Abstract_Carmen Aştirbei

“Alexandru Ioan Cuza” University of Iaşi
Faculty of Letters
Doctoral School of Philological Studies
Doctoral Thesis
Lucian Blaga and his versions in
French: figures of speech and
translation
PhD advisors,
Prof. Dr. Marina Mureşanu
Prof. Dr. Jean Peeters
PhD student,
Aştirbei Carmen-Ecaterina
Iaşi 2012
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TABLE OF CONTENTS
FOREWORD………………………………......…… p. 9
I. GENERAL INTRODUCTION. TRANSLATION,
TRANSLATION STUDIES AND
STYLE……………………………………….…… p. 12
Introduction……………………………………...… p. 12
1. Translation and history…………….…….........….. p. 12
2. From translation to Translation Studies………… p. 20
2. 1. Avatars of the concept of “translation”..…...... p. 20
2. 2. One or more sciences of translation?................ p. 29
2. 3. On the “ancillary metaphor” of the source-oriented
translators and the target-oriented translators……... p. 35
2. 4. The problem of norms in Translation
Studies….................................................................... p.41
3. Translation Studies and their avatars. Translation
theories….............................................................…. p. 43
3. 1. The linguistic approach of translation.………. p. 44
3. 2. Beyond linguistics: the
sociolinguistics......................................................... p. 47
3. 3. The functionalist approach of translation. The
theory of skopos...…………….…………………… p. 50
3. 4. The interpretative approach of translation..….. p. 52
3. 4. 1. Hermeneutics and translation…………...… p. 52
3. 4. 2. The interpretative theory or the theory of
meaning in translation………………………….….. p. 57
3. 4. 2. 1. The meaning-signification
dichotomy…………………………….…..…..…… p. 60
3. 4. 2. 2. Stages of translation...………………...… p. 61
3. 4. 2. 3. Contribution of the interpretative approach to
the translation theory…….…………...………..….. p. 65
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3. 4. 3. Limits of the interpretative approach of
translation………………………………...……….. p. 66
4. New parameters of translation. Translation and
culture. Translation and globalization...…..……….. p. 76
4. 1. Cultural issues in the context of
globalization……...………………………...…...… p. 77
4. 2. The question of intercultural elements. Otherness
and translation...…………………..…………..…… p. 81
4. 3. Literary translation and cultural otherness…... p. 83
5. The question of style in translation…………….… p. 84
5. 1. Translatability of style………...…...………… p. 84
5. 2. Translatability of the figure of speech.........…. p. 87
Partial conclusion……………....………………….. p. 88
II. THEORETICAL BASIS: POETIC TEXT AND
TRANSLATION……………………..…………… p. 92
Introduction……………………………...………… p. 92
1. Structure and functioning of the poetic
discourse………....................................................... p. 92
1. 1. Parameters of the poetic discourse…….…….. p. 92
1. 2. Lyrical writing – poetic, linguistic and semiotic
approach……………………………………...……. p. 96
1. 2. 1. Poetics and functioning of the lyric
text……….………...……………………….……... p. 96
1. 2. 2. Linguistics and functioning of the poetic
text.......................................................................…. p. 97
1. 2. 3. Sign and poetic object: signifier,
signified, significance…..……….……………….. p. 103
1. 2. 4. The poetic texts as « écart »………...……. p. 109
1. 3. Poetic text and lyrical poetry….…….……… p. 115
1. 3. 1. From Mallarmé to Valéry. A brief critical history
of the poetic discourse.…………….....………….. p. 115
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1. 3. 2. Poetry and the other literary genres…...…. p. 119
1. 3. 3. Poetic language as revelation…….………. p. 122
1. 3. 4. The poetic feature. An attempt to
define poetry……….…………….………………. p. 124
2. Translation of poetry. Theories and
perspectives………………………………………..….. p. 127
2. 1. Literary translation vs. poetic translation…... p. 127
2. 2. Definitions of poetry translation.……...……. p. 130
2. 3. Reflections on the status of the translator of poetic
texts………………………………………………. p. 132
2. 4. Poetry translation. Translation
difficulties……………………………………...… p. 139
2. 4. 1. Specific problems…...…………………… p. 139
2. 4. 2. Poetry – untranslatable ? Limits of poetry
translation………….………….…………………. p. 141
2. 5. To a semiotic approach of poetic
translation………..………………………………. p. 148
2. 5. 1. Poetic signifier and signified in
translation...…………...……….…………...……. p. 148
2. 5. 2. Poetic text as discourse. Rhythm in
translation...………………………………..…….. p. 152
2. 5. 3. Translating the significance of a poem..…. p. 157
2. 6. Methods and strategies in poetry
translation………………………………..……..... p. 161
2. 6. 1. On the “crisis of poetry translation” in
France……………….…………………………… p. 161
2. 6. 2. Possible strategies for the translation of the
poetic text…..………...………………………...… p. 163
2. 7. Hermeneutics and poetry translation..……… p. 166
2. 7. 1. From interpretation to recreation....……… p. 167
2. 7. 2. The interpretative approach applied to poetic
texts………...………………...…………...……… p. 169
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Partial conclusion…………………………...……. p. 171
III. LUCIAN BLAGA IN THE EUROPEAN CULTURE
………………..……………………………..…… p. 174
Introduction………………………………………. p. 174
1. Brief perspective on Romanian modern
poetry……………..…………..……………..………… p. 174
2. Lucian Blaga – biography and works. Monographic
presentation……………………….……………….…. p. 180
3. Lucian Blaga – the poet……….…………...…….. p. 196
3. 1. Blaga’s conception of poetry and the poet’s mission
……….…………..………………………………. p. 196
3. 2. Blaga’s poetry - philosophical poetry? The danger
of the “distorting reading”.………………………. p. 202
3. 3. Lucian Blaga’s poetry. Presentation of the volumes
of poetry…………………………...……………... p. 209
3. 3. 1. Poemele luminii / Les poèmes de la
lumière (1919)………………………………….... p. 209
3. 3. 2. Paşii profetului / Les pas du
prophète (1921)………………………………….. p. 211
3. 3. 3. În marea trecere / Dans le grand
passage (1924)….……………………………..…. p. 211
3. 3. 4. Lauda somnului / L’Éloge du
sommeil (1929)…………………………………... p. 212
3. 3. 5. La cumpăna apelor / Au partage des
eaux (1933)………………………………………. p. 212
3. 3. 6. La curţile dorului / À la cour du
mystère (1938)………………………………..….. p. 212
3. 3. 7. Nebănuitele trepte / Les marches insoupçonnées
(1943)……………………………………..……… p. 213
3. 3. 8. Posthumous volumes: Corăbii de cenuşă
(Navires à cendres), Cântecul focului (La chanson du
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feu), Ce aude unicornul (Ce qu’entend l’unicorne),
Mirabila sămânţă (La merveilleuse semence)….... p. 213
4. Lucian Blaga – the philosopher…………..…….. p. 214
4. 1. Style and stylistic matrix in Blaga’s philosophy
………………….…………………………..……. p. 215
4. 1. 1. Presentation of Blaga’s philosophic system. The
concept of style….....…………………………….. p. 215
4. 1. 2. Poetic writing and “stylistic
matrix”…….…………………………………...… p. 217
4. 2. Blaga’s conception of metaphor……..…..…. p. 219
5. Lucian Blaga – the translator……….....…..…… p. 220
5. 1. The Romanian translation in the
’50s……………………………………..………... p. 220
5. 2. Lucian Blaga: list of translations and motivation of
the act of translating……………………………… p. 222
5. 3. Lucian Blaga: conception of
translation…………………………………….….. p. 228
5. 4. Blaga – anti-communist resistance figure through
translation……………….……………………….. p. 242
Partial conclusion…..…………………………….. p. 243
IV. TRANSLATIONS AND TRANSLATORS OF
BLAGA’S POETRY………………….…………. p. 247
Introduction………………………………………. p. 247
1. Presentation of corpus….………………………… p. 248
2. Other translations of Lucian Blaga’s
works…………………………......................………... p. 251
2. 1. Other translations into French of Blaga’s works
………..………………..……………………….... p. 252
2. 2. Translations of Blaga’s works into other languages
……………………..……………………..……… p. 253
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3. Translations and translators into French of Lucian
Blaga’s poetry…………..………….…………….. p. 258
3. 1. The first translation into French of Blaga’s poetry:
Veturia Drăgănescu-Vericeanu.......................…… p. 259
3. 2. Eight poems of Blaga translated by
Virgil Ierunca………………………..…………… p. 260
3. 3. Lucian Blaga translated by Paul Miclău
or how the translator justifies his strategies...….… p. 262
3. 3. 1. Paul Miclău – researcher,
professor, poet………………….………..……….. p. 262
3. 3. 1. 1. Paul Miclău – biographic presentation... p. 262
3. 3. 1. 2. Paul Miclău’s poetry under the magic of the
poetic sign……………………………………...… p. 267
3. 3. 2. Paul Miclău – translator and translation specialist
…………………………………………………… p. 270
3. 3. 2. 1. Translation and auto-translation………. p. 270
3. 3. 2. 2. Paul Miclău and Blaga’s poetry. Translator’s
foreword……………………..………….….…….. p. 274
3. 4. Sanda Stolojan or the thematic choice of the
translated corpus…………………...…………….. p. 280
3. 5. When a poet translates another poet: Lucian Blaga
translated by Jean Poncet………………………… p. 283
3. 5. 1. Jean Poncet and Romania...……………… p. 283
3. 5. 2. Jean Poncet’s “defense”, as the translator of
Blaga….…………………….……………...…….. p. 288
3. 5. 3. Importance of the publication of Blaga’s poems
in the SUD magazine…..……..………………..… p. 291
3. 6. Paula Romanescu – translator of Blaga....….. p. 296
3. 7. Lucian Blaga – Poeme alese / Poèmes
choisis, collective volume…….………………...... p. 298
3. 8. În marea trecere / Le Grand Passage, translated by
Ştefana and Ioan Pop-Curşeu…………………….. p. 299
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3. 9. În marea trecere / Au fil du grand parcours,
translated by Philippe Loubière………….….…… p. 302
3. 9. 1. Translation methodology………………… p. 304
3. 9. 2. Analysis of the other translations of the volume
În marea trecere………………………....………. p. 306
3. 10. Lucian Blaga’s poetry in multilingual translation
(Ars Longa Publishing House)……………….….. p. 308
Partial conclusion………………………………… p. 309
V. TRANSLATING BLAGA’S STYLE AND
FIGURES OF SPEECH: ANALYSIS OF THE POETIC
SIGNIFIER……………...……………………….. p. 314
Introduction………………………...…………….. p. 314
1. Visual side of the signifier. Transposition of the
typographic rhythm and of the intra-typographic
elements……………………………………...…….….. p. 316
1. 1. Transposition of the elements belonging to the
typographic macro-context: page setting, axial
symmetry, cutting of stanzas and verses, enjambment
…………….……………………………………... p. 319
1. 1. 1. Cutting of stanzas…….…………….……. p. 325
1. 1. 2. Cutting of verses….……………..……….. p. 328
1. 1. 2. 1. Suppression of graphemes / verses...….. p. 329
1. 1. 2. 2. Addition of graphemes / verses…….…. p. 335
1. 1. 2. 3. Original cutting of verses………..…….. p. 342
1. 2. Translation of the elements belonging to the
typographic
micro-context:
graphic
features,
punctuation, verses “in mirror”………………..…. p. 343
1. 2. 1. Punctuation features. The presence of the dash
…..………………………..……………………… p. 344
1. 2. 2. Other graphic features. The verses “in mirror”
……..…………………………………….………. p. 352
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2. Sound side of the signifier. Translation of the prosodic
elements and of sound effects……...………...……... p. 384
2. 1. Prosodic features of Blaga’s style…………... p. 385
2. 2. Sound effects: alliterations, assonances…….. p. 409
Partial conclusion………………………………… p. 412
VI. TRANSLATING BLAGA’S STYLE AND FIGURE
OF SPEECH: ANALYSIS OF THE POETIC
SIGNIFIED............................................................. p. 413
Introduction………………...…………………….. p. 413
1. Specificity of Blaga’s vocabulary: keywords, motifs,
symbols, semantic fields……………….………...….. p. 413
1. 1. Keywords...………….……………………… p. 413
1. 2. Motifs and symbols………………...….……. p. 424
1. 3. Semantic fields……..…………………….…. p. 431
2. Translation of titles..….………….……………….. p. 437
2. 1. Titles of volumes..………………...……..…. p. 437
2. 2. Titles of some poems……………………….. p. 440
3. Other features of Blaga’s vocabulary: religious and
cultural terms…………….…………………………… p. 446
3. 1. Translation of the religious terms……….….. p. 446
3. 2. Translation of the cultural terms……………. p. 452
4. Translation of the figures of speech…………….. p. 459
4. 1. Metaphors…………...………………..…….. p. 459
4. 1. 1. Metaphor and translation…………..…….. p. 459
4. 1. 2. Translating Blaga’s metaphor...……….…. p. 464
4. 2. Beyond metaphor: images……………….…. p. 474
4. 3. Other figures of speech……..………………. p. 479
4. 3. 1. The epithet…………………………..…… p. 479
4. 3. 2. Metonymy, enumeration, oxymoron.......... p. 482
5. Poeticity and alteration of poeticity in poetry
translation…………………………...….…………..… p. 484
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5. 1. Poeticity techniques….…………….……….. p. 484
5. 1. 1. Poetic terms…………………………..….. p. 484
5. 1. 2. Interpretative work.…………………...….. p. 487
5. 1. 3. Compensation……………...…………….. p. 490
5. 2. Alteration of poeticity and
poetry translation………………………….……... p. 490
5. 2. 1. Trivialization…………………………..…. p. 490
5. 2. 2. Simplifications and semantic
modifications……………………….……………. p. 493
5. 2. 3. Modifications of the textual voice……...... p. 495
5. 2. 4. Omissions…………………………...…… p. 496
5. 2. 5. Mistranslations………………….…….….. p. 498
5. 3. Language errors and clumsy
expressions ………………………………………. p. 500
5. 3. 1. Language errors.…………………………. p. 500
5. 3. 2. Clumsy expressions……………………… p. 504
6. Paula Romanescu or the “non-translation”…... p. 505
6. 1. Addition of semantic units.………...……….. p. 506
6. 2. Modifications of the textual voice……..…… p. 507
6. 3. Interpretations………………………………. p. 508
Partial conclusion………...………………………. p. 509
GENERAL CONCLUSION………...…...………. p. 515
APPENDIX……..…………...……...……………. p. 521
BIBLIOGRAPHY…….……………………….…. p. 526
1. Corpus……………………………...…...………….. p. 526
2. References……………………………...….….…… p. 527
2. 1. Translation……….……...………………….. p. 527
2. 2. Sociology of translation….……………….… p. 531
2. 3. Hermeneutics………………....…………….. p. 532
2. 4. Linguistics, stylistics and poetic
discourse………………………………….….…... p. 532
2. 5. Other works of Blaga……………......……… p. 535
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2. 5. 1. Works of Blaga in the source language….. p. 535
2. 5. 2. Other works of Blaga translated into
French…..……………………………….……….. p. 536
2. 5. 3. Works of Blaga translated into other
languages…….…………………….…………..… p. 537
2. 6. Works translated by Blaga……..………..….. p. 540
2. 7. Critical works on Blaga………………….…. p. 540
2. 8. Translators of Blaga. Literary works. Other
translated works……….…………………………. p. 541
2. 9. Other translations of poetry (Romanian-French,
French-Romanian)………………..…………...…. p. 545
2. 10. Biographies………………………….…….. p. 546
2. 11. Other works consulted…..………………… p. 546
3. Articles…………………………………..……...….. p. 547
3. 1. Translation………...……………………...… p. 547
3. 2. Sociology.……………...…………………… p. 557
3. 3. Hermeneutics and interpretative theory..…… p. 557
3. 4. Linguistics, stylistics and
poetic discourse..……………………………..….. p. 558
3. 5. Critical articles on Blaga………………...…. p. 560
3. 6. Translations and translators of Blaga….....… p. 565
3. 7. Other articles consulted….………………..... p. 566
4. Dictionaries…………..………………...………….. p. 567
5. Magazines……………..…………………………… p. 567
6. Internet sites……...……...………………………… p. 567
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Abstract
Our thesis, which has for subject the translation
of Lucian Blaga’s poetry into French, follows two
directions. On one hand, we focus on the mechanisms
governing poetry translation, in order to decide if we can
formulate a methodology for the translation of this
literary genre. On the other hand, we have in view the
recovery of the stylistic marks of the source text by the
means of the target language. In our view, the recurring
stylistic features of an author are “figures of speech” and
form together the idiostyle of that author. We conceive
our work as a study of the poetic text and of the literary
style from the point of view of Translation Studies or as
a compared stylistics of the poetic text (RomanianFrench field).
The approach that we envisage is based on the
meaning theory formulated by Marianne Lederer and
Danica Seleskovitch and applied here to the poetic text.
According to this theory, translation is a subjective
operation and the text is the object of the translator’s
interpretation. The stages of translation are the
comprehension, the interpretation and the recreation.
Through these stages, the translator becomes the
interpreter par excellence of the work; his task is to
produce a “poetic equivalent” of the source text.
In order to study the translation of the poetic text
and of the idiostyle, we chose a corpus composed of
several translations into French of Lucian Blaga’s poetic
work. Through this analysis, we intend to detect the
translation strategies which can be identified in the target
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text. We advance the idea that the translation decisions,
when generalized, form together the translator’s “style”
or “poetics of the translation”.
The thesis is composed of six chapters: Chapters
I-IV prepare the descriptive and critical study in
Chapters V and VI. Chapter I is designed as a general
presentation of the concept of translation and of its
theorizations. We analyze the status of Translation
Studies as the “science of translation”, but also the
translatability of style and of the figure of speech.
Special attention is given to the theory of meaning
applied to the translation of literary works.
Chapter II focuses on the poetic text and on the
translation theories concerning it. It contains two parts:
the first part is a poetic, linguistic and semiotic approach
of the poetic discourse, while the second part presents
the poetic text in translation. We intend to see if the
interpretative theory can be applied to poetry translation.
Chapter III describes Lucian Blaga’s personality,
as well as his literary and philosophic works. A
subchapter concerns Blaga’s activity as a translator and
his conception of translation. We consider this
subchapter as a metadiscourse of poetry translation.
The presentation of translators and translations
into French of Lucian Blaga’s poetic work is the subject
of Chapter IV. We are particularly interested in the
translators’ training and in their conception of
translation. Our corpus contains ten versions in French
of Blaga’s poems.
Chapters I-IV are the premises of the descriptive
and critical study in chapters V and VI of our thesis. The
corpus analysis is a simultaneous study of the prominent
13
marks of Blaga’s idiostyle on one hand, and of the
generalized translation decision which may indicate the
existence of the translation style on the other hand. If
Chapter V treats the question of the poetic signifier in
translation, Chapter VI focuses on the translation of the
poetic signified. The purpose of our study is not to
radically separate the analysis of the sign components,
but to examine translation decisions in order to set the
premises of a methodology of poetry translation.
Among the particularities of Blaga’s style at the
level of the poetic signifier, we enumerate the blank
space, the monorhemic sentences, the optical rhyme, the
marks of the oral language, the dash having a creative,
expressive or decorative function, the verses in mirror. If
the poems from the first period of Blaga’s creation
present an apparently free rhythm, during the second
period we notice a return to traditional prosodic forms.
To the blank verse period corresponds an irregular
cutting of the typographic rhythm, while the regular
prosody is associated with a regular typographic rhythm.
At the level of the poetic signified, we can
identify in Blaga’s poems keywords, motifs and symbols
belonging to his poetic code. The vocabulary contains
cultural terms and words borrowed from the Christian
orthodox religion. The existence of figures of speech
constitutes, perhaps, the most important stylistic mark of
Blaga’s poems: we can identify revelatory metaphors
and epithets, arborescent images, metonymies,
enumerations, oxymorons. The titles of the volumes and
of the poems often have a symbolic or metaphoric
character. All these stylistic marks constitute important
translation difficulties.
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The translation of poetry supposes the recovery
of the significance marks, as well as the listening of the
textual voice. In theory, the strategies that should be
adopted are the literary translation and the oblique
strategies (or “compensatory techniques”). At the level
of the target text, the translators’ decisions can be
grouped in two categories, according to the result. On
one hand, we notice the decisions which aim at
recovering or increasing the poetic character and, on the
other hand, the decisions leading to the alteration of the
poetic character, or even to the alteration of the
significance. The strategies helping the translator
emphasize the poetic character of the source text concern
the chosen vocabulary and the translator’s interpretative
work. As losses are inherent to the translation process,
the translator can transcend them by compensation.
The decisions affecting the poetic character of
the text can be placed on a growing scale, according to
their seriousness: trivializations (bad choice of terms and
of the language register), simplifications, semantic
modifications, omissions, mistranslations, modifications
of the textual voice, language errors, clumsy
constructions.
The corpus analysis reveals the fact that the
interpretative approach applied to the poetic text is the
method par excellence to translate this literary genre and
to recovery the stylistic marks in the target language.
The existence of a style of translation can be anticipated
with the help of contextual factors, such as the
dimension of the translated corpus; the conception of
translation expressed in prefaces, articles, critical works;
the existence of generalized translation decisions. The
15
style of translation manifests itself at the level of the
target text through the translators’ recurrent decisions.
In case of poetry translated by other poets, we
notice a “reversed poetics”: the style of the foreign poet
may inspire the poetics of the poet-translator and,
through this, the target language and literature. The study
of the “reversed poetics” is a research field in
Translation Studies which remains to be explored.
In general, the literary style and the style of
translating become complementary and, sometimes, they
come to be confounded, as translation makes styles
trans-linguistic. Poetry and style are public goods, which
circulate, through translation, from one culture of the
world to another.
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Selected bibliography
1. Corpus
Anthologie de la poésie roumaine, sous la direction
d’Alain Bosquet, Éditions du Seuil, Paris, 1968.
Anthologie de la poésie roumaine avant-propos par
George Macovescu, Éditions Nagel, Paris, 1981.
Florilegiu de dragoste. Poeme / Florilège d’amour.
Poèmes, anthologie bilingue roumaine-française,
traduit par Aurel-George Boeşteanu, Éditions
Minerva, Bucarest, 1981.
La Nouvelle Revue Française, no 273, septembre 1975,
Paris ; contient 8 poèmes de Lucian Blaga
traduits par Virgil Ierunca.
Lucian Blaga – « Le Grand Passage », suivi de Nichita
Stănescu – « Une vision des sentiments », Autres
Temps, Marseille, 2003.
Lucian Blaga – 65 poèmes, traduit par Paula Romanescu,
Éditions Helicon, Timişoara, 1995.
Petite anthologie de la poésie roumaine moderne,
édition bilingue roumaine-française, Travaux du
séminaire « Mihai Eminescu » de l’Université de
Provence, sous la direction de Valeriu Rusu,
anthologie, préface et présentation de Valeriu
Rusu, Éditions Minerva, Bucarest, 1975.
Poètes roumains contemporains, anthologie réalisée par
Aurel George Boeşteanu, Éditions Eminescu ;
Bucarest, 1975.
17
BLAGA, Lucian, Poèmes, Traduction et Avant-propos
par Veturia Drăgănescu-Vericeanu, Éditions
Minerva, Bucarest, 1974.
BLAGA, Lucian, volume bilingue, Poemele luminii / Les
poèmes de la lumière, sélection, traduction et
avant-propos par Paul Miclău; préface et note
biographique par Romul Munteanu, Minerva,
Bucarest, 1978.
BLAGA, Lucian, L’Étoile la plus triste, traduction de
Sanda Stolojan, éd. Orphée, La Différence, 1992.
PONCET, Jean (dir.), Lucian Blaga ou le chant de la
terre et des étoiles, hors-série de la revue Sud,
articles de G. Astalos, E. B. Steiciuc et alii, Sud,
Marseille, 1996.
BLAGA, Lucian, Poezii / Poésies, traduction de Jean
Poncet, Libra, Bucarest, 1997.
BLAGA, Lucian, Poeme alese / Poèmes choisis, volume
collectif, traductions par Aurel George
Boeşteanu, Mireille Bonnet, Alain Caumette,
Veturia Drăgănescu-Vericeanu, Paul Miclău,
Paula Romanescu, Claude Sernet, préface par
Eugen Simion, sélection des poèmes par Ion
Acsan, Éditions Grai şi Suflet, Bucarest, 1998.
BLAGA, Lucian, Au fil du grand parcours, traduit par
Philippe Loubière, Éditions Paralela 45, Piteşti,
2003.
BLAGA, Lucian, Dans le grand passage, en français
(Durant le grand passage, traduit par Paul
Villard), espagnol (Durante el gran paso, traduit
par Christian Tămaş), anglais (In the Great
Passage, traduit par Rodica Albu) et allemand
(Während des Groβen Übergangs, traduit par
18
Anneliese Poruciuc et Andrea Bargan), Ars
Longa, Iaşi, 2006.
BLAGA, Lucian, Corola de minuni / Corolle de
merveilles (La poésie roumaine dans l’entredeux-guerres), traduction de Paul Miclău,
Domino, Bucureşti, 2007.
BLAGA, Lucian, Poemele luminii, ediţie trilingvă,
prefaţă de Constantin Ciopraga, Editura Ars
Longa, Iaşi, 2007.
BLAGA, Lucian, Paşii profetului, ediţie trilingvă,
prefaţă de George Călinescu, grafică de Eduard
Rudolf Roth, Editura Ars Longa, Iaşi, 2008.
BLAGA, Lucian, În marea trecere, ediţie multilingvă,
prefaţă de Mioara Pop, grafică de Nicoleta Bida,
Editura Ars Longa, Iaşi, 2009.
BLAGA, Lucian, Lauda somnului, ediţie multilingvă,
prefaţă de George Călinescu, grafică de Eduard
Rudolf Roth, Editura Ars Longa, Iaşi, 2010.
BLAGA, Lucian, La curţile dorului, ediţie multilingvă,
prefaţă de George Călinescu, grafică de Nicoleta
Bida, Editura Ars Longa, Iaşi, 2010.
BLAGA, Lucian, Opera poetică, Humanitas, Bucureşti,
2010.
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26
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2. 3. Critical works on Blaga
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1986.
BĂLU, Ion, Viaţa lui Lucian Blaga, Fundaţia Culturală
Libra, Bucureşti, 1995-1999.
28
CENUŞĂ, Mircea, Lucian Blaga. Corespondenţă,
Editura Dacia, Cluj-Napoca, 1989.
CIMPOI, Mihai, Lucian Blaga: Paradisiacul, lucifericul,
mioriticul. Poem critic, Editura Dacia, ClujNapoca, 1997.
DIACONU, Florica, DIACONU, Marin, Dicţionar de
termeni filosofici ai lui Lucian Blaga, Bucureşti,
Editura Univers Enciclopedic, 2000.
GÁLDI, Ladislas, Contributions à l’histoire de la
versification roumaine. La prosodie de Lucian
Blaga, Akadémiai Kiadó (Maison d’édition de
l’Académie des Sciences de Hongrie), Budapest,
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GANĂ, George, Opera literară a lui Lucian Blaga,
Bucureşti, Minerva, 1976.
MICU, Dumitru, Lirica lui Lucian Blaga, Editura pentru
Literatură, Bucureşti, 1967.
MICU, Dumitru, Estetica lui Lucian Blaga, Editura
Ştiinţifică, Bucureşti, 1970.
MUNTEANO, Basil, Panorama de la littérature
roumaine contemporaine, Éditions du Sagittaire,
Paris, 1938.
NOICA, Constantin, Lucian Blaga. Centenar 1995 –
Retrospectiva ediţiilor mai 1983 - mai 1994 ale
Festivalului Internaţional « Lucian Blaga »,
Editura Imago, Sibiu, 1995.
POPA, Mircea, Lucian Blaga şi contemporanii săi,
Editura Casa Cărţii de Ştiinţă, Cluj-Napoca,
2007.
ŞORA, Mariana, Cunoaştere poetică şi mit în opera lui
Lucian Blaga, Minerva, Bucureşti, 1970.
29
TĂNASE, Alexandru, Lucian Blaga – filosoful poet,
poetul filosof, Editura Cartea Românească,
Bucureşti, 1977.
VAIDA, Mircea, Lucian Blaga. Afinităţi şi izvoare,
Editura Minerva, Bucureşti, 1975.
VAIDA, Mircea, Pe urmele lui Lucian Blaga, Editura
Sport-Turism, Bucarest, 1982.
VALERIAN, V. I., Cu scriitorii prin veac, Editura
Pentru Literatură, Bucureşti, 1967.
VATAMANIUC, Dimitrie, Lucian Blaga. Bibliografie,
Editura Ştiinţifică şi enciclopedică, Bucureşti,
1977.
Keywords : poetic translation, idiostyle, Lucian Blaga,
poetic text, poetic sign, poetic discourse, significance,
poetic feature, figures of speech, literary style, meaning
theory, interpretation, style of translating, poetics of
translation, textual voice, interpretative work, reversed
poetics.
Acknowledgements
The research work for this doctoral thesis was possible
due to the financial aid offered by the Operational
Sectorial Program for the Development of Human
Resources (project: “Doctoral studies: portal to an
excellence career in the research field and the society of
knowledge”), contract code: POSDRU/88/1.5/S/47646.
30