In her essay Mihai Eminescu o dell’assoluto Rosa del Conte, reflecting on the chromatic sensibility of Mihai Eminescu, has remarked that in modern literature only Charles Baudelaire could be placed next to the Romanian poet for his almost morbid passion for all glittering materials: metals, crystals, precious stones. In this contribution we propose to begin a systematic study of the eminescian mineral Imaginary by focusing our attention, this time, only on the “crystalline reveries”. By analyzing the symbolic valorizations of the crystal, considered in all the hypostases disseminated in the eminescian texts (diamond, emerald, ruby, sapphire, pearl), we will show that for Eminescu the crystal does not represent only the image of a world in the world containing individual destiny, but also a “space-light” which, in its inorganic fixity and imperishable stability, materializes an “oneiric space-time” of eternity.

This essay about "Domnişoara Christina" (1936) by Mircea Eliade focuses, at first, on the folkloric motifs hidden in the novel, which intersect the implicit and explicit intertextualities coming from fantastic and gothic Western Europe literature. The second part of this study is dedicated to the construction of the ‘devouring femininity’ and his metamorphosis, and to the vampirophania: the gradual revelation and manifestation of a both terrifying and fantastic ‘reality’. The last part proposes a transversal reading of the novel trying to demonstrate that Christina is the projection of the anima, the female intra-psychic archetype, of the main male character Egor.

L'article est centré sur l'étude d'un recueil d'Ana Blandiana, Refluxul sensurilor (2004). Par l'analyse des textes, il se propose d'éclairer les sédimentations thématiques, symboliques et mythiques de l'œuvre. Dans la première partie, il examine les poèmes aimantés par une réflexion crépusculaire et apocalyptiques, afin de montrer que l'écriture d'Ana Blandiana révèle une prédilection pour des images qui expriment, d'un côté, le vieillissement et la dégradation (Îngeri bătrâni, Plajă), et, de l'autre, l'hybridisme et la confusion choquante des « royaumes » différents qui constituent le réel (Amestec, O catedrală de lână). Dans la deuxième partie, il s'arrête sur la poétique de la réintégration et de la régénération et, en particulier, sur ces textes où elles semblent s'achever (In memoriam, Mandala). L'article se termine par une comparaison entre Refluxul sensurilor et la dernière phase de la poésie de Lucian Blaga, en définissant ainsi les convergences et les divergences entre les deux poètes.

“Le temps viendra où tous sera or et amour. Car toute transmutation est possible, là où ne sont que les cases d’un seul air...”, wrote Paul Păun in Les esprits animaux (1947). The two lengthy poems published in Romania, Plămânul sălbatec (1939) and Marea Palidă (1945), represents a high witness for this possibility of transmutation. They are secretly magnetized by “the manifested beauty of the dream”, but also by the alchemic decantation of the images and their metamorphic aspects. This paper is a fragment of a more extended research about Paul Păun’s poetical works15, still little known in Romania and abroad, and it is focused on the first poem Plămânul sălbatec, published in book in 1939. Even though in Plămânul sălbatec Păun did not apply deliberately and consciously surrealist strategies, the fragmentary delirium of this poem seems to be founded, in part, on automatism and on hasard objectif. His images are intended to transfigure reality, revealing, at the same time, these qualities of the unconscious that the poet defined as “cryptesthésiques”. The images become then a means to understand a complex reality, revealing also the desire of renewing the world through the power of dreams. Plămânul sălbatec, always suspended between the elementary poetry of the “immediate life” and the vertigo of the encrypted and abysmal “word”, represents a good illustration of “total poetry”, where action and dream, the ideological level and the poetological one overlap simultaneously. 15

In her work "Kore-Persefona", published in 2004, the romanian poet Ruxandra Cesereanu performs a post-modern re-writing of the mythic Double Self Kore-Persephone. This article aims at studying the metamorphosis of this myth and its symbolical meanings in Cesereanu's poetry, in which Kore-Persephone represents the paradoxical metaphor of a Self mentally divided between sanity and neurosis.

For Radu Stanca, Mihai Eminescu’s work has represented not only a model, but it has had also a « catalytic » and intermediary function, allowing him to approach romantic spirituality. In this study, we focus on eminescian intertextualities in Radu Stanca’s poetry, dwelling upon two poems: « Luceafăr 1962 » and « Liliacul ». Through our analyses, we have demonstrated that if « Luceafăr 1962 » can be considered as the « euphorionist » rewriting of Luceafărul, the retrospective dark reveries haunting « Liliacul », embody a modernization (and even a demythization) of the archetypic and symbolic scheme on which was founded « Strigoii ».

Nel corso del XX secolo, la città si configura spesso come il nucleo più vivo e irradiante all'interno delle riflessioni che concernono la poetica dello spazio. A cominciare già dalla seconda metà del XIX secolo, la poetica dello spazio tende a coincidere sempre più con una vera e propria poetica dell'immaginario urbano, affermando, anche a livello tematico e simbolico, la supremazia della città sulla natura. In questa prospettiva emerge, però, una nuova e più lacerante antitesi in cui si contrappongono la città moderna, tentacolare e massimamente seduttiva e, la città "d'antan", nella direzione quest'ultima, non solo di un passato archeologico, ma anche mitologico e archetipico. Questa seconda tipologia è oggetto del nostro studio che si focalizza sull'immaginario urbano nell'opera di Radu Stanca. Analizzeremo in tre differenti tappe l'immagine di Sibiu nell'opera del poeta romeno. Dapprima faremo riferimento al suo suggestivo saggio « Sibiu, cetatea umbrelor » (« Sibiu, la città delle ombre »), pubblicato in România nouă nel 1944; in un secondo momento prenderemo in considerazione quei testi attraverso i quali si dipana la costellazione mitica sibiana. All'interno di essi distingueremo le poesie in cui il « burg baladesc » è rappresentato in modo esplicito attraverso la sua peculiare geografia da quelle in cui invece il mito è presente in modo implicito, mediante una poetica spiccatamente sineddochica.