
and characteristics of sacredness, defines the sacredness from the perspective of various
scientific approaches, based on Christian traditions, as a result of ethical saturation and gradual
schematisation of original and specific sentimental reflexes. Furthermore, it analyses certain
aspects related to the religious phenomenon, describing society’s role on the behaviour and ways
of expression of religious beliefs, representing a step towards the current understanding of
sacredness. In addition, it explores the main approaches of sacredness existing nowadays,
especially the ones that will support, as a theoretical framework, the analysis of Grigore Vieru’s
poems: sociological, ethnological, phenomenological and hermeneutical approaches. Starting
from these structures, a wide conceptualization of sacredness in terms of its characteristics is
highlighted: the sacred is opposed to the profane; it is rational, but un rationalizable; the man
cannot express it; it is a power in and of itself; it has an ambivalent and ambiguous character,
etc.
Another aspect, which is examined in the second subchapter, Theorists and theoretical
studies on sacredness, is the contribution of the German phenomenologist Rudolf Otto through
his work related to the irrational component of the sacred, in which he addresses the issue of
religious experience, the content and characteristics of sacredness, as well as the ways of
expressing it throughout human existence. At the same time, Rudolf Otto maintains that the
sacred is the sphere which comprises all the components of the religious and formulates a
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concept in itself, which has a specific character and allows the identification and understanding
of eventual stages of development or inferior forms, numinosity, denoting divine power and will.
In this context, a significant role in the establishment of conceptual coordinates is played by
Mircea Eliade, who considers that sacredness is a special way in which conscience relates to the
surrounding world. Additionally, he discovers another side of the sacred, namely the feeling of
dread or religious fear. In the same vein, Geo Widengren claims that, at its origin, sacredness is a
purely religious concept, unattainable and completely separated from people, comprising
everything that belongs to the divine sphere. Gerard van der Leeuw places the sacred in the
centre of religion, that is, in the core of the mysterious power the man encounters. The
sociologist Emile Durkheim introduces the opposition between the sacred and the profane, a
distinction unanimously accepted, which represented a quite important technical support for
previous research.
The third subchapter, Image, imagination, imaginary – theoretical conceptualisations,
analyses symbolic imaginary, its functions and defining features, pursuing the same major
objectives in the investigation of the artistic and literary imaginary, specific methods of
approaching analysis tools, the way in which symbols, images and myths function at the level of
social groups, but also at the level of the individual-creator, of both the individual and collective
unconscious. In this respect, special attention is paid to the imaginary-symbol, defining the
functions it performs in the construction of meaning and in the process of the act of creation.
This subject is studied from the perspective of Gilbert Durand, who situates the imaginary
between two reciprocal forces, namely the significant and the signified. In his opinion, the
imaginary should not be regarded as a world of symbols and perceptions or as a set of images,
but as a point of interference between the world and the creator, illustrating a close relation
between imaginary and literature, or art in general. Influenced by Gilbert Durand, Gaston
Bachelard and C. G. Jung, Jean Burgos suggests a new definition of imaginary and emphasises
that it should be distinguished from rhetoric and metaphor, highlighting a double play between
the dialectic of the virtual and the actual, between identity and otherness, notions discussed
within the theorizing of symbol. Jean-Jacques Wünenburger explores the connection between
thinking in images and abstract thinking and the mysterious way in which the human intellect
emancipates all contents of these images and moves to the practices of the figurative intellect,
focusing on thinking activities with respect to the art of memory and on future anticipations and
forecasts. Furthermore, it is worth highlighting that the word, which performs the function of a
continuum formed from the system of images existing in poetic text, has a major role in the
construction of literary discourse. Finally, this subchapter deals with the role of a symbol in
9
poetics and the way in which it can be valorised, defining it in semiotic terms as a category of
sign.
The second chapter, Grigore Vieru – major themes of his work and the vocation of self
definition, focuses on the most relevant structures of Grigore Vieru’s poetic imaginary,
exploring his wide range of poetry, from the poetry for children to that of maturity, both being
imbued with Romanian folklore. In this regard, the following poetic motifs and symbols should
be mentioned: mother, childhood, parental home, homeland, mother tongue, beloved woman,
The Prut River, etc. Additionally, this chapter analyses the main themes and motifs in Gr.
Vieru’s work, in relation to the most important critical references regarding the symbolic
imaginary of the poet, and explores certain biblical symbols, such as the Cross, the Crucifixion,
divinity, prayer, the Ascension, and other astral and terrestrial symbols, dealing with the meaning
of various images in different artistic contexts. Particular consideration is given to simplicity – a
defining feature of Gr. Vieru’s lyrics, in order to emphasise the talent and mastery of creating
moralising verses, mentioning the fact that through the simplicity of his verse, the poet looks into
existential problems of humanity with remarkable talent and mastery, while exegetes of his
poems are concerned with the sources of inspiration for his authentic and original language. On a
different note, the subchapters are structured based on the themes and motifs discussed by the
poet, which made him popular both in the country and abroad. Some compositional structures
characterising Grigore Vieru’s poems are also explored, attention being paid to the poet’s way of
conceptualisation and thinking, in order to obtain authentic poetic situations.
The subchapter Directions and critical receptions of Grigore Vieru’s oeuvre begins with
the critical acclaim that greeted the publication of Grigore Vieru’s debut volume – Alarm (1957),
which announced a successful beginning of his career, as confirmed by important articles, such
as The Prestige of Simplicity, A Promising Debut, At the Crossroad of Thoughts and the like,
written by N. Manolescu, M. Cimpoi, V. Vasilache, and many others. Based on the rewarding
principle of analysing a literary work, the critics emphasised the distinctive features of Grigore
Vieru’s poetry. The most conspicuous and frequent feature of the poet’s writings is the simplicity
of the way in which the verses are formed, a simplicity that astonishes by its beauty and depth.
The interpreters of the poet’s work define its major lyrics as “the essence of longing” and argue
that it is characterised by a special formula, determined and guided by the social, cultural,
spiritual and political context. Consequently, some scholars like Mihai Cimpoi, M. Dolgan, Th.
Codreanu, A. Bantoș, and E. Botezatu present these findings, referring in particular to the themes
and motifs found in Grigore Vieru’s poetry of maturity, which are determined by the degree of
return to the sources of ancestral folk tradition and classical lyrics. Literary critics frequently use
this perspective of interpretation, as demonstrated by periodical publications. Moreover, the
10
present subchapter synthesises the existing directions of critical reception of the poet’s literary
output, mentioning the numerous monographs dedicated to Grigore Vieru, written by some of the
most incisive critics and literary historians, among whom the following should be listed: M.
Cimpoi, M. Dolgan, F. Băileșteanu, S. Gruia, V. Nistru-Țigănuș, and others. Analysing the
critical references, two creation stages of the poet were defined: the poetry for children, with
which he debuted, and the literature for adults, which reveals the influence of social, political
and cultural factors on post-war Bessarabian space, on the conception of life and the act of
creation, as well as on Bessarabian poetic writing, in its entirety.
The subchapters From the poetic imaginary of first poems to major poetry and Maternal
principle – a substitute of eternity examine the two successive stages of Grigore Vieru’s literary
career, identified by researchers concerned with the study and analysis of the poet’s output. The
first stage comprises all the poems dedicated to children, with which the poet debuted in 1957
and continued until 1968, when the volume of poems for adults Your Name was published – the
moment that is considered the beginning of the second stage of his literary career, known as the
poetry of maturity. In fact, these stages overlap slightly, completing each other in terms of the
motifs discussed, thus becoming an authentic whole. From the very beginning of his career, the
poet announced the directions of his civic programme by tackling the fundamental motifs and
themes of his lyrics. Thus, he develops a variety of themes and motifs related to identity, such as:
mother, homeland, child and childhood, love, beauty, woman, ancestral tongue, hearth, the
charm of nature, etc., which define the essential principles of human existence: honour, piety,
filial love, country, national dignity, gratitude, honesty, principledness – values that underpin a
nation’s belief system, truly living every word spoken. Furthermore, the subchapters mentioned
above analyse the central concept of Gr. Vieru’s work, namely the maternal principle, the
connecting link between two worlds, the bodily (physical) world and the spiritual one, both
being evoked by the poet, who conveys them wisdom from his wisdom, soul from his soul,
feelings from his own feelings and experience from his own experience. Out of his deep love for
his mother, the poet created a ritual of maternal adoration for the woman who brought him into
the world and maintained his existence. He faithfully recorded and reconstructed his mother’s
image, as he knew her until she passed away, in really impressive poems with deep meanings.
Next to his mother and childhood, Grigore Vieru lived with his whole being for his
mother tongue, parental home, village, etc., as it is mentioned in the subchapter Ethnic and
national symbols which reveals that, in the poet’s conception, true love for eternal values,
language, country, fatherland is not dictated or forced, but is pondered and deeply felt. The poet
compares the Romanian language with embers smouldering in the hearth, assuming the
responsibility for making all the efforts not to put them out. For him, the mother tongue
11
symbolically comes into being from the sun; Homeland is the echo of the love for one’s own
nation, it is the treasury of ancestral values and the fight for sovereignty – homeland is one’s
being; Parental home is the symbol of the mother and childhood, of integration, warmth and
homeland; the Village was his first teacher, who taught him the longing for parents, country and
the plain; the Prut River is like one of his family members and an old witness to all the troubles
of his ancestors, being also the cradle of brotherhood.
In order to renew the poetic discourse and vision, the subchapter Biblical Symbols – pious
spiritual exaltation, deals with biblical symbols (divinity, the Cross, prayer, grace, mystery) as
representations of ascensional symbolism, with active, spiritual meanings, presenting them as
indispensable elements in Gr. Vieru’s lyrics for the creation of symbolic images. The entire
poetic imaginary of Grigore Vieru’s oeuvre comprises a symbolic approach of favourite images,
which are tackled in the subchapter Plant and animal worlds – symbols and associations (flower,
grass, tree, blackbird, cuckoo, nightingale, swallow, raven, bee, ant), in the subchapter
Ascensional symbols – images and meanings (mountain, flight) and in the subchapter Astral and
terrestrial symbols – transitional stages of existence (the sky, earth, sun, moon, stars).
The third chapter of the present dissertation, Sacred topoi and biblical imaginary in
Grigore Vieru’s work, focuses on the symbolism, ascensional schemes, archetypes and lyrical
representations of the Creation, as they are rendered in Holy Scripture, the poet’s source of
inspiration for his religious poetry. Grigore Vieru’s poetry is of Christian character and his works
include all the aspects of Romanian religious life, although he did not manage to fully explain
transcendence. A great part of the poet’s literary output has its roots in both sacred literature
(artistically resizing themes, motifs, symbols, images) and folk literature, in which the religious
feeling is glimpsed (for example, in star carols or when evoking the Saviour’s birth).
As the main objective of this dissertation is to foreground the influence of the biblical text
on the creation of biblical imaginary and the symbolism of sacredness in Gr. Vieru’s work, the
subchapter Biblical text – fundamental reference and symbolic nucleus in Grigore Vieru’s poetry
intends to highlight a poet’s status as a public declaration of his/her principles and convictions. It
is worth mentioning that the itinerary of Grigore Vieru’s life is built on the model of religious
inspiration, assuming the principles of ascension and personal growth, always being in lively
enthusiastic ascension, as a poet who dares to come, using his artistic imagination, in proximity
to the religious, making faith his personal way of thinking and living. The faith in God is not the
manifestation that is shown only in difficult moments of life, but it is a profession, a way of
existence in which conscience, soul and body are all involved. A specific and unusual truth of
the creative manner is that the poet Grigore Vieru reveals deep meanings and enlivens
everything coming from his inspired pen. Everything he wrote seems to talk about what is
12
important for the man’s life and destiny, firstly crossing his mind, then his loving heart that gives
prominence to every fact which appears insignificant at first sight. Further, the subchapter
Symbolic imaginary and a potential poetics of the sacred, explores symbolic imaginary from a
new perspective of researching and understanding the poet’s oeuvre that starts from simple
realities, which are amplified in profound existential philosophy. In addition, this subchapter
analyses the prevailing images of the poet’s work, the ways of producing poetry, its functions
and suggestive power, in relation to the poet’s whole symbolic imaginary, determining their
substance and power in the linguistic play created by the poet, which derives from the manner of
creation of diverse series of images, from his lyricism, from the capacity of conceiving the
totality of singular elements and from the uncommon way of imprinting impressive meanings to
recurrent images. The subchapter Sacred topoi in Grigore Vieru’s poetry, examines the
concomitance of simplicity and complexity characterising Grigore Vieru’s verse, synthesizing
traditional (rustic and archaic) thematic approached by the poet from the perspective of the
meditative content of various motifs, which are transfigured into sacred topoi, such as mother,
childhood, village and parental home, home country, mother tongue, etc., topoi that belong to
the sphere of the sacred and leave the area of the profane. Grigore Vieru’s poems fully explore
these symbols that configure complex and deep meanings, which, coalescing from affective and
psychological points of view, consecrate the superior form of love.
Towards the end of the study, in the fourth chapter, The constants of poetic vision –
between religious imaginary and the symbolic virtues of identity, the message revolves
especially around the culminating symbol – the maternal principle, which constitutes the centre
of the poet’s entire work. The ingenuous poetico-symbolic space of the poet’s literary output is
completely based on the mother archetype, the maternal principle acquiring immeasurable
cosmic vibration and becoming a substitute of eternity. Thus, the subchapter Maternal principle
– the dominant of Grigore Vieru’s lyrics emphasises that, in the poet’s conception, mother is a
wonderful creature, who is merged with the infinite, the Universe and does not have limits in her
potentialities, as she can give birth to two parallel worlds: the sky and the earth – the imaginary
world and the real one, becoming omnipresent. This symbol of Grigore Vieru’s lyrics can be
interpreted from two perspectives: as a simple reproduction of familiar maternal meanings and as
a creative force of the image, a force that explores potentialities, being unlimited by memory.
For this reason, in Grigore Vieru’s lyrics, the maternal image appears in both known and new
situations. In this context, the mother image can be easily found in various states. The mother
symbol in relation to homeland represents the native village, the spring, the hot bread, the blade
of grass, the old book of the nation, the holy slice of history, the earth soaked with the blood of
ancestors and cemented with the bones of enemies, the sunrise and sunset over the native village,
13
the walnut tree near the gate and the cradle of memories in which the essential of life is
comprised. Mother and homeland are both indispensable for living in full harmony with one’s
own conscience, motivating life and death, while love for one’s mother and the sacrifice for
one’s homeland are inherent in every human being from birth. The maternal word is the matrix
in which the poet includes all affective processes that live in the human soul: joy, laugh, cry,
comfort, singing, pain and even silence. The hearth of the Romanian people begot and gave birth
to the Romanian language, which, continuing its existence through the sons of the nation,
becomes immortal. Mother and longing are in an inexplicable unity, in the poet’s opinion, these
two elements being in an inseparable relation, because mother and longing are interwoven in the
human being in the same way as the breath is indispensable for the human body.
The subchapter Beloved woman – a divine medicine analyses the motif of the beloved
woman, presented not from a purely heroic point of view, but regarded from a larger
philosophical perspective as a fascinating mystery of the meaning of human existence. The
feeling of love towards a woman is developed in meditative lyrics of inner turmoil and love,
from the standpoint of a subtle interpreter of women’s psychology, with much tenderness and
sincerity. Grigore Vieru’s love poetry is characterised by a terrestrial passion that is intensely
lived, encountered in all aspects of daily life, in dedication to unseen depths, fidelity,
unshakeable faith and intense longing, in joy and suffering, meetings and separations, in pleas
and curses, in silent and endless burning, poetry that is placed at a higher moral level.
The subchapter Homeland – a child wrapped in barbed wire highlights the poet’s high
degree of commitment and abnegation, which is demonstrated throughout his literary activity,
but also through his activism and involvement in social life, proving principledness and
perseverance in protecting and promoting national, ancestral values.
In the subchapter Doina – a symbol of Romanian existence, the poet identifies himself,
through his frail yet resilient character, with the traditional doina, a symbol of Romanian
existence. The poetry of peace – symbolic projections is the last subchapter, which emphasises
the sphere of anti-war, pacifist philosophical thoughts, derived from the fact that the poet
assisted at the dramatic emotions intensely felt by his mother, an image archetype in his lyrics.
The originality of the present research consists in the critical reception of Grigore Vieru’s
work in a new manner, different from those existing to date, referring to thematic, sociological,
stylistic and culturological perspectives, which tend to impose another point of view on lyrics,
from the perspective of poetic imaginary and the symbolism of sacredness, giving superior
coherence to his oeuvre as a whole.
The mechanism of Grigore Vieru’s poetic work allows such an investigation, because it
has an artistic imaginary which is quite nuanced and rich in multiple meanings and also because
14
of the determining role of the poet’s literary output in the evolution of the Romanian literature
from Bessarabia, as well as in the process of its integration and synchronisation with Romanian
literature in general.
This doctoral dissertation ends with conclusions, which summarise the research
hypotheses in relation to the results obtained, determined by the analytical perspective of the text
explored from practical and applied point of view. One of the conclusions is related to the fact
that the oeuvre of the Bessarabian poet Grigore Vieru has been subject to various studies carried
out by the exegetes in the field, critics and professional researchers, as well as by readers and
admirers of the beauty and simplicity of his poetry from the Republic of Moldova and abroad,
the great amount of research on the poet’s work being favoured by the lyrical novelty of the
volumes published and by the impressive evolution of the stylistic and thematic register of his
poems.
BIBLIOGRAPHY
I. PRIMARY SOURCES:
1. In volumes
VIERU, Grigore, Alarma, Chișinău, Editura Şcoala sovietică, 1957.
VIERU, Grigore, Muzicuțe, versuri, Chișinău, Editura Şcoala sovietică,1958.
VIERU, Grigore, La fereastra cu minuni, versuri, Chișinău, Editura Cartea moldovenească,
1960.
VIERU, Grigore, Bună ziua, fulgilor, Chișinău, Editura Cartea moldovenească, 1961.
VIERU, Grigore, Ce poezie știi tu, versuri, Chișinău, Editura Cartea moldovenească, 1961.
VIERU, Grigore, Făt-Frumos, curcubeul, versuri, Chișinău, Editura Cartea moldovenească,
1961.
VIERU, Grigore, Cum mi-am învățat băiatul cifrele și număratul,versuri, Chișinău, Editura
Cartea moldovenească, 1963.
VIERU, Grigore, Făgurași, poezii, povestiri, cântece pentru grădiniţa de copii, Chișinău,
Editura Cartea moldovenească, 1963.
VIERU, Grigore, Mulțumim pentru pace, Culegere de versuri pentru şc. primară, Chișinău,
Editura Cartea moldovenească, 1963.
VIERU, Grigore, Soarele cel mic, povestiri, Chișinău, Editura Cartea moldovenească, 1963.
VIERU, Grigore, Versuri, Chișinău, Editura Cartea moldovenească, 1965.
VIERU, Grigore, Poezii de sama voastră, (versuri pentru copii de la 2 până la 10 ani), Chișinău,
Editura Lumina, 1967.
15
VIERU, Grigore, Numele tău, poeme, Chișinău, Editura Cartea moldovenească, 1968.
VIERU, Grigore, Duminica cuvintelor, versuri, Chișinău, Editura Lumina, 1969.
VIERU, Grigore, Trei iezi, versuri alese pentru copii, Chișinău, Editura Editura Lumina, 1970.
VIERU, Grigore, Versuri, Chișinău, Editura Cartea moldovenească, 1971.
VIERU, Grigore, Aproape: versuri, Chișinău, Editura Cartea Moldovenească, 1974.
VIERU, Grigore, Numărătoarea, versuri,Chișinău, Editura Lumina, 1974.
VIERU, Grigore, Albinuța, cartea preşcolarului, Chișinău, Editura Literatura artistică, 1975.
VIERU, Grigore, Cum mi-am învățat băiatul cifrele și număratul, versuri,Chișinău, Editura
Lumina, 1975.
VIERU, Grigore, Mama: versuri, Chișinău, Editura Lumina, 1975.
VIERU, Grigore, Un verde ne vede. Versuri, Chișinău, Editura Lumina, 1976.
VIERU, Grigore, Steaua de vineri, poeme, Iaşi, Editura Junimea, 1978.
VIERU, Grigore, Fiindcă iubesc, Chișinău, Editura Literatura artistică, 1980.
VIERU, Grigore, Poezii, Chișinău, Editura Literatura artistică, 1983.
VIERU, Grigore, Taina care mă apără: poeme, Chișinău, Editura Literatura artistică, 1983.
VIERU, Grigore, Scrieri alese: versuri, Chișinău, Editura Literatura artistică, 1984.
VIERU, Grigore, Cel care sunt: versuri, creionări, interviuri, note, Chișinău, Editura Literatura
artistică, 1987.
VIERU, Grigore, Mama: versuri, Chișinău, Editura Literatura artistică, 1988.
VIERU, Grigore, Rădăcina de foc. Poeme. Confesiuni, Cuvânt înainte de Ioan Alexandru,
Postfață de Victor Crăciun, București, Editura Univers, 1988.
VIERU, Grigore, Spune-i soarelui o poezie, versuri, Chișinău, Editura Literatura artistică, 1989.
VIERU, Grigore, Cine crede, [culeg. de interviuri, publicistică, poezii, melodii pe versurile aut.],
alcăt. Iu. Ţibulschi; prez.graf. de A. Macovei, Chișinău, Editura Literatura artistică, 1989.
VIERU, Grigore, Rădăcina de foc. Poeme. Confesiuni, Chișinău, Editura Univers, 1989.
VIERU, Grigore, Frumoasă-i limba noastră,versuri, Chișinău, Editura Hyperion, 1990.
VIERU, Grigore, La fereastra cu minuni, versuri, Chișinău, Editura Cartea moldovenească,
1990.
VIERU, Grigore, Hristos nu are nici o vină. Poeme și cântece, Prefață de Carolina Ilica, Postfață
de Dumitru M. Ion, București, Editura Orient/ Occident, 1991.
VIERU, Grigore, Curățirea fântânii, pref., tab. cron., selecţ. text. şi aprec. crit. de V. Pâslaru;
postf. (date biogr.) de V. Crăciun Galați, Editura Porto-Franco, 1993.
VIERU, Grigore, Rugăciune pentru mama, Craiova, Editura Scrisul Românesc, 1994.
VIERU, Grigore, Cartea ghioceilor, Chișinău Editura, Prometeu, 1996.
16
VIERU, Grigore, Văd şi mărturisesc, versuri, aforisme şi confesiuni, Prefață de Mihai
Ungheanu, medalion de Mihai Cimpoi, Bucureşti, Editura Minerva, 1996.
VIERU, Grigore, Acum şi în veac: poeme, confesiuni, Chișinău, Editura Litera, 1997.
VIERU, Grigore, Strigat-am către tine (versuri, aforisme, confesiuni), Chișinău, Editura Litera,
ULIM, 1999.
VIERU, Grigore, Izbăvirea, Galaţi, Editura Press Edit, 1999.
VIERU, Grigore, Lucrare în cuvânt, confesiuni, aforisme, Cuvânt înainte de acad. Mihai
Cimpoi, Craiova, Editura Fundaţiei „Scrisul Românesc”, 2001.
VIERU, Grigore, Întregul cer, Chișinău, Editura Prut Internaţional, 2002.
VIERU, Grigore, La școala iepuraşilor, Chișinău, Editura Prut Internaţional, 2002.
VIERU, Grigore, Cântec de leagăn pentru mama: poezii şi aforisme, Timişoara, Editura
Augusta, 2003.
VIERU, Grigore, Cât de frumoasă ești. Antologie de poezie românească, București-Chișinău,
Editura Litera Internațional, 2004.
VIERU, Grigore, Ghicitoare fără sfârșit, Chișinău, Editura Prut Internaţional, 2005.
VIERU, Grigore, Liniștea lacrimii, Prefață de Antonie Solomon, Postfață de Tudor Nedelcea,
Craiova, Fundaţia Scrisul Românesc, 2006.
VIERU, Grigore, Taina care mă apără, itinerar biogr. şi bibliogr. de Daniel Corbu, Postfață de
Theodor Codreanu, Iaşi, Editura Princeps Edit, 2008.
VIERU, Grigore, Soare, soare, domn frumos, Chișinău, Editura Prut Internaţional, 2008.
VIERU, Grigore, Pâine cu rouă, povestiri, Bucureşti, Editura Agora, 2009.
VIERU, Grigore, Cele mai frumoase poezii, Prefață de Adrian Păunescu, Bucureşti, Editura
Jurnalul, 2009.
VIERU, Grigore, Lumina de taină. Pagini alese, Chișinău, Editura Policadran, 2010.
VIERU, Grigore, Grigore Vieru, O sută și una de poezii, Selecție, cuvânt-înainte, crochiu
biografic și repere critice de Constantin Cubleșan, București, Editura Academiei Române, 2016.
2. In periodicals
VIERU, Grigore, Acasă, 1968 în „Femeia Moldovei”, 1979, nr. 1, p. 5.
VIERU, Grigore, De la tine în „Gazeta de seară”,Chişinău, 1988, 24 august, p. 2.
VIERU, Grigore, Internaționalismul în „Literatura și Arta”, 28 septembrie, 1989, p. 4.
VIERU, Grigore, Transplantare, [versuri], „Vocea Poporului”, 2009, 6 martie, p. 1.
VIERU, Grigore, Mișcarea în infinit în „Limba română”, nr. 1-4, anul XIX, 2009, p. 56.
VIERU, Grigore, Ritmul ființării noastre în „Limba română”, nr. 1-4, anul XIX, 2009, p. 119.
17
VIERU, Grigore, Limba română – Oastea noastră națională în „Limba română”, nr. 1-4, anul
XIX, 2009, p. 361.
VIERU, Grigore, Cugetări despre Limba Română în „Limba română”, nr. 1-4, anul XIX, 2009,
p. 230.
VIERU, Grigore, Cugetări despre Patrie în „Limba română”, nr. 1-4, anul XIX, 2009, p. 180-
182.
VIERU, Grigore, Cugetări despre Mamă în „Limba română”, nr. 1-4, anul XIX, 2009, p. 281.
VIERU, Grigore, Limba în care creezi trebuie să fie atotcuprinzătoare mișcării sufletului și
cugetului în „Limba română”, nr. 1-4, XIX, 2009, p. 360.
3. SITEGRAPHY
VIERU, Grigore, Versuri albe, disponibil pe adresa http://poetii-nostri.ro/grigore-vieru-
versuri-albe-poezie-id-21945/, accesat 02.04.2019.
II. SECONDARY SOURCES
CRITICAL REFERENCES IN VOLUMES:.
ALEXANDRU, Ioan, Cuvânt înainte la Grigore Vieru – Rădăcina de foc. Postfață de Victor
Crăciun. Selecție și îngrijire: Arcadie Donos, București, Editura Univers, 1988.
BAHNARU, Vasile, Eseu despre armonia dintre liric și mesianic în poezia lui Grigore Vieru, în
Grigore Vieru, Poetul, [monogr. colectivă intern. în m. m. vol.], Academia de Științe a
Moldovei, coord. Mihai Cimpoi, Chișinău, I.E.P. Știința, 2010.
BANTOȘ, Ana, Dinamica sacrului în poezia basarabeană, București, Editura Fundației
Culturale Române, 2000.
BANTOȘ, Ana, Deschidere spre universalism. Literatura română din Basarabia, Chișinău,
Editura Tipografia Serebia, 2011.
BĂILEȘTEANU, Fănuș, Grigore Vieru – omul și poetul, București, Editura Iriana, 1995.
BEȘLEAGĂ, Vladimir, Grigore Vieru, în Suflul vremii, Chișinău, Editura Literatura artistică,
1981.
BOTEZATU, Eliza, Mamă, tu ești patria mea.., Patosul patriotic și internaționalist al poeziei,
Chișinău, Editura Lumina, 1979.
BURLACU, Alexandru, Grigore Vieru între tentația orfică și mesianică, în Literatura română
postbelică. Integrări, valorificări, reconsiderări, Chișinău, Editura Tipografia centrală, 1998.
CIMPOI, Mihai, Întoarcerea la izvoare, Chișinău, Editura Literatura artistică, 1985.
18
CIMPOI, Mihai, O istorie deschisă a literaturii române din Basarabia, ediția a II-a, Galați,
Editura Porto-Franco, 1997.
CIMPOI, Mihai, Grigore Vieru: poetul arhetipurilor, Chișinău, Editura Prut Internațional, 2005.
CIMPOI, Mihai, Itinerar biografic: Grigore Vieru în Grigore Vieru, Poetul, [monogr. colectivă
intern. în m. m. vol.], Academia de Științe a Moldovei, coord. Mihai Cimpoi, Chișinău, I.E.P.
Știința, 2010.
CIMPOI, Mihai, Grigore Vieru, poetul-simbol, în Grigore Vieru, Poetul, [monogr. colectivă
intern. în m. m. vol.], Academia de Științe a Moldovei, coord. Mihai Cimpoi, Chișinău, I.E.P.
Știința, 2010.
CIOCANU, Ion, Literatura română. Grigore Vieru-poet și compositor, Chișinău, Editura
Prometeu, 2003.
CODREANU, Theodor, Duminica mare a lui Grigore Vieru, Iași, Editura Princeps Edit, 2010.
CODREANU, Theodor, Zece argumente pentru intrarea în canonul literar a lui Grigore Vieru
în Grigore Vieru, Poetul, [monogr. colectivă intern. în m. m. vol.], Academia de Științe a
Moldovei, coord. Mihai Cimpoi, Chișinău, I.E.P., Știința, 2010.
CRĂCIUN, Victor, Postfață la volumul Grigore Vieru. Rădăcina de foc, București, Univers,
1988.
DABIJA, Nicolae, Fratele lui Eminescu, în Grigore Vieru, Poetul, [monogr. colectivă intern. în
m. m. vol.], Academia de Științe a Moldovei, coord. Mihai Cimpoi, Chișinău, I.E.P, Știința,
2010.
DOLGAN, Mihail, Creația lui Grigore Vieru în școală, Chișinău, Editura Lumina, 1984.
DOLGAN, Mihail, Literatura română postbelică. Integrări, valorificări, reconsiderări,
Chișinău, Tipografia centrală, 1998.
DOLGAN, Mihail, Grigore Vieru: lucrare în cuvânt, în literatura română postbelică. Întrebări,
valorificări, reconsiderări. Chișinău, Editura Tipografia Centrală,1998.
DOLGAN, Mihai, Grigore Vieru, adevăratul: eseu, Chișinău, Editura pentru Literatura și Arta,
2003.
DOLGAN, Mihail, Poezia contemporană, mod de existență în metaforă și idee, Chișinău, Elan
Poligraf, 2007.
DOLGAN, Mihail, Eminesciene, vierene, druțiene (o hermeneutică a imaginarului celor mai
mari scriitori naționali),Chișinău, CEPUSM, 2008.
GALAICU-PĂUN, Emilian, Gama do-major a poeziei basarabene, în Poezia de după poezie,
Chișinău, Editura Cartier, 1999.
19
GEORGESCU, Paul Alexandru, Grigore Vieru și diamantizarea umanului, în Grigore Vieru,
Poetul, [monogr. colectivă intern. în m.m.vol.], Academia de Științe a Moldovei, coord. Mihai
Cimpoi, Chișinău, Editura Știința, 2010.
GORBAN, Paul, Mișcarea în infinit a lui Grigore Vieru, Iași, Editura Princeps Edit, 2011.
GRUIA, Stelian, Poet pe Golgota Basarabiei, București, Editura Eminescu, 1995.
HADÂRCĂ, Ion, Axul postumității testamentare sau demers pentru un mare premiu către opera
unui mare poet, în Grigore Vieru, Poetul, [monogr. colectivă intern. în m. m. vol.], Academia de
Științe a Moldovei, coord. Mihai Cimpoi, Chișinău, I.E.P. Știința, 2010.
IACOBAN, Mircea Radu, Grigore Vieru, Izvorul şi clipa, antologie, Prefață de M. Sorescu,
Bucureşti, Editura Albatros, 1981.
ILIEVICI, Maria, MALERU, Tamara, Grigore Vieru: Bibliografie, Ministerul Culturii al Rep.
Moldova, Biblioteca Naţională pentru Copii „Ion Creangă”; ed. îngrijită de Claudia Balaban,
Ed. a 2-a, revizuită, Chișinău, Editura „Baștina-Radog”, 2010.
LUNGU, Eugen, Referințe istorico-literare în Grigore Vieru, Acum și în veac, București-
Chișinău, Editura Litera Internațional, 2001.
MANOLESCU, Nicolae, Istoria critică a literaturii române, Pitești, Editura Paralela 45, 2008.
MICU, Dumitru, Istoria literaturii române: de la creația populară la postmodernism, București,
Editura Speculum I.O., 2000.
PÂSLARU, Vlad, Prefață la volumul Curățirea fântânii, Galați, Editura Porto-Franco, 1993.
RACHIERU, Adrian Dinu, Grigore Vieru – Patria și Matria, în Grigore Vieru, Poetul, [monogr.
colectivă intern. în m. m. vol.], Academia de Științe a Moldovei, coord. Mihai Cimpoi, Chișinău,
I.E.P. Știința, 2010.
ROIBU, Nicolae, Focul din verb (Scriitori prezenţi la radio naţional sau o istorie subiectivă a
literaturii), Chişinău, Editura Hyperion, 1991.
SIMION, Eugen, Scriitori români de azi, vol. III, București, Editura Cartea Românească, 1998.
ȘLEAHTIȚCHI, Maria, Literatura pentru copii: între inocență și nostalgia jocului, în Grigore
Vieru, Poetul, [monogr. colectivă intern. în m.m.vol.], Academia de Științe a Moldovei, coord.
Mihai Cimpoi, Chișinău, I.E.P. Știința, 2010.
ȘTEFĂNESCU, Alex, Grigore Vieru, în Istoria literaturii române contemporane. 1941-2000,
București, Editura Mașina de scris, 2005.
ȘTEFĂNESCU, Alex, Grigore Vieru, în Grigore Vieru, poetul, [monogr. Colectivă intern. în
m.m.vol.] Acad. de Științe a Moldovei, coord. Mihai Cimpoi, Chișinău, Editura Știința, 2010.
TELEUCĂ, Victor, Mai pictează-mi o miriște, în Grigore Vieru, Poetul, [monogr. colectivă
intern. în m. m. vol.], Academia de Științe a Moldovei, coord. Mihai Cimpoi, Chișinău, I.E.P.
Știința, 2010.
20
ȚIGĂNUȘ, Nistru, Virgil, Grigore Vieru: iluminat de poezie, Chișinău, Editura Universității din
Chișinău, 2006.
ȚURCANU, Andrei, Poezia postbelică: de la dogmă la creativitate, în Literatura română
postbelică. Integrări, valorificări, reconsiderări. Coord. M. Dolgan, Chișinău, Editura
Tipografia centrală, 1998.
UNGUREANU, Mihai, Taina care mă apără, în Grigore Vieru, Poetul, [monogr. colectivă
intern. în m.m.vol.], Academia de Științe a Moldovei, coord. Mihai Cimpoi, Chișinău, I.E.P.
Știința, 2010.
CRITICAL REFERENCES IN PERIODICALS:
ADAM, Georgeta, Eminescu să ne judece. Interviu realizat cu poetul Grigore Vieru, în
„Literatura și Arta”, nr. 14 (2382), 4 aprilie 1991, p. 4.
BACOS, Camelia, Rolul imaginii asupra mentalității colective, în „Societate și Cultură”, nr. 3,
1992, p. 23.
BANTOȘ, Alexandru, „Fără limba română n-aș fi ajuns poet”, interviu realizat cu poetul
Grigore Vieru cu prilejul aniversării a 60, în „Limba Română”, nr. 1 (19), anul V, 1995, p. 21.
BANTOȘ, Alexandru, Mesager pentru Basarabia, în „Limba Română”, nr. 1-4, anul XIX, 2009,
p. 14.
BANTOȘ, Ana, Poet al candorilor, în „Limba Română”, nr. 1 (19), anul V, 1995, p. 34.
BANTOȘ, Ana, Între exilul și libertatea interioară, în „Limba Română”, nr. 1-3, 2005, p.
26.BANTOȘ, Ana, Simplitatea lui Grigore Vieru,în „Limba Română”, nr. 1-4, XIX, 2009, p.
131.
BEȘLEAGĂ, Vladimir, La început, Grigore Vieru..., în „Limba Română”, nr. 1-4, XIX, 2009, p.
270-272.
BURLACU, Alexandru, Poetica lui Grigore Vieru, în „Metaliteratura”, nr. 1-2 (20), anul IX,
2009, p. 7.
CIOPRAGA, Constantin, Grigore Vieru – destin re-întemeietor, în „Limba Română”, nr. 1-4,
(163-166), anul XIX, 2009, p. 16.
CIMPOI, Mihai, Grigore Vieru: carte de învățătură, în „Limba Română”, nr. 1-4, anul XIX,
2009, p. 60-61.
CIOCANU, Ion, Cinstirea limbii în publicistica lui Grigore Vieru, în „Limba Română”, nr. 1-3,
2005, p. 37.
COLESNIC, Iurie, Un rege al metaforei – Grigore Vieru, în „Literatura și arta”, nr. 6, din 9
februarie 1995, p. 5.
DABIJA, Nicolae, Grigore Vieru, în „LIteratura și Arta”, 7 februarie 2008, p. 3.
21
DABIJA, Nicolae, A murit fratele lui Eminescu, în „Literatura și Arta”, nr. 3, 22 ianuarie, 2009,
p. 2.
DOLGAN, Mihail, Numai prin artă omenirea se poate salva de vid, în „Limba Română”, nr.5-9,
anul XV, 2005, p. 26.
DUCA, Gheorghe, Grigore Vieru pe ultimul drum, în „Limba Română”, nr. 1-4, anul XIX,
2009, p. 387.
DUMITRESCU-Bușulenga, Zoe, Ecoul tuturor, în „Literatura și Arta”, 15 aprilie 1993, p. 6.
DUNGACIU, Dan, Diviziile lui Grigore Vieru, în „Limba Română”, nr. 1-4, anul XIX, 2009, p.
154.
FILIP, Iulian, Întârzierea în copilărie a lui Grigore Vieru, în „Limba Română”, nr. 1-4 (163-
166), anul XIX, 2009, p. 256.
FILIP, Iulian, Unitate între cuvânt și sacrificiu, în „Limba Română”, nr. 1-4, anul XIX, 2009, p.
47.
GÂRLEA, Olesea, Valori semantice ale cuvântului lacrimă în creația lui Grigore Vieru, în
„Metaliteratura”, anul IX, nr. 1-2, (20), 2009, p. 18-20.
GRIGURCU, Gheorghe, Poezie de Patrie, în „Limba Română”, nr. 1-3, anul XV, 2005, p. 89.
IACOBAN, Mircea Radu, Un firicel de om, Grigore Vieru, în „Limba Română”, nr. 1-4, anul
XIX, 2009, p. 28.
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