In his last novel, Mircea Eliade restores the myth in the dimension of its ontological sacrality, non-spatial and non-temporal, because the founding exemplary event degraded during the History and became a legend or a tale. In English it is used in a somewhat changed form - instead of the stolen apples the grass being strangely trodden down by William Morris in The Land East of the Sun and West of the Moon. The first one reveals the relation between the lyric Self and the universe, from the perspective of the world knowledge. In the Romanian mythology the fairies are shaped as women and placed under the two ethical categories, the good and the evil. The Fairy of the Fairies lives in the fairyland, where nobody is born and nobody dies, an unalterable and timeless space. The fairies are not lonely, they gather in gangs, being able to go from one place to another at a miraculous speed. Lucian Blaga is not the poet of existential adventures but of essential experiences. 
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The feminine presence is in the same time corporal, but also ideal; it has both suggestions and suavity belonging to the angelic, but also demonic accents, enveloped strivsc a hallo of mystery, difficult to comprehend into the rationality's horizon.
Lucian Blaga is not the poet of existential adventures but of essential experiences. Numbers are also important as in other mythologies and mystical faiths. And, in its turn, the new land that was created mostly through the peasant's sacrifice must give the latter the better 21 life that he deserves.
Blagian dramaturgy ZamolxeTulburarea apelorMesterul ManoleCruciada copiilorAvram lancu is characteristic to the expressionistic dominant feature of Blaga's writings. The Sun and the Moon — an eroticism of the totality Historical event and national tragedy…… Arghezi's specific attitude towards divinity is noted: God is first imagined in his will like posture, authoritarian and vindictive, of unimaginable dimensions, which the people have put in anthropological patterns: We analysed the elements of self intertextuality, used by Eliade to send permanently to his previous works and to works from the universal literature, as The Divine Comedy, by Dante Alighieri, The Tempest, by William Shakespeare and The Human Comedy, by Balzac.
Teposu, Istoria tragicd p grotesca a intunecatului deceniu literar noud, Ed.
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Through a comparative analysis of the novel, using concrete from the history of the religion, from the scientific work of the Romanian writer, we identified and argued the existence of a behavioural correspondence between the modern man of the present and the religious man from illo tempore. The Romanian mythology has some specific features that model its physiognomy, gaining thus a particular status.
The birth and the evolution of the social man allow the poet to use verses where he praises innate talents of man and his aspiration to reason. In one of his late poems, when evoking Ulysses, he could not imagine him according to his Hellenic representation as a hero with a flowered speech, but a grave man, enjoying silence: There is no fatal separation between life and text. Unique is only the soul.
Eventually, the peasant is a primordial entity that represents the matrix of the Romanian soul in its most essential and inalterable defining features "In the life of other nations, the peasantry could have and did have, a secondary, dull role; to us, however, it is the very spring of pure and eternal Romanianism.
The normality and elaboration, the quotidian and the transcendent elevation, the hidden gravity and unreliability, appeal to tradition and temptation of experiment, the playful instinct and unconcessive expression towards any type of common works — al these are differently proportioned ingredients of the Romanian Postmodernism. They say that the Little Beauties wander singing divinely around the place where they live.
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On the other hand, there are times when the post-modern writers regard the same works of art, works characterised esu diversity and mobility, they explore different discourse types, they casually de-mystify and parodically live their own biographies, exalting the text as a way of living, as a means to live through literature. The Dacian-Getic ancient mythology represents the 11 substratum of the Romanian mythology and it underwent numerous changes and mutations until the 16' century.
Rebreanu underlines the importance of peasantry in the history of the Romanian nation compared to its role in other nations but also compared to urban civilization and mentality. Dupa ce a fost publicata in anulin variata bilingva romano-engleza, apare acum si traducerea in limba maghiara a cartii, fiind destinata celor care vor sa descopere istoria Sighisoarei.
Studiu introductiv de Coro,a. Petre Ispirescu's collection is the richest and most accurate one and comprises 37 stories, published in It gave him the strength to endure and overcome trials throughout centuries.
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They are equally two existential and moral posts. From the viewpoint of their characteristics - dancing, instinctual frenzy - the fairies seem to d the bacchantes maenads from the Greek mythology, sharing in common features also owned by other supernatural creatures from the European heritage. Mircea Eliade — among his contemporaries and as critical posterity… Stiintifica si Enciclopedica, M. Making use of a rather oxymoron, one might say that ostentation is the natural feature of the post-modern writer, but an ostentation tempered by irony and prolonged in the intertextual space.
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The bad fairies mnuni more often old, ugly, skinny; but they can also be luring, young and extremely beautiful, a cover up for wicked intentions. Another revealing poem for the topos of the light is The Tight, important creation for the stance of the Blagian Orphism, but also for this thirst of essentiality that was mentioned among others by Nicolae Balota.
Minerva, Bucuresti, ; 4.
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