Un sat al satelor romneti.

Muzeul Civilizaiei Populare

Tradiionale ASTRA la semicentenar
Ovidiu BARON

Complexul Naional Muzeal ASTRA Sibiu

ASTRA National Museum Complex of Sibiu

Piaa Mic, nr. 11, 550182, Sibiu, Romnia

tel.: +40 269 202 400, fax: +40 269 202 411, office@muzeulastra.ro, http://www.muzeulastra.ro
Personal e-mail: ovidiu.baron@muzeulastra.com
A village of Romanian villages. The ASTRA Museum of Traditional Folk Civilisation at its demi-centennial

The author of the present study realizes a synthetical survey regarding the history of the ASTRA Museum of Traditional
Folk Civilisation, from its historical beginnings to the present day. Thus, the first anticipations of the ASTRA Museum
may be easily traced to the first ethnographical exhibition from 1862 of the Transylvanian Association for Romanian
Literature and the Culture of the Romanian People (abbreviated as ASTRA), founded in 1861. After this first exhibition
from 1862, organized in Braov, the following ones, from 1881 and 1902, will be held in Sibiu. Created in 1905 as The
Associations Museum, dissolved in 1950 by the communist regime and reinstated in 1963 as The Museum of Folk
Technique by Cornel Irimie, the present ASTRA Museum of Traditional Folk Civilisation represents a synopsis for the
very existence of Romanian people.

Keywords: Romanian history, ASTRA Museum of Traditional Folk Civilisation, Transylvanian Association for
Romanian Literature and the Culture of the Romanian People, Cornel Irimie, Corneliu Bucur

e drumul judeean Sibiu-Rinari, la

marginea oraului Sibiu i la ase km de
centrul oraului, se gsete Muzeul
Civilizaiei Populare Tradiionale ASTRA, cea mai mare
instituie muzeal prin ntindere i prin numrul de
monumente i obiecte de patrimoniu de care dispune
din Romnia i unul din cele mai mari muzee n aer liber
din lume.
Cadrul natural n care se afl muzeul este cel al
Pdurii Dumbrava, rezervaie natural ce ofer un peisaj
de invidiat, fiind parte a unui lan forestier nentrerupt
care leag oraul Sibiu (prin Parcul Sub Arini) de

staiunea Pltini (Munii Cindrel). Privind dinspre aleea

central a muzeului, de pe digul lacului, contururile
morilor de vnt i fumul Crciumii din Btrni se
proiecteaz impresionant pe liniile de vegetaie, strjuite
cu strnicie de lanul muntos. Natura a fost
dintotdeauna extrem de generoas cu muzeul, oferind
expoziiei n aer liber mii de culori, anotimp dup
anotimp.
Muzeul Civilizaiei Populare Tradiionale ASTRA
este rezultatul unor demersuri ncepute n a doua
jumtate a secolului al XIX-lea, odat cu nfiinarea, n
1861, a Asociaiunii Transilvane pentru Literatura

1 >>>

Romn i Cultura Poporului Romn, denumit, pe

scurt, ASTRA. Asociaiunea i propunea, printre
prioriti, realizarea unui muzeu care s reprezinte
cultura romneasc prin ceea ce avea ea mai autentic,
anume prin tradiii. Asociaiunea organizeaz prima
expoziie de etnografie romneasc la Braov, n 1862,
aceasta fiind continuat de cele de la Sibiu, din 1881 i
1902. Primul demers cultural expoziional este
excelent transpus n realitate de ctre George Bariiu,
care a pus la punct un adevrat sistem de colectare,
transport, pstrare a pieselor1. Aceast iniiativ a
oferit, pe lng aciunile de colectare, selecie i
expunere a obiectelor cu caracter etnografic, i semnalul
nceperii coleciei care avea s stea la baza crerii
Muzeului Asociaiunii.
Acesta din urm avea s fie inaugurat oficial n anul
1905, n urma unor ndelungi dezbateri ce au avut loc
n cadrul ntlnirilor oficiale ale Asociaiunii sau n presa
vremii, referirile la viitoarea instituie fcndu-se cu
denumiri sau formule precum: Museul Naional al
Romnilor ciscarpatini, Museul nostru naional,
Muzeul Asociaiunii, Casa Naional, Museu
naional etnografic i istoric sau Muzeu etnografic2.
George Bariiu schieaz, n 1862, o prim tematic
expoziional, SPECIFICAREA3, n care elementul
etnografic este omniprezent, scopul expoziiei fiind, n
mod evident, unul de reprezentare a romnilor prin ceea
ce aveau ei mai frumos i lucru esenial neinspirat de
alte naii, cu totul i cu totul original. ntr-un alt text,
Bariiu menioneaz importana obiectelor care pstrau
datina locului, legtura nentrerupt cu strmoii, fr
influene strine, astfel c nimic din ce se expunea nu

<<<

trebuia s fie schimbat, strmutat, maimuit dup

modele mai nou4. Tot legtura cu trecutul constituia i
una dintre prioritile lui Corneliu Diaconovici, care avea
s joace rolul principal n organizarea expoziiei din 1905
i care considera c noul muzeu construit la Sibiu trebuia
s fie adpost pentru pstrarea clenodiilor trecutului su
(...), pentru monumentele culturii sale i pentru toate
produsele valoroase ale muncii sale naionale5. ntre
obiectele reprezentative pentru specificul naional,
Corneliu Diaconovici acorda o importan primordial
uneltelor, acesta fiind, mai trziu, i unul din argumentele
nfiinrii unui muzeu dedicat tehnicii populare.
n discursul susinut la inaugurarea Muzeului
Asociaiunii, la 19 august 1905, Iosif Sterca-uluiu
sublinia, argumentnd i alegerea Sibiului ca loc pentru
un proiect esenial de prezentare a specificului
romnesc, importana acestei realizri pentru poporul
romn i rolul obiectelor n reprezentarea specificului
naional: Ideea Muzeului zice-se nu e scoas din
adncimea crilor, ci din sufletul popoarelor, acest izvor
bogat, elocuent i neperitor. Muzeul e arsenalul cel mai
puternic, cu care i apr un popor originea,
individualitatea i tot ce a motenit dela strbuni.
Ne-am trezit cam trziu, ce-i drept; dar mai bine
trziu, ca nici odat. Cele mai rare obiecte, n decursul
seculilor, sau adunat n Muzeul din Viena i cel din
Budapesta, care pstreaz rare i preioase suveniri
artistice i istorice din Ardeal, aceast ar att de bogat
n tezaure arheologice6. Iosif Sterca-uluiu considera
drept prioritar reprezentarea, prin obiectele din
expoziii i colecii, a specificului romnesc, a valorilor
etnografice care individualizau acest popor, att pentru

a acoperi, printr-un demers mult ntrziat, o lips

evident, ct i pentru a elimina riscul ca acest popor s
se piard cu totul n contextul afirmrii attor altor
naiuni n spaiul european, dar i n cel al situaiei
istorice din rile Romne. Perspectiva sa surprinde
ns, acum, prin actualitate, dac lum n considerare
dezbaterile legate de ideea de globalizare: Poporul
nostru, scpat abia de o jumtate de secol din sclvie,
luptnd pururea cu porniri contrare desvoltrii sale
naionale, nu sa putut ocupa cu lucruri ideale. ngrijai,
ca nu cumva civilizaiunea, care e internaional, care
cucerete zi de zi tot mai mult teren, s nimiceasc
ceeace e cultur naional, ne-am pus pe lucru. Astfel a
nfiinat Asociaiunea, ca centru cultural al Romnilor
de sub coroana Sfntului tefan, acest palat al
Muzelor7. Element identitar esenial, muzeul urma s
sublinieze, prin obiecte, specificul naional i s
reprezinte un liant fundamental ntre trecut (pstrarea
obiectelor) i viitor (creaie), fiind definit, n ncheierea
discursului lui Iosif Sterca-uluiu, ca un focular
cultural, unde se vor pstra relicviile trecutului i
creaiunile sufletului romnesc8.
Inaugurarea Muzeului Asociaiunii avea s
reprezinte, de altfel, momentul realizrii primei expoziii
etnografice n aer liber din Romnia, prin reconstituirea,
n Curtea Muzeului, cum o numea Corneliu
Diaconovici, a unei stne din Poiana, n mrime
natural, precum i a unor teampuri n miniatur9. Iat
c elemente de peisagistic rneasc au fost expuse cu
succes, pentru prima dat n Romnia, n mediul urban.
Desfiinat n 1950, muzeul ASTREI avea s
supravieuiasc totui prin intermediul Seciei de art

popular a Muzeului Brukenthal, nfiinat, n 1956, de

Cornel Irimie. Utiliznd colecia astrist transferat
(fragmentar, din pcate) n depozitele celui mai vechi
muzeu public din Romnia, Cornel Irimie organiza, n
chiar anul nfiinrii seciei respective, o expoziie
etnografic pavilionar i ncepe demersurile realizrii
unui muzeu etnografic n aer liber n Dumbrava Sibiului,
loc pe care l sugerase anterior Romulus Vuia. Profilul
muzeului, propus forurilor competente n 1962, avea s
fie de muzeu al meteugurilor i industriilor populare10,
denumirea oficial fiind, ncepnd cu 1963, aceea de
Muzeul Tehnicii Populare (care mai complet i mai exact
ar putea fi numit Muzeul meteugurilor, instalaiilor i
creaiei tehnice populare11). ntr-o argumentare
rezumativ, Cornel Irimie considera c Muzeul Tehnicii
Populare din Dumbrava Sibiului i propune, prin
tematica sa, s prezinte bogia i varietatea, unitatea i
continuitatea creaiei tehnice populare, ilustrat prin
construcii, instalaii i ateliere, unelte i produse autentice
aduse din toate regiunile rii, grupate tipologic n cadrul
expoziiei n aer liber i pavilionare12.
Dac iniial era preocupat n mod prioritar de
obiectele i monumentele de tehnic popular, pe care
le selecta din spaiul carpato-danubian13, n funcie de
principiul istoric (apariie, evoluie), al specificului local,
al frecvenei etc., ntemeietorul Muzeului n aer liber din
Dumbrava Sibiului nu ignora importana
monumentelor, din perspectiva re-crerii unui peisaj
cultural romnesc autentic: n fine, ca principiu general
de expunere, muzeul tehnicii populare va urmri, pe ct
posibil, valorificarea peisajului natural n modul cel mai
propriu, att pentru fiecare unitate ct i pentru

3 >>>

ansamblu, cutndu-se obinerea unor efecte prin

care s se rezolve att necesitile de ordin
documentar-tiinific ct i cerinele de ordin instructivrecreativ14. Cornel Irimie nu are, aadar, o concepie
limitativ, o abordare strict funcional, ci una care
pstreaz n centrul ateniei specificul naional i
capacitatea obiectelor de a reprezenta omul: Tehnica,
din punct de vedere etnografic, este neleas aici, deci,
n sens mai larg, ca fenomen de cultur, precum i ca
mijloc de caracterizare a modului de trai i a specificului
naional totodat15. Amenajarea expoziiei n aer liber
ine, desigur, cont de natura locului, de cile de
comunicaii i de structurile de turism din vecintatea
imediat, peisajul cultural rezultat fiind unul complex,
care nu lsa nimic la voia ntmplrii: Situat n zona
verde a oraului Sibiu, la o distan de 4 km de centrul
acestuia, pe un drum turistic cu tiraj intens ce leag
oraul cu o serie de aezri de munte i cu importanta
staiune Pltini, fiind deservit de o linie existent de
tramvai i de autobuz, muzeul dispune de o suprafa
de 100 ha teren, n imediata vecintate a grdinii
zoologice i avnd, n apropiere, un restaurant i un
mare camping. Aezarea plin de pitoresc a terenului,
de unde se poate vedea bordura Carpailor sudici, se
remarc de la nceput prin numeroase caliti. Acoperit
n bun parte de vegetaie (copaci i arbuti de esene
diferite), terenul are un relief variat, fiind strbtut de
un curs de ap ce vine din munte i din care s-a format
i un lac artificial, elemente care constituie tot attea
condiii propice pentru organizarea unui muzeu al
instalaiilor tehnice i meteugurilor tradiionale16.

<<<

Raportnd monumentele transferate sau care urmau

a fi transferate n muzeu la specificul spaiului ales
pentru expoziia n aer liber, arh. Paul Niedermaier
realiza o sintez n funcie de tipul de relief i de felul
localitilor din care erau aduse acestea: Din totalul
unitilor etnografice cca 5 vor fi aduse din Delta
Dunrii, 10 din zona de cmpie, 66 din regiuni
deluroase, 23 din zone muntoase, iar pentru 16
proveniena nu a fost precis stabilit. Se poate
presupune c, 57 din unitile etnografice ce se vor
aduce au fost amplasate iniial izolat, adic n afara vetrei
localitilor, 9 vor proveni din sate de tip mprtiat, 52
din sate de drum, iar pentru 2 situaia nu este clar17.
mprirea pe criterii tematice impunea amplasarea unor
monumente provenite din zone diferite ntr-o alturare
care nu putea reproduce ntotdeauna spaiul originar,
condiiile amplasrii in situ. Pentru o ct mai bun
aezare a monumentelor, Paul Niedermaier identific
trei condiii obligatorii pe care terenul ar trebui s le
asigure i care, concluzioneaz arhitectul, sunt
ndeplinite : a) existena unui caracter peisagistic
foarte variat care s permit o prezentare avantajoas a
unor obiecte aduse din zone etnografice diferite; b)
existena unei vegetaii relativ abundente (...) i c)
existena unei suprafee de ap corespunztoare (...)18.
Muzeul este integrat, lund n considerare unitile aflate
n imediata vecintate, ntr-un mare complex
cultural-recreativ19. Arhitectul considera c, avnd n
vedere premisele oferite de terenul generos, etapa
urmtoare trebuia s fie legat de stabilirea conexiunilor
ntre monumente, n vederea gruprii acestora.

Ct despre peisaj, numai de bine: Peisajul este foarte

variat, prezentnd n general caracteristici specifice zonei
deluroase, dar uneori i un aspect obinuit pentru
regiunile de balt, cmpie sau munte20.
Conceput aadar iniial ca un muzeu al tehnicii
populare, muzeul a evoluat rapid ctre o organizare mai
ambiioas, reprezentnd astzi ntreaga civilizaie
romneasc tradiional. Nu vorbim de o abordare
cantitativ i de o reprezentare egal a patrimoniului din
diverse zone ale rii, ci de o abordare calitativ, bazat
pe selecia de monumente de arhitectur i tehnic
popular de pe tot teritoriul Romniei. Argumentnd
transformarea Muzeului Tehnicii Populare n Muzeul
Civilizaiei Populare Tradiionale, Corneliu Bucur avea
s nuaneze rolul tehnicii (achiziiile tehnice) n
explicitarea conceptului de civilizaie21. Devenind ef al
seciei Muzeului n aer liber n anul 1970, Corneliu
Bucur lanseaz o nou concepie privind necesitatea
(...) integrrii aspectelor tehnic specializate (ateliere
meteugreti, industrii populare), n contextul
socio-cultural de apartenen (gospodrii, locuine,
complexe habitaionale).
Prin transferul celor dinti gospodrii cu un profil
etnografic complex, integrnd ns i atelierul de
creaie tehnic comun sau specializat a devenit
explicit tendina muzeului sibian de a deplasa accentul
dinspre procesualitatea tehnic (obiectivat muzeografic
prin instalaii, unelte, spaii specializate de producie),
spre complexitatea fenomenelor cuprinse i ilustrate
de triada antropologic: habitat (locuire) trire
(vieuire) i creaie tehnic (procese de creaie)22.

Transfernd gospodrii complexe, cu ateliere i cu

anexele destinate creterii animalelor sau psrilor,
adpostirii mijloacelor de transport, pstrrii cerealelor
etc., noua concepie de dezvoltare avea s schimbe
definitiv, mbogindu-l n mod evident, muzeul din
Dumbrava Sibiului. De la un peisaj dominat de tehnic
i de la o colecie care ar fi riscat s atrag, dup cum
bine argumenteaz Corneliu Bucur, mai degrab
specialitii dect publicul larg, muzeul se transform
ntr-un sat romnesc veritabil, complex, proiectat pe
un spaiu natural ct se poate de fericit, muzeul fiind
avantajat considerabil, de conformaia variat a
terenului, prezena unui curs de ap i a unui lac de 6
ha i de diversitatea vegetaiei (care fac extrem de
credibil relaia monument-mediu)23. Muzeul se
schimb astfel n mod radical, valorificnd n totalitate
proiectul iniial, bazat pe tehnica popular, dar
prezentnd satul romnesc tradiional sub toate
aspectele sale. Acest lucru va duce, n anul 1990, cnd
instituia i rectig independena , la adoptarea unei
denumiri mai generoase: Muzeul Civilizaiei Populare
Tradiionale ASTRA.
n privina importanei acestui muzeu pentru romni
i din perspectiva evoluiei sale n timp, sunt
semnificative cuvintele personalitii care a condus
muzeul pn n 2009: Fr ndoial c, nainte de toate,
avem sentimentul mplinirii ndatoririi de a culege i
tezauriza, cu cel mai nalt devotament, mrturiile istoriei
civilizaiei poporului nostru, cea dinti carte de
nvtur a unui neam privind edificarea identitii sale
etno-culturale n planul valorilor de civilizaie24.

5 >>>

Cei care nu cunosc Romnia tradiional o pot

descoperi aici, n Dumbrava Sibiului, ntr-un loc
binecuvntat de Dumnezeu, n care au fost salvate sute
de monumente care, amplasate armonios, reconstituie
satul romnesc de odinioar, un sat al romnilor de
pretutindeni, un sat al satelor romneti. Nu vom gsi
aici kitschul care a pus stpnire, din pcate, pe
majoritatea comunitilor steti din zilele noastre, nu
vom gsi Romnia rural contemporan, cu mixajul ei
dizarmonic de arhitecturi orientale i occidentale, cu
amestecul ilogic de stiluri i tradiii, cu invazia de beton
i cu diversitatea incredibil i nefericit exploatat, n
cele mai multe cazuri de materiale de construcie.
Muzeul ASTRA v propune satul romnesc autentic,
construit cu materialele oferite de natura locurilor
lemnul, piatra, fierul, stuful, via-de-vie etc. , edificat
printr-o unitate de viziune i de credine, de meteugari
care i-au pus la lucru miestria i tehnicile exersate de
secole, pentru a construi durabil, spre confortul zilnic
al familiei i pentru bucuria ochiului i a sufletului.
n muzeul ASTRA putem merge pentru a descoperi
diversele faete ale satului romnesc i ale existenei
ranului, de la meteugurile care-l ajutau s-i ctige
existena la case, biserici, instalaii tehnice sau crciumi.
Satul romnesc din Muzeul ASTRA se menine viu att
prin refuncionalizarea unora dintre monumente, ct i
prin programele culturale care recreeaz evenimente din
lumea rural trguri, manifestri gastronomice,
srbtori tradiionale etc. i prin animarea
gospodriilor i a aleilor de ctre locuitorii care se
ngrijesc de amenajarea grdinilor i de ntreinerea
<<<

caselor. Meteri populari i expun, vara, produsele pe

alei i transmit secretele meseriei spre participanii la
ateliere sau ctre simplii vizitatori, dansatori mbrcai
n costume romneti nclzesc atmosfera, n ritmul
muzicii lutarilor, iar o parte din anexele gospodreti
sunt (re)puse n funcie pentru a gzdui animalele
domestice, nelipsite n satele de altdat.
Biserica, centrul spiritual al satului romnesc, i
pstreaz, la rndul ei, funcia primar n muzeu. Preotul
paroh organizeaz programul obinuit de slujbe
religioase, Duminica i n zilele de srbtoare, oficiind,
de asemenea, nuni i botezuri.
n Muzeul ASTRA gsim un sat romnesc viu, ale
crui trsturi spirituale au rmas, din fericire, am putea
spune, fixate n trecut, nainte de transformrile forate
i nefericite pe care comunismul i, ulterior, haosul
nceputului de democraie romneasc, le-au adus.
Muzeul este un punct de reper esenial pentru cei care
vor s cunoasc civilizaia rural romneasc reconstruit
n mod unitar, ca rod al unei evoluii organice i logice a
comunitii. Aa cum spune sloganul oficial al muzeului
Redescoperim mpreun valorile tradiiei! , vizitnd
Dumbrava Sibiului vei putea gsi datinile romneti de
secole, reprezentate prin oameni i obiecte, pentru
perpetuarea motenirii pozitive a satului romnesc.
Muzeul Civilizaiei Populare Tradiionale ASTRA
este mprit, dup cum spuneam, din punct de vedere
tiinific, n cinci sectoare tematice mari, acestea
cuprinznd, la rndul lor, grupe i sub-grupe. n
Catalogul publicat la editura ASTRA Museum n anul
2007, Corneliu Bucur propunea urmtoarea structur25:

Patrimoniul cultural material

Procese i procedee pentru obinerea i

prelucrarea produselor animale i vegetale, n scop
alimentar:
Grupa A. Vntoare
Grupa B. Pescuit
Grupa C. Albinrit, botinrit, lumnrit
Grupa D. Pstorit
Grupa E. Pomicultur
Grupa F. Viticultur
Grupa G. Prelucrarea seminelor oleaginoase
Grupa H. Agricultur
Grupa I. Cmri, ptule, crame
Grupa J. Morrit
Tehnici i mijloace de transport i comunicaii
Monumente de utilitate public

Prelucrarea lemnului, pietrei, metalelor, argilei,

chihlimbarului i minereurilor:
Grupa A. Prelucrarea lemnulu, Subgrupa industrii
populare. Fierstraie
Grupa B. Prelucrarea metalelor
Grupa C. Prelucrarea argilei
Grupa D. Prelucrarea minereului i a pietrei

Procese i procedee pentru prelucrare a pieilor

i fibrelor animale i vegetale pentru mbrcminte
i obiecte de uz utilitar-gospodresc:

Grupa A. Industria casnic

Grupa B. Industrii textile hidraulice
Grupa C. Complexe de industrii hidraulice
Etno Tehno Parc
Patrimoniul cultural imaterial
Patrimoniul cultural artistic
Diversitatea exponatelor, bogia detaliilor care
depun mrturie asupra evoluiei unei culturi bi-milenare
pe teritoriul actual al Romniei, faptul c mai toate
monumentele se raporteaz la fenomene din mai multe
domenii dect cel n care au fost integrate, conjunctural,
aici, diversitatea peisajului cultural re-construit n
Dumbrava Sibiului fac posibile numeroase variante de
abordare, respectiv de vizitare a muzeului. Dac pentru
a-i forma o imagine de ansamblu asupra satului
romnesc tradiional este nevoie de o vizit de o zi sau
mcar de cteva ore bune, pentru a studia n profunzime
civilizaia romneasc tradiional poi petrece
sptmni, luni sau ani ntregi n gospodriile, bisericile,
atelierele i depozitele muzeului, fr teama de a-i epuiza
vreodat resursele. Acesta este motivul pentru care
muzeul reprezint o atracie deosebit pentru
numeroase categorii de public din ar i din lumea
ntreag: specialiti n domenii sau sub-domenii
tiinifice ca etnografia, mulinologia, meteugurile
tradiionale de tot felul, peisagistica, iconografia,
arhitectura .a., oameni care vin special pentru a vizita
muzeul sau aflai n trecere prin regiune, localnici aflai
n cutarea satului de altdat, a pioeniei de la slujba de
7 >>>

duminic, a bucatelor tradiionale, a folclorului, ei bine,

muzeul are ceva de oferit pentru fiecare i este extrem
de greu ca o persoan deschis spre cunoatere i spre
frumos s plece dezamgit de aici.
Avem, n Muzeul din Dumbrava Sibiului, un spaiu
al rdcinilor culturale, un acas al tuturor celor care-i
trec pragul. Existena poporului romn, din perspectiva
vieii rurale i a influenelor diverse istorice i culturale
care au modificat-o de-a lungul timpului, inventivitatea
i aplecarea spre frumos a meterilor populari, resursele
materiale oferite de natura locurilor i interaciunile de
tot felul au generat fapte i gesturi, ale cror amprente
le putem regsi n obiectele i monumentele expuse aici.
Muzeul Civilizaiei Populare Tradiionale ASTRA
poate fi vizitat n nenumrate feluri, de la cei care vor doar
s respire aerul curat al Pdurii Dumbrava, la cei care i
propun s se familiarizeze cu tradiiile romneti, de la cei
care vor s cunoasc Romnia autentic pn la cei care
vor s descifreze urmele subtile ale timpului, ale trecerii
oamenilor de la ar prin vremuri. Pentru toi, Muzeul
ASTRA este o carte deschis, o carte de nvtur, de
citit i recitit cu mintea i cu sufletul, la orice vrst.
Note:
1. Ana Grama, Etnomuzeografie transilvan. Muzeul Asociaiunii
1905-1950, Sfntu Gheorghe, Editura Eurocapatica, 2010, p. 53.
2. Ibidem, pp. 71-91, n special p. 77.
3. Vezi SPECIFICAREA n: Ana Grama, op. cit, pp. 182-184.
4. Ibidem, p. 52.
5. Apud, Corneliu Bucur, Muzeul Civilizaiei Populare Tradiionale ASTRA
(Dumbrava Sibiului). Catalog, Sibiu, Editura ASTRA Museum, 2007, p. 12.
6. Iosif Sterca uluiu, Discursul inut la inaugurarea Muzeului istoric i
etnografic i la deschiderea Expoziiei, n 19 August st. n. 1905, n
Conferinele ASTREI Restituiri, nr. 99/2010, p. 6.
7. Ibidem, p. 7.
8. Iosif Sterca uluiu, Discursul inut la inaugurarea Muzeului istoric i
etnografic i la deschiderea Expoziiei, n 19 August st. n. 1905, n Conferinele
ASTREI Restituiri, nr. 99/2010, ISSN: 1843 4754, p. 16.
9. Ana Grama, op. cit, p. 150.
10. Apud, Corneliu Bucur, Muzeul Civilizaiei Populare Tradiionale
ASTRA (Dumbrava Sibiului). Catalog, Sibiu, Editura ASTRA

<<<

Museum, 2007, p. 15.

11. Cornel Irimie, Meteug i art milenar n Muzeul Tehnicii Populare, n
Ghidul Muzeului Tehnicii Populare, Muzeul Brukenthal, Sibiu, 1974, p. 7.
12. Ibidem, pp. 12-13.
13. Cornel Irimie, MUZEUL TEHNICII POPULARE. Actualitate,
concepie, profil tematic i plan de organizare, n Cibinium, 1966, p. 15.
14. Ibidem, p. 18-19.
15. Ibidem, p. 19.
16. Ibidem, p. 24-25.
17. Paul Niedermaier, Proiectul de sistematizare a Muzeului din Dumbrava
Sibiului, n Cibinium, 1966, p. 29.
18. Ibidem, p. 31.
19. Ibidem.
20. Ibidem, p. 32.
21. Vezi: Corneliu Bucur, op.cit, p. 18.
22. Ibidem, p. 24.
23. Ibidem, p. 25.
24. Ibidem, p. 27.
25. Ibidem, p. 5-10.
Bibliography:
Corneliu Bucur, Muzeul Civilizaiei Populare Tradiionale ASTRA
(Dumbrava Sibiului). Catalog / The ASTRA Museum of Traditional
Folk Civilsation (Sibius Grove). A Catalogue, Sibiu, Editura ASTRA
Museum, 2007
Ana Grama, Etnomuzeografie transilvan. Muzeul Asociaiunii 1905-1950
/ Transylvanian Ethno-museography. The Associations Museum
1905-1950, Sfntu Gheorghe, Editura Eurocapatica, 2010
Cornel Irimie, Meteug i art milenar n Muzeul Tehnicii Populare / Craft
and millenial art in the Museum of Folk Technique, in Ghidul Muzeului
Tehnicii Populare / The Guide of the Museum of Folk Technique, Muzeul
Brukenthal, Sibiu, 1974
Cornel Irimie, Muzeul Tehnicii Populare. Actualitate, concepie, profil tematic
i plan de organizare / The Museum of Folk Technique. Its actuality,
conception, thematic profile and organizational plan, in Cibinium, 1966
Paul Niedermaier, Proiectul de sistematizare a Muzeului din Dumbrava
Sibiului / The systematization project of the Musem in Sibius Grove, in
Cibinium, 1966
Iosif Sterca uluiu, Discursul inut la inaugurarea Muzeului istoric i
etnografic i la deschiderea Expoziiei, n 19 August st. n. 1905 / Discourse
delivered at the inauguration of the historical and ethnographical Museum
and at the opening of the Exhibition, 19th of August, 1905, in Conferinele
ASTREI Restituiri / ASTRAs conferences Restitutions, no.
99/2010
Credite fotografice: Silviu POPA

Contributions to the Development

of the Digital Library of the
Lucian Blaga University of Sibiu

Rodica VOLOVICI, Camelia VOLOSCIUC,

Elena MRGINEAN,Stana MOOC,
M i h a e l a M A N O L E S C U, I o a n - I r i n e l V I A
Biblioteca Universitii Lucian Blaga din Sibiu
The Library of the Lucian Blaga University of Sibiu

Str. Lucian Blaga, nr.2A, Sibiu, 550169, Romnia,

tel: +40-(269) 44.60.77, fax: +40-(269) 44.10.10, e-mail: bcu@ulbsibiu.ro, web: http://bcu.ulbsibiu.ro
Personal e-mails: rodica.volovici@ulbsibiu.ro, ioan.visa@ulbsibiu.ro
Contributions to the Development of the Digital Library of the
Lucian Blaga University of Sibiu

As part of the global strategy, Europe 2020 for a smart, sustainable and inclusive growth, the European Commission
adopted the Digital Agenda for Europe [1], a strategy to make the most of the potential offered by the rapid development
of digital technologies. In this respect, the LBUS Library is contributing with two digitization projects and is monitoring
their development. Participating in the Europeana Libraries project, together with other 25 of the most important
professional organizations and research libraries in Europe, has been a valuable professional experience by closely knowing
the way of organizing the heterogeneous team of 19 countries, by implementing and following the project, with the aim
of achieving the goals, by enriching with over 5 million digital valuable objects, by undertaking the new metadata standard,
by establishing a new type of project management, by disseminating the project.
The experience gained we are sharing here, in order to stimulate the resources digitization process in the Romanian
libraries, which is still at its beginnings.
Keywords: digital library, cultural heritage, digital project, Europeana.

uropean context, Digital Agenda:

In October 2011 The European
Commission has adopted a Recommendation
asking EU Member States to step up their efforts, pool their
resources and involve the private sector in digitising cultural
material. This is essential to make European cultural heritage
more widely available and to boost growth in Europes creative
industries. The digitised material should be made available through
Europeana [2], Europes digital library, archive and museum.
(see www.europeana.eu).

The Recommendation challenges member states to

develop solid plans and build partnerships to place 30
million objects in Europeana by 2015 compared to the
19 million available today; to get more in-copyright and
out-of-commerce material online; and to adapt national
legislation and strategies to ensure the long-term
preservation of digital materials.
Europeana was launched in 2008 with 2 million
items, currently holds more than 19 million objects,
which are now accessible through a more intuitive and
interactive interface. In order to provide a more
balanced set of contributions from across Europe, the
Recommendation sets targets per Member State for
minimum content contribution by 2015.
Bringing the EUs cultural heritage online means
that citizens throughout Europe can access and use it
for leisure, studies or work at any time. Once digitised,
material can also be useful for commercial and
9 >>>

non-commercial purposes, such as developing learning

and educational content, documentaries or tourism
applications. This will give enormous economic
opportunities to Europes creative industries, which
currently account for 3.3% of the EUs GDP and 3%
of jobs in the EU [3].
Indicative targets (number of objects) for
contribution to Europeana per Member State outlined
in the new Recommendation:
Table no. 1

Austria
Belgium
Bulgaria
Czech Republic
Denmark
Finland
France
Germany
Greece
Hungary

600 000
759 000
267 000
492 000
453 000
1 035 000
4 308 000
5 496 000
618 000
417 000

Ireland
1 236 000
Italy
3 705 000
Netherlands 1 571 000
Poland
1 575 000
Portugal 528 000
Romania 789 000
Spain
2 676 000
Sweden
1 936 000
UK
3 939 000

The Agenda outlines seven priority areas for action:

creating a digital Single Market,
greater interoperability,
boosting internet trust and security,
much faster internet access,
more investment in research and development,
enhancing digital literacy skills and inclusion, and
applying information and communications technologies to
address challenges facing society like climate change and the ageing
population.[1]

The Romanian context

In Romania there have been achieved some very
interesting and successful digitization projects [4], others
are ongoing, but all of them have been made by local,
disparate, efforts without a national coordination and
an interconnection of the Rolinest type, being possible

to remain in the desirable but practically impossible

chapter.[5]
Romanias participation in Europeana is limited to
the cIMeC [6] contribution in the first stage, with
11,453 supplied images from the Romanian museums,
then through the Athens project with other 16,258
pictures, to which there had been added other 8,141
images by the Europeana.local project of the public
libraries, in 2011.
In February 2012 the situation for
europeana.provider = Romania, is:
Table nr. 2

Supplier Img
Romania 30.648

10

Sound
140

video
5

Total
35.852

And the EU recommendation is that Romania

reaches a number of 789,000 digital objects during the
few next years, that is at least 20 times more digital units
than now!
The Digital library in the present context
The development of the computers science and of
the Internet network has brought major changes in
the library field, adding to the traditional local research,
the new values of the automation, namely,
anywhere-anytime access to various and rich
information resources. In addition, the information
resources are enriched by digitizing the traditional
publications: books, magazines, newspapers.[7] By
selecting the old books, of a cultural and artistic value,
the importance of the digital content offered by libraries
increases and gives them the opportunity to reconfirm
their role in the modern society suffocated by common,
trivial excess of information, that role of providing
access to literature, culture and original art, to valuable
scientific and confirmed / approved data.
The digital libraries complete the traditional funds,
implement a new way of organizing the collections: they
are either digital archives or institutional depositories of
digital data. The digital library is organized according to
the cultural and scientific interest, to the patrimonial
value of the documents, their economic condition, etc.
and is made of objects described in a structured manner
of bibliographic records, known as metadata.

Fig. 2 Europeana Libraries portal, header

<<<

text
5.059

The technical objectives of the digital data

depository are:
1. Access to Information:
Web access to the digital files and metadata
Services/applications for searching, navigation,
processing, etc.
2. Data preservation/maintenance:
Secure storage for the digital files and metadata
Services for the files completeness checking, data
migrations, conversions.
In order to achieve them, different automated
dedicated systems as: Digital Commons, DSpace,
Eprints, Fedora Commons, Greenstone, etc. have been
developed. There had been also set specific metadata
standards: Dublin Core, etc.
The Dspace IT solution
DSpace is a software platform that allows collecting
digital objects of different formats (text, images, audio,
video, etc.), which are then distributed through a web
interface. The DSpace platform is used by higher
educational institutions for which it was originally
developed, then, in time, it acquired a much larger
opening. The software was used by museums, archives,
government institutions, national libraries, central
libraries, virtual periodicals depositories, consortia,
commercial companies that can thus manage their
digital
assets.
DSpace is free, easy to install and very flexible to fit the
needs of any organization, it preserves and enables an
easy and free access to all types of digital content,
including texts, images, moving images and data sets.
The Dspace application observes the protocol standards
for the access, the ingestion and the export of data and
can recognize and manage a large number of files and
formats. Some of the most common formats currently
handled in DSpace are PDF, Word, JPEG, MPEG, the
TIFF files.
The bibliographic notes had been structured
according to the UNIMARC principles: title, author,
subject, date of publishing (concept similar to the
concept of coverage), size, material designation, notes
(a field replaced by description and abstract), shelf
number/mark (translated into physical location).
DSpace main benefits are:
reaching a worldwide audience, through the
exposure to the search engines;
keeping the reusable teaching materials, that can
be used with course management systems;
archiving and distribution of materials, that should
otherwise be published on personal websites;
preservation of examples of the student projects
(with their permission);
presentation of the students theses (with their
permission);
looking after the own publications/bibliographies

The DSpace platform administration as well as the

users access to collections is made by using the web
interface. The users interface is simple and intuitive. On
the sides, orders are grouped into four sections: Search,
Browse, Sign on to, and Help.
About the Dublin Core format
In the general framework of the metadata
techniques, the Dublin Core initiative is an international
standardization activity for defining the bibliographic
data elements to be included in the Web pages. Dublin
Core can equally be regarded as a sub-assembly of
descriptive elements, allowing the exchange between
more
complex
heterogeneous
formats.
The data elements, defined in Dublin Core, that we used
for the description of the two digital collections of Sibiu
University Library are:
a. metadata relating to the content:
title in Romanian for the cultural events of 2007
or the original title of the paper for the old books;
alternate title in English for a wider access and
location;
subject and keyword: referring to the resource
order of words;
description: a textual description of the content
of the resource;
language description;
abstract: for complementary information;
document format : referring to the physical
characteristics;
coverage: spatial and temporal characteristics of
the intellectual content of the resource;
b. metadata relating to the intellectual property:
author or creator: main responsibility of the
intellectual content;
editor: the entity responsible for providing the
resource in its current form;
another contributor: person or organization that
had provided an important intellectual contribution to
the achievement of the resource;
rights management : mentioning the holder of
rights;

c. metadata relating to the scanned document:

date of registration in DSpace;
type of the resource: text, image, audio, video;
resource category: book cover, title page, colored
map, concert video recorded, image during a theatre
performance, etc..;
format: it refers to the data format;
resource identifier : chain of characters or number
used to identify in an unique manner the resource :
ISBN, URL, URN;
source: it refers to the content provider towards
the digital storage.
11 >>>

Fig. 3: EDM Classes (Source: EDM v5.2.2 http://pro.europeana.eu/edm-documentation)

The EDM standard specifications

One of the requirements of the Europeana
Libraries project is the adoption of new metadata
standard, EDM (European Data Model) [8] for a higher
harmonization of the very different bibliographic
descriptions of the component digital library systems.
The digital Library Europeana, is now relying on the
ESE standard (European Semantic Element) with
functional limitations and a reduced number of data
fields. The aim is achieving a functional interconnection
of the European digital libraries, an easy aggregation
and the mixing records of the various digital catalogues
of the suppliers participating in the project.

Together with the technical ones, the specific

objectives of a digital collection can be achieved by:
promoting the cultural events and virtually focusing
some local artistic creations and thesaurus, developing
and improving the library services, facilitating the access
to rare books, increasing the bibliographic information
quality.
The county libraries are particularly interested in
digitizing the local publications that are presenting the
history, the culture and the civilization of the area; the
university libraries are focused on the academic
publications (the curricula is taken into account) the
doctoral dissertations. Digitisation must be made in
compliance with the legal provisions for the documents
to be scanned. [9 13]

Fig. 4 Scribe the project web page

<<<

12

The local digital experience

The Library of the Lucian Blaga University of
Sibiu has the experience of two exciting digitization
projects, one of them on the occasion of the event
Sibiu European Capital of Culture, 2007, the other
by participating in the Europeana Libraries Project.
The selection criteria taken into account, concerning the
proposed material for digitization were:
documentary value, age, cultural value;
specific aspects of a field, a certain period of time
or a certain geographical region, both nationally and
internationally speaking;
degree of interest and end-user;
preserving the original documents;
the legal provisions(copyright and broadcasting
rights);
financial criteria;
the scanning solution and the technology used.
The first project, SCRIBe Informatic System for
Processing and Displaying the Old Book Collection,
had the role of emphasizing and making available for
the users the old rare books, of a big cultural
importance, by scanning and storing them electronically.
Its achievement involved the local development of the
automatic system for archiving the digital material, plus
the digitization of old books, representative for the local
culture of Sibiu and very interesting for the library users.

The second project involved the participation with

digital material to the European digital library, simply
called Europeana through the Europeana Libraries
project supported by a consortium of 26 research
libraries in Europe. Romania is represented by the
Library of the Romanian Academy and the Lucian
Blaga University of Sibiu.
The main objectives of the project are:
to develop the outset of the digital library
Europeana launched in 2008, both by providing new
digital content, namely over 5 million digital objects
from over 19 participating countries, and
by passing to a new metadata standard, from the
existing one, ESE to ADM, more complex and complete
relaunching the portal through a new interface,
according to the demands of the users;
adding the content as a full text, with the text
search option;
Increasing the interoperability between the digital
systems used by the participants,
developing the working model the team is
currently using, for its further application extended to
all the other cultural institutions, European libraries.
The participation of our library in this ambitious
project made possible the contact with foreign
colleagues librarians having library experience, as well
as one in the field of digitization and research. The main
coordinators of the project are four leading associations
in the library research:

Conference of European National Librarians

(CENL)
Consortium of European Research Libraries
(CERL)
European Foundation
Ligue des Bibliothques Europennes de
Recherche(FREE)

The project is coordinated by the European Library and

hosted by The National Library of the Netherlands.

In the first local digital project, Scribe, the digital

objects obtained from scanning the 20 old books had
been archived and presented only to be browsed by the
readers, without being catalogued in a metadata
dedicated system.
The second project involved the selection and
setting up of a modern automatic system, a compatible
digital library system, open to other digital platforms,
too. As a matter of fact, the Europeana digital platform
is only a central index with brief descriptions of the
digital objects, that makes the connection to all the other
digital libraries in the system, where the original digital
material is, in the local format with the specific
metadata,
richer
and
more
diverse.
The automatic system chosen by the Library of the
Lucian Blaga University of Sibiu is DSpace, based on
the Dublin Core digital format, as well as the standards
ESE and the most complete version EDM European
Data Model
Organization of the team and of the work at
B.U. Sibiu

The documents proposed to be digitized by the

Library of the Lucian Blaga University of Sibiu are
two different collections: Sibiu European Capital of
Culture 2007 and Old and Rare Books. For the first
collection there had been created metadata for images
and videos officially provided by the Sibiu City Hall,
concerning the major international events hosted by our
city in 2007. This collection totalize about 1,500
bibliographic records, 1400 images and 100 videos and
was completed between April and December, 2011. For
the second collection, there had been selected the oldest
and most valuable books held by the Library of the
Faculty of Theology Andrei Saguna in Sibiu. The
team of library specialists, dedicated to the project,
processed this collection from the beginning until it was
complete, by delivering the metadata in the central
system of the digital library Europeana.
13 >>>

Fig.5 The Digital library of Sibiu University Library

Establishing the way of data collecting and

processing
The digital library brings another structure for the
records, based on the description of the digital objects,
which can be: texts, images, sounds or videos. So, it
involves another way of data cataloguing, collecting and
processing. We initially tried the description of some
visual documents using the library software system,
Softlink-Liberty3, but we realized we needed to create
new specific fields, an additional metadata import and
most of all it was less compatible with the accepted
digital formats. So, we had chosen DSpace, a Dublin
Core format based on software that can import / export
content from a wide variety of bibliographic formats.
In cataloguing the digital objects we encountered a
number of difficulties/problems:
in establishing the responsibilities, we had to make
the distinction for the author/contributor fields between
the producers of the images on the photographic film
or the video recording and the authors of the events (e.g.
photographer, theatre director, art performance director,
author of the play, organizer of the event);
for the collection Sibiu European Capital of
Culture 2007 we had to decide the way of describing
a new digital object, different from the 4 already
known, namely the description of the cultural events.
For each event there is a description similar to a
bibliographic descriptions to which we had attached
several photos or videos, with short descriptions of the
place, characters, moments captured;
in the case of the scanned documents of old books,
the difficulty was in deciphering the Cyrillic or Old
Gothic texts, for which we had to make the transliteration
in the Latin alphabet and extracting the subjects;

All these had been a new cataloguing experience.

Still, we aimed at having the best possible and complete
bibliographic description, for which we needed to
return and correct when completing the metadata.

<<<

14

Conclusion

Fig.6 Old and Rare books scanned in digital library

The participation of the Library of the LBUS

together with the Library of the Romanian Academy in
the Europeana Libraries Project 2011-2012, adds over
6,000 digital objects of a great documentary value and
a much better quality, then old and rare books or
manuscripts of a high historical value, as well as full text
books.
In addition, the participation together with very
important research libraries in Europe, meant an
exceptional professional experience we are trying to
share to the Romanian library environment, in order to
give an impulse to the digitization process.
The impulse should meet the requirement of the
European Commission to provide a total of 789,000
digital objects in the near future, imperative that
nationally speaking, determines us to make a major
effort to develop a national digital library according to
the successful model of Europeana.

Bibliography:

Digital Agenda website: http://ec.europa.eu/information_

society/digital-agenda
Europeana, Europes digital library, archive and museum:
http://www.europeana.eu/
Neelie Kroes website: http://ec.europa.eu/commission_
2010-2014/kroes/
http://www.dacoromanica.ro/
Porumbeanu, O. L., (2011). Managementul Cunoaterii i structurile
infodocumentare. Ed. a II-a. Editura Universitii din Bucureti,
Bucureti.
http://www.cimec.ro
Porumbeanu Madge, O. L., (2011). Bibliotecile medicale i utilizatorii
de informaii din Romnia n era digital. Editura Universitii din
Bucureti, Bucureti.
The new EDM standard, http://pro.europeana.eu/edmdocumentation
Law no. 8/1996 Copyright and Related Rights;
Law no. 334/2002 about Libraries;
Law no. 182/2000 the protection of cultural heritage;
Law no. 135/2007 electronic document archiving;
Law no. 186/2003 on supporting and promoting written culture.
Porumbeanu, O. L., (2010). Implementing Knowledge
Management in Romanian Academic Libraries: Identifying the
Elements that Characterize their Organizational Culture,
Journal of Academic Librarianship, Vol. 36, No. 6, 549-552.

15 >>>

Appendix: Processing and displaying digital collection records from Sibiu in portal The European Library

Fig. 7. Display records in processing system The European Library

Fig. 8. Display fields in a record processing system The European Library

<<<

16

Fig. 9. Display digital collection records Sibiu in The European Library portal

Fig. 10. Displaying a collection of digital recordings from Sibiu in The European Library portal

17 >>>

3D Library A case study

with children age 8 to 10

Alina Elena PITIC, Ioana MOISIL,

Rodica VOLOVICI
Universitatea Lucian Blaga din Sibiu, Facultatea de tiine
Lucian Blaga University of Sibiu, Faculty of Sciences

Str. Ion Raiu, Nr. 5-7, Sibiu, 550012, Romnia

tel: +40-(269) 21.66.42, fax: +40-(269) 21.66.17,
e-mail: stiinte@ulbsibiu.ro, web: http://stiinte.ulbsibiu.ro
Personal e-mails: alina.pitic@ulbsibiu.ro, ioana.moisil@ulbsibiu.ro, rodica.volovici@ulbsibiu.ro
3D Library A case study with children age 8 to 10

Software applications created for education have a long history and have evolved in line with the technological
development, growing from simple pieces of program to fully fledged eLearning platforms. The fast development of some
technologies like computer gaming, which are very attractive to children and teen, may present an opportunity. Using the
children as active design participants, we developed a 3D desktop application. The application model the University Library
in Sibiu. In this paper we will present some of the results obtained from using the latest version of the 3D-Library
application by a sample of 33 children aged 8 to 10.
Keywords: Digital libraries, Software Architecture, Computers in School, eLearning

1. Introduction

that selected computer games improve the thought

processes [4]. As a consequence of these studies, a
here is a rich history behind software number of researchers have themselves developed
being used in education. Their computer games to be used as part of educational
evolution has occurred in parallel with processes [5], [6].
the technological development, achieving the
complexity that eLearning platforms have today.
A great opportunity of supporting eLearning with
2. The 3D Library application
guidelines and ideas comes from the field of computer
gaming. It is common knowledge that children and
The initiative for developing a 3D Virtual Library
teens enjoy computer games, and additionally, there are came naturally, given our interest in the concepts
now a number of empirical studies supporting this revolving around digital libraries, as well as the support
claim [1]. Both the technology and the approach used of the University Library of Sibiu. We have also worked
in developing computer games are of great potential in previously in the field, and presented it at conferences
improving the quality eLearning products to the benefit [7].
of teachers and pupils alike.
The development process has taken 2 years, starting
A number of researchers make a good case for the with December 2009. Apart from the development
use of computer games in education. As shown in [2], team, a group of 5 children aged 8 to 10 also took part
computer games lead to a more engaging and therefore actively in the development process. They contributed
more effective learning experience, in contrast with the significantly to the design of the application. Larger
slower pace of traditional teaching methods. Boyle [3] groups of children took part in the testing process of
underlines the greater engagement and pleasure in the application.
learning as a result of the use of computer games. He
shows that this also improves the educational
After multiple iterations, the architecture of the
environment. There are other studies that also present application became the one in Figure 1.

<<<

18

3. Description of the study

Figure 1. The final architecture of the application

3. In a free room, the child finds a laptop running

the application and a questionnaire.

The study lasted for 4 days, in October 2011. 33

4. The child is informed that he or she must find a
children aged 8-10 took part in this study, together with
story in the 3D environment and read it each of the
a school teacher and two evaluators.
The age and gender structure of the group is given pages of the story contains a hint towards the next
location of the story.
in fig. 2.
5. The child learns that:
the W, A, S and D keys are for
moving;
the Escape key quits the application;
the movement of the mouse changes
the direction in which the scene is viewed;
mouse clicks open a story page.

Figure 2. Structure of the sample of children by age and gender

All children where experienced in the use of the

keyboard and mouse. The last version (version 1.20) of
the application was run, which was the result of a series
of development iterations in which the children also has
a designer role. A story was also added to the application,
which was presented on 4 pages in the 3D scene.
These pages were positioned in the scene together
with the 5 children participating to the design process.
The splitting of the story into multiple parts to be
sought for by participants, as well as the introduction
of clues on the map are all ideas of the children.

Methodology:
1. On the first day of the children and the evaluators
spend 50 minutes together to know each other.

2. The children are informed that the study will take

place in another room and that they need to bring a
pencil with them they all use the application alone in
order to avoid various influences from colleagues,
especially those who know the application already.

6. The child starts the application and

gives information on his emotional state
during the key moments of his interaction.

7. After quitting the application he fills in the

questionnaire.

The application keeps a log of all the actions of the

child. The states of the application with respect to the
pages of the story are Pg = {Pn, Page1, Page2, Page3,
Page4}, where Pn is the entirety of the 3D environment
outside of the story pages and the other states
correspond to the pages themselves. The application is
built in such a way that Pi can only occur if Pi-1 has
been opened before (i=2,4). The pages reached during
a session (E) obey the relation EP and vary from
session to session.
Example sessions are as follows:
1. (S, Pn,Esc) The child didnt reach any page;
2. (S, Pn, Page1, Pn, Page2, Pn, Page3, Pn, Page4, Esc)
an ideal session the child reached all pages of the story
in order, without viewing any of them twice;
3. (S, Pn, Page1, Pn, Page1, Pn,Esc) the child couldnt
find page 2;
S is the initial state of the application, after startup.
19 >>>

The user interaction events that the system

is capturing are: key-down(W), key-down(A),
key-down(S), key-down(D), key-up(W), key-up(A),
key-up(S), key-up(D), push(Esc), left-click. All the
other events are ignored by the application and will not
appear in logs.

In order to retain the necessary data for the study,

each user action gets stored in a file with the structure
defined as follows.

A number of indicators can then be calculated based

on this data, such as: na (the total number of actions),
nai (the number of movement actions), nau (the
number of actions of accessing useful pages), tt (total
time), tu (total time spent viewing useful pages), tn (total
time spent moving in the 3D environment).

START ?
TIMESTAMP ACTIUNE 1 [optional PARAMETRI ACTIUNE1] [optional ?]
TIMESTAMP ACTIUNE 2 [optional PARAMETRI ACTIUNE2]
..........................................
TIMESTAMP ESC
STOP ?

4. Results
In figure 3 a series of images are shown of the children exploring the 3D library.

Figure 3. Children during the study

In all the following charts time is given in milliseconds.

The time intervals are within the expected values. (Figure 4.).

Figure 4. Time spent pressing a certain key: per user / added

We come to the same conclusions when analysing the number of time movement keys were pressed. (Figure 5.)
<<<

20

Figure 5. Number of keys pressed

Total time and useful time are given in fig. 6.

The number of clicks is shown in fig. 7.

Figure 6. Total and useful time

Figure 7. Number of clicks

21 >>>

5. Conclusions

The movement within the 3d environment was

performed as expected, that is the children have
mostly moved forward. They have moved backwards,
left and right equally frequently. The number of
movement actions roughly corresponds to the time
spent moving, which is also to be expected.

It is somewhat more surprising to study the

differences between total and useful time. A good
chart in fig. 6 would be one in which the two lines
preserve the same shape. We note that users 7, 10, 18
and 24 have a relatively small percentage of useful time
spent. This can mean that:
The child doesnt know how to perform
movement in a 3D environment
The child is not interested in the useful pages, but
rather only in the discovery of the 3D environment
The child knows the story and therefore only
spends the time he or she needs to get the hint to the
next page
Because the useful clicks are only counted in the area
of the useful pages and while entering and exiting them,
a correct use would lead to a perfect superposition of
chart lines. User 7, 8, 10, 33 perform useless clicks.
Some possible explanations are:
the user doesnt manage to come to a correct
positioning towards the useful page
the user clicks randomly, trying to see whether or
not certain objects from the environment react to that

To sum it all up, save for a few exceptions, the

children how to use the application effectively and have
shown particular interest for it. The results encourage
us to further develop the application by adding more
and richer educational content to it.
Bibliography:

Mumtaz, S., 2001. Childrens enjoyment and perception of

computer use in the home and the school. Computers and
Education, Volume 36, Pag. 347-362.
Papert, S., 1993. The Childrens Machine: Rethinking
School in the Age of the Computers. New York: Basic
Books
Boyle, T., 1997. Design for Multimedia Learning. London:
Prentice Hall
Aliya, S. K., 2002. The role of computer games in the
development of theoretical analysis, flexibility and
reflective thinking in children. A longitudinal study.
International Journal of Psychophysiology, 149.
Virvou, M. K., 2005. Combining Software Games with
Education: Evaluation of its Educational Effectiveness.
Educational Technology & Society, 8, Pag. 54-65.
Conati, C., & Zhou, X., 2002. Modeling students emotions
from cognitive appraisal in educational games. Proceedings
of the Intelligent Tutoring Systems 2002, Pag. 994-954.
Volovici, D., Pitic, G., Pitic, A., & Mitea, A., 2010. An
analysis of file formats used in digital libraries. First
International Conference In Romania On Information Literacy
Information Literacy/Cultura Informaiei. Sibiu.

Biblioteca Universitii Lucian Blaga Sibiu

http://www.ronduldesibiu.ro/wp-content/uploads/2013/02/biblioteca-universitatii.jpg
<<<

22

New Trends for Information

Dissemination:
Open Access and Digital Repository

C r i s t i n a N i c o l e t a A L BU, C a r m e n P R E D E S C U
Universitatea Politehnica din Bucureti, Biblioteca Central
University Politehnica of Bucharest, Central Library
Splaiul Independenie, nr. 313, sector 6, Bucureti, Romnia
http://www.library.pub.ro/contact.htm
Personal e-mails: cristina.albu@upb.ro, c_predescu@library.pub.ro

New Trends for Information Dissemination: Open Access and Digital Repository

The rapidly increasing use of digital content in research and in the dissemination of knowledge is a main characteristic
of modern science.
Digital age help researchers disseminate their research findings and improve their research impact offering them different
channels and options such as acces to scientific and scholarly journals, publish in OA, use of institutional repository.
The aim of the paper is to discusses about OA movement, the challenges and the opportunities offered by OA and digital
repositories for researchers and institutions. Also, the paper provide a summary of the experience of Central Library of
University POLITEHNICA of Bucharest concerning the building of ROMDOC digital repository and the work done so far.
Keywords: Information dissemination, Open Access, Digital repository

1. Introduction
he internet has transformed the nature
of scientific research, opening up new
ways to collect, use and disseminate
scientific information. This has led to increased demand
for access to such information. Open Access (OA) to
scientific journal publications means making them freely
available online, rather than charging readers to view
them. OA to research data means making research data
more widely available for re-use by others to support
research, innovation and wider public use.
A universitys mission is to create and disseminate
knowledge. OA allows universities to deliver on this
mission, creating a higher profile on a global stage.
The Library is able to help researchers disseminate
their research findings and improve their research
impact. One main challenge facing academic libraries in
the networked online environment is to exploit all
forms of digital and telecommunication technology and
find new ways and means to provide feasible forms of
collections, services and access to library materials. Now
the academic library play a central role inside a university
and support the teaching, research, and other academic
programmers in various ways. Digital age is par

excellence about online access, storage and transmission

of information. In the current era the information
resources will increasingly be digital and available in
multiplicity of communication ways. All these changes
and innovations made the library acts as agency of
information dissemination and assumes the
responsibility to foster the flow of information in
university community in an efficient and effective
manner.
2. New ways to dissemination and information
sharing
Digital age means access to information on a large
scale. Aim of dissemination is to ensure transparency
and to offer a large audience easy access to information.
Effective dissemination relies on the use of varied
channels: Internet, website, electronic catalogue,
Selective Disemination of Information (SDI), digital
repository, data bases, a.o. We have to add the facility
offered by web 2.0, which brings interactive information
dissemination and social networking.
In the digital world, libraries are becoming more
involved in the creation and dissemination of
information.
23 >>>

Libraries have responded to the challenges of

content description for new digital media, extrapolating
from existing cataloging practices to develop various
metadata schema. For libraries dissemination represents
a challenge faced in trying to manage the vast amount
of information. In this respect, libraries must improve
the access to online information and this doesnt
happen automatically. Being available on the web does
not mean being disseminated, does not guarantee
adequate visibility (1).
This means on one hand the users, creators
and technologists interact to develop demand-led
information resources and on the other hand adoption
and application of standards for managing information
objects.
Information in digital environment needs to be
structured and labelled so that technology can work with
it. The electronic era offers a special environment where
linkage, interoperability and unlimited dissemination are
possible.. To achieve this level of dynamism rules,
standards, markup language (XML) and IDML
(International Development Markup Language) are
required. The OpenURL standard, open link technology,
metadata standards such as MARC, ONIX, OAI ,Dublin
Core, controlled vocabulary or thesaurus terms improve
the quality of the search results.
A good organization and architecture of
information, varied methods of access to information,
creation of hypertext links, metadata harvesting)
inclusions of active date, the use of search engine, all
this facilitate the efficient dissemination of content.
The Information and Communication Technologies
(ICTs) offer an effective route for rapid dissemination,
exciting possibilities for delivering information.
The new dimensions for dissemination in digital age
include the speed of delivery, real time updates, access
controlled or freely available.

2.1. Open Access

Open Access (OA) is the practice of providing
unrestricted access via the Internet to research paper or
other scientific information without payment, meaning
to allow anyone to ...read, download, copy, distribute,
print, search, or link to the full texts of articles, crawl
them for indexing, pass them as data to software, or use
them for any other lawful purpose, without financial,
legal, or technical barriers other than those inseparable
from gaining access to the internet itself. (Budapest
Open Access Initiative, 2002).
Open-access (OA) literature is digital, online, free of
charge, and free of most copyright and licensing
restrictions.
This concept is the subject of debate among the
research community, libraries, publishers and funding
bodies. Researchers and libraries typically support open
access, calling for better dissemination of research results,
increased citation rates, greater research impact than
non-open access article; also, OA facilitates more effective
search and retrieval of content, using technologies
associated with the Open Archives Initiative (OAI).
There are the two ways of implementation Open
Access:
The gold route is also known as the author
pays model, and it means that the publication of an
article in an OA journal is usually paid by the author.
There are two further options for the gold route: OA
publishers (PLOS, BioMedCentral, Hindari) or traditional
publishers with OA option (Nature, Elsevier, Springer).
Scientific journals play a central role in the
dissemination of scientific information, especially
publicly-funded research. Journal publishers produce,
distribute and archive printed and digital editions of
journals. They also administer the peer review (PR)
process, where articles are scrutinised free of charge by
other researchers before publication. (2)

Figure 1 Directory of Open Access Journals

<<<

24

According to the Directory of Open Access Journals

(figure 1), there are now over 4000 Open Access
journals. This represents about 16% of the approximate
25,000 peer-reviewed academic journals in existence (3).
The green route involves self-archiving the
article or conference paper in a repository of published
research. This may be done :
* by subject/disciplines (e.g. PubMedCentral, arXiv,
Repec) Thematic Repositories (TRs), often holding a
high proportion of international research.
* or by institution (also providing a way for
universities to showcase their research and to manage
and preserve it).
The origin of the notion of an institutional
repository [IR] is twofold:
IRs are partly linked to the notion of digital
interoperability, which is in turn linked to the Open
Archives Initiative (OAI) and its Open Archives Initiative
Protocol for Metadata Harvesting (OAI-PMH). The OAI
in turn had its roots in the notion of a Universal Preprint
Service, since superseded by the open access movement.
IRs are partly linked to the notion of a digital
library, collecting, housing, classifying, cataloguing,
curating, preserving, and providing access to digital
content, analogous with the librarys conventional
function of collecting, housing classifying, curating,
preserving and providing access to analog content. (4)
Digital repositories are typically administered by
library, which make use of the existing library infrastructure
and technology to host the repository and provide support
for the academic community. Repositories make the work
available to everyone who may be interested. A growing
body of evidence shows that, as a result of being openly
accessible, publications are cited more frequently.
There is no charge for depositing the article or
paper; the costs of running the archive are met by the
institution .Digital age provides an opportunity as
concern the modern harvesting techniques and search
engines which make it possible to discover publications
of relevance if they are deposited in an OA repository

with a particular metadata standard. There is evidence

that articles available in an OA repository have more
accesses (readers), citations and therefore impact.
Open Access is the alternative to Closed Access (or
Subscription Access or Toll Access) Open access
articles have a greater citation and research impact than
non-open access article. It is evident that open access is
a valuable channel to facilitate dialogues and
communicate ideas among researchers.

2.2. ROMDOC Digital Repository to

BC/UPB
The Central Library of UPB is an example of library
that created her own digital repository using the
intellectual content of UPB. If more library digital
repositories initiatives are designed to serve only as
gateways to documents, ROMDOC digital repository
(http://www.romdoc.upb.ro) is designed to serve as
true information hub, providing users access to both
relevant information and experts and to assure
immediate online open access worldwide to the authors,
visibility in the scientific world, prestige and scientific
recognition of the university. ROMDOC offers easily
and rapidly accessing thesis content, multiple access (the
same resources can be used simultaneously by a number
of patrons), preservation and conservation of
documents, space (repositories have the potential to
store much more information than a traditional library),
added value (primarily the quality of images) and not
the last the increased professional visibility of the
authors and prestige of UPB.
One of the targets was to make available to the
scientific community the full text of selected PhD
Thesys, in a coherent presentation, using the three
platforms involved:
BC-UPB Web OPAC (Aleph software platform)
RomDoc Document Server (CDS Invenio software
platform)
ROLiNeST portal (Metalib software platform),
figure 2.

Figure 2 Information distribution in WebOpac Aleph and ROLINEST

25 >>>

Figure 3 Metadata extraction and storage scheme

This kind of integration is not trivial to achieve. It citations and impact. However, there are additional
is based on both manual and automated procedures, and advantages, as follows:
For the researchers:
supposes:
Increased visibility (and impact)
1. involving: export from Aleph of bibliographic
Faster circulation of research results
records using Z39.50 gateway
Management of digital outputs
2. data manipulation to adapt to CDS Invenio
Keep supplementary materials together
format (time consuming!)
Funding body compliance
3. import in RomDoc, upload in RomDoc of the
full text files for the selected records
For the institution
4. field edit in Aleph (856u in MARC 21) to link to
Increased visibility and prestige (and impact?)
the record from RomDoc where the full text files is
Management of intellectual property
stored
Long-term management of knowledge generated
5. using OAI-PMH setup for the server (RomDoc)
and the client (ROLiNeST), software Metalib (figure 3)
For society
Allows access to research findings
RomDoc contains an important mass of material,
in fact grey literature thesis, which improves scientific
communication among Romanian scientists as well as
The rise of digital repositories is helping libraries
communication with other scientists worldwide.
Document servers play an important role in the reinvent themselves. The benefits to libraries and
worldwide movement for open access, the demand for universities creating institutional repositories (IRs) are
free availability of scientific material on the internet. great as libraries restructure, pursue collaborations, and
The RomDoc repository fits well into these global re-position themselves to become major digital
publishers and diffusers of information in the scholarly
developments. (5)
world. They will no longer be passive receivers of
information but active disseminators of intellectual
Benefits of Open Access and Digital Repository output for entire universities.
Generally speaking, the repositories offer the
Open access is not just about access but also about
use. OA facilitates more effective search and retrieval possibility for institutions to manage content and in the
of content, using technologies associated with the Open long term to preserve it. Putting content in such a
Archives Initiative (OAI). It also facilitates more system could result in the content being reused much
sophisticated processing and analysis of content. Open more than if it was on a shelf gathering dust. One of
access articles have a greater citation and research the advantages of a repository is that each piece of
impact than non-open access article. It is evident that content can be described in some detail via the input of
open access is a valuable channel to facilitate dialogues associated metadata. (7)
and communicate ideas among researchers. (6)
The major advantage of OA is research impact, the
available e-article is likely to have more accesses,
<<<

26

4. Conclusions

Bibliography:

Over the last decade libraries have had to radically 1) Dodsworth, E. Effective Information Management and
Dissemination in the Electronic Era, available at http://
reinvent themselves with the developing of electronic
zoushoku.narc.affrc.go.jp/ADR/AFITA/afita/afitainformation. The role of the library will need to
conf/2002/part0/p014.pdf [accessed at April 3rd, 2012]
continue to change. While playing a role as
intermediaries between users and information, library 2) Open Access Scholarly Information Sourcebook. Practical
Steps for Implementation Open Access available at http://
needs to be proactive, resourceful, and creative in
www.openoasis.org/index.php?option=com_content
evaluating and assessing the implications of open access
&view=article&id=262&Itemid=400 [accessed at April
and its compatibility with institutional goals and needs.
4th, 2012]
Open access has become a significant movement
3) DOAJ. Directory of Open Access Journals available at
that libraries cannot be ignored.
Directory of Open Access Journals, http://www.
doaj.org/doaj?func=browse&uiLanguage=en [accessed
at April 4th 22, 201]
4) Gold and green routes to open access publishing available at
http://darkarchive.wordpress.com/2011/07/17/gold
-and-green-routes-to-open-access-publishing/
[accesed at April 6th, 2012]
5) Bercaru T.M., Predescu, C. Using Romdoc as a Digital
Repository in the Central Library of University Politehnica
of Bucharest. Proceedings of International Conference
on Innovation within Libraries, BIBLIO 2010,
Brasov, 3-5 iunie 2010, ISSN 2066-5121, p.9-15
6) Jeffery, C. Opan Access An Introduction,available at
http:// www.ercim.eu/publication/Ercim_News/
enw64/jeffery.html [accessed at April 9th, 2012
7) Bercaru T.M., Predescu, C. Using Romdoc as a Digital
Repository in the Central Library of University Politehnica
of Bucharest. Proceedings of International Conference
on Innovation within Libraries, BIBLIO 2010,
Brasov, 3-5 iunie 2010, ISSN 2066-5121, p.9-15

Biblioteca Universitii Politehnica Bucureti

http://www.puterea.ro/img/w560/http://www.puterea.ro/images/uploads/stiri/39896/biblioteca_upb.jpg

27 >>>

Bibliographic Research, a Sine Qua

Non Condition of an Efficient
Information Culture
Cristina POPESCU

Universitatea din Bucureti, Facultatea de Litere

University of Bucharest, Faculty of Letters

Str. Edgar Quinet, nr. 5-7, cod 010017, sector 1, Bucureti, Romnia
tel./fax: +004-021-313 88 75, e-mail: liter@g.unibuc.ro;
Personal e-mail: iarinike@yahoo.com
Bibliographic Research, a Sine Qua Non Condition
of an Efficient Information Culture

In our high-speed era, information sources are unlimited, the user being the only one capable to filter them. He is the
one to decide what type of information is necessary for him, when it is needed, in what format and to what means he has
to resort in order to obtain it. Bibliographic resources, both traditional and on the WEB, are numerous, from various domains
and answer the most detailed searches. Not only experts, but also readers or surfers on the Internet can find numerous
data, books, art works, audio registrations, as the Internet space presupposes diversity, complexity, ever enriched resources.
Thus, the actual information climate is under constant change, the ways of being informed undergoing multiple
transformations from the point of view of means used, that is classic (such as books, journals) or the most recent,
non-traditional ones (the Internet). Non-traditional information resources present the advantage that, by one accessing of
a motor search on the Internet there can be identified multiple sites to answer the information needs of a user. Moreover,
data bases offer access to pertinent and varied information, conferring a value plus to any research achieved.
Keywords: research, bibliography, Internet, information literacy

1. Introduction

he UNESCO Report of the

International
Commission
on
Education for the Twenty-first Century
states that the pillars of knowledge in the new
millennium are represented by: learning to know,
learning to be, learning to do and learning to live
together with other people. [1]
The intellectual work, as an essential element of the
information literacy, is not characterized by a scientific
disorder, but it imposes order, rigor and organization,
all of them being attributes of efficiency in any
intellectual activity. [2]
More than half a century ago, Nicolae
Georgescu-Tistu noticed with respect to indispensable
elements of any intellectual activity: Another
characteristic trait is the method, that is, the organized
work. Any method includes, as constituted element,
organized information... It also implies another interesting
part, that is, the intellectual work hygiene. [3]
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28

Undoubtedly, a key task of the intellectual education

is young peoples acquiring a systematical scientific
knowledge, with intellectual abilities and skills needed
for a personal and professional development to meet the
requirements of competitiveness. Lifelong education
means information skills, which are key factors. These
are the first steps to achieve educational goals. Each
person has to develop information skills throughout
his/her life, especially during the years of study. [4]

Closely connected to the method and organization

of information it is necessary to mention the
importance of bibliography.
About bibliography, one could say that it is a
discipline governed by its laws and methods. In our era,
bibliography experiments, just like other domains, a real
revolution. Traditional research makes room gradually
for documentary research.

2. The competence area of the bibliographic research

Another method, more difficult, is a genealogical

one. It consists of the research, based on a text
Whatever the topic chosen, the bibliographic research published by an author on a specific topic, and on all
always involves compliance to steps required by a authors who, over the years, have cited this source in
rigorous organization of effective intellectual activities: their works.
identification of the documents of interest;
location of documents;
2.1 Bibliographical research in the field of books
procurement of documents.
In order to identify a document of relevance for a
It takes into account the specific features of each topic, we shall resort to a general bibliography, given the
type of document of interest: books, periodicals, theses, date of publication of the document. If it dates back
on traditional or electronic media, and it is defined by before 1700 A.D., an international general bibliography
distinctive characteristics for the field of letters is needed, if it dates after this particular year, a
retrospective or current national bibliography is to be
compared to that of science.
If interested in the field of letters, students and dealt with.
If the date of publication of the document is
researchers should study retrospective bibliographies
and works published in time, while for the scientific unknown, it is necessary to consult several successive
field they will turn to current bibliography and to volumes or even a national library catalog.
Only when the references of the complete works of
articles in periodicals.
Once the topic chosen, the work begins with fixing interest are identified, they are to be looked for in a
its terminology and scope, then it will have to include library.
To find the work needed, library services are
reference of general encyclopedias, ending with the
required and, if it the library does not hold the
specialized ones.
Rigorous research in a discipline starts with the respective work, then it is time to apply for a national
study of a good bibliography guide. Then, reviewing or international interlibrary loan.
immediate local sources, by consulting the alphabetic
catalog or/and other library catalogs, like the systematic 2.2 Bibliographical research in the field of periodicals
In case one needs to find an article from a serial,
one, aims at drawing a list of authors, their essential
works and classifications on subjects, their most recent we turn to specialized bibliographies of periodical
works, with a view to assess the importance of articles which signal them by an alphabetical ranking
of authors, when they are known, or by alphabetical
documentation.
classification on topics, when the author is not
In a logical succession, it is necessary to make up a known.
Even if you have information about the publication
general work plan to put in order the first recorded
references. With regard to reading, documents can be of the article, it is advisable to search for it within
listed in order of importance or interest or even in a periodicals for two successive years and it is
recommendable to know the exact title in order to avoid
chronological order.
In the science field, bibliographic research will be confusion with a similar periodical.
In order to determine, based on the title of the
based on three types of bibliographies: a bibliography
of works organized on topics, on bibliographies of periodical, the publishing place, the publisher, the
articles, on documentary bibliographies or on a frequency or even the change of the title, bibliographies
of periodicals are to be consulted.
documentation of patents.
If we need to identify periodicals in a particular field,
Actually, for a scientific topic one can start with a
detailed analysis of a recent book and with the we should consult the alphabetical index on topics.
specification of its subject, mainly because each work When we are concerned, however, with finding
periodicals issued in a certain country, we could use the
contains a bibliography to date.
Topical issues have a historical dimension. In this synoptic file, even if this one is generally reserved for
case the subject should be defined and a general idea is internal library services and authorization for consulting
given, then the local sources are reviewed and a it is requested.
systematic research is started with major retrospective
For current periodicals, any research implies the
and current bibliographies.
For current topics, recent works will be found or just search of numerous recently compiled catalogs of
articles from periodicals, the latter becoming essential periodicals and eventually published by major
tools. Immediate topical subjects need a current libraries, containing data about the condition of the
bibliography for the reference of a recent article to collections and the shelf number of the periodical.
mark the bibliographic point and to serve as a starting To have the desired item one could ask for an
interlibrary loan.
point for research.
29 >>>

If, however, the article is not found in any library in 4. Library and information sources in the contemporary
the country or abroad, one could try to contact the society
author for a separate title, the address could be found
Nowadays libraries are facing a new problem,
in a Whos Who of the scientific and scholarly world
namely the shift to computerized means capable to
or from a professional yearly directory.
provide access to collections on the Internet This trend
2.3 Bibliographical research in doctoral dissertations of globalization has directly affected the Romanian
It is difficult to find and identify a study on doctoral library and space, for the libraries are connected in a
dissertations, because these documents are not present well-defined system, easily accessible from anywhere in
in extenso in current inventories. In countries where the world.
Computerized catalogs offer accurate information
it is compulsory to publish them, there are specialized
and the most recent bibliographic data, according to the
directories.
In our country, they are part of repertories which latest editorial issues, which, by their abundance, have
signal that they have already been defended and they hindered activities of purchase and the selection of
publications. In addition, rich collections raise problems,
have entered the legal deposit.
because the work of converting classical catalogs into
electronic ones calls for time and increased attention of
the experts.
3. WEB bibliographic resources
The digital library is still in her teens regarding the
Information sources are unlimited in our high speed introduction of new software programs and
epoch, the user is the only one entitled to select it. It is experiments, at least, this is the opinion stated by the
he/she who decides what type of information he/she specialized periodicals in the United States of America.
needs, when he/she needs it, in what format, and what Although the system is already integrated, there are no
means are the most efficacious for him/her to achieve longer problems of technology for the libraries, now
it. Bibliographic resources, both traditional and Web there is a need to turn the programs continuously
resources are numerous, addressing various areas and efficient for the users to benefit of facilitated searches.
answering the most detailed searches.
It is intended that, in the future, the applications of
Not only professionals, but ordinary readers or
surfers can find many data, books, works of art, audio digital libraries already existent on the Internet, to create
registrations on the Internet, because the Internet space and develop a common fund of data and information
presupposes diversity, complexity, resources which are to streamline the flow of receiving new information. At
the same time, the database will be enriched with
continuously multiplied.
Informational current climate changes constantly, various media applications to broaden the spectrum of
the ways to stay informed undergo multiple knowledge, their complexity, embedded in future
transformations from the point of view of the means libraries.
The bibliography is an area significantly affected by
used, whether traditional (book, newspaper) or the latest
changes in the information space.
non-traditional (Internet).
One can find Web resources that provide
Non-traditional information resources have the
advantage that, by simply visiting a Web search engine, bibliographies, but a full research can be done only in
one can identify multiple sites to meet the information the library, by individual users or by asking for the
needs of a user. Moreover, databases provide access to library reference services, where experts prepare
relevant and varied information, adding value to any comprehensive lists on a specific topic or a specific area
activity.
research.
Possibilities are multiple, but only a good
The question asked most frequently is whether the understanding of the phenomenon could lead to an
Internet is a source of reliable information, conceived improvement in knowledge of the users in Romania, as,
at the moment, they are not all connected to the
according to a certain standard.
The answer, however, remains inserted in the information market capacity.
prototype of the educated user, having high standards
A good Internet search strategy should include the
of selecting information, he/she is the only one who
can screen and gather exactly what he/she needs in following steps [5]:
to carefully analyze the theme;
order to respond to a question, to fulfill his/her need
to choose the most appropriate keywords for the
of information.
necessary information, using an adequate search
Whoever seeks quality information will surely find strategy;
to use the most appropriate search engine, or 2-3
it, but the cultural level can be improved only through
search tools;
a continuous education of the individual.
<<<

30

 to check the source of information, being

constantly aware that anyone can post anything on the
Web;
in case no information on the topic of interest can
be identified, after using all possibilities, one can appeal
to printed documents of reference (dictionaries,
encyclopedias), which remain the most reliable sources
of information.

It should be noted that the last step mentioned

could be achieved just at the beginning, as the Internet
does not always provide the best filter when looking for
specific information. Users are usually blamed for
because, in most cases, they do not know what
descriptors to use, and the lists of sites, even if they fit
the field of search, do not provide what the user needs.
Therefore, when one starts preparing a bibliography,
using web resources, any search should be done
carefully, to find exactly the publications concerned.

In our contemporary society, having the right to

information guaranteed by the Constitution, an
international program to make bibliographic resources
unique and available anywhere in the world should be
imminent.
For us, today, to have access to publications from
other countries is not just a desire but a necessity, so
that in the epoch of all possibilities, libraries are indeed
at a crossroad.
The question is, in principle, quite simple: the future
of the library and the information services, as a sine qua
non part of the cultural literacy process, depends on the
adaptation or non-adaptation to the new conditions
imposed by the development of the society and the
progress of information.

Inextricably linked to the library and to its functions

in education and information, information literacy aims at
facilitating the information search, use and creation
in the digital equally in the traditional media in all the
life stages, to reach personal, social, occupational and
educational goals.
Thus, as far as the information function is
concerned, libraries are and will remain its holders, but
the problems posed by the current period are numerous.
Access to information is unlimited and always at
hand, but, therefore, it is absolutely necessary to have a
performing filter capable to screen the required
information effectively and to separate it from the
useless information. This still remains an unattainable
goal.
However, information literacy is a determining
factor in the society of knowledge. A society based on
a lifelong training is inconceivable without adequate
information literacy. Information literacy is the first and
foremost condition of professionalism and success of
a future specialist in any field.
Thats why its undeniable that, while training, each
person must acquire skills and personal experience in
scientific information.
Using their creative and professional capabilities and
relying on integrated programs in all the training
courses, information science professionals should
actively contribute to the educational process, helping
students in their aspirations to accumulate and enrich
their knowledge, to cultivate their skills, to fix their
values in order to continue diversifying and extending
their knowledge throughout their lives.

Convinced that information is like a narcotic,

Constantin Noica demonstrated conclusively that the
deep meaning of informing oneself is connected in the
European consciousness to the philosophical
perspective of Aristotle [6].
But, in its development, information, going through Bibliography:
different stages, enriches its meaning, losing some of
shades of its original sense. Thus, from inform, which [1] J. Delors, coord, Comoara luntric, Polirom, Iai,
2000, p. 7.
means to give shape which could mean in Latin to
imagine a form, to figure out a form we reached the [2] Cristina Popescu,Tehnica muncii intelectuale: metodologia
cercetrii i elaborrii lucrrilor tiinifice, Ars Docendi,
idea of modeling souls, of educating them. Giving form
Bucureti, 2011, p. 6.
means also to be instructed [7].
[3] Nicolae Georgescu-Tistu, Munca intelectual: idei
generale i ndrumri tehnice, Bucureti, 1947, p.13.
[4] Cristina Popescu, Op. cit. p. 6-7.
[5] Nicoleta Marinescu, Mariana Ianu, Crina
5. Conclusions
Mihilescu, ei al. Biblioteca, de la tradiie la modernitate,
Astel Design, Bucureti, 1999.
The Declaration of Alexandria on Information Literacy
and Continuing Education in November 2005 promoted [6] Constantin Noica, Eseuri de duminic, Humanitas,
Bucureti, 1992, p. 149.
the importance of cultural literacy, based on continuing
[7] Ibidem, p.149.
education.
31 >>>

Data Mining in Social Networks

Antoniu Gabriel PITIC, Daniel VOLOVICI,
A n d r e i TA R A , A d i C r i s t i n a M I T E A
Universitatea Lucian Blaga din Sibiu, Facultatea de Inginerie
Lucian Blaga University of Sibiu, Faculty of Engineering
Str. Emil Cioran, nr. 4, Sibiu, 550025, Romnia
tel: +40-(269) 21.79.28, fax: +40-(269) 21.27.16
e-mail: inginerie@ulbsibiu.ro, web: http://inginerie.ulbsibiu.ro
Personal e-mail: antoniu@pitic.biz
Data Mining in Social Networks

The increasing popularity of online Social Networks is proved by the large number of active users. Nowadays the
combined number of users is exceeding one billion of users. In this paper we will take a look at some of the most important
social networks (Facebook, Twitter, Linkedin) and perform a technical analysis in order to collect valuable information for
data mining. We will focus on the major technical aspects that will affect the process of gathering data and API integration.
Keywords: Digital libraries, Social network, Twitter, Software Architecture

1. Introduction

owadays, the social networks have

proved to be useful for everything from
keeping in touch with friends to dating,
research collaboration and political activism. Data
mining in social networks is a relatively new subject that
has been intensively approached by the researchers in
latest period. The development and wide
acknowledgement of social networks among the
domestic users, has opened for sociologists and all other
researchers, a completely new point of view to
investigate subjects using the social relations or user
interaction from a completely new perspective and scale.
Some approaches as [2] try to cluster groups of users
using k-men or hieratically clustering algorithms using
as criteria the friendships relation. Other approaches as
[1] try to randomly extract user profiles to integrate
them in a global social graph. Some [4] takes a wider
approach by comparing the main social networks
nowadays.
Inspired by the research of [5] that shows that the
social networks potentially affected how and why ideas
were employed in the learning system, this paper
examines the way the communities of users can be
clustered around ideas/concepts commonly shared by
the group. In our case the result is a social graph instead
of mapping the friendship relation, it will map users

<<<

32

that share same/related ideas.

At the beginning of our approach we present some
basic, general concepts about social networks, we
continue with some brief introduction in the most
important technically aspects such as REST and OAuth,
required to interact with any web service nowadays. We
complete the first part with a more detailed presentation
of the Twitter API and the major technically constrains
and limitations.
Our study continues with the description of the
first version of crawler which has a pipeline structure,
each module being specialized in doing a single piece
of work. This basically fetches tweets that contain a
specified set of keywords and generate the social
graph and results. Although, it has a simple
architecture this crawler allows us to get a better
insight of how the clusters of users look like for
specified keywords sets but still it has some limitations.
The most important limitation is that it could not
answer the question if the data shared by two or more
groups of users is related so the subgroups could be
merged together.
We improve our crawler by adding new modules that
allows us to extend the search. Using the [5] algorithm
we summarize this content and extract main keywords.
The resulted set of keywords is used to check if sub
clusters can be merged together and to extract related
concepts/keywords.

2. The architecture of the crawler

Figure 1 The architecture

The purpose of our work is to study how the user

communities are formed around different ideas or
content they collaborative share. For studying the
phenomena, a crawler it has been created to extract all
the meaningful information required. The system is
built using a classical approach with a pretty simple
architecture, yet a very powerful one, composed from
multiple modules connected as pipeline; each module
encapsulates and isolates a specific amount of
functionality. The modular architecture allows the
system easily to extend, for e.g. the social network
source can be changed simply by changing the fetching
layer, or it can be used any database to store the fetched
information.
The crawler is composed of three major
architectural blocks: fetching module, storing module
and data extraction module, this can be depicted in the
Figure 1, each module will be detailed on the next
paragraphs.
3. Optimizing the fetching module
The fetching module interacts with REST services
exposed by Twitter; its main purpose is to extract all
required information using as search criteria a list of
keywords. On designing the fetching module we have
to face some challenging issues from a technically
perspective view.

The first problem we have to solve was related to

the time required to fetch a single page of results that
contains roundly about 100 tweets. As it can be depicted
in the figure 2, the time required to gather a single page
may vary between 22 and 23.7 seconds that is a huge
amount of time if we take in consideration the immense
rate of information that we have to collect. The simplest
solution was to create multiple processes, each fetching
one page of content.
The fetching rate was improved by creating multiple
fetching agents supervised by a manger (figure 3). The
purpose of the manager is to control the optimal
operability of fetching agents. For instance, if one agent
fails with a critical exception, the manager has to start a
new agent that is able to fully replace the dead agent.
When the work is finished the agent is notifying the
manager; the agent will receive a new job if any exists
or it will be disposed. Technically speaking, the
management of agents can be summarized on forks,
joins and synchronizing signals, it makes use of parallel
programming paradigm.
Figure 4 shows the differences between performances
in the implementations. The fetch rate of the multi
agent system is superior, about eight times bigger,
compatibly to the simple implementation. Anyway the
number of incorrect or incomplete fetched tweets is

Figure 2 - Fetching page time variation

33 >>>

Figure 3 Fetching architecture

higher for the parallel system, one of the explanations

is that, as a protection mechanism Tweeter services
impose some restriction on the number of requests that
came from the same IP address.
The fetching time for single page will increase in the
case of the parallel implementation because of the
overhead required by al the collaboration work of the
fetching agents with the manager. All the above results
were obtained by fetching 10000 tweets that contain the
intel keyword using a maximum of 100 results
allowed per page.
To ensure fair access to their platform Tweeter
imposes access limitation to each client that limits the

number of tweets in a specific amount of time. Maybe

the greatest challenge that the fetching module has to
solve is that all fetching agents have to be fully
recoverable in case of failing, service not responding or
any connection problems. The agents will resume their
work after they were stopped in case of any critical
exception; this was technically solved by adding to each
agent something like a state observer that has the simple
purpose to watch the fetching execution and in case of
exception to save the state to disk before exception
occurs. Using the state a new agent can resume the work
started by a dead agent. Figure 5 depicts the process
interactions between agent and manager.

Figure 4 Some results

<<<

34

Figure 5 Agent manager workflow

The filter subcomponent allows us to improve the

quality of fetched data by eliminating the undesired
results from the start; it allows local, language, geocode
or period of tweets. This may prove usefully if for e.g.
we may want to fetch the data only from a specific
region, from users that are speaking a specific language
or we just may want to extract the information from a
specific date.

4. Conclusions
We proposed a general architecture for gathering
information from Twitter social network and we
optimized the crawler system by using multiple agents.
The interaction between agents and agent manager is
described.
The practical side of the application implies
searching for specific keywords and interpreting the
results to obtain meaningful results.

Bibliography:

[1] Bonneau, J. (2011). Prying Data out of a Social Network.

[2] Catanese, S. A. (2010). Crawling Facebook for Social
Network Analysis Purposes.
[3] Luhn, H. P. (1958). The Automatic Creation of Literature
Abstracts.
[4] Mislove, A. (2007). Measurement and Analysis of Online
Social Networks.
[5] Yoon, S. (2008). Using memes and memetic processes to
explain social and conceptual influences on student
understanding about complex socio-scientific issues..

35 >>>

Research Methodology for Humanities

Agnes ERICH

Universitatea Valahia din Trgovite, Facultatea de tiine Umaniste

Valahia University of Targoviste, Faculty of Letters
Str. Lt. Stancu Ion, nr. 35, cod postal 130105, Trgoviste, Romnia
tel./fax: +40 245/206 105, web: http://fsu.valahia.ro, email: umaniste@valahia.ro
Personal e-mail: agnes_erich@yahoo.com
Research Methodology for Humanities

In this paper Ill try to describe the objectives for Humanities Research Methodology course that I support at the
University Valahia of Targoviste, Faculty of Humanities. I will also highlight the skills which the master students will
obtain at the end of the course. The aim of the paper is to demonstrate the necessity of this discipline in the university
curriculum and to examine this phenomenon in the context of higher education, by assessing the quality of current
information literacy strategy documentation and exploring the application of corporate strategy concepts and techniques
to this emergent field of professional practice. Analyzing this aspect in Romanian universities it is observable that only a
small proportion of Romanian students use the library, and this fact depends upon the faculty expectations. Many times
they dont know what information is available, they have difficulty determining the information they need and the quality
of it, they are unable to compare and evaluate alternative information. Therefore, it is imperative that librarians work
collaboratively with academics and the information literacy instructions became comprehensive in all universities, not matter
the profile
Keywords: Information Literacy, Valahia University of Targoviste, Research Methodology

Introduction
he increasing use of the Internet in
education, with all that this implies (the
avalanche of available information) led
to the general knowledge that information literacy in the
academic community has became more and more
important. It is known that global organisations such as
UNESCO have joined librarians in writing about
the need to improve students information literacy
development. [1] To be an information literate person
you must be able to recognize when information is
needed and have the ability to locate, evaluate and use
effectively the information. So, an information literate
person is that who have learned how to learn. [2] It is very
important for a professor to be able to guide students in
how to obtain useful information in an era of knowledge
explosion. Also it must be mentioned that recent research
showed students were confronted with difficulties and
needed assistance in the process of information search
and retrieval. [3, 4] In this paper Ill try to describe the
objectives for the Humanities Research Methodology
Course that I support at the University Valahia of
Targoviste, Faculty of Humanities. (Faculty of Letters).
An information literacy course requires a shift in focus
from teaching specific information resources to a set of
critical thinking skills involving the use of information.
<<<

36

Research Methodology for Humanities Course

(Valahia University of Targoviste)
In general, I observed that students are confused
and frustrated by the research process, despite the
convenience, relative ease or ubiquity of the Internet.
They are overwhelmed by the multitude of information
that are offered and have difficulties in traversing a vast
and ever-changing information landscape. So, there are
some reasons for which are necessary to integrate the
teaching of information skills into the curriculum:
anyone can become information literate;
information literacy is action-oriented, helping to
solve problems and make decisions;
information skills are transferable from one
discipline to another, from one task to another;
information skills are needed for lifelong learning;
information literacy helps people handle
information and new technologies.
Even though the concepts and skills of critical
thinking, research strategies and evaluation continue to
be key learning outcomes for most instructional
initiatives, specific learning objectives can be adjusted
for the changing information environment. Ill try to
describe the objectives for Humanities Research
Methodology Course that I support at the University
Valahia of Targoviste, Faculty of Humanities and also

I will highlight the skills which the master students will

obtain at the end of the course. So, the main objectives
are:
Improving the ability to search scientific
information in written or electronic format, using
traditional or informatics search methods and data
selection;
Assimilating the technique for elaborating a
scientific paper and its presentation methods;
Assimilating the basic steps which are specific to
the research process and for data analysis and
processing;
Introduction in modern techniques of documentary;
Explanation and interpretation of traditional and
modern techniques for writing scientific papers;
Ability to assess information contained in a special
report or article and also assess its relevance;
Critical discernment in taking and assuming
theoretical opinions from specialty literature;
Scientific probity in using the bibliographic
sources;
Interdisciplinary presentation which allows
students to approach thematic closely related with other
auxiliary disciplines;
Chapter
1. Information literacy conceptual
approaches and specific models

2. Information and documentation in

libraries

3. The Internet a research method.

4. The preparation of a scientific paper.

5. The specific research in Humanities.

Combination of theoretical dimension with research

in the library and individual study and also to use new
information and documentation technology in
preparing and presenting reports activity.
As regards the specific skills provided by the
curriculum of which belong to the foregoing discipline
I just remember:
The ability to optimally and creative exploit their
potential in scientific activity intrinsically linked to the
seminar class;
Identify and understand the main information and
documentation means to achieve a scientific paper;
Knowledge of processing techniques and methods,
organization and evaluation of information;
Using of ICT means to achieve, process and present
different types of research;
Using and proper motivation for selecting certain
Internet search tools for the preparation of scientific
papers;
Developing certain skills required to start a research
in humanities.
For example we quote below the structure course
structure addressing students at Master (Letters) from
Valahia University of Targoviste:

Content
Information Literacy: definitions
Information Literacy elements
Necessary conditions to understand
Information Literacy
The scope of Information Literacy
Information Literacy: Content. Characteristics.
Marland Model; Irving Model; Big Six Skills Model; Kuhlthau Model;
SCONUL Model; AASL Standards
The library role in Information Literacy. The importance of library in
supporting search skills
Library instruction. Identification, finding, evaluation of the traditional
and non traditional sources from libraries
Documents types
Results preparation and communication
Finding information on the Internet. Searching rules on the Web.
Information search tools in electronic environment
Direct research techniques: focus groups, interviews.
Stages of the editing work of a scientific paper
Information sources
Writing style and language
Citation models
Bibliography preparation
The information resources user behaviour
Behaviour models in information searching
The learning process of the documentation techniques

37 >>>

information literacy skills. Because of the proliferation

of information resources and complexity of search
skills, students and faculty are dazzled by the difficulty
in identifying the right resources in their research. [9] It
is necessary to have an active and continuing program
concerning information access, developed and
supported by the facultys makers, librarians and other
information providers because we must be willing to
promote and share our experience in this information
age in support of our institutional educational mission.
Co-operation between faculty and librarians who have
the expertise to assist students in getting the right
information literacy skills is essential in this process. [10,
11] I think that this course is able to enhance students
generic abilities which include problem solving, critical
thinking, creativity, collaboration, communication and
presentation. In this way, our students will be better
prepared, both for their future studies and for their
recognize information need;
careers. A multi-disciplinary approach to research on
to distinguish between different types of information information literacy will create opportunities for a more
identified during the in-class group activities: primary and substantial curriculum that will benefit students
secondary; traditionally and electronically;
find and use a variety of sources related to the selected throughout the years of study but also in everyday life.
As we seen the syllabus was divided into three distinct
areas: introductory information about Information
Literacy, types of information and documents, finding
and evaluating information and constructing the final
project. The contents of the course are rich and also help
to extend knowledge, paying attention to practice and
combines teaching and practice in class. Assessment is
carried out through practice and assignment. The master
students must have basic knowledge of computer
applications and be able to use the Internet. Information
is always related to specific subjects so this course is
dedicated to students from Humanities but information
literacy education can be taught in any domain, of course
being adapted. In order to fulfill this mission, the course
had to enable the students to study independently and
support their life long learning. [5]
Once completing the course, the students were
expected to achieve the following:

current topic using more research tools;

be able to develop a strategy for locating information that
takes into consideration the different terminologies and
organization of access tools such as databases, Internet
resources and print materials;
apply given criteria for evaluating evidence and assess
the authority, reliability, scientific accuracy and validity of
sources of information; verify the authenticity and accuracy
of the information; [6]
research, integrate and synthesize information from various
print and electronic sources regarding a practical question;
be able to develop and refine a research question in
relation to the sources.
write a thesis statement for the final project using the
main criteria provided by the thesis statement worksheet; [7]
be able to understand the citation, URL or other
bibliographic representation for information sources, which then
guides to physical access and evaluation of information sources;
be able to construct a research paper in concordance with
the selected sources, demonstrating that they can properly
paraphrase text and avoid plagiarism;
understand and apply legal and ethical uses of information
and technology including copyright and intellectual property
communicate the thesis statement with the found sources
using a multimedia presentation

In conclusion, to complete assignments successfully,

students need to define their information needs, formulate
questions and be able to locate, evaluate and use information
from many sources. Of course, they need to be aware of
issues relating to the ethical use of information, such as
copyright and plagiarism. Nowadays it is more and more
necessary to concentrate on the importance of information
literacy instruction and to encourage the use of information
sources in educational processes and scientific search. [8]
Conclusions
Each university has to develop educational strategies
and learning resources to help students develop
<<<

38

Bibliography:

[1] Penny Moore, PhD. An Analysis of Information Literacy Education

Worldwide [on line]. Available on Web: http://portal.
unesco.org/ci/fr/file_download.php/33e3dd652a107b3be6d64fd67
ae898f5Information%2BLiteracy%2BEducation%2B%28Moore%2
9.pdf. Accessed: 20. 04. 2012
[2] Introduction to Information Literacy [on line]. Available on Web:
http://www.ala.org/acrl/issues/infolit/overview/intro. Accessed:
20. 04. 2012
[3] Octavia-Luciana Porumbeanu. The impact of electronic resources
and new technology in academic medical libraries in Romania. In:
Health Information and Libraries Journal, 2009, Volume 26, Issue 2,
p. 152-155.
[4] Octavia-Luciana Porumbeanu. Is electronic always the right choice?
In: Proceedings of the International Congress on Medical
Librarianship Positioning the Profession, Brisbane, Australia, 31
August 4 September 2009. Available on Web: http://espace.
library.uq.edu.au/eserv/UQ:179724/n2_5_Wed_Porumbeanu_160.p
df. Accessed: 20. 04. 2012
[5] Alfred Loo; C.W. Chung. A model for information literacy course
development: a liberal arts university perspective. Available on Web:
www.emeraldinsight.com/0024-2535.htm. Accessed: 02. 02. 2012
[6] Heidi Julien; Susan Barker. How high-school students find and
evaluate scientific information: A basis for information literacy
skills development. In: Library & Information Science Research 31
(2009) 1217
[7] Sharkey, Jennifer. Towards information fluency: applying a different
model to an information literacy credit course, Reference Services
Review, 2006, Vol. 34 Iss: 1, p.71-85
[8] Fadel Jamil Klaib. Provided information literacy instructions at private
university libraries in Jordan and trends of Zarqa Private University
students towards its objective achievements. In: The International
Information Library Review (2009), Volume: 41, Issue: 3, Publisher:
Elsevier Ltd, p. 173-183
[9] Sharon Yang. Information literacy online tutorials: an introduction to
rationale and technological tools in tutorial creation. Available on Web:
www.emeraldinsight.com/0264-0473.htm. Accessed: 12.03.2012
[10] Octavia-Luciana Porumbeanu Madge. Bibliotecile medicale i
utilizatorii de informaii din Romnia n era digital. Bucureti:
Editura Universitii din Bucureti, 2011, p. 121-132.
[11] Octavia-Luciana Porumbeanu. Managementul cunoaterii i
structurile infodocumentare. Ed. a II-a. Bucureti: Editura
Universitii din Bucureti, 2011, p. 236-252.

Library and some of its 19th century

calendars and journals
Constantin ITTU

Muzeul Naional Brukenthal, Sibiu

The Brukenthal National Museum Sibiu

Piaa Mare, Nr. 4-5, Sibiu,

tel: (+40) 269 211699, fax: (+40) 269 21154;www.brukenthalmuseum.ro
Personal e-mail: constantinittu@yahoo.co.uk
Library and some of its 19th century calendars and journals

The Library of the National Brukenthal Museum from Sibiu is an 18th century cultural institution, one of the most
important libraries in Romania. Its founder was Baron Samuel von Brukenthal, Governor of Transylvania (1777-1787).
The collections consist on old books in foreign languages (mainly in German and Latin), as well as old Romanian writings.
An important part represents also the collection of periodicals from the 19th century, and books from the same period of
time.
From the very beginning, the Brukenthal Library was regarded as the main research centre of Southern Transylvania.
Nowadays reality proves that it remained one of the leading cultural Romanian institutions of our country. Researchers
from Romania and abroad carry out research work in the library and the results of this activity are mainly published in the
periodicals of the museum, as well as in books printed abroad, of course, in foreign languages, especially in German.
I would like to focus my attention of the 19th century periodicals collection of the Brukenthal Library, a collection
which includes old German calendars and scientific journals, all of them being relevant for humanities and social science
in a multicultural and multilingual framework. It is already known that Sibiu town (as well as its surroundings) has a
multiethnic population, especially of Romanians and Germans.
Keywords: National Brukenthal Museum, collection of periodicals, Southern Transylvania, Samuel von Brukenthal,
old Germans calendars, scientific journals

ibiu achieved its European status

thanks to its history, and its cultural
institutions. One of these institutions
is the Brukenthal Museum, founded in the second half
of the 18th century by Baron Samuel von Brukenthal,
Governor of Transylvania (1777-1787). The museum is
famous for its art collections but also for its library
which from the very beginning was an important
research centre of Transylvania and later of Romania.
Baron Samuel von Brukenthal (1721-1803) was an
outstanding Transylvanian personality of the 18th
century, a man of great erudition and refined taste,
whose political career culminated with the dignity of
Governor of the Principality of Transylvania, which he
held between 1777 and 1787. Deeply influenced by the
generous ideas of the Enlightenment, the baron wished
both, the economic as well as the cultural development
of his country and everything he did contributed to his
goal. While he did not manage to realize a major
economic progress of the Principality, his cultural
achievements were remarkable, placing him in the

broader context of Central European personalities.

During his Viennese years, Samuel von Brukenthal
had the opportunity to enrich his art collection which,
already in 1773, according to Kurzbcks Almanach de
Vienne1, was mentioned on the second place among the
private collections of the Habsburg capital (after baron
von Hagens art cabinet).
In 1778, a year after von Brukenthal was appointed
governor he started to build his magnificent palace in
late Austrian baroque style. The building was meant to
be his residence and to shelter his collections. The
Brukenthal palace shows similarities with the Kinsky
Palace in Vienna. There were numerous foreigners who
worked for the palace, among them the famous
cabinetmaker Johann Bauernfeid, who manufactured
the finest pieces of furniture preserved in the building.
The Brukenthal Palace was constructed in the main
square in Sibiu. Initially all the dwellings in the square
were built in the Gothic style, but during the centuries,
they suffered several transformations, the peculiar
39 >>>

elements of Renaissance becoming predominant. Being

finished in 1785, when Baron Samuel von Brukenthal
was for a longer stay in Vienna, he learned about the
forthcoming of the construction from the letters his
nephew and his housekeeper sent him2. The palace
became the center of the intellectual as well as the
artistic life in Sibiu, being frequented by the members
of the local high society, noblemen, officers from the
headquarters of the Transylvanian troops, by the local
intelligentia, by artists and also by foreign travelers. The
Brukenthal Palace and Library were first mentioned by
Johann Lehmann, a German traveller in his book, Reise
von Pressburg nach Hermannstadt in Siebenbrgen (Travel
from Bratislava to Sibiu in Transylvania), published in
17853.

The Brukenthal Library which actually is a

department of the museum itself was mentioned first
in the Barons last will where he states: because the library,
the engravings, naturalia [] are under my special arrangements
[] there will be free access to the library, art gallery, to the
mineral and numismatic collections, which will be held in my own
house in Sibiu []4
As a representative of the Enlightenment, Baron
Samuel von Brukenthal, a real homo Europaeus, regarded
his library as a way to introduce these generous ideas
into the late 18th century Transylvania. The rich baronial
library comprising 15,972 volumes was the collection its
founder liked best. When speaking or writing about his
possessions, von Brukenthal always mentioned the
library, that wonderful place of spiritual ascension and
meditation, on the first place. Besides precious
illuminated handwritings, he also owned incunabula,
philosophical writings, the books of the French
Encyclopdie, all kind of science books and literature.
His first librarian was Christian Friedrich Samuel
Hahneman (17551843), the founder of homoeopathy.
Hahnemann was the eldest son of a pottery painter in
the porcelain town of Meissen in Saxony. Firstly he
enrolled at the University of Leipzig to study medicine,
then, in 1777, he transferred to Vienna, to gain greater
experience, though this proved very costly on his
modest allowance. After only nine months, financial
hardship forced him to abandon his studentship.
However, he had so deeply impressed the physician to
the Court, Professor Joseph Freiherr [Baron] von
Quarin [1733-1814], that he placed him to Brukenthal.
Hahnemann became the physician of the family and
curator of the museum and library. During his stay in
Sibiu, which lasted for 18 months, Hahnemann worked
out the first catalogue of the coin collection, of ancient
books and manuscripts. In the spring of 1779 the
librarian left the capital of Transylvania for Erlangen
University, where he graduated MD on 10th of August
1779, qualifying with honors. Christian Friedrich Samuel
Hahneman coined the name homoeopathy to describe this
approach to healing, deriving it from the Greek: homos
<<<

40

(same) + pathos (suffering). He also espoused the law

of cure known as Similia Similibus Curantur or Like Cures
Like 5.
During all those years when von Brukenthal was
Governor of Transylvania and lived in Sibiu, he kept
close connections with Vienna and got information
about auctions from his friends Abbot Neumann,
Professor at the University of Vienna and Director of
Coins and Antiquities Cabinet (Direktor des Mnz- und
Antikenkabinetts), Karl Adolf Baron von Braun, adviser
at the Imperial Court (Reichshofrat), August Grffer,
bookseller and editor, and the latters brother, Rudolf
Grffer, editor6.
By far the outstanding piece of the Brukenthal
Library is the so-called Breviarium, a wonderful rich
illuminated manuscript. Manufactured in the Low
Countries, later it belonged to the St. Margaret
Monastery, near Prague. After the monastery was
closed, von Brukenthal bought it in Vienna on the
second of January 1787, for the price of 130 guldens.
The Book of Hours of the Brukenthal collection,
known as the Brukenthal Breviarum, is one of the most
outstanding works of Flemish manuscript painting in
the first quarter of the 16th century. It, contains
ninety-two miniatures and 648 fully illustrated folios.
Miniatures, initials and borderdecorations follow a fixed
lay-out. It is likely that the Brukenthal manuscript with
its highly standardized iconography and decorations was
based on existing models which had been established at
around the same time7. Until recent years, the supposed
date of completion was around 1495. As a result of new
research, it is supposed a time between 1515 and 1520.
One of the arguments consists of the clearly inscribed
year 1517, which was found hidden in the altar cloth on
one of the miniatures. Another argument is offered by
a miniature which represents Charles V as crowned king
on the throne to which he acceded the same year. He
became Emperor two years later, in other words, in 15198.
Today the library consists of several collections:
comprising over 250,000 books and journals, 778
manuscripts, 422 incunabula, approximately 30,000 rare
books dating from the 16th-18th, more than 900 old
Romanian books, over 7,000 maps, and of course,
contemporary books and journals specialized mostly in
history and archaeology, history of art and culture,
natural history etc.
The process of enrichment of the library was an
ongoing phenomenon from the 18th century until now.
During the 19th century, the Brukenthal Library added
to its collections two important libraries from Sibiu, the
so called Kapellenbibliothek in 1879, and that of the
Academy of Law, in 1885. In this very year the
Academy, a high level educational institution from
Southern Transylvania was closed. The Kapellenbibliothek
preserved books from different medieval libraries in
Sibiu, as the Town Library (first mentioned in 1300).

The collection of incunabula has its own history.

Most of them, 280 items, came from the
Kapellenbibliothek, while the second source was Baron
von Brukenthals personal collection. In 1937, there
were bought another three incunabula. Today the books
from all this three sources are united in the Brukenthal
Library, which with 422 incunabula is one of the richest
collections in Romania, if not even the richest9.
The Brukenthal Library exchanges books and
periodical with almost ninety cultural institutions from
Romania (museums, libraries and research institutes), as
well as over seventy partners from abroad, mainly from
Europe, but also from overseas and Japan.
Notes:

1. Joseph Kurzbcks, Almanach de Vienne ou Abrg Historique,

Vienne, 1773, 180-1.
2. According to the letter of the housekeeper Therese Holzer,
dated the 24th December 1785, published in Archiv des Vereins fr
Siebenbrgesche Landeskunde, Briefe an den Freiherrn Samuel von
Brukenthal, mitgeteilt von H. Herbert, 31 (Hermannstadt, 1903), 921.
3. Johann Lehmann, Reise von Pressburg nach Hermannstadt in
Siebenbrgen (Travel from Bratislava to Sibiu in Transylvania),
Dnkelspiel und Leipzig in Komission by Christian Gottlieb
Herter, 1785.
4. G.-L. Ittu, Geschichte des Brukenthalmuseums, (Sibiu/
Hermannstadt, 2003), 82
5. This means that a remedy that produces symptoms in a healthy
person will cure those same symptoms when manifested by a
person in a diseased state. This law of cure has been verified by
millions of homoeopaths all over the world since the time of
Hahnemann.
6. Constantin Ittu, Tainele Bibliotecii Brukenthal [The Mysteries of
the Brukenthal Library] (Sibiu, 2007), 1928 (Neumann), 2932
(von Braun and the Grffers).

7. Michael Csaki, Das Breviarium Brukenthal (Hermannstadt/ Sibiu,

1912), 38.
8. Jan De Maere, Ein wertvolles Werk in der Bibliothek. Das
Breviarium Brukenthal, Openbaar Kunstbezit Vlaanderen
(Antwerpen, 2007), 1619.
9. There are numerous books concerning the incunabula
collection: Fr. Mller, Incunabeln der Capellenbibliothek, Archiv
des Vereins, 14, 23 (Sibiu, 1877); G. Seivert, Die Wiegendrucke
des Baron Brukenthalischen Museum, Mitteilungen aus dem
Brukenthalisches Museum (Sibiu, 1944), Veturia Jugreanu, Catalogul
coleciei de incunabule [The Catalogue of Incunabula Collection],
(Sibiu, Muzeul Brukenthal, 1969).

Bibliography:

Csaki, Michael, Das Breviarium Brukenthal (Hermannstadt/ Sibiu,

1912)
Ittu, Constantin, Revolutio alphabetaria n Biblioteca Brtukenthal
[Revolutio Alphabetaria in the Brukenthal Library] (Sibiu,
Alba Iulia, 2007)
Ittu, Constantin, Tainele Bibliotecii Brukenthal [The Mysteries of the
Brukenthal Library] (Sibiu, Alba Iulia, 2007)
Ittu, Constantin, Vademecum bibliologic, (Sibiu, Alba Iulia, 2008)
Ittu, Gudrun-Liane, Geschichte des Brukenthalmuseums,
(Sibiu/Hermannstadt, 2003)
Ittu, Gudrun-Liane, Scurt istorie a Muzeului Brukenthal [A Short
History of the Brukenthal Museum], (Sibiu, Alba Iulia, 2008)
Jugreanu Veturia, Catalogul coleciei de incunabule [The Catalogue of
Incunabula Collection], (Sibiu, 1969)
Ngler, Doina, Ctalogul transilvanicelor [The Transylvanica Books
Catalogue], 2 Vol., (Sibiu, 1974, 1982)
Ordeanu, Maria, Gloria in Excelsis Deo: Liber Horarum Brukenthal,
(Sibiu, Alba Iulia, 2007)
Pascu, Constantin, Cartea veche romneasc n biblioteca Muzeului
Brukenthal [The Old Romanian Books in the Brukenthal
Museum Library], (Sibiu 1976)
erbnescu, Olga, Catalogul crii strine din secolul al XVI-lea [The
Catalogue of the 16th Century Foreign Books], vol. I, A
(Sibiu, Alba Iulia, 2007)

Muzeul National Brukenthal

http://travelwithasmile.net/blog/wp-content/uploads/2010/05/MuzeuBrukenthal.jpg

41 >>>

A New Valence for the Managerial

Model in Romanian Libraries:
Application of Knowledge Management
Octavia-Luciana MADGE
Universitatea din Bucureti, Facultatea de Litere
University of Bucharest, Faculty of Letters
Str. Edgar Quinet, nr. 5-7, sector 1, Bucureti, Romnia,
tel.: +40 21-313.88.75, e-mail: pr@litere.ro
Personal e-mail: octavialuciana@yahoo.com

A New Valence for the Managerial Model in Romanian Libraries:

Application of Knowledge Management

For being successful in a globalized knowledge-based economy, contemporary libraries must redesign their management
systems and become knowledge driven organizations. Some libraries have already turned into learning and knowledge
centres, others invest now in implementing solutions for managing better their knowledge resources, but these initiatives
should consider how librarians create, acquire, share and use knowledge effectively. In this context, the paper presents the
elements of a model designed for implementing knowledge management in Romanian libraries and based on a research
conducted recently in these institutions. The approach for developing such a model had as a starting point the understanding
that application of knowledge management principles can contribute to the development and transformation of libraries
into knowledge-based and long-term successful organizations.
Keywords: libraries, knowledge management, managerial model, Romania

1. Introduction

the years have followed those in society and come to

meet society demands. Libraries have demonstrated they
are open to change many times along their history. Now
they should make use, as so often in the past of the
changes in society and exploit them for their advantage.
According to Volovici libraries represent at present
complex systems, ensembles with functions and
activities which depend on structures, relationships,
resources, methods, etc. and very important is the way
in which all these entities interact between them and
with the environment. [1]

pplication of the knowledge management

process is largely seen as a critical issue in
contemporary organizations, including
libraries, which will enable and facilitate their survival
and success, preservation of their position on the
market, and increase of their performance. But any
attempt of applying knowledge management principles
in an organization must start from the need to adapt
this process to the conditions in that organization, from
studying the context and characteristics of its domain
and from designing an appropriate model adapted for
For Romanian libraries the last decades have
that organization.
brought major transformations which were aimed at a
better quality of services and products provided to
Libraries are institutions with a very long history users, at reducing the distance separating them from
which have always adapted to the needs and similar institutions abroad added up over the years,
requirements of society, but kept their core mission and distance characterized by the lack of a coherent
objectives. Libraries have survived many changes management at these institutions, of specialists,
because they have known how to adapt. They have financial resources, and equipment. It must also be
transformed their structure and reorganized their mentioned the absence of the implementation of
services in order to maintain their position in society. strategies for the development and extension of their
Transformations that libraries have gone through over role and for a better adaptation to the conditions and
<<<

42

requirements of the contemporary period imposed by

the existence and evolution of the new information and
communication technologies. The transformation from
traditional to modern libraries still continues in Romania
because these structures need an analysis and a change
of their managerial model so that they can adapt to the
conditions in the market of information transfer. [2]
In the current context, Ostafe remarks however that
in Romania too there are concerns for a more efficient
management of information resources, with
management solutions for digital resources [3] and
presents modern tools for information retrieval
implemented by Romanian academic libraries. [4, 5] But
the requirements for a performant management of
libraries and for a more active role in supporting the
scientific research are more complex in the digital age
[6, 7], even if there are available now new library models
which offer much more efficient means to deliver
information services. [8]

effectively and efficiently in this environment. Many

libraries from abroad have already turned into learning
and knowledge centres, others invest now in
implementing solutions for managing better their
knowledge resources, but these initiatives should
consider how librarians create, acquire, share and use
knowledge effectively. Development of practices that
allow collective experience and learning is important in
libraries because the benefits will be for the individual,
the group and the organization as a whole. Roberts and
Rowley emphasize in the context of libraries the need
to understand the complexity and significance of the
individual, groups and teams. [13]

Libraries should act as living organizations, should

build and develop a culture that fosters thinking,
learning, creation and sharing of knowledge. For
sharing knowledge is necessary to have within libraries
open communication, interpersonal context, trust,
transparency of decision making, appropriate rewards,
teamwork, co-operation, etc. All these aspects enable,
support and facilitate learning and consequently
2. Repositioning of Romanian libraries in the knowledge management. In libraries it must be
understood the way in which new knowledge is
knowledge-based economy
generated at the group level, what motivates librarians
At present, for surviving in a globalized economy to share what they know, how knowledge is shared and
and for maintaining their position as important players managed among the employees.
in the knowledge market, Romanian libraries must
Further the paper refers to the elements of the
redesign their management systems. The recent changes
in the information world must lead to the development model for applying knowledge management in
of adequate strategies at the level of academic libraries. Romanian libraries developed on the basis of a research
[9, 10] They need for this to promote flexibility, conducted beginning with October 2004. We used for
transparency, organizational learning, improve efficiency the data collection a multi-method approach which
and effectiveness, and they also need permanent training included questionnaire surveys in large Romanian
of staff, reassessment and adaptation of working libraries, semi-structured interviews with the library
methods to contemporary requirements. At the same staff and participant observation of staff meetings in
time, libraries should give major importance to the one of the library on which we focused our research
policy of competence and co-operation and should beginning with March 2007. This combination of
have a modern approach to project management, that methods offered a large and complete perspective of
is results-orientated and centered on the capitalization the aspects investigated and helped us with a better
of the major strategic resources of the current society understanding of the collected data and ensured an
information and knowledge that define and shape increased validity of the results. On the basis of the data
actions, interactions, human activities and institutions. collected and of the results achieved we could design in
Higher levels of performance and continuous 2006 a strategic model for implementing knowledge
innovation can be achieved by libraries through the management in Romanian libraries [14, 15] and after
identification and development of better ways to that, in 2010 we also identified and outlined the
directions for creating in these organizations a culture
manage and exploit knowledge assets. [11]
of learning and knowledge sharing. [11]
It appears that knowledge management is nowadays
the foundation of organizational development in all
fields of activity. And the relationship between
3. Application of knowledge management in
knowledge management and libraries is according to
Stoica an organic one, based on the movement forms Romanian libraries
of information as a joint constituent element. [12] For
Application of new managerial processes in
being successful in this globalized world, libraries should
become knowledge driven organizations. Knowledge organizations requires appropriate ways corresponding
management practices will allow them to function to specific conditions found in each organization. On
43 >>>

the basis of the results of our research, but also on

reports of applications of knowledge management in
organizations from different countries and industries
identified in a review of the literature, and having in
mind the characteristics of libraries, we consider that in
order to obtain optimal results in the application of this
new function in libraries, managers must focus on
creating a specific model, adapted to the needs and
conditions of their structures. The model should be
based on an in-depth analysis of the organization and
the relationships within it, and those with the external
environment. For the specific case of Romanian
libraries we designed in 2006 a strategic model and
formulated a few basic ideas which could be the starting
point for the application of knowledge management.
[14, 15, 11]

The value of information products and services

provided by libraries has always relied not only on
tangible resources, but also on the intangible ones, their
knowledge assets. And today, these organizations may
have a higher performance compared to other
structures that appear in the market of information
transfer, because they have a better knowledge of the
ways in which they can create and provide quality
information products and services to meet user needs.
And this is thanks to their long institutional experience
and also to their staff and their specialist training. The
organizational knowledge, both in its practices and
procedures and which the specialists possess, is difficult
to imitate, it is unique and can be transformed into
strategic benefits in the long term.

Our model starts from the fundamental idea that in

contemporary society, the essential skills, based on
knowledge, underlying the few activities which libraries
do best, are their key organizational assets. Developing
unique products and services or developing them at a
lower cost than competitors is based on superior
knowledge of these processes. In the case of libraries
these activities are knowledge organization and
preservation, information search and retrieval,
information dissemination and development of added
value information products. To know how to carry out
these activities effectively and efficiently, in ways that
other organizations cannot copy is a primary source of
value that cannot be purchased from external markets.
Therefore, firstly libraries should identify and focus on
those few processes which they do best, developing and
improving them all the time. Through a variety of
mechanisms of organizational learning, libraries can
create, collect, and use the knowledge necessary in these
processes. Based on this knowledge, they can develop
new operating procedures and improve the existing
ones. Organizational learning is essential and it must be
fostered and enhanced continuously.

<<<

44

The people, the human resources and the

organizational culture represent the second fundamental
element of our model. The chances of success in the
implementation of knowledge management is almost
non-existent in any kind of organization, including
libraries, without development of a collective culture
open to change. Here learning, creativity and quality are
valued and sought, where the acquisition of new skills
and knowledge is an ongoing process, where investment
in human capital, in the further training of employees,
is essential. Developing a better strategy for
communication, creating a coherent context for the
systems and the people in the organization are steps that
necessarily must be taken. The existence of a unified
culture will reduce the barriers of communication and
will lead to closer co-operation within the organization.
There must be, therefore, a framework created whose
components (vision, strategy, values, etc.) recognize the
benefits that derive from supporting organizational
learning and knowledge sharing. Communities of
practice (an important source of expertise for the
organization) should be encouraged, as should
communication and a team culture where exchange of
ideas and information leads to the creation of added
value. [2] For an increased efficiency in knowledge
management an online discussion forum may be
created, which certainly will improve the processes of
organizational learning, sharing of knowledge and
expertise. Managers must take appropriate measures so
that knowledge sharing takes place, perhaps leading to
the establishment of organizational changes to
encourage greater use of this forum. Internal
procedures could also be changed to ensure the
immediate capture and use of information during the
various projects undertaken by the organization. A
system must be set up for periodic evaluations and
rewards to encourage people to contribute with their
knowledge and to use the knowledge of others.

The third fundamental element of our model is the

technology that can underpin the process of knowledge
management by improving the methods of
organizational learning and knowledge sharing.
Technology plays a fundamental role in creating a
culture and an infrastructure to stimulate and enable
access to knowledge and expertise existing in the
organization. Knowledge management systems based
on the new technologies may collect the relevant
knowledge and experience in an organization and may
make it available anywhere and anytime, thus supporting
the processes taking place and decisions that are taken
within the library. They can also connect these
institutions to external sources of knowledge.
Knowledge management systems support the processes
of identification and codification, sharing and
distribution of knowledge, and also the processes of
generation of new knowledge and integration of this

into the organization. Applications of knowledge

management support libraries in creating knowledge
maps, registers of the collective knowledge of
employees, indicating specific areas of their expertise.
It also provides support in identifying and sharing best
practices, in encoding experts knowledge so that it can
be registered on the information system and used by
other members of the organization. Information
systems can promote organizational learning. With these
systems, knowledge can be preserved in the
organizational memory for the training of future
employees and for helping them in making decisions.
People can be directed to specific areas of expertise, can
get in touch with those who possess knowledge, can
easily identify experts and tacit knowledge can be
shared. The role of information technology underpins
the ability to raise and improve collaboration and
communication among employees, and between them
and practitioners and experts from outside the
institution. This helps enormously in the innovation
process. Technology makes available the organizational
knowledge. But precisely the type of system that can
facilitate information flow and knowledge management
in libraries must be identified. Specifically systems that
help these organizations understand and respond better
to the requirements of their environment. External and
internal networks, databases, techniques for extracting
data, and other applications based on the new
technologies of information and communications can
also help libraries in capturing, organizing and using the
knowledge base they possess.

The networks, the partnerships with other structures

of the same type or with structures with similar
activities represent the fourth fundamental element of
the model. Libraries should be organized in networks,
which through all the human, information, knowledge
and technology resources they possess, will have more
ways to use human knowledge productively and thereby
will be more efficient and more competitive. By
applying information and knowledge they will be able
to generate new knowledge, will be able to process
information and develop advanced communication
tools. Also, as part of a network they will be able to
focus on creating and improving the facilities and
infrastructure that encourage and support learning.
Designing, implementing and managing partnership
programmes with other public or private organizations
are necessary actions to stimulate research, innovation
and new knowledge generation. Libraries have to be
constantly in search of new opportunities for
collaboration. They must identify, develop and use the
best practices in scientific co-operation, exploit the
potential of information and communication
technologies to help develop strategies and activities in
co-operation with other organizations. Expanding
partnerships, involvement in international research

programmes, development of modern applications for

their actions, the interconnection of all their
departments, will enhance the quality of activities of
libraries and of the products and services they provide
to users. Through partnerships and networks, libraries
will have more knowledge assets, and although many
difficulties can appear in sharing these assets,
information and communications technologies can
provide solutions to overcome these difficulties.

For the success of the knowledge management

project a fifth key element is the creation of the position
of knowledge manager. Its holder will deal with all that
makes up the knowledge strategy for that organization.
They will co-ordinate the processes of creation, use and
sharing of knowledge, the human resources, the
co-operative relationships of the organization, the
technological infrastructure. They will be responsible
for the smooth running of the process of knowledge
management within the library, will co-ordinate the
design and implementation of knowledge management
programmes and systems, will find new sources of
knowledge and will identify new ways of effective use
of knowledge in the organization.

The phases of the model for implementing

knowledge management in libraries facilitate
identification of the most important processes,
products and services of libraries and their evaluation;
then identification of knowledge resources and skills in
the organization in order to exploit these resources; and
identification of the potential external partners for
collaboration. Application of knowledge management
in Romanian libraries will help them improve their
ability to learn, identify and use knowledge from
different resources in their processes and activities and
in general improve their performance.

The model designed in 2006 and the framework

which we proposed in 2012 on the basis of our research
offer a possible way for applying knowledge
management and creating a culture of learning and
knowledge sharing in Romanian libraries. The
importance of the model stays in that it is general,
allowing adjustments depending on the peculiarity and
scale of each library. It is flexible and can be used in any
library with the necessary adaptations, it will certainly
lead to obtaining high performance and is a starting
point for developing other specific managerial models.
[11]

The elements can keep up their validity till the

smallest libraries even if the design of the model has in
view large libraries which develop well defined
workflows and have employees with higher skills and
training. The model can lead to a successful
implementation of knowledge management in libraries
45 >>>

through a strategic vision of a knowledge manager and Bibliography:

the systemic relationship which include the
organizational assets, the new technologies and the R. M. Volovici. Rolul bibliotecilor n organizarea
sistemului informaional al universitii. Revista
human resources in the context of networks. [12]
Romn de Biblioteconomie i tiina Informrii, Nr. 4,
36-39, 2007.
O. L. Porumbeanu. Implementing Knowledge
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4. Conclusions
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Organizational Culture. Journal of Academic
Knowledge management is a way of thinking and
Librarianship, Vol. 36, No. 6, 549-552, 2010.
action, it is not based solely on the use of knowledge,
but becomes at the same time, an instrument of its D. Ostafe. Modulul ADAM: o soluie de gestionare
aobiectelor digitale. Biblioteca, februarie, 42-46, 2010.
development. By implementing knowledge
management organizations gain intelligence, learn, D. Ostafe. Managementul resurselor electronice.
Proceedings of the International Conference on Library and
adapt, change themselves and change the environment,
Information Science Biblio 2007, Braov, Romnia, 3-5
produce not only specific performance, but a special
May 2007, 207-210, 2007.
kind of tacit performance that penetrates gradually deep
into the organizational fiber and gene. And all these D. Ostafe and M. Cristea. ROLiNeST n viaa
bibliotecilor universitare romneti. Revista Romn
through general awareness and participation. [12]
de Biblioteconomie i tiina Informrii, Nr. 3, 14-24, 2007.
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present and underline the benefits of applying the A. Erich. Biblioteca Hibrid Provider de E-Informaie
n Era Digital. Proceedings of the International Conference
knowledge management process in organizations, the
on Library and Information Science Biblio 2007, Braov,
need to change the organizational culture and improve
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the organizational learning. The importance of these
issues is evident for the future of organizations in the A. Erich. The university library role in information
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domain too. But things are far from clear. Specialists A. Erich. Library 2.0 Un nou model de serviciu de
bibliotec. Studii de Biblioteconomie i tiina Informrii
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be considered when approaching application of
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societatea cunoaterii. Proceedings of the International
This study is just one of the researches that focus
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on knowledge management in libraries, it provides a
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these organizations. Future research can help deepen O. L. Porumbeanu Madge. Creating a Culture of
Learning and Knowledge Sharing in Libraries and
this field and provide a stronger basis to be useful to
Information Services. New Research on Knowledge
libraries and their managers. [11]
Management Models and Methods. (Ed. Huei-Tse Hou),
245-268, InTech, 2012.
Developing organizational practices and a culture
centered on the ability to create and assimilate new I. Stoica. Cuvnt nainte. In: O. L. Porumbeanu.
Managementul Cunoaterii i Structurile Infodocumentare, 7-12,
knowledge and to share knowledge will assist libraries
Editura Universitii din Bucureti, Bucureti, 2006.
with protecting themselves in front of changes,
redesigning their management systems and turning into S. Roberts and J. Rowley. Managing Information Services,
Facet Publishing, London, 2004.
long-term successful organizations.
O. L. Porumbeanu. Managementul Cunoaterii i Structurile
Infodocumentare, Editura Universitii din Bucureti,
Bucureti, 2006.
O. L. Porumbeanu. Strategic Model for Implementing
Knowledge Management in Libraries and
Information Services. Studii de Biblioteconomie i tiina
Informrii / Library and Information Science Research, No.
13, 89-105, 2009.
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46

Digital Library for Doctoral Schools

D o i n a O S TA F E

Biblioteca Naional a Romniei, Asociaia Bibliotecarilor din Romnia

National Library of Romania
Bd. Unirii, nr. 22, sector 3, Bucureti,
tel.: (021)314.24.34/1002, fax: (021)312.33.81
E-mail: infoabr@gmail.com, http://www.abr.org.ro
Personal e-mail: doinaostafe@yahoo.com
Digital Library for Doctoral Schools

The paper presents the use of DSpace an open source digital library software - for creating a digital library for
doctoral schools in Timisoara. This digital library is part of the POSDRU 38347 project Local partnership for raising
doctoral schools and valuing human potential for research in priority areas in that stage of Romania post accession to the
EU.
Keywords: digital library, digital repository, DSpace

Introduction
ll organizations are nowadays in search of
new ways to stimulate innovation and
performance and this is also a feature of
higher education institutions and of all their
departments and services. Implementation of new
managerial processes and development of instruments
that can support research through adequate information
resources is a major priority for universities and other
structures in the academic world. [1, 2]

The solution proposed was to build a digital library

which could offer access to recommended literature,
bibliography for their studies and research and also to
the products of their activity such as papers,
presentations, research reports, and theses.

The Digital Library of the doctoral schools was

created in order to upload and retrieve electronically
the following types of documents:
Courses
Abstracts, the full text of PhD students
papers, published or presented at conferences
or communication sessions
PhD Theses
Papers or books recommended for being
study - bibliographies, etc.

In this context it can be placed the Digital Library

for doctoral schools which was developed within the
framework of the POSDRU 38347 project Local
partnership for raising doctoral schools and valuing
human potential for research in priority areas in
that stage of Romania post accession to the EU
(Parteneriat local pentru ridicarea nivelului colilor doctorale i
valorificarea potenialului uman din cercetare n domenii prioritare
The digital repository software used to build up
ale etapei postaderare a Romniei la UE).
the digital library was DSpace [3], a software created in
2002 at MIT. DSpace is installed in over 800
The partners in the project are the Chemistry institutions in the world, universities, colleges, etc. It is
Biology Geography Faculty of the West University of used to create digital libraries, institutional
Timioara, and Banat University of Agricultural electronic repositories and also it is a platform for
Sciences and Veterinary Medicine of Timisoara.
digital preservation activities.

The general goal of the project was to improve and

diversify doctoral and postdoctoral studies programs, in
priority areas of the Romania post accession to the
European Union. In order to achieve this goal providing
a comprehensive information tools for researchers and
students is mandatory.

DSpace is freely available as an open source

software. The code is currently licensed under the BSD
open source license. DSpace is written in Java. It uses
a relational database, and supports the use of
PostgreSQL and Oracle.
47 >>>

Hierarchical structure
DSpace supports standards used in the repository
domain, such as Open Archives Initiative Protocol
Using the communities, sub-communities, and
for Metadata Harvesting, SWORD, OpenSearch,
collections the digital library offers a hierarchal structure.
and RSS.
For the digital library project DSpace 1.7.2 was For example we can define the structure like this:
Department (Community)
installed on the IBM server belonging to the West
University of Timioara, Chemistry Biology Geography
Sub-department (Subcommunity)
Research group (Collection)
Faculty.
Digital documents (Items)
Components of the digital library

Communities and Collections

A Digital Library built up using DSpace software
Communities and collections are used to organize
has some major components:
the repository of digital documents in a hierarchical
Users: authorized or anonymous users
structure for easy retrieval and to support the structure
Communities and
of the organization.

Collections
Digital objects - Items
Communities could be for example university
departments, labs, research centres, doctoral schools etc.
Users
The Digital library of the doctoral schools can be Each community has descriptive metadata.
accessed by authorized or anonymous users, each type Communities could have subcomunities if it is
necessary. Each community has collections.
having different privileges.
The type of users can be:
Administrator user has full access to all
functions on all items in DSpace.
Normal users with some given rights in
certain areas such as view, uploading or editing
items in some particular collections.
Anonymous user with permission to view
only the items that anybody can view

From the beginning the servers system

administrator has created a DSpace administrator user
with full rights. DSpace administrator can create other
users and user groups
The users are included in groups. They can be
members of one or more groups. For example the
group of the Chemistry Department could be composed
by the groups of researchers from other groups.
There are two predefined groups Administrator
and Anonymous.
When a new user is created by the administrator it
is automatically assigned to anonymous user group.
A newly created default user will only have the same
permissions that an anonymous user has. All the users that
visit the digital library site and are not log in are anonymous.
The system allows any person who visits the digital
library home page to create a user account. It is
necessary to have an individual email address where the
system will automatically send an email with some
instructions to follow in order to finish the registration.
If he logins with his new user account he will be
able to subscribe to some collections to set up alerts for
receiving emails if new items were added to those
collections.
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48

Communities & collections creation workflow

First it will be create

The Top-Level Community

Then it will be completed

The description metadata such as name and
short description of the community

If necessary it is possible to create a subcomunity

and in the same manner it has to complete description
metadata.

For communities there must be created collections

and for that it also must complete description metadata,
and the group administrator should be added to the
submitters of each collection.

The descriptive metadata of a collection have the

following fields:
Title: The title of the collection
Short Description: A short description of
the collection.
Introductory text: Introductory text
describing the collection
Copyright text: Copyright text pertaining
to anything contained within the collection
Side bar text
License: The default license associated
with items in that collection.
Provenance
Logo: A logo for the collection could be
added

The Collections contain digital objects such as

content items or files. A collection can belong to a
single community or to multiple communities being a
shared collection. Each collection contains descriptive
metadata about itself and the items it contains.
For building the Repository and taking care of its
quality it should be defined a document uploading
policy, it should be established which are the steps to
follow and who is in charge with the acceptance or
rejection of documents or metadata. As an example we
can have the following steps:
Accept/reject the item uploaded could be
done by the head of the research group who
should decide if the item will be included or not
in the repository
Accept/reject/edit metadata could be done
by the Repository manager
Editing metadata could be done by the Librarian
Digital Objects Items

The access to the submitted items is free for

anyone. If the restricted view of an item is necessary,
for each item to be protected it must be specified the
groups that have reading permission.
The Search system - Browse & Search

In order to provide search facilities for the users, the

indexes must be defined for the digital library. We have
to specify what fields from metadata will be indexed and
if it is necessary a full text index could be parameterized.
There are many possibilities to retrieve information by
browsing lists or to search by using keyword indexes.

Browse lists - the list to be browsed could be

defined in the system. For example there are defined
lists of:
Communities & collections
Issue date
Author
Title
Subject

Digital objects or the items are the documents in

Search (keyword index) - the search will be made
digital format that are uploaded in the repository of the using words indexed form different fields or from full text:
digital library. These items could be:
For all words from metadata
Journal papers
Full text search
Conference posters
Advance search
Book chapters
Courses
E-books
Presentations
Index building the indexes will be built by:
Indexing metadata from database
Data sets
Tutorials
Full text index words form PDF/Doc files
Electronic theses Videos
that allow this index
Reports
Images
The view of a specific full text item could be
or others types of documents.
restricted and only some users belonging to specific user
groups could open the full text file.
Submitting an Item to the Repository
For submitting an item to the Repository we have to:
Choose the collection to submit to
The Digital Library of the Doctoral Schools [4]
Enter metadata (Doublin Core schema)
Upload one or more files for that item
The home page of the Digital Library of the
Verify if the data are correct
Doctoral Schools can be seen in Figure 1:
Agree to the license

Figure 1. The Digital Library of the Doctoral Schools site

49 >>>

The Digital Library Workflow

The workflow that was used for building up the
digital library was:
Define an administrator
Define other user
Create users groups
Create communities and subcommunities
Create collections
Create the policy for building the digital
repository quality control
Upload digital objects
Define the access rights to documents
Search and retrieve documents
Use statistics

There were submitted some documents in the

Publications collection of the Chemistry community:
full text books, full text articles and a patent image in
pdf format. It is possible to have for a document one
or more files. For example for a book we could have the
pdf content file and the cover picture.

The library was setup to create full text index if the

original document is not protected or is not just an
image of the document.

For the example in Figure 4 the search was done for

all words including full text index.

Users
After the CHEM Group and StudentiCHEM
Group were created, there were created more new users.
Some of the users were assigned to these groups.
Each of the users may have different rights. Some
of them can upload items, others can only view the full
text of some of the items from one specific collection,
or can only search and retrieve documents but they
dont have access to the full text.

Communities
The Digital Library of the Doctoral Schools has the
following Communities (Figure 2):

Figure 4. Full text word search - Jastorff

The result is a book that contains the search for

word (Figure 5):

Figure 2. Communities

For all communities collections were defined.

The Collections defined for the community of the

Doctoral Schools in Chemistry are (Figure 3):

Figure 3. Collections
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50

Figure 5. The word Jastorff retrieved in a pdf document

The full text search is not possible for example in a

pdf document that is not searchable, like the patent
from Figure 6:

Conclusions

In the context in which results of recent research at

the level of Romanian academic libraries users pointed
out the need of students and researchers for assistance,
more full text information resources and also tools which
could help them find and access relevant information for
their activities such as writing different papers and PhD
theses [7, 8], the Digital Library of the Doctoral Schools
appears as a timely, useful and successful initiative.
Till now the Digital Library of the Doctoral Schools
has proved to be a very powerful instrument for students
and academic staff improving the research results in the
doctoral schools and raising the level in the evaluation
of the universities which are partners in the project.
Next steps to do are to continue to upload in their
Figure 6. Image of a patent
collections the necessary items for each community of
doctoral schools.
Statistics
In the near future the digital library must be
DSpace can generate statistics and could be set up to developed and maintained according to the patron needs.
generate statistics reports once a day and monthly. [5,6]
The digital library could be linked to other platforms
The following statistics information could be which already exist such as E-learning Chemistry, and
collected and shown in the reports:
to a platform for the management of the Universitys
About items from the repository: how many
patrons, that should be developed.
items are in the repository, how many of each
This solution could be applied in other universities
type, a list of all items
too for doctoral schools or for other purposes which
About items use: how many times your items
require a digital library.
have been viewed in total, or how many times
they have been downloaded
About users and their actions: how many
times users have logged in, how many times was
References & Webliography:
done each type of action /e.g. browsing, etc.
[1] O. L. Porumbeanu. Implementing Knowledge Management
Search terms that were used
in Romanian Academic Libraries: Identifying the Elements
A statistics example can be seen in Figure 7:

Figure 7. Statistics

that Characterize their Organizational Culture. Journal of

Academic Librarianship, Vol. 36, No. 6,
549-552, 2010.
[2] O. L. Porumbeanu. Managementul
Cunoaterii i Structurile Infodocumentare.
Ed. a II-a. Editura Universitii din
Bucureti, Bucureti, 2011.
[3] DSpace http://www.dspace.org/
[4] Digital Library of Doctoral Schools
http://srv.elearning- chemistry.ro:8080
/jspui/
[5] DSpace Training Materials http://
www.dspace.org/index.php? option=
com_content&Itemid=29&catid
=35&id=126&view=article
[6] S. Lewis and C. Yates. The DSpace
Course. August 2008http://hdl.handle.
net/2160/617
[7] O. L. Porumbeanu. The impact
of electronic resources and new
technology in academic medical libraries
in Romania. Health Information and
Libraries Journal, Vol. 26, Issue 2,
152-155, 2009.
[8] O. L. Porumbeanu Madge. Bibliotecile medicale i utilizatorii de
informaii din Romnia n era digital, Editura Universitii din
Bucureti, Bucureti, 2011.

51 >>>

Developing skills
for information literacy through media
libraries educating the users
C r i s t i n a P RV U, C h r i s t i a n e B E N K ,
Riana BUC
Universitatea Lucian Blaga din Sibiu, Biblioteca Central
Lucian Blaga University of Sibiu, Central Library
Str. Lucian Blaga, nr. 2A, Sibiu, 550169, Romnia
tel: +40-(269) 44.60.77, fax: +40-(269) 44.10.10,
e-mail: bcu@ulbsibiu.ro, web: http://bcu.ulbsibiu.ro

Motto: The library is no longer defined simply as a location. It has become a concept .
(J. Feather, 2008)

Developing skills for information literacy through media libraries educating the users

We live in a world governed by information, but we need the means to evaluate and choose the right information,
means provided by literacy, seen as the ability to read, write and think, also, the ability to understand all forms of
communication, like non-verbal communication or video and audio communication.
The role of libraries is to develop skills for users in order to give them the right instruments for achieving their academic
goals; an important role in communicating to users are the media libraries, that imply a large range of supports for
information: text, sound, image; also, in a media library, information can be transformed and transmitted through various
channels: audio recordings, video stripes, e-mails etc.
The nature of all human research resides in the ability to acquire information, to select, combine it in order of creating
new worlds, new spaces, broadcasting ones own reality, but in direct or virtual connection to other users.
Keywords: information literacy, developing skills, library role, media libraries

The information society a brief history

rying to put together a map of
communication we should reffer to the
media of communication necessary
throughout human history for preserving and
transmitting the information.
First of all, we can speak about the systems of
representing the information. They were either linguistic
(the alphabet), numeric (mathematical symbols and
numbers), visual (pictorial images) or aural (sounds
embodied by language as well as writing). All these
representation means were completed then by some
instruments of keeping the data alive for other people
to share and give away for other generations.
As noted by John Feather (2008, p.11) The earliest
media were natural substances, such as rock, bone or
wood. The rock of the cave was unmodified from its
natural form unless the surface was washed or prepared
<<<

52

in some other way before the painter set to work. Other

media were, however, changed, sometimes quite
significantly Even the natural media therefore, were
actually the products of human ingenuity and skill, just
like the recording systems which they were designed to
carry.
The development of different societies counted on
the media they produced, their technological capacity
and the availability of materials; different media were
used for different purposes. In ancient Rome, stone was
still being used in the same time as papyrus, for
monumental inscriptions, for example.
As for the recording part, ancient cultures needed
smooth surfaces on which symbols could be inscribed,
written or painted. The most useful media were the
most flexible, such as sheets of papyrus, or animal skin
The development of the book meant a defining
moment in the history of information storage; fist,

written documents were either single sheets or long

scrolls of papyrus, and they were stored in cylindrical
cases, as the discoveries from the ruins of Pompeii and
Herculaneum show, and which are still used in storing
the scriptures in Jewish liturgical rites.
Then, the codex appeared (small sheets of
parchment held together by a single thread at the
corner), and, after, the paper, invented in China; last,
typographic printing was invented by Johann
Gutenberg, a german goldsmith who, with various
financial support, printed the first European book, an
edition of the Bible in Latin (1454-1455).
As society developed, new media appeared. First,
the pictorial image appeared, the earliest experiments
were to reproduce visual image in print: woodcuts,
litographies. From the 1840s, photography was invented
and images were published in newspapers.
Image was given an important role, and, assisted by
sound and broadcast, it became an important icon for
most of human culture, developing in visual
communication.
To see is a process of observing and recognizing
the world around us. To look is to actively make
meaning of that world. Seeing is something that we do
somewhat arbitrarily as we go about our daily lives.
Looking is an activity that involves a greater sense of
purpose and direction Marita Sturken and Lisa
Cartwright (2001, p.10)
Looking is learning to make meaning of the world
around us, trying to interpret all the signs that surround
us; we engage ourselves in the process of looking both
in a conscious or unconscious way in order to
communicate, influence or be influenced.
Our culture generates everyday visual images with a
lot of intended effects: emotions like pleasure, desire,
disgust, curiosity or confusion.

Media today
Everyday images come from popular culture,
advertising, news, commerce or art, being produced
through a variety of media: painting, printmaking,
photography, film, television, computer digital imaging
and virtual reality.
We know art by replicated images from books,
photos or reproductions, digital images. Even museums
use nowadays images that replace works of art, when
they dont have the masterpieces they expose, because
they are sent in other locations, but their image, in print
is a proof of their value.
Speaking about the power of representation in our
world we refer to the use of language and image to
create meaning, a process that takes place through
systems of representation, that reflect either the world
as it is, as a form of mimesis, or as a construction
through cultural contexts. Throughout history, images,
most of them paintings, have been used to represent
religious myths, church doctrines and historical dramas,

in fact, to render the world accurate or to express

abstract concepts or feelings, they organize, construct,
and mediate our understanding of reality, emotion and
imagination.
Nowadays, images are used, for example in
advertising and we consume these images every day, not
stopping to interpret their meanings. The process of
interpretation is studied by semiotics, a theory of signs,
concerned with the ways in which words, images and
objects are producing meaning in various cultural
contexts.
Semiotics was established by the Swiss linguist
Ferdinand de Saussure and by the American
philosopher Charles Peirce. Peirce stated that language
and thought are processes of interpretation, meaning
residing not in the initial perception of a sign, but in the
interpretation of perception, every thought is a sign
without meaning, until another thought, the
interpretant, allows for its interpretation.
Language, according to Saussure, depends on the
conventions and codes for its meanings, and the
relationship between a word and things it represents is
arbitrary, not fixed.
Another important contribution to this field was
that of Roland Barthes. His model includes two levels
of meaning, denotation and connotation; we have the
sign, which is composed of the signifier, a sound,
written word, or image, and the signified, which is the
concept evoked by that word or image.
Images used in television, newspapers and
advertisements can mean different things depending on
social, historical and cultural context. Images construct
meanings, and often, these meanings are being built
without of the subject being aware of this. A part of
the information we provide in reading images has to do
with what we perceive their value to be in a culture at
large; the question is what gives an image social value,
like monetary, social or political value, depending on
social contexts.
We look upon works of art because they produce
pleasure, also, different paintings have different
economical value depending on the context they were
painted in, the life of the painter, or the consideration
society brings to the author, not his work in particular;
also, nowadays, publicity is important, because we tend
to believe that a work of art is important because it is
on display at an important museum, or it is encased in
a gilded frame.
Fine art is valued because it is unique but also
because it can be reproduced for popular consumption.
Important painters are being sold on t-shirts, mugs,
posters, postcards; art is being made accessible for a lot
of people, by introducing images on popular objects.
Other kinds of values give meaning to images the
value of an image is to provide information and make
distant events accessible to large audiences. The value
of a television news image lies in its capacity to provide
53 >>>

information and accessibility and to be transmitted

quickly and widely to a vast number screens everywhere
in the world.
Some media analysts reject the idea that our
understanding of visual communication is based on a
command of cultural conventions like those that apply
in language. They suggest that we understand visual and
audio-visual representation using the same skills that we
use to interpret the everyday world around us (D.
Buckingham, 2003). The literacy generally referred to in
the case of media literacy is more than a simple
functional literacy the ability to make sense of a TV
program or to operate a camera is a form of critical
literacy. It involves analysis, evaluation and critical
reflection, it involves understanding of the social,
economic and institutional contexts of communication,
and how these affect peoples experiences and practices.
Social action is related to the operation of power
within society, is about the production of symbolic
meanings, which in turn enact particular relationships
of power. Individuals may differ regarding their media
experiences, and their different histories may lead to
particular literacy events, in different social contexts.
Media education is a concept of great concern in
our society nowadays. UNESCO defines media
education as a priority field in cultural educational
development of the XXI century.
A UNESCO kit was published in 2006 in french and
english for teachers, students and professionals, that
provides a complex and comprehensive view of media
education, it seeks new ways in which people can
enhance their participation in the political and cultural
life of the general community through the media; in
particular, it promotes young peoples access to the
media, while also increasing their critical appreciation
of its activities.
Also, IFLA (International Federation of Library
Associations and Institutions) adopted, recently at its
meeting in Den Haag, The Netherlands, in 07th
December 2011, the IFLA Media and Information Literacy
Recommendations, where we find the following definition
of Media and Information Literacy: it consists of the
knowledge, the attitudes, and the sum of the skills
needed to know when and what information is needed;
where and how to obtain that information; how to
evaluate it critically and organise it once it is found; and
how to use it in an ethical way.
The concept extends beyond communication and
information technologies to encompass learning, critical
thinking, and interpretative skills across and beyond
professional and educational boundaries. Media and
Information Literacy includes all types of information
resources: oral, print, and digital.

In Romania, a curriculum was developed for

teaching abilities for mass-media, in romanian,
Competenta in mass-media, the governmental order
no. 4730/22.09.2004 and it regards teaching mass-media
skills for high school.
A manual was published due to a governmental
project that is used in the optional course Media
Competence, which allows students to address key
concepts, knowingly, of media messages. Meanwhile,
the manual explains the techniques of manipulation,
persuasion and propaganda, especially reveals a
minimum guideline for protection against their effects
as they appear in the media and in advertising. Other
chapters of the manual refer to elements of the
profession of journalist ethics: the role of journalist,
deviations from the role and possible causes, media
coverage of minorities. More than 5,000 copies were
distributed in schools across the country.

Media Education
We come back to the question: Why media education?
Because children, at the age of two, have already the ability
to identify three-dimensional shapes, they come to
understand the functions of language and they begin to
develop hypotheses about the relationship between the
television and the real world. From the age of eleven
upwards, they develop an aesthetic appreciation of how
television creates the illusion of reality. They can discover
They also adopted a new logo for representing later that media does not offer them a transparent window
Media and Information Literacy:
of the world, but a mediated version. The media dont just
present reality, they re-present it. (D. Buckingham, 2003)

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54

Media education involves a set of competences that

enable people to analyse, evaluate and create messages
in a variety of media modes. Education for media
literacy uses a pedagogic model that encourages people
to ask questions about what they watch, hear, and read.
Media education helps people to critically analyze
messages, it offers opportunities for learners to extend
their experience of media, and helps them make their
own media messages.
To be media-educated involves detecting
propaganda, censorship, manipulation of the media,
subjectivity and objectivity of the messages,
understanding how the economic side of the media
affects the information presented. People must see the
media consumption as an active and critical process,
gaining awareness of the potential for misrepresentation
and manipulation (especially through commercials and
public relations techniques). Mass media have an
important role in constructing views of reality. Media
education might mean a way of protecting people from
mass medias ill effects.
The new media must teach the skills that are needed
to use and interpret them, just as books teach readers
about how to read. Childrens everyday uses of computer
games and internet involve a range of informal learning
processes, in which participants are also teachers and
learners. This new conception of literacy implies that
the users need to be able to evaluate the information
critically, if they are to transform it into knowledge. Just
as print literacy means as well writing and reading, digital
literacy must involve creative production in new media
as well as critical consumption.
We should make a distinction between a media
library and a media collection.
A media librarian can be the librarian who is looking
after multimedia collections in public or academic
libraries, or professionals who carry out information
work for media organizations, known as researchers,
media managers or information managers.
Academic, legal and public librarians are often
intrigued to discover that some of their peers work for
the same people who provide their television programs
and daily newspaper. Journalists write articles
perpetuating the idea that libraries are dusty book
collections run by stern ladies with date stamps, unaware
that the people who provided their newspaper database
or background research are part of this profession. (K.
Schopflin, ed., 2008)
Media libraries can be: newspaper, magazine or
television libraries. The media library users are mainly
journalists, broadcasters or those attracted to creative
jobs.
In academic libraries, media collections are especially
for users in universities, such as students or professors.
Users come to the library with their personal
background and they bring along their knowledge, their
own cultural practices derived from the popular culture,

so we have to consider how to educate them in order

for them to achieve their academic goals; at this point
we can speak about the role of librarians as information
professionals, because they have to make a lot of
information available for users, on different supports,
in different formats.
Historically, the librarian has been the collector and
curator of books, making arrangements for them to be
inventoried, stored and used, by means of such devices
and mechanisms as catalogues, classification schemes,
circulation systems, and the like. Nowadays, quality
of service is measured by speed and accuracy of
fulfillment of users demands, not by the number of
books in stock or even cruder statistical data such as the
number of loans (J. Feather, 2008).
Nevertheless, the custodial role has not been
forgotten, and it is still relevant, because information
sources have a physical existence, and the information
can be accessed only if the medium is sufficiently
stable to survive.

Conclusions
The library changed very much in its technical
aspects: the online catalogue, the databases who now
are available from anywhere, but still, access is yes still
difficult. Librarians need special skills for helping
information seekers, they are passing to the users some
of their own professional skills, so they provide at the
same time skill-training as well as information.
The increasing number of media and the use of
information technology can make access to information
more difficult for not literate users, because, the very
quantity of information which is available, especially on
the web, is making access to any specific piece of
information more difficult.
The role of the librarian, or the information
professional, is to select and to find valuable and quality
information, to be an intermediary in transmitting
information from source to user.
Bibliography:

FEATHER, John The Information Society: A Study of Continuity

and Change Facet Publishing London, 2008;
BUCKINGHAM, David, Media education: literacy, learning and
contemporary culture, Polity Press, Cambridge, 2003
STURKEN, Marita; CARTWRIGHT, Lisa, Practices of
looking: An introduction to visual culture, Oxford: Oxford
University Press, 2001
SCHOPFLIN, Katharine (ed.) A Handbook for Media
Librarians, London: Facet Publishing, 2008
HARTLEY, John, Popular reality, London: Arnold, 1996
http://www.ifla.org/en/publications/ifla-media-and-infor
mation-literacy-recommendations
http://unesdoc.unesco.org/images/0014/001492/149278e.pdf
www.edu.ro
55 >>>

3D-Modelling Techniques
for Historical Monuments

Maria E. IPLIC1, Radu G. CREULESCU2,

Ovidiu CHICEA2, erban SEBASTIAN2,
1

Universitatea Lucian Blaga din Sibiu, Facultatea de tiine Socio-Umane

Lucian Blaga University of Sibiu, Faculty of Social-Human Research
2
Universitatea Lucian Blaga din Sibiu, Facultatea de Inginerie
Lucian Blaga University of Sibiu, Engineering Faculty
Bd. Victoriei Nr.5-7, Sibiu, 550024, Romnia
tel: +40-(269) 21.60.68, fax: +40-(269) 23.29.66
e-mail: socioumane@ulbsibiu.ro, web: http://socioumane.ulbsibiu.ro
Str. Emil Cioran, nr.4, Sibiu, 550025, Romnia
tel: +40-(269) 21.79.28, fax: +40-(269) 21.27.16
e-mail: inginerie@ulbsibiu.ro, web: http://inginerie.ulbsibiu.ro
Personal e-mail: radu.cretulescu@ulbsibiu.ro
3D-Modelling Techniques for Historical Monuments

The goal of the virtual reconstruction of historical monuments respectively the Romanic churches then the animation
of the model is to provide many possibilities in re-examining the building and to be observed from different angles, flying
in time and space throughout the medieval monument, and to offer a better understanding of a sequence of the
transformation and the changes of the monument during the centuries.
The authors present some common used techniques like 3D-scanning and 3D-modeling using CAD-software.
Keywords: 3D Graphics, Rendering, Modelling

1. Introduction
he main purpose of this paper is to
analyze the computer generated
graphics world of 3D, comparing
software that is used in this area, analyzing techniques
and possibly developing own techniques for faster
rendering, better quality and of course, a better
accuracy.
The idea in object reconstruction is to create a
object of very high quality and as close to reality as you
can, given a certain set of tools, features and
characteristics.
Usually, 3D objects and/or characters are of 2 types,
in my opinion. Those that try very hard to look and
have that Real feeling, objects in this category are
often used in either Action and Sci-Fi movies, also
known as CGI [8] or Computer Generated Imagery. The
other one is abstracted 3D imagery. This one is also
used in movies and animations, but also in 3D design
of architectural or conceptual nature.
The first and most important thing, when
developing a graphics application, using 3D Modelling
<<<

56

and Rendering is to break your job in small parts and

analyze it as thorough as you can, in terms of
complexity, quality, perspective, animation, hardware
possibilities and software capabilities.
If the job (or object) is too small, or simple, there is
no need for expensive hardware, software or advanced
techniques. However, if the project is big, if the amount
of details feels or seems overwhelming, that means that
the project itself needs a team, a organization chart, a
versatile software or softwares and of course, last but
not least a render host, render server or render farm.
A good example here would be modelling a simple 3D
object vs. modelling a 16-th century fortress. A simple
object can be modelled easily in almost any 3D software,
no matter its required quality; a simple object can never
be more than it actually is (ex. a spoon). However a
16-th century fortress needs to be first of all accurate
from the point of view of its dimensions, texture, shape
etc. This requires a thorough analysis of the fortress, a
historical study, texture generation, modelling and
rendering. Such work needs to have a more accurate
output, and thus the scale of the project grows,

requiring advanced modelling software, texture important issue in our research because adding valuable
information to 3D objects can improve the quality of
generation and/or animation.
the hole information presented to interested people not
necessarily specialists. In this matter we continue with
2. Related work
The area of 3D reconstruction is widely spread in our selection.
We have chosen AutoCAD [11] for a basic 2D 3D
different areas from forensic and criminal investigations
to historical modelling and going straight through Design for drafting, modelling and architectural design.
medicine, ending with movies and digital art. Everyone For Texturing and material composition we have
uses state of the art tech because of one thing the chosen ADOBE Photoshop CS3 [21] for its endless
quality of the output. No one goes to bad quality possibilities in the photo editing area, and also a leader
movies, no one wants a pixilated echogram, and no one in the Photo Editing and Free-Design Market. For the
wants to see a bad reconstruction of a 500 year old 3D Modelling and Rendering itself, we have chosen
church or a bad digital photo. Its all about the quality, Autodesk 3D Studio Max. 3DS Max offers a complete
and with this I would like to enumerate a few of the package of modelling surfaces, objects to the size of a
available softwares and hardware available for such Vertex (Vertex computer graphics = a set of attributes
describing a point in space). 3DS Max also offers a wide
things.
A number of other projects have presented similar range compatibility with imported and exported
approaches including [1], [2], [7], [6], [5], [4], [3]. This objects.
With the earlier enumerated software, our team will
paper discusses some methods we intend to use for the
recovering complete geometric and photometric models model and reconstruct different buildings based on
of large sites and to automate this process. In particular, topographic measurements, maps, pictures and physical
we discuss some methods for data abstraction and remains, structures as they were when they were initially
compression through segmentation, 3D to 3D built.
After studying the software and hardware list
registration (both coarse and fine), and 2D to 3D
enumerated in section 1 we have come to the conclusion
texture mapping of the models with imagery
In the software department, strictly for 3D that this would be the best combination that we could
modelling, depending on the purpose of our project we use to develop models of this magnitude on portable,
not so high end computers.
can use:
It is worth mentioning that software such as 3DS
For mechanical design Catia [9], ProEngineer
Max [15], Maya [16] and Solid WORKS [17] are tools
[10],AutoCAD [11]
often used in film industry, music videos and television
For electrical, electronic design OrCAD [12]
For vector 2D-3D design and modelling to create, model and render different objects,
environments and Virtual Reality. It is also worth
CorelDraw [13]
For general purpose, any object 3D modelling mentioning other, maybe not so popular software
Cinema 4D [8], 3D Studio Max [15], Maya [16],Solid Works choices such as EIAS3D [22] Electric Image
Animation System [54]used in shows as LOST or
[17]
In the hardware department, for 3D modelling Pirates of the Caribbean, MAXON Cinema 4D [14]
is used mainly in television graphics and
and rendering you can use:
High Performance Graphic Accelerators, HDMI design/visualization arenas, Grome [24] is a professional
outdoor scene modeller (terrain, water, vegetation),
for quality view
High end CPU`s for fast processing, MASSIVE [23] is a 3D system for generating crowd
related visual effects, is now a standard in the industry
simultaneous multithreading
High end Input devices such as a 3D mouse [18], of television and animation for high end digital crowd
Draw Pad [19], 3D Scanners [20], and other Human control after its initial purpose of controlling the large
scale CGI battles in the Lord of the Rings motion
Interfacing Devices
picture.
Render Farms
3. First approach
The basic idea of our first approach in the 3D
Modelling and Rendering area is to establish a texturing
application for a general use, but powerful and with
many features, so that, if needed to be available. The
second part is to establish a 3D Modelling and
Rendering application, versatile, elegant but also,
powerful. The projects that will be later on developed
will need to be highly accurate, as realistic as the
environment will allow. The augmented reality is an

4. Conclusions & Further Work

With our goal established, our first approach
successfully ends here with a productive ending we have
selected our software combination which we will now
use to create our 3D Models.
As we found out the market is open for all types of
projects, with software ready to assist us, to provide
useful tools, depending on time, complexity and
resources in matter of a project. We just have to choose
wisely.
57 >>>

As Further Work we will take notes and compare [5] S. F. El-Hakim, P. Boulanger, F. Blais, and J.-A. Beraldin. A
system for indoor 3D mapping and virtual environments.
them and also provide further assessments as we move
In Videometrics V, July 1997.
forward, towards the goal of our project.
5. Bibliography:

[1] M. E. Crngaci Tiplic, M. White, A Virtual Reconstruction of

the two Romanic Churches From South of Transylvania. Case Studies
at Cisnadioara and Sura Mica Churches, in Acta Terrae
Septemcastrensis, VI, 2007 (http://arheologie.ulbsibiu.ro/
membri/maria/orastie virtual.htm)
[2] M. E. Crngaci Tiplic, Z. K. Pinter, M. White, Virtual Reality
Reconstruction and Interpretation of the Romanic Rotunda and
Medieval Timber and Earthkwork from Orastie (Broos), in
Zeitschrift fur Siebenburgische Landeskunde, 30 /1, 2007,
ISSN, 0344-3418, p. 1-6
[3] P. E. Debevec, C. J. Taylor, and J. Malik. Modeling and
rendering architecure from photographs: A hybrid
geometry-based and image-based approach. In
SIGGRAPH, 1996.
[4] P. Dias, V. Sequeira, J. M. Goncalves, and F. Vaz. Combining
intensity and range images for 3d architectural modelling.
In International Symposiumon Virtual and Augmented
Architecture. Springer-Verlag, 2001.

[6] M. Levoy, K. Pulli, B. Curless, S. Rusinkiewicz, D. Koller,

L. Pereira, M. Ginzton, S. Anderson, J. Davis, J. Ginsberg,
J. Shade, and D. Fulk. The Digital Michelangelo Project: 3D
scanning of large statues. In SIGGRAPH, 2000.
[7] The pieta project. http://www.research.ibm.com/ pieta
[8] http://en.wikipedia.org/wiki/Computer-generated _imagery
[9] http://www.3ds.com/products/catia
[10] http://www.ptc.com/support/proengineer.htm
[11] http://usa.autodesk.com/autocad/
[12] http://www.cadence.com/products/orcad/pages/ default.
aspx
[13] http://ro.wikipedia.org/wiki/CorelDRAW_X3
[14] http://www.maxon.net/
[15] http://usa.autodesk.com/3ds-max/
[16] http://usa.autodesk.com/maya/
[17] http://www.solidworks.com/
[18] http://www.3dconnexion.com/products/what-is- a-3d-mouse.
html
[19] http://en.wikipedia.org/wiki/Graphics_tablet
[20] http://en.wikipedia.org/wiki/3D_scanner
[21] http://www.adobe.com/products/photoshop.html
[22] http://www.eias3d.com/
[23] http://www.massivesoftware.com/
[24] http://eat3d.com/forum/community-news/grome -modeler

The Digital Michelangelo Project

http://img.docstoccdn.com/thumb/orig/44556417.png
<<<

58

New concepts and techniques

implemented by Dunrea de Jos
University Library of Galati

Lenua URSACHI, Elena SCUTELNICU

Universitatea Dunrea de Jos, Biblioteca Universitii
Dunarea de Jos University of Galati, University Library
Str. Domneasc, nr. 47, 800008 Galai, Romnia
Fax: (+40) 236 46.13.53; Email: rectorat@ugal.ro
Personal e-mail: lenuta.ursachi@ugal.ro

New concepts and techniques implemented by Dunarea de Jos University Library of Galati

Every day, the information society is evolving, growing and surprising, offering a great potential for all of us. New
trends and concepts, advanced tools and technologies invade our information space encroaching on our mind. From the
financial point of view, Open Source Software (OSS) has become a great opportunity for the less privileged communities.
The access to the information has been amazingly enhanced by Open Access (OA) revolution. The flow of information,
through Internet WEB 2.0 tools, convinced the libraries to adapt and offer new services to the beneficiaries. These
challenges could not pass unnoticed by the librarians from Dunarea de Jos University of Galati. Their attention has been
focused on read/write environment or digital technologies. Firstly, the tools in terms of Open Source and WEB 2.0
have been applied in order to bring and promote new library services to the users. In the next phase, students and academic
community will be involved both as creators and consumers of knowledge too. The main goal of the present study is to
emphasize how Dunarea de Jos University Library of Galati has integrated Open Access, Open Source and WEB 2.0 tools
to empower its services. Few solutions for improving, extending and including the library services into WEB 2.0 arena
have been adopted and implemented in our institution. The research describes the models of OA, OSS and WEB 2.0 tools
which are briefly discussed and eloquently illustrated. The main conclusion of the investigation should be a better strategy
of the promotion and incorporation of digital technologies in the academic, but not only, libraries. The openness and
creativity on further developments, cooperation in the communication spectrum and active participation represent
substantial reasons for the improvement of the interactions efficiency developed between users and libraries.
Keywords: Open Access, Open Source Software, WEB 2.0 tools, academic libraries

1. Terminology and relationship between terms

1.1. Terminology
pen Access (OA) to knowledge means
the access to the online information for
free and by anyone interested to use it.
OA is a real revolution in accessing information, being
useful and beneficial for the less privileged communities
or institutions. There are important international
initiatives and statements that support OA to
information.
OA journals (most of them indexed in Directory of
Open Access Journals) or institutional repositories (the
scientific output of the institutions or universities, such
as theses, dissertations, preprints, teaching and learning
materials, presentations etc.) provide peer-review
content to the people worldwide. In most cases, OA

literature is the result of public-funded research having

an important role in creating and sharing knowledge, in
increasing the visibility and impact on the scientific
world.
Open Source Software (OSS) is a software,
available in source code form, provided under a free
software license. Users can download, evaluate, change
or improve and also distribute the software [3]. In other
words, OSS allows to be freely downloaded by users, to
be evaluated without having a trial period and to be
developed by adding some appropriate features [1].
These developments are very often the results of users
collaborations becoming thus tools for learning and
developing competencies [9].
WEB 2.0 refers to the second generation
development and design of the web that aims to
59 >>>

facilitate communication and to secure information

sharing, interoperability and user-centered design [10].
Its main features are related to the communication,
participation and cooperation. The way how WEB has
evolved in time through its components is shown in the
table below [14]:
Components
Information
User

Space

WEB 1.0
is stored in databases
is retrieved by keyword searching
flows to users
is guided to information
is an information consumer
interacts under limitations
is supplied with data

WEB 1.0 was quite limited in terms of information

access or user interaction. When WEB 2.0 or the social
web has appeared, the creativity has been stimulated, its
attractivity has captivated more and more users, the
challenges have incited to participation and cooperation.
WEB 2.0 has a great impact on education, people
worldwide are excited to individually study the tools
discovered, to develop it and also to be part of the
WEB environment.

1.2. Relationship between terms

OA, OSS and WEB 2.0 technologies are connected
because they deal with openness, freedom, cooperation
and participation between users and creators. Each of
these concepts is beneficial for the WEB users due to
the extraordinary opportunity to have an easy and
comprehensive access to the information, to enhance
their knowledge and abilities in the information
technology field. There is a synergy created between
WEB 2.0 and OA. Due to the digital technologies
involved (blogs, forums, podcasts, webcasts etc.) the
information is easily accessed and freely distributed
throughout web environment.
OSS involves the community to cooperate for
adjusting the software which will meet users needs [11].
OSS is the most outstanding example of OS
development, being often compared to (technically
defined) user-generated content or (legally defined)
open content movements[3]. Librarians or system
administrators can install an OSS and make some
enhancements according to the users needs [1] without
any license required. The budget is significantly saved,
encouraging the community to participate and to
develop and share OSS programs [11].
It is obviously that the new digital technologies
related to information dissemination lead to significant
changes at academic and social scale, private and
personal or local and worldwide one [13]. Because of the
lack of technical barriers OA, OSS and WEB 2.0
technologies are opening the world to everyone,

<<<

60

Table 1. Web evolution

WEB 2.0
is created
is modified
by user
is disseminated
the information is guided to the user
is both consumer and creator
active participation
provides data created and added

facilitating participation and cooperation and implicitly

the development and progress of the information society.

2. Implementation solutions on OA, OSS and

WEB 2.0 at Dunarea de Jos University Library of
Galati

2.1. Open Access (OA)

The Reference Department of the library has extended its
concerns related to bibliographic references and identified
important OA databases as useful information sources for
the research. These databases are recommended whenever
the library is involved in completing the bibliographic
documentation concerning a branch accreditation within
the university. The institutional repository at Dunarea de
Jos University of Galati, called ARTHRA, is hosting these
information tools, being at the communitys disposal in
Bibliografii. Repertorii subcommunity within Resurse web si in
acces deschis collection. The importance of the OA
databases consists of the valuable scientific content
provided to the research developments. These useful OA
databases are mentioned in:
bibliographic list of the most important OA
scientific databases;
bibliographic list of the most important
institutional repositories.
An analysis upon the scientific publications of
Dunarea de Jos University of Galati in terms of OA
paradigm reveals that Directory of Open Access
Journals has indexed five scientific journals from our
institution, as follows:
1. Annals of Dunarea de Jos University of Galati,
Fascicle XVII: Medicine;
2. Annals of Dunarea de Jos University, Fascicle I:
Economics and Applied Informatics;
3. Annals of the University Dunarea de Jos Galati,
Fascicle XV: Physical Education and Sport Management;
4. Annals of the University Dunarea de Jos of
Galati, Fascicle VI: Food Technology;
5. Innovative Romanian Food Biotechnology.

2.2. Open Source Software (OSS)

Since 2000, due to the policy related to the software
licenses, Dunarea de Jos University Library of Galati have
implemented Linux as operating system and both the
personnel and librarys users use OpenOffice as editor
of documents or presentations on most of the
workstations. Under Linux operating system, librarians
are using also GIMP as graphic editor. Meanwhile the
information network has been substantially improved
and new computers have been purchased including
license of the pre-installed Windows 7 operating
system. As web browser used during Internet
connection, Mozilla Firefox is one of the most popular
Open Source application.
In 2008, Dunarea de Jos University of Galati has been
involved in the project SIPTEH (Integrated system of technical
digital content) implementation. The project proposal has
been developed and managed using TortoiseSVN which
is an Open Source Software for Windows system.
Developed under General Public License (GPL) and
completely free, the commands and status of the files can
be seen directly in the Windows Explorer.
As figure 1 illustrates, the software is a useful
application for managing the documents and all changes
or commands applied to them. Each change of the file
was identified as a revision. Revisions could be compared,
restored and merged if the files type allows. The main
actions of this application are the following [4]:
Checkout the act of creating a local working copy
from the repository;
Commit the action of writing or merging the changes
made in the working copy back to the repository;
Update (or sync) merges changes made in the
repository.
In 2010, the institutional repository mentioned
before has been implemented at Dunarea de Jos
University of Galati within the same project. An Open
Source Software package, named Dspace, was
downloaded in order to manage the digital academic
content of the institution. The digital
repository is a tool widely used for
measuring the impact and visibility of
researches, as it shown in the figure 2.
Dunarea de Jos University Library of
Galati has encountered an issue related
to the bibliographic management
alternatives based on OSS. These tools
are very useful to users for storing,
managing, searching and sharing the
webpage bookmarks. Whether an
article, a conference or a webpage is
uploaded on Internet environment, the
user may save it and tagging it in order
to search, browse or retrieve the
information stored. The tags are
user-defined and can be words or
phrases. Presently, Reference Department

from Dunarea de Jos University Library of Galati is

experiencing two bibliographic management tools:
Connotea and Zotero.
Connotea is a free online reference management,
needing just a registration which means username and
password. This tool is easy to use. It enables to everyone
to save and organize useful links, access from any
computer and sharing with the colleagues [5]. It works
very simply because the links are saved on users
Connotea library and keywords are assigned to organize
the collection, as figure 3 shows. The reference can also
be exported in other standard formats and are accessible
to complete the bibliography.
Zotero is a free, easy-to-use tool, which helps
researchers to collect, organize, cite, and share their
research sources [8]. It is an OSS and for its
downloading an account is needed. The researcher may
import library items, archive the web pages and attach
files to library items, as figure 4 illustrates. The items are
described by bibliographic elements such as title, author,
date, abstract, URL, date of access. The information is
stored both on the users computer and on the Zotero
server (accessible via the Zotero web), applying the sync
function. Due to the possibility of storing the article in
variant pdf, it is very attractive for the customers.
Zotero, as well as Connotea, enable users to create
bibliographies by selecting different citation styles
through the export function.

2.3. Web 2.0 tools

RSS feeds represent web pages which have been
created or published with the role to notify users about
the availability of the new content. Dunarea de Jos
University Library of Galati has implemented this tool and
improved its content by adding new entries about books,
periodicals or electronic documents posted on the library
website in Collections Section, as the figure 5 shows.
Fig. 1. Management of the SIPTEH Project using TortoiseSVN

61 >>>

Fig. 2. Dunarea de Jos University of Galati

ARTHRA Institutional Repository

Fig.3. Bibliographic records using Connotea OSS

Fig. 4. Bibliographic records using Zotero OSS

<<<

62

Fig. 5. Dunarea de Jos University Library of Galati

New periodicals

Fig. 6. Dunarea de Jos University Library of Galati

Facebook page

Instant Messaging is the reference service which

works in real time and makes possible the dialogue
between the librarian and the user through a messaging
client [12]. Dunarea de Jos University Library of Galati
has replaced the traditional service with the electronic
one which has been improved with some of the features
as file transfer or voice chat. Based on it, the librarian
within Reference Department participated in an interview
in IFLA project How do you say reference in order
to provide information for creating the profile of
reference service worldwide (April 2010).

the slideshare community aiming to upload and share

publicly useful information for the community such as
PowerPoint presentations, Word documents and
Adobe PDF. By promoting these information tools, via
e-mail or posting on instant messaging status, the
library seems to be closer to the user. Due to the easy
accessibility to the information/presentations uploaded
and shared, the members of this worlds largest
community will get themselves a good visibility in the
virtual world [7]. The figure 8 shows four posts on the
slideshare page related to:

Dunarea de Jos University Library of Galati has

created the own Facebook page in order to interact with
the users, share the information sources by posting
useful links, upload news about events ( Fig. 6).
Solutions for new cooperation opportunities have been
found and developed during the projects implementing.
These solutions have been identified within Google
Groups applied for REM-RO Project (Reference service
by e-mail, at national level), SIPTEH Project or Reference
Librarian Guide Project.
Each of these projects has had its own group of
librarians or specialists in information science and each
member has been included through Google sign up
feature for interconnectivity. Within these Google
Groups it is possible sharing the content, receiving
messages or creating web pages (Fig. 7).
The librarian within Reference Department from
Dunarea de Jos University Library of Galati has joined

Important tools are DIY (do-it-yourself)

technologies developed under WEB 2.0. These free
software licenses which can be installed or hosted by
the provider may be used no charge. The significant
benefits of these technologies are the following [9]:
easy sharing and dissemination of information;
easy access to the information.
Using www.wix.com website, the Reference Department
of the Dunarea de Jos University Library of Galati has
developed its website, aiming to promote the services
provided to the users, offer the most important
information related to the tools created within the
department and mark significant events where the
library has been involved (Fig. 9).
Similar tool is provided by Google sites, an easy way
to create personal web pages or web pages for intranets
and team projects [6]. Figure 10 shows an example of
personal web page developed by a librarian from
Dunarea de Jos University Library of Galati.

Social Networks are WEB technologies that

enable to users to interconnect, make possible the
communication, sharing and creating/developing
specific content. Social networking sites are available,
focusing on different topics [2]:
social relationship: Facebook, Twiter, Myspace, Hi5,
Netlog;
movies and videos: Youtube;
photos: Picasa, Flickr, Shutterfly;
documents: Slideshare, Google Documents, scribd,
.docstoc.

1. Documents of the Dunarea de Jos

University Library of Galati on the Internet 70
views in 4 weeks;
2. Citation of information sources 325 views in
6 months;
3. The guide of the user from Dunarea de Jos
University Library of Galati 227 views in 8
months;
4. How to develop a research contribution 921
views in 8 months.

63 >>>

Fig. 7. Reference Librarian Guide Google Group

Conclusions
The experience reached by Dunarea de Jos University
Library of Galati has revealed the following aspects:
New concepts and techniques, useful for the
students and academics, have been implemented in
the institution;
Open Access content is a valuable information for
developing research topics;
WEB 2.0 technologies are implemented by
libraries to improve their services or activities;
Open Source Software is a topic that needs to be
explored more, especially from the point view of the
statistics (page views, file downloads etc.);
WEB 2.0 technologies offers the great possibility
of the interconnectivity between communities with
common interests;
Open Access, Open Source Software and WEB
2.0 technologies are important and efficient for the
education system, becoming part of the
teaching/learning process;
Open Access, Open Source Software and WEB
2.0 technologies should be more promoted and
practised by libraries and academics in their
educational scopes.

Fig. 8. Information posted by the librarian on the slideshare page

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64

Fig. 9. Dunarea de Jos University Library of Galati Reference

Department website

Bibliography:

Edward M. Corrado, The Importance of Open Access, Open Source, and

Open Standards for Libraries, http://www.istl.org/
05-spring/article2.html
Helen Blowers, Web 2.0: Introduction : Culture, Community &
Collaboration, http://www.slideshare.net/hblowers/intro-toweb-20-277488/
http://en.wikipedia.org/wiki/Open-source_software
http://tortoisesvn.net/
http://www.connotea.org
http://www.google.com/sites/help/intl/en/overview.html
http://www.slideshare.net
http://www.zotero.org
Ismael Pea-Lpez. The personal research portal: web 2.0 driven
individual commitment with open access for development.
Knowledge Management for Development Journal, 3(1):35-48, 2007.
Manorama Tripathi and Sunil Kumar. Use of Web 2.0 tools in
academic libraries: A reconnaissance of the international
landscape. The International Information & Library Review,
42:195-207, 2010.
Melvin P. Thatcher, Using Web 2.0, Open Source Technology and Social
Networking Services to Facilitate Collaboration and Access to Genealogy and
Local History Information, http://www.ifla.org/files/hq/papers/
ifla75/204-thather-en.pdf
Michael Stephens and Maria Collins. Web 2.0, Library 2.0 and the
Hyperlinked Library. Serials Review, 33:253-256, 2007.
Open Access (OA) and Web 2.0 Whats the connection? OA Librarian,
http://oalibrarian.blogspot.com/2007/03/open-access-oa-and-we
b-20-whats.html
Sabin-Corneliu Buraga, De ce web 3.0, http://www.slideshare.net/
busaco/de-ce-web-30-why-web-30

Fig. 10. Librarians web page

nceputurile structuralismului romnesc

Alex GOLDI

Universitatea Babe-Bolyai din Cluj, Facultatea de Litere

Babe-Bolyai University of Cluj, Faculty of Letters

Str. Horea, nr. 31, Cluj-Napoca, Romnia

tel.: +40-264-53.22.38, fax: +40-264-43.23.03, e-mail: lett@lett.ubbcluj.ro
Personal e-mail: al3xgoldis@yahoo.com
The beginnings of the romanian structuralism

Apart from the Poetics and Stylistics School of Tudor Vianu, coagulated in the first part of the 60s, there was another
important segment of literary critics who tried to import the structuralist method in the Romanian context. My book,
Literary Criticism in Trenches (2011), tried to explain the ideology and literary approach of Sorin Alexandrescu, Virgil
Nemoianu and Toma Pavel (Vianu s disciples), while this study is concerned with the understanding of structuralist in the
papers of other researchers, like Ion Pascadi, Paul Cornea and Adrian Marino. When not directly rejected, structuralism is
generally seen as a positivist current of thought, opposed, in Romanian postwar criticism, to the impressionistic approach
of G. Clinescu. Although its main concepts have been discussed, structuralisms innovative perspective has remained
unconsidered by the Romanian Postwar critics.

Keywords: structuralism, Post-war Criticism, misreading, impressionistic approach, positivism, Poetics and Stylistics
School

n afar de promotorii deschii ai

structuralismului, formai la coala de
stilistic i poetic a lui Tudor Vianu
(Sorin Alexandrescu, Virgil Nemoianu sau Toma Pavel),
mai exist, n anii 60, un mic segment de critici care
supune discuiei viziunea general sau doar cteva dintre
metodele structuraliste. Dac critici tributari formaiei
interbelice precum Al. Dima sau Ion Pascadi vd n
structuralism o nou tentaie a pozitivismului tiinific
opus subiectivismului impresionist i relativist al
tinerilor clinescieni , Paul Cornea ncearc o
reformare, via Lucien Goldmann, a marxismului pe
baze structuraliste. Un caz aparte l reprezint Adrian
Marino, care, dei se declar adversar al structuralismului
(ripostnd prompt contra manifestelor lui Sorin
Alexandrescu), concepe strategii de reciclare a
conceptelor sale centrale sub o form clinescian.
Demersurile acestora compun, n 1967-1968, dac nu o
mic dezbatere cu privire la structuralism cci nucleul
dur al clinescienilor nu-l ia propriu-zis, n serios ,
mcar o precizare mai clar a semnificaiilor sale n
context romnesc. Modul n care sunt deformate
postulatele lui de baz e reprezentativ pentru concepia
critic aizecist. Recitite azi, primele articole romneti
despre structuralism par mai degrab confuze i opace
la aportul nnoitor al acestuia. Att pozitivismul tiinific

interbelic, ntrit de progresismul marxist, ct i

clinescianismul care riposta contra lui, sunt
preconcepii critice att de puternice, nct bruiaz din
start orice disponibilitate teoretic.
Doar nevoia de a limita subiectivismul apropie
poziiile lui Al. Dima sau Ion Pascadi de structuralism.
Cci, departe de a fi interesai de modul de funcionare
a acestuia, pe cei doi i preocup stabilirea unei tradiii
autohtone i extensiunea nemaipomenit a conceptului.
Primul ncearc s demonstreze, de pild, c ntreaga
critic romneasc a anticipat, ntr-un fel, sau altul,
explozia contemporan a curentului, de la Mihail
Dragomirescu, Garabet Ibrileanu, D. Caracostea sau
Tudor Vianu, pn la Eugen Lovinescu sau G.
Clinescu. Cercetarea intrinsec a operei combtnd
istorismul i pozitivismul la Dragomirescu, concepia
despre oper ca sistem elementar, organic i integral n
care generalul domin particularul (la G. Ibrileanu),
exploatarea raportului dintre coninut i form n
scrierile lui Vianu, concepia gestaaltist asupra
percepiei la Clinescu sau pur i simplu faptul c
analizele lui Lovinescu sunt ntreprinse totdeauna n
spiritul ansamblului, al sintezei dau seama de
diversitatea criteriilor puse n joc pentru a face posibil
aceast defilare structuralist a umbrelor criticii
romneti1. Alteori, simpla detectare a termenului de
65 >>>

structur e suficient pentru constatarea caracterului su

originar. Dac critica noastr literar ar fi fost mai
veche de un secol, probabil c edina de spiritism
structuralist a lui Al. Dima nu s-ar fi oprit aici, de vreme
ce despre unitate, organicitate, unitate n varietate,
dominarea generalului asupra particularului, a sintezei
asupra componentelor, s-a vorbit de nenumrate ori
n istoria esteticii din antichitate i pn astzi2. nsui
titlul articolului semnat de Al. Dima Opera ca
structur n concepia criticii noastre e simptomatic
pentru faptul c structuralismul nu e perceput n context
romnesc ca practic interpretativ, ci ca o calitate
imanent operei. Aa l nelegea, de pild, nu doar Virgil
Nemoianu, care stabilea un ntreg curent artistic
structuralist, cu tendine dintre cele mai diverse, ci i Ion
Pascadi: Artitii au fost dintotdeauna structuraliti n
sensul c operele lor aveau caracterul unui tot nchegat,
ntre prile cruia exist interrelaii3. Accepiunile
vechi ale structurii paraziteaz metodele sau limbajele
contemporane i le fac de nerecunoscut.
Mai surprinztoare sunt alunecrile de sens n textele
lui Paul Cornea, un critic care, cu toate derapajele
staliniste din anii 50, ncepea s fac dovada interesului
pentru discursul critic occidental. ntr-un articol din
Revista de istorie i teorie literar din 1967, Cornea
se face primul susintor al marxismului structuralist al
lui Lucien Goldmann, n care vedea un compromis
interesant ntre studiul intrinsec i cel extrinsec al
literaturii. n schimb, structuralismul propriu-zis i se
pare istoricului literar mai degrab inutilizabil. Eludarea
total a criteriului istoric e principalul cap de acuzare. O
barier de netrecut ntre concepia tradiionalist i
noutatea de viziune a structuralismului o constituie,
apoi, nsui limbajul hiperspecializat al acestuia (taxat,
dup cum am vzut, i de Matei Clinescu n panorama
Noii Critici franceze). Paul Cornea denun complicaia
tehnicist i tendina de a se constitui ntr-un fel de
metalimbaj, suprapus operei, considernd c limbajul
abscons, propriu matematicilor, sau limbajul arborescent
i nuanat al analizei fenomenologice nu trebuiesc
importate tale-quale n exegeza literar, instalnd un soi
de ecran opac ntre cititor i oper4. i analizele foarte
minuioase sau focalizrile sunt privite ca un manierism
al interpretrii i, prin urmare, un rabat de la adecvarea
la oper, din moment ce Cornea condamn comentariul
incontinent al lui Alexandrescu la un poem de
Arghezi: 10 pagini ndesate de format mare, acoperind
15 de format normal, pentru analiza unei poezii de 14
rnduri ni se pare excesiv5.
Mai interesante dect obieciile directe sunt, ns,
reinterpretrile involuntare ale paradigmei structuraliste.
Alturi de Virgil Nemoianu care, din nevoia de a integra
structuralismul n conceptul clinescian de critic,
avansa teza unei forme ingenue, inerente oricrui act
interpretativ, Paul Cornea acrediteaz un structuralism
fr contiina lui: muli dintre criticii actuali ar practica
structuralismul cam aa cum fcea Mr. Jourdain proz
<<<

66

fr s tie6. Prin structuralism, criticul nelege mai

degrab o form de stilistic, de vreme ce-l propune pe
Leo Spitzer drept nume reprezentativ. Dac formalitii
rui sunt respini pentru tehnicismul lor ei n-aveau o
soart mai fericit nici n textul lui Nemoianu , Spitzer
ar reprezenta tocmai exemplul edificator al felului
n care un talent critic autentic, fr s ias din
structuralism, se ferete totui de primejdiile lui.
Interesant e de vzut ce conoteaz Paul Cornea drept
structuralist n analizele lui Leo Spitzer: Pornind de la
o banal deviere lingvistic de la uzul normal, el ajunge,
din aproape n aproape, la o caracteristic exemplar a
specificului autorului studiat, i de-aci, prin recurene
succesive, la ncadrri stilistice naionale i de epoc
istoric7. nsi descrierea metodei lui Spitzer n
cuvintele lui Paul Cornea trdeaz o gndire stilistic
mai degrab dect una structuralist. Cci totalizarea
semnificaiei el comun al celor dou direcii lingvistice
nu se realizeaz printr-un sistem de diferene i de
opoziii binare ca n structuralism, ci prin ridicarea la
putere abstract a unui detaliu semnificativ. Stilisticienii
nu ajung la totalizare prin stabilirea locului
elementelor componente n sistem, ci, exact cum
precizeaz Paul Cornea, prin impunerea detaliilor drept
semnificaii generale. Respingerea revelaiei ntregului
n parte n favoarea stabilirii unei gramatici difereniale,
rezultate din relaiile dintre pri, distinge esenial
structuralismul nu numai de stilistic8, ci i de direciile
tematiste ale Noii Critici. Prin ncadrrile succesive, n
cercuri concentrice tot mai largi, stilistica avea pentru
Paul Cornea avantajul de a ngloba criteriul sociologic
sau istoric. Astfel nct pe lng Spitzer, cellalt model
al unui structuralism neles astfel e Erich Auerbach,
al crui Mimesis rezolva i el reproul major al eludrii
reflectrii istorice. N-ar fi exagerat s se spun, astfel,
c n perioada lui de glorie, structuralismul e apreciat la
noi doar cnd e depit, dei aceast depire nsemna
de cele mai multe ori replierea pe o paradigm critic
tradiional: accentele marxist-umaniste la Nemoianu,
stilistica istoric la Paul Cornea.
Un al doilea text, mai aplicat, al lui Paul Cornea,
ncearc s stabileasc valabilitatea practic a
structuralismului pornind de la volumul lui Mihai Nasta
i Sorin Alexandrescu, Analize literare i stilistice. Dincolo
de reproul btrnesc al prolixitii, conform cruia
orice interpretare care depete n dimensiuni opera
propriu-zis ar pctui din start prin inadecvare, istoricul
literar respinge aplicabilitatea noii metode pe
baza distinciei dintre operele structurate i cele
nestructurate: De bun seam, exist opere construite
arhitectonic, n care prile se subordoneaz ntregului,
iar diversele componente stilistice graviteaz n jurul
unui motiv central, dup cum exist opere difuze,
nenucleate i protoplasmatice, fr nici o tendin spre
unitate. Literatura suprarealist, de pild, n-ar suporta
o lectur structuralist deoarece, prin delirul imagistic,
rmne refractar principiului de coeren a

discursului9. Din categoria operelor pasibile de o

interpretare structuralist ar face parte, n schimb,
scrierile Nouveau Roman-ului. Dificultile antinomiei
lui Paul Cornea se vd cu ochiul liber. Cci e greu, dac
nu imposibil, de admis o difereniere net ntre operele
care tind spre unitate i operele dispersate, iar
exemplele furnizate nu fac dect s complice teoria.
Dei romanele lui Robbe-Grillet par, ntr-adevr,
geometrice, premeditate, voluntare, ele reprezint, n
aceeai msur, o descentrare radical a referenialitii
i a ideii umaniste de literatur. Exactitatea lor stilistic
nu e dect efectul paradoxal, neltor, al dispariiei
sensului i astfel au fost interpretate de toi Noii Critici,
de la Roland Barthes pn la Lucien Goldmann sau
Grard Genette. Eroarea e, din nou, aceeai ca la
Nemoianu, care plaseaz n micul su volum Nouveau
Roman-ul francez la tendine structuraliste ale artei
contemporane: a premedita mesajul literar, a-i
denuna cu luciditate conveniile e echivalent cu a crea
o art geometric, unitar? La ce nivel al operei poate fi
plasat aceast ordine structural? Apoi, de ce n-ar fi
suprarealismul cea mai structural art din moment
ce, n ciuda dispersiei sale formale, e o literatur a
programelor, deci a luciditii prin excelen? Departe
de a soluiona problema, asemenea disocieri nu fac
dect s-o adnceasc.
Cert e, ns, c dac structuralismul e neles drept
calitate interioar a textului, cu greu se mai poate vorbi
despre el ca despre o metod sau un set de principii
interpretative. n realitate, confuzia reflect indirect
nsi concepia aizecist a respingerii oricrei metode
sau limbaj critic care nu e adecvat necesitii intrinseci
a operei. Cci n canonul clinescian de la mijlocul
deceniului apte nu existau dect dou alternative: ori
structuralismul nu exist ca metod (n acest caz e o
calitate intrinsec a obiectului), ori el exist ca metod,
dar e inutilizabil, pentru c e exterior textului, un corp
strin, limbaj inadecvat. Refuzul structuralismului devine
n mare msur simptomatic pentru refuzul metodei n
general. Mai mult, ceea ce se respingea, n fond, nu era
numai ideea de metod, ci nsui aportul interpretativ al
criticului, de vreme ce contribuia acestuia trebuia s se
limiteze la adecvarea la necesitile interioare ale
textului. Sub retorica subiectivitii i a criticii
creatoare se ascundea, adesea, o credin tradiionalist
n obiectivitatea conformaiei interne a operei, care
stabilete, ea singur, regulile jocului. Misreading-ul
structuralismului ca o calitate a operei nu face dect s
dea la iveal utopia criticii pure, mitul adaptrii perfecte
a limbajului critic la limbajul operei.
Criticii romni vor i ncerca s mblnzeaz
ntr-un fel structuralismul, apropiindu-l de cele dou
obsesii ale perioadei, judecata de valoare i garantarea ei
prin subiectivitatea criticului. Din acest punct de vedere,
orice discuie despre nceputurile structuralismului
romnesc nu-l poate scpa din vedere pe Adrian Marino,
un personaj paradoxal al epocii. Cu un discurs critic

mpnzit de termeni cibernetici i structuraliti,

criticul elaboreaz teoria etapelor necesare conform
creia nnoirea radical a viziunii critice ar fi prematur.
Cel mai mare adversar, pe urmele lui Clinescu, al
metarefleciei critice, Marino practic nc de pe acum
n fiecare articol o incipient critic a ideilor mbriat
definitiv din deceniul opt. Criticul l secondeaz pe Paul
Cornea n opinia c, fr a fi o metod complet inutil,
structuralismul este, totui, expresia unui tehnicism
ngust, dovada cea mai clar a triumfului teoriei asupra
practicii, care conduce la ocultarea literarului i a
unicitii operei: Complicatele analize literare i
stilistice [trimitere destul de transparent la recenta carte a lui
Mihai Nasta i Sorin Alexandrescu, n.m. A.G.], chiar dac
ar fi scrise dumnezeiete, vin toate s-o distrug, s-i dea
lovitura de graie [...]. Cartea este o lume, un organism
viu, i el n-are dreptul s-o rup n buci, s-o
asasineze10. Cei care scriu despre structuralism n
aceast perioad nu fac economie de metafore care s
sugereze sterilitatea i efectele mortificatoare ale acestuia
(de fapt, a oricrei metode formale) asupra operei vii.
Mai degrab dect un instrument de decriptare a
sensurilor operei, structuralismul e privit, prin excelen,
ca un discurs nrobitor sau alienant, care face apel la
categorii strine specificului literaturii pur delir
tiinific, aadar.
De aceea, Adrian Marino propune drept alternativ
un structuralism cu fa uman, n care reabiliteaz
subiectivitatea i postulatul judecii de valoare. Dac n
modelul critic propus de Sorin Alexandrescu (n
Structuralismul i cercetarea literar) etapa
structuralist era pur descriptiv, pentru Marino, nsi
percepia structurii presupune emoia estetic. Mai
mult, ar exista o bucurie, eminamente estetic, pur
structuralist. O retoric a spontaneitii creatoare, a
revelaiei totalitii n detaliu ar sta i n opinia lui Marino
la baza criticii structuraliste: Parcurgnd opera, un
anume fragment ne dezvluie dintr-o dat semnificaia
ntregului, ne relev subit principiul de organizare
unitar a lucrrii11. Pentru a construi structuralismul ca
utopie a criticii totale, Marino trebuie s porneasc de
la premisa c structura coincide cu emoia axiologic
(sentimentul de valoare, cum se exprim criticul).
Ceea ce conduce la raionamentul absurd c o oper e
cu att mai valoroas cu ct dezvluie o mai mare
complexitate sub semnul unui principiu unitar.
ncercnd s pun bazele unei estetici semantice,
Marino vorbete despre posibilitatea comuniunii fericite
dintre semnificat i semnificant, exact n sensul opus
tradiiei saussuriene a arbitrarului: Estetica semantic
nu recunoate valoare numai complexitii semnificaiei,
dar i simplului act de a semnifica ceva, de a lega pe
signifiant (opera) de le signifi (sensul), corelaie pe care o
stabilim obligator, chiar de la stadiul prim al analizei12.
Dei aduce n discuie conceptele centrale ale
structuralismului prin care Barthes definea nsi
specificitatea abordrii , Marino nu nelege crearea
67 >>>

sensului n termenii diferenei i ai decalajului, ci, dintr-o

perspectiv organicist-umanist, n logica legturii
eseniale, a comuniunii cvasinaturale. Or, structuralismul
accept drept model lingvistica, cu raportul esenial
semnificat-semnificant, n domeniile umaniste (literatur,
sociologie, antropologie teoria modei la Barthes)
tocmai pornind de la postulatul central c acestea nu sunt
realiti naturale, ci limbaje, prin excelen artificiale.
ntr-un studiu de referin dedicat structuralismului,
Jonathan Culler clarific faptul c lingvistica e cea mai
potrivit modalitate de abordare n toate aceste domenii
tocmai pentru c scoate n eviden natura lor de
construct, spulbernd iluzia naturalizrii culturii: In
the case of linguistic signs the conventional or
arbitrary basis is obvious, and therefore by taking
linguistics as a model one may avoid the familiar mistake
that signs which appear as natural to those who use
them have an intrinsic meaning and require no
explanation. Linguistics, designed to study the system
of rules underlying speech, will by its very nature
compel the analyst to attend to the conventional basis
of the phenomena he is studying13. Acceptnd ns o
viziune structuralist pur i dur, criticii romni ar fi
trebuit s accepte c literatura nsi este o convenie.
Or, aici intervine un rapt esenial ntre viziunea
autohton i cea francez.
Astfel nct nu exist, practic, dect dou alternative:
respingerea n bloc a structuralismului sau ncercarea de
umanizare a postulatelor sale centrale. Aceste nenelegeri
i rstlmciri sunt coerente n logica fenomenului
romnesc, cci distana dintre structuralism i critica
noastr e mai ales o distan de concepie, nu numai
asupra criticii, ci asupra ntregii literaturi. Prin demascarea
naturalizrii conceptelor i limbajelor, structuralismul era,
n fond, tot ce putea fi mai ndeprtat de ideologia
literailor notri din anii 60 care, n lips de concepte
viabile, ncercau s le reconstruiasc rnd pe rnd.
Note:

1. Al. Dima, Opera ca structur n concepia criticii noastre, n

Contemporanul, anul XV, nr. 13 (804), n Contemporanul,
joi, 28 martie 1968.
2. Ibidem.
3. Ion Pascadi, Conceptul de structur artistic, n Viaa romneasc,
anul XXI, octombrie 1968, pp. 102-5.
4. Paul Cornea, Controverse n jurul aplicrii structuralismului la analiza
literar, n Viaa romneasc, anul XXI, octombrie 1968, pp.
75-89
5. Ibidem, p. 82.
6. Ibidem, p. 170.
7. Ibid.
8. Dei n fragmentul din Studii de poetic i stilistic mai rmnea,
nc, tributar viziunii stilistice, Sorin Alexandrescu e, probabil,
singurul critic romn contient n epoc de diferena dintre aceasta
i structuralism (sau, n orice caz, singurul interesat de aceast
specializare). Faptul reiese din prefaa la Teoria literaturii a lui Wellek
i Warren: Opunndu-se stilisticii tradiionale de la Marouzeau
la Spitzer i continuatorii si ca Damaso Alonso ori Auerbach,
<<<

68

care ncercau s ptrund n adncimea operei literare, pornind de

la detalii stilistice, respectiv ale expresiei verbale a operei,
cercetarea structural se aplic operei ca ntreg, ncercnd s
descopere structura ei. Nu se deduce astfel un adevr general
asupra unui punct de vedere local, ci acesta din urm este
subordonat analizei ntregului. n linii mari, se nelege prin
structur un sistem de relaii ntre termenii constitutivi ai operei ca
i ntre fiecare dintre acetia i ntregul operei. Accentul cade deci
pe ideea de relaie, prin care fiecare termen nu se mai definete n
sine, ci numai prin funcia pe care o contracteaz fa de altul, i
pe ideea de subordonare organic a prilor n ntreg (Sorin
Alexandrescu, O sintez a teoriei literare moderne. Prefa, n Ren
Wellek, Austin Warren, Teoria literaturii, n romnete de Rodica
Tini, studiu introductiv i note de Sorin Alexandrescu, Editura
pentru literatur universal, Bucureti, 1967, p. 10). O viziune
structuralist integral Sorin Alexandrescu va proba abia n
monografia despre Faulkner din 1969.
9. Paul Cornea, Controverse n jurul aplicrii structuralismului..., p. 78.
10. Adrian Marino, Reconstituirea universului literar, n
Contemporanul, nr. 41 (1096), vineri, 13 octombrie 1967, p. 7.
11. Ibidem.
12. Ibid.
13. Jonathan Culler, Structuralist Poetics. Structuralism, linguistics and
the study of literature, with a new preface by the author, Routledge,
London and New York, 2007, p. 6.

Bibliography:

I. Volumes:
Jonathan Culler, Structuralist Poetics. Structuralism, Linguistics and the
Study of Literature, with a new preface by the author, Routledge,
London and New York, 2007
Virgil Nemoianu, Structuralismul [The Structuralism], Editura pentru
Literatur, Bucureti, 1967.
Ren Wellek, Austin Warren, Teoria literaturii [Literary Theory], n
romnete de Rodica Tini, studiu introductiv i note de Sorin
Alexandrescu, Editura pentru literatur universal, Bucureti,
1967
Studii de poetic i stilistic [Studies in Poetics and Stylistics], Editura
pentru Literatur, Bucureti, 1966.

II. Critical studies:

Paul Cornea, Controverse n jurul aplicrii structuralismului la analiza
literar [Disagreements concerning the Use of Structuralism in the
Literary Analysis], n Viaa romneasc, anul XXI, octombrie
1968
Al. Dima, Opera ca structur n concepia criticii noastre [The Literary
Work as a Structure in Our Literary Criticism s View], in
Contemporanul, anul XV, nr. 13 (804), n Contemporanul,
joi, 28 martie 1968.
Adrian Marino, Reconstituirea universului literar [The Re-enactment of
the Literary Universe], n Contemporanul, nr. 41 (1096), vineri,
13 octombrie 1967
Ion Pascadi, Conceptul de structur artistic [The Concept of Artistic
Structure], n Viaa romneasc, anul XXI, octombrie 1968,
pp. 102-5.

Aceast lucrare a fost realizat n cadrul proiectului

Valorificarea identitilor culturale n procesele
globale, cofinanat de Uniunea European i
Guvernul Romniei din Fondul Social European, prin
Programul Operaional Sectorial Dezvoltarea
Resurselor Umane 2007-2013, contractul de finanare
nr. POSDRU/89/1.5/S/59758.

Revizitnd teoria sincronismului

(1)
Lionel D. ROCA

Universitatea Babe-Bolyai, Cluj-Napoca, Facultatea de Litere

University Babe-Bolyai, Cluj-Napoca, Faculty of Letters
Str. Horea, Nr. 31, Cod. 400202
Tel. +4-0264-536747 Fax. +4-0264-432303
http://lett.ubbcluj.ro
Personal e-mail: lionelrosca@yahoo.com
The Theory of Synchronism Revisited (1)

Our paper approaches from an epistemological perspective (and in relation with contemporary theories in the area of
literary history, historical anthropology, sociology, evolutionary biology etc.) the theory of synchronism developed by
Eugen Lovinescu in the 20s of the 20th century in order to re-construct its main statements and ideas. Thus we were able
to determine the true meaning this theory holds for the romanian culture: that it is a part of a larger theoretical paradigm
in romanian modern culture, a paradigm to which the theory of forms without substance proposed by Titu Maiorescu
in the last decades of the 19th century and the idea of protochronism formulated by Edgar Papu in the 70s of the 20th
century equally belong.
Keywords: Lovinescu, synchronism, paradigm, evolution, development, modernization

n aproape un secol de exegez,

personalitatea i opera lui Eugen
Lovinescu au generat n cultura romn o
vast bibliografie, analitic sau omagial, critic sau
adulatorie. Cu toate acestea, la aproape nou decenii de
la lansarea ei (i la apte decenii de la dispariia lui
Lovinescu), teoria sincronismului, aportul poate cel mai
important al criticului la patrimoniul de idei al secolului
al XX-lea romnesc (aport extrem de relevant i n
contemporaneitate), continu s rmn probabil nu
doar cea mai contradictoriu valorizat, dar i cea mai
nesatisfctor neleas contribuie a sa. Explicaia
acestei stri de fapt rezid, credem noi, n primul rnd
(pe lng ali factori de circumstan care ar merita un
studiu aparte) ntr-o nelegere parial deci
reducionist i, pe cale de consecin, mai mult sau mai
puin eronat a datelor epistemologie majore ale
subiectului. Tocmai de aceea ni se pare important s
ncercm, n cele ce urmeaz, s re-examinm
fundamentala teorie lovinescian exact din aceast (prea
mult timp neglijat) perspectiv epistemologic, singura
care poate conduce cu adevrat comprehensiunea n
direcia corect.
Eugen Lovinescu

http://biblionesticosanzeana.files.wordpress.com/2011/10/eugen-lovinescu2.jpg

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1. Cadru istoric

Dup cum se tie, Caracteristic pentru micarea

de idei a veacului al XIXlea a fost nfruntarea n jurul
problemei ritmului i cilor modernizrii. Crturarii
romni n-au fost mprii, precum colegii lor slavi, rui
i srbi mai ales, ntr-o tabr acceptnd occidentalizarea
i-o alta respingnd-o, problema conflictului ntre Apus
i Rsrit, la nivelul formelor de civilizaie, fusese
rezolvat nainte de 1831. Au existat ns divergene n
privina ritmului cu care lumea nou trebuia ncurajat
s nlocuiasc formele vechi, precum i teama c
nnoirile ar putea ntr-un fel sau altul altera fondul
spiritual naional.1 n cadrul acestei discuii, departe de
a fi un tradiionalist (n sensul secolului al XXlea) i
plasndu-se la o anumit distan chiar de restul
ideologiei junimiste2 (ai crei reprezentani, mai ales din
considerente de clas3, au dat teoriei maioresciene o
interpretare i o formulare excesiv conservatoare i
deviate fa de intenia original interpretare care a
ajuns cu timpul s substituie adevrata semnificaie a
contribuiei maioresciene), Maiorescu a exprimat n
datele epocii, dar cu uimitoare clarviziune o linie
profund echilibrat i corect n esenialul articulrii ei.
Cu toate acestea, corect nu nseamn i suficient i
focalizarea exclusiv a lui Maiorescu asupra dimensiunii
critice a procesului prelurii formelor (i, cu att mai
mult, lectura fals i exagerat conservatoare a ideilor
sale, lectur ce s-a impus ca argument clasic al poziiilor
tradiionaliste contemporane lui sau ulterioare) a
solicitat, sistemic, un rspuns teoretic necesar, care vine,
bine nchegat, abia odat cu momentul Lovinescu.
Contribuia lui Lovinescu vine aadar, n mod
necesar, n continuarea controversei deschise de etapa
critic a Junimii asupra modalitilor
modernizrii/occidentalizrii (aceasta consacrat
definitiv, crede Lovinescu, de constituia burghez i
europenizant de la 1866), mai ales dup puternica
deplasare de accent pe care o cunoscuse aceast critic
n spaiul diferitelor tradiionalisme ale secolului al
XXlea (de la neoromantismul naionalist al
Smntorului la poporanismul de inspiraie rus i
la tradiionalismele valului al doilea, interbelic, pentru
a aminti doar principalele curente culturale de idei ale
vremii), cnd, sub influena puternic a unor teorii
occidentale ostile modernitii (ale crei precipitat erau
de fapt, n mod paradoxal, inclusiv ele), se ajunge s se
considere chiar imposibil transplantul de forme
(procese, instituii, practici etc.) specifice civilizaiei
apusene moderne n contextul Lumii romneti, vzut
tot mai accentuat ca purttoare a unui destin propriu i
autosuficient de evoluie organic4 destin revendicat
etnicului, ca singura realitate romneasc destul de
masiv, inclusiv n plan simbolic, pentru a ncerca mcar
s susin o atare pretenie. La toate aceste contestri,
alturi de alii, dar n propria sa manier, Lovinescu va
argumenta permanent necesitatea istoric inexorabil a
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70

conectrii Romniei la ritmul civilizaiei i culturii

europene moderne a epocii, a ivirii i consolidrii evului
modern, capitalist, burghez, industrial i urban i pe
teren romnesc. Pentru a da un cadru ct mai tiinific
convingerilor sale (istorice, dar i estetice), el va elabora,
n consecin, o ampl i articulat teorie fundamentat
sociologic teoria sincronismului ce urmrea s
justifice i s explice ntr-un spirit mai general
mecanismele schimbrii i dezvoltrii civilizaiilor,
tocmai pentru a o putea aplica apoi la cazul particular al
evoluiei istorice a Romniei, ntr-un coerent demers de
evaluare a condiiilor dezvoltrii ei n modernitate att
n plan civilizaional, ct i cultural. n ce const de fapt
aceast frecvent invocat, dar prea rar corect neleas
teorie?
2. Coninutul teoriei

Dei ideea sincronismului ntemeiaz i arhitectura

argumentativ a primelor dou volume (din 1924 i
1925) ale Istoriei civilizaiei romne moderne (constituind, n
viziunea lui Lovinescu, factorul central al antrenrii
Romniei spre faza modern a evoluiei sale), ea este
expus analitic abia n volumul al treilea (din 1925).
Corespondenta ei la nivel cultural5 (focaliznd, n fapt,
un singur aspect al acesteia, anume cel literar) este
expus analitic tot n volumul al treilea (din 1929), de
data aceasta al Istoriei literaturii romne contemporane.6
ntruct teoria sa a fost mereu invocat, dar pare s fi
fost prea rar neleas pn la capt, vom ncerca n
continuare s o reconstituim n articulaiile sale
epistemologice eseniale. n cuprinsul ei putem astfel
distinge:
A. Nivelul civilizaionalorganizatoric:
(a) Premise:
1. Premise implicite: poziia sa este una radical istorist7,
pe fundalul epistemologic al unui biologism mutaionist.
2. Premise explicite:
2.1. Exist un spirit al veacului (saeculum la Tacit,
sau Zeitgeist), o totalitate de condiii materiale i morale
configuratoare ale vieii popoarelor europene ntr-o
epoc dat; nu e un concept abstract, ci se desprinde din
gradul de evoluie intelectual, ca i din situaia
economic a epocii. Imprimnd caracterul general i
organic al instituiilor din diferite epoci, e firul
conductor al istoriei n controversele faptelor. Exist
prin urmare un spirit al diferitelor epoci (al veacului
medieval, al Renaterii, al Reformei etc.8), care se afl
pretutindeni, mai ales odat cu sporirea interrelaionrii
ntre popoare: Cu intensificarea mijloacelor de
interpenetraie, caracterul local al tuturor fenomenelor
spirituale tinde s dispar.9
Exist totui i cazuri cnd apar idei ce anticipeaz

asupra spiritului veacului (fiind n contrast cu el):

tolerana religioas a lui Henric al IVlea al Franei e un
exemplu, dar cu ct anticipeaz mai mult, cu att snt
mai puin eficace.10 Oricum, fiecare epoc este
frmntat de astfel de idei anticipate, semine ale
viitorului.11 Mai ales n modernitate ns, acest
saeculum se furete pretutindeni (fr a anula factorul
rasei, factorul timpului predomin n epoca modern),
dar s-a dezvoltat totui n unele ri mai intens (Roma i
Atena n antichitate, la germani n Evul Mediu, n Italia,
odat cu Renaterea, Frana, n secolele XVII i XVIII).
Astzi ns el tinde s se internaionalizeze, putnd fi
gsit pretutindeni.12
2.2. Dac factorul timpului e cel care d imitaiei
genul ei proxim, originalitatea, diferenierea o d n
momentul urmtor factorul rasei, cci imitaia nu se
oprete la primul stadiu al transplantrii integrale [a
saeculum-ului], ci se continu prin asimilare, adaptare
i elaboraie sub o form proprie, n care factorul rasei
are un rol important: trecnd de la un mediu [etnic] la
altul, inveniile se refract i unghiul de refracie, pe lng
facultatea de creaie proprie, constituie n cea mai larg
parte originalitatea fiecrui neam.13

(b) Etapa uniformizatoare, nivelatoare

(predomin factorul timp)
1. Aadar, ntr-un prim moment, sincronismul se
refer la aciunea de nivelare14 pe care spiritul veacului
(indiferent de locul genezei sale efective) o exercit
asupra structurilor mentale (i, n consecin, sociale,
economice, politice, culturale etc.) ale societilor
(europene), impunndu-le o direcie unic i ritmuri
comune de evoluie.15 Acest spirit ia forme diferite,
care snt apoi difuzate, prin imitaie social, n toate
societile.
2. Prin urmare, la un al doilea moment,
sincronismul, procesul de sincronizare, semnific un
amplu proces de difuziune, prin contagiune mental, a
inveniilor, creaiilor i.e. formelor i ideilor moderne
n cuprinsul societilor tradiionale (rmase n afara
fluxului principal al dezvoltrii), trezindu-le astfel din
somnul tradiiei16: instituii, principii politice dar i
formule artistice se propag n acest mod prin imitaie,
imitaie/difuzare sporite enorm n modernitate.
Urmeaz deci un proces ireversibil (aprecia Lovinescu)
de generalizare i uniformizare a obiceiurilor i
instituiilor, de nivelare civilizaional.
2.1. Invenia poate porni de oriunde, imitaia nu
pornete dect de sus n jos, adic de la superior la
inferior17, ns criteriul superioritii variaz n timp18
excepie fcnd doar cretinismul; oricum, clasele de
sus (ieri aristocraia, azi burghezia) snt cele care
constituie factor de progres, cci introduc elementele
civilizaiei universale.
2.2. Imitaia merge de la form spre fond, nu invers,
cum credea Tarde.19
2.3. Imitaia are n general caracter de integralitate

(mai ales cnd diferena nivelului de civilizaie ntre cele

dou societi e foarte mare, ntr-o epoc foarte propice
imitaiei mai cu seam ncepnd din secolul al XIXlea,
cnd aceasta devine principiul nsui al civilizaiei
moderne), doar n cazul culturilor mature, de civilizaie
considerabil egal, n timpuri de linite, fiind reciproc,
parial i selectiv. Caracterul de integralitate, cnd se
manifest, exclude n cazul imitaiei integrale,
revoluionare evoluia organic (arde fazele
preliminare [] treptele formale ale evoluiei
obinuite20). Tehnologiile (de orice fel) snt ntotdeauna
preluate integral, fr evoluie organic acelai
lucru, dei n genere e respins, trebuie fcut i n cazul
instituiilor, artei etc. La baza teoriei sale Lovinescu
aeaz explicit, n opoziie cu evoluionismul organic
(sprijinit pe Lamarck, Darwin etc.), mutaionismul
biologic al lui Hugo de Vries.
2.4. Imitaia21, urmnd prestigiul, superioritatea,
poate avea ca obiect nu doar saeculum-ul, ci i
trecutul, mai ales n societile rurale, izolate sau cu un
anumit specific etnic, dar i n funcie de epoci:
mecanismul vieii societilor se reduce chiar la jocul
ritmic al acestor dou specii de imitaie, ndreptate cnd
spre inovaii, cnd reculeas, dintr-un sentiment de
conservare, n trecut, spre repetarea formelor de via
ancestral.22 Imitaia trecutului e selectiv (n tehnic
nu se aplic), se poate referi i la un trecut transnaional
(antichitatea pentru Renatere), dar, aplicat doar la
trecut, e criticabil. De aici rezult i critica
tradiionalismului, mai cu seam n cazul celui romnesc,
cci tradiia e un concept multiplu, civilizaia romn
(spre deosebire de cea francez, german, spaniol etc.)
neavnd o epoc clasic ca reper pentru imitaie; sufletul
naional abia acum se forjeaz inclusiv prin imitaie,
ulterior difereniat nct tradiionalismul la noi e doar
o concepie romantic, fr contact cu realitatea sau
mai ales, o puternic arm de lupt a inadaptabililor
mpotriva mersului firesc al societii noastre.23

(c) Etapa difereniatoare 24 (domin factorul rasei)

1. Cum am mai spus, mecanismul oricrei imitaii
revoluionare se descompune, ns, n dou elemente
eseniale: n transplantarea integral a inveniei i apoi
n prelucrarea ei prin adaptri succesive la spiritul
rasei.25 Numrul inveniilor proprii ale unui popor e
limitat, uneori chiar inexistent; al imitaiilor adaptate ns
poate fi nelimitat, prin urmare imitaia e felul cel mai
obinuit de a fi original. Astfel, datorit caracterului ei
specificator, rasa are un rol important n formaia
civilizaiilor: Trecnd de la un mediu etnic la altul,
ideea se refract: unghiul de refracie constituie
originalitatea fiecrui popor.26 O dovedete
particularizarea socialismului (nu exist socialism, ci
socialisme), a religiilor (budismul, brahmanismul,
cretinismul), chiar a limbilor (limbile indoeuropene,
mai apoi cele romanice), a artei etc. Prin urmare,
imitaia integral reprezint numai prima faz a unui
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proces mai complex, faza a doua manifestndu-se prin

elaboraia, sub o form specific, a elementelor
civilizaiei, prin aceast capacitate pe care o are orice
popor de a imita mai nti, i asimilnd, de a elabora dup
legi proprii forme originale.27
1.1 Imitaia integral i adaptarea se succed ritmic:
Dei e la baza tuturor civilizaiilor, imitaia nu se
dezlnuie n mod egal [] dup epoci revoluionare
deschise tuturor noutilor urmeaz epoci de
consolidare, de fixare a civilizaiilor, de naionalizare,
pentru a deveni cu ncetul un punct de plecare al unor
tradiii, pe care istoricii le invoc apoi cu respectul
vechimii.28 Totui, rolul rasei nu trebuie exagerat.29
2. Imitaia pornete din exterior spre interior, de la
form la fond (invers de cum credea Tarde): de aici
uurina i caracterul de integralitate al imitrii, redus
adesea la aspectul pur formal (n epocile de imitaie
revoluionar). Tot de aici apare i contrastul inevitabil
ntre form i fond, forma anticipnd fondul (e starea
constatat de toi observatorii societii romneti i
divers criticat de la Junimea la tradiionalismele
interbelice), n cazul tutror civilizaiilor30, a popoarelor
de formaie recent ndeosebi.31 Instituiile, ideologicul,
forma snt, pentru Lovinescu, factorul prioritar (chiar
dac nu singurul): ele snt raionale, progresiste, ele snt
agenii principali ai formaiei societii din fiecare
perioad32; chiar dac factorul etnic, empiric, rmne
de luat n seam, n dimensiunea social a omului, n
viaa societilor valoarea instituiilor [] e n afar de
orice controvers33, ele influennd totui fondul, orict
de specific ar fi acesta. Ca urmare, Adaptarea fondului
i a formei se realizeaz printr-un dublu proces n sens
contrar: procesul scoborrii formei la fond [] i, al
doilea, procesul creterii fondului la form34, forma
iniial strin ajungnd astfel s dobndeasc n cele din
urm un coninut propriu, adecvat i nou chiar fa de
modelul iniial al imitaiei. Acest al doilea proces, prin
care forma se adapteaz la fond, nscnd o nou realitate
viabil, e mult mai ncet i aproape invizibil ochiului
contemporanilor; tradiionalitii l contest (n
numele necesitii absolute a evoluiei organice de la
fond la form), el este ns o realitate pentru toi cei ce
studiaz obiectiv aciunea instituiilor asupra formrii
contiinei ceteneti.35 Negarea acestui proces ar
nsemna ns negarea de principiu a progresului.
2.1. Prin urmare, la un al treilea moment, sincronismul
este i un proces de evoluie de la form la fond.36 Teza
contrar e susinut de tradiionaliti i marxiti.37

(d) Etapa final

1. La captul acestui proces, formele i creeaz un
fond propriu, nou, apropiind civilizaia respectiv (pn
atunci napoiat) de spiritul veacului: acest proces
este actul prin care axa vieii noastre politice i culturale
s-a schimbat din Rsrit n Apus; de ea se leag viitoarea
form revoluionar a societii romneti. Prin
urmare, ntr-un al patrulea moment sincronismul const

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72

n schimbarea polului de gravitaie al unei culturi, sub

presiunea aceluiai spirit al veacului38, spirit localizat de
Lovinescu n Europa apusean, de unde se transmite n
rile ntrziate n dou secvene: un prim moment, al
determinaiunii (adic imitaia integral, dependena
unilateral a acestor ri de centru, ele comportndu-se,
mcar temporar, ca periferii), iar apoi, ntr-un al doilea
moment, al dezvoltrii interdependente a societilor
sincronizate, cnd aceste societi devin pe deplin entiti
istorice, politice, economice i culturale viabile.39
1.1. n cazul Romniei sincronizarea a fost mult
uurat (fa de Rusia sau Japonia40) de ptrunderea
ideilor sincronice pe matca ideii naionale i de
inexistena unei tradiii rigid organizate sau a unor forme
coerente i autoritare de reacionarism, astfel nct
fuziunea formei i a fondului rmne o chestiune de
timp41, ea manifestndu-se deja.
B. Nivelul cultural:
Odat conturat acest cadru general, Lovinescu va
formula, n acord cu el, i teoria sincronismului aplicat
la literatur, sub forma teoriei mutaiei valorilor
estetice42, pe care o rezumm n cele ce urmeaz n
punctele sale eseniale:
(a) Premise:
1. Premise implicite: dei negate explicit43, aceleai
premise istoriste stau i la baza concepiei sale estetice.
2. Premise explicite:
2.1. Nu exist Estetic universal, uniform valabil, deci
nici o tiin a esteticii, a frumosului vzut n
universalitatea lui.
2.2. Exist n schimb expresii istorice delimitabile
ale esteticului, deci e posibil i chiar necesar o istorie
a variaiilor acestuia, a diferitelor forme n care el s-a
realizat. Dac lsm de-o parte cauzele individuale
(infinite) ale variaiilor esteticului i ne rezumm la
conceptul de estetic (acoperind expresia general a
unei epoci, a unei civilizaii44), constatm c doi snt
marii factori ce determin modificarea acestui concept:
factorul timp i factorul ras.45
2.2.1. Conceptul estetic nu se prezint separat i
arbitrar, ci e implicat i interferat de o mulime de ali
factori ideologici sau chiar economici, care fac la un loc
un tot caracteristic, un stil, un saeculum. Ca atare, el
e produsul unei epoci, factorul timp intervenind cu o
aciune a crei for crete n decursul istoriei, pn a
deveni, n zilele noastre, precumpnitoare46, aceast
aciune nivelatoare, uniformizatoare a timpului asupra
vieii sociale i culturale a diferitelor popoare legate ntre
dnsele printr-o interdependen material i moral,
n consens cu spiritul veacului modern (azi unic i
tinznd a se manifesta pretutindeni) numindu-se
sincronism.
2.2.2. Conceptul estetic poart i amprenta rasei;
aceasta exist ca for indiscutabil, mai redus ca for

de invenie (care e individual), dar cu o for de

adaptare nemsurat, ea transformnd tot ce absoarbe
(bun sau ru) n creaii proprii, originale.47
Plecnd aadar de la aceste premise, Lovinescu i va
construi modelul su de critic literar (precizndu-i
obiectul, limitele, statundu-i un cod deontologic etc.),
cruia i va rmne apoi fidel toat viaa (ca i dominantei
sincroniste pe care o afirm att la nivel civilizaional, ct
i literar).
Note:

1. Georgescu 1992: 196.

2. vezi pe larg la Ornea 1975.
3. cum observase deja Lovinescu; cf. i cu Georgescu 1992:
196-197.
4. adic exact teza destinului insular pe care Maiorescu o
negase cu vehemen.
5. ntruct Lovinescu distinge cele dou mari nivele
tradiionale, nesocotindu-le ns opuse, ci complementare.
6. pentru prima lucrare utilizm ediia Lovinescu 1972 (ns
prima ediie complet n aceeai ngrijire este abia Lovinescu
1992), iar pentru a doua Lovinescu 1981, prescurtate n
continuare ICRM i ILRC; n lipsa altor precizri, cifrele
romane indic numere de capitol (aparinnd volumului trei
n cazul ambelor opere), iar cele arabe, de pagin.
7. n sensul explicitat de Tudor Vianu n Vianu 1982.
8. ICRM: 379-383.
9. ILRC: 269.
10. ICRM: 384.
11. ICRM: 386.
12. ICRM: 383, 387-392; ILRC: 267-271.
13. ICRM: 426; ILRC vol.1: 138.
14. ICRM VII.
15. Bdescu 1993: 548.
16. ICRM IX; cf. i cu Bdescu 1993: 548.
17. ICRM: 409.
18. ICRM XI.
19. vezi i infra (c) 2.
20. ICRM: 418.
21. ICRM XIX, XX.
22. ICRM: 443.
23. ICRM: 465.
24. este ceea ce antropologia cultural va denumi ulterior
principiul de reinterpretare (acest principiu este
fundamental n teoria aculturaiei), dei marele antropolog
Franz Boas semnalase deja aceste fenomene de
reinterpretare [cam n aceiai ani cu Lovinescu, respectiv n
1927 nt. ns.], artnd c, atunci cnd o trstur cultural
este difuzat, ea este remodelat conform mediului primitor
(Graud, Marie-Odile, Leservoisier, Oliver, Pottier, Richard
2001: 104).
25. ICRM: 426.
26. ICRM: 426 i XIV passim.
27. ICRM: 429, 428.
28. ICRM: 430 un asemenea caz e la noi cel al epocii
interbelice care, alturi de mai vechiul clasicism rnesc,
tinde s devin azi, pe drept sau nu, o epoc clasic de
felul celei a crei absen o semnala la 1925 Lovinescu.

29. pentru o discuie mai ampl vezi ICRM: 430.

30. ICRM XIV.
31. ICRM: 441.
32. ICRM: 437.
33. ICRM: 440.
34. ICRM: 441.
35. ICRM: 441.
36. Bdescu 1993: 549.
37. ICRM: 441.
38. Bdescu 1993: 549.
39. ibidem, loc. cit.
40. analizate n ICRM XXI i XXII.
41. ICRM: 477.
42. ILRC vol. 3.
43. ILRC: 264 i vol 2, cap. IX, X.
44. ILRC III.
45. ILRC: 264.
46. ILRC: 267.
47. ILRC I, II, III.

Bibliography:

Bdescu 1993 = Ilie Bdescu, art. Neosincronismul;

Protocronismul;
Sincronismul
[Neosynchronism;
Protochronism; Synchronism], n Zamfir, Ctlin i Lazr
Vlsceanu (coord.), Dicionar de sociologie [Dictionary Of
Sociology], Bucureti, Ed. Babel, 1993.
Georgescu 1992 = Vlad Georgescu, Istoria romnilor de
la origini pn n zilele noastre [History of Romanians. From
the Beginning To Date]. Ed. a IIIa, Bucureti, Ed.
Humanitas.
Graud, Marie-Odile, Leservoisier, Oliver, Pottier,
Richard 2001 = Graud, Marie-Odile, Leservoisier,
Oliver, Pottier, Richard, Noiunile-cheie ale etnologiei.
Analize i texte [Key Notions Of Ethnology. Texts and
Analysis], Iai, Ed. Polirom.
Lovinescu, Eugen 1972 = Eugen Lovinescu, Istoria
civilizaiei romne moderne [The History of Modern
Romanian Civilization]. Ediie, studiu introductiv i
note de Z. Ornea, Bucureti, Ed. tiinific.
Lovinescu, Eugen 1981 = Eugen Lovinescu, Istoria
literaturii romne contemporane [The History of
Contemporary Romanian Literature]. Vol. 1-3, Bucureti,
Ed. Minerva.
Lovinescu, Eugen 1992 = Eugen Lovinescu, Istoria
civilizaiei romne moderne [The History of Modern
Romanian Civilization]. Ediie, studiu introductiv i
tabel cronologic de Z. Ornea. Vol. 1-3, Bucureti, Ed.
Minerva, col. BPT.
Ornea 1975 = Zigu Ornea, Junimea i junimismul,
Bucureti, Ed. Eminescu.
Vianu 1982 = Tudor Vianu, Raionalism i istorism
[Rationalism and Historicism - Ed. I 1938], n T. Vianu,
Studii de filosofia culturii [Studies in Philosophy Of Culture],
Prefa de George Gan, Bucureti, Ed. Eminescu.
73 >>>

Ipostaze ale criticii literare

contemporane. Dileme i controverse
postdecembriste
Nicoleta IFRIM

Universitatea Dunrea de Jos, Galai, Facultatea de Litere

Dunarea de Jos University of Galati, Faculty of Letters
Str. Domneasc, nr. 47, Galai, 800008, Romnia
tel: + 40 336 130 200, fax: + 40 336 130 290, web: http://www.lit.ugal.ro
Personal e-mail: nicodasca@yahoo.com
On Contemporary Literary Critique. Post-December Dilemmas and Controversies

The issue of cultural identity and its forms of representation mirroring the relation between a specific national space
and its essential cultural patterns should be placed in the contemporary multicultural dynamics, which has stirred different
debates on coping with the identity through culture phenomenon. Within the contemporary critical discourse, the revisionist
quarrel stirred different attitudes when dealing with the literary identity theme: the criteria mixture, the vacillation
between the ethical/moral revise of collaborationist literature and the aesthetic re-consideration of the works belonging
to the communist age, between the breaking away with the founding mythologies legitimizing the literary adherence to
the political doctrine and the recovery of the valid narratives reflecting the fictional representation of World all these bi-polar
analytical views focus the debated issue of canon and its post-totalitarian metamorphosis in the nowadays literary revues.
Keywords: cultural identity, post-December critical discourse, criteria mixture, literary revues, critical dilemmas

Perioada postdecembrist romneasc este scena

unor puternice polemici orientate asupra chestiunii
identitii prin cultur, a modalitii prin care o literatur
marcat regional, periferic, poate depi limita
izolaionist impus propriului profil. Selecia valorilor,
mixajul criteriilor de identificare a modelelor interne
valide din punct de vedere estetic n spaiul euro-centric,
complexele periferiei i ale marginii toate sunt puncte
de interes ale debate-ului cultural contemporan.
Conflictul de idei i atitudini dintre conservatorii
aprtori ai unei identiti convertibile n modelele
literare deja aezate n canonul romnesc i
revizionitii adepi ai epurrii literaturii de marii
pactizani cu regimul comunist determin clivajul
ideologic al discursurilor contemporane dezbtnd
problema integrrii pro-europene a literaturii romne.
n opinia lui Paul Cernat, poate, cel mai regretabil
aspect al revizionismului cu pricina a fost
compromiterea unor restane obligatorii ale criticii i
istoriei literare (devoalarea i analiza critic a
colaboraionismului intelectual, a propagandei
anexioniste, a canonizrilor partinice, a falselor valori i
a compromisurilor maculante ale scriitorilor, cu
<<<

74

incidene n biografie i oper, recuperarea unor aspecte

tabuizate sau a unor valori marginalizate politic etc.),
prin stigmatizarea la grmad a creaiilor valide,
nlocuirea reevalurilor neconcesive, dar competente i
nuanate, cu delegitimri maximaliste n care justiiarismul
moral din oficiu ine loc de analiz.1 ntr-un astfel de
demers puternic marcat de obsesia totalitarist, care
suprapune nedifereniat criteriul etico-politic peste cel
estetic, efectele re-lecturilor susinute nu transcriu dect
complexul supra-dominant al epurrilor absolutiste,
ntr-un efect paradoxal de ricoeu fa de intenia critic
iniial.
ntr-o tipologie propus de Sorin Alexandrescu i
comentat de Solomon Marcus, dar nscut din
re-discutarea relaiei ipsit-mmet (Paul Ricur),
pseudo-imaginea identitar romneasc, aa cum este ea
proiectat n oglinzile deformatoare ale revizionitilor
insurgeni opernd cu criterii etice n discutarea
fenomenului literar din perioada totalitarist, nu
amendeaz, ci chiar promoveaz implicit cel de-al
patrulea tip de identitate mereu acelai, dar nu i
mereu el nsui (un tip de identitate pe care Sorin
Alexandrescu l vede ca rezultat al unui act violent,

conducnd la o imagine fals, tipic pentru societatea

comunist totalitar).2 n contra-replic, susintorii
unui model identitar romnesc prin cultur, sub
autoritatea ideologic a identitii ca alteritate,
pledeaz, n principalele reviste literare postdecembriste,
pentru elaborarea unui construct eclectic cultural
reprezentativ cu funcie de legitimare organizat pe mai
multe coordonate motivaionale, validate prin factorul
estetic, iniiind astfel un dialog intercultural al
romnitii cu spaiul european. Mai mult, adepii ideii
de cultur naional legitimatoare la nivelul inter-dialogal
european privesc dinamica diacronic a valorilor
culturale drept unica surs de elaborare a unui profil
identitar viabil, cci, aa cum afirma un teoretician
recunoscut al fenomenului, identitatea este, ntr-o larg
msur, motenire i memorie. Ea se sprijin pe valori
i simboluri i mituri fondatoare. Naiunile, precum
indivizii, cnd evoluia lor pare ameninat i primejduit
de anumite evenimente, caut n trecutul lor argumente
pentru a se liniti n ceea ce privete viitorul lor.3
Relaia cu alteritatea occidental presupune astfel, o
plonjare interioar n arealul paradigmatic naional
pentru selecia itemilor valorici reprezentativi, dublat
de perspectivarea acestora n spaiul de reflexie
european, cel de aderen cultural. Fenomenul este
explicabil prin diacronia socio-istoric i geografic a
Romniei, cci Cellalt este un personaj omniprezent
n imaginarul oricrei comuniti. Jocurile alteritii se
constituie ntr-o structur arhetipal. Sub acest raport,
romnii nu fac i nu au cum s fac excepie. Dou
trsturi caracteristice istoriei romneti au contribuit
ns la aezarea celuilalt ntr-o lumin specific: pe de-o
parte, reacia unei civilizaii rurale oarecum izolate i, pe
de alt parte, impactul, masiv i nentrerupt, al
stpnirilor i modelelor strine. Aciunea contradictorie
i complementar a acestor factori a condus la o sintez
cu note certe de originalitate.4 Contiina identitii,
asumat din ce n ce mai acut n peisajul romnesc
postdecembrist, punnd fa n fa zelatorii i
detractorii, mediaz poziii i polemici variate centrate
pe o aceeai idee recurent a fi i a rmne Romn
este marea tem a unei culturi care ntotdeauna a fost
nevoit s se gndeasc pe sine n termenii uneori
nguti ai supravieuirii. Acest mit al identitii a fost
permanent prioritar fa de orice alt problem cultural
sau ideologic. Singurul loc de integrare dorit era un loc
imposibil: romanitatea occidental.5
Idealul construirii unui profil identitar omogen al
romnitii culturale care s dea glas impulsului de
reprezentare a diferenei, ancorat ntr-o paradigm iconic
esenializnd factorii de specific ai unei culturi ieite de
sub opresiunea totalitarismelor, altfel spus imperativul
re-construirii interioare a unei oferte identitarculturale de impact n dinamica reprezentrilor
naional-colective din spaiul european genereaz, n
peisajul critic postdecembrist, o plaj larg de atitudini
i polemici contradictorii, polariznd dual selecia i

impunerea modelelor pivotale n negocierea imaginii

identitare a culturii romneti sud-est-europene.
Amprentat ideo-grafic n discursuri cu miz identitar
(in)validnd profilul pro-european al unei literaturi ieite
deja de sub uniformizarea canonic a totalitarismului,
recuperarea/re-activarea vocaiei analitice, acum
puternic conturat n paginile presei literare
postdecembriste sau n cele ale micro-ideologiilor de
autor, constituie o premis valid de re-aezare valoric
a unei literaturi care, depind momentul presiunii
ideologiei politizante, se gsete n postura de a-i
re-afirma o voce proprie, care s se fac auzit n
contextul dialogurilor inter-europene. Complexul
marginalitii, adeseori artificial invocat, selecia valorilor
literar-naionale i impunerea lor pe scena
inter-dialogului europenizant constituie reale provocri
ale elaborrii demersului identitar integraionist, dinamic
n esen prin micarea interioar a afirmrii/negrii
valorice. n acest context, dincolo de evidenta
europenitate geografic/politic, Ion Simu pledeaz
pentru elaborarea unui model cultural romnesc
competitiv, avnd n vedere c, n condiiile creterii
competenei globale, devin stringente alte nevoi sociale,
pe care cultura le poate asista, printr-o interogaie
reflexiv asupra propriilor valori. Literatura oglindete
impactul pe care schimbrile societii l au asupra unui
element mai puin vizibil: lumea interioar. Procesul de
integrare european are o evident componen de
uniformizare i, n consecin, tinde mai puin spre
ierarhizarea valorilor. Din aceast perspectiv,
formularea acquis-ului european, ca i implementarea
lui, s-au dovedit a fi prioriti fa de toate statele
membre sau n curs de integrare n UE. ntr-un atare
context, cultura se dorete s rmn excepia necesar,
att n sensul asigurrii unei evidente sublinieri naionale
n produsele contemporane, ct i a unei juste ierarhizri
a acestora. ntre distinciile necesare n concernul
valorilor culturale europene, cele legate de culturile
naionale ocup un loc primordial. Cultura romn i,
n principal, literatura romn contemporan, pot
reprezenta direciile de elit, fundamentale, pentru
definirea rolului i locului pe care Romnia l va avea n
cadrul Uniunii Europene.6
Cu toate acestea, melanjul criteriilor de identificare
a itemilor reprezentativi, oscilarea ntre asumarea
moral-eticist a unei literaturi non-pactizante i
impunerea unui necesar primat estetic al revizuirilor,
ntre demolarea mitologiilor ntemeietoare girnd
aderena colectiv a ficiunilor la mistificrile
politic-ideologizante i recuperarea unei scri de valori
conservnd funcia de reprezentare, de raportare la Lume a
miturilor naionale toate acestea traduc fenomene i
raportri ideo-grafice care au marcat viaa cultural
romneasc att nainte de integrare, ct i dup
momentul acceptrii n Europa din ianuarie 2007.
Eterna tranziie a proceselor critice care
permanentizeaz o stare de fapt conflictual, n esena
75 >>>

ei, se prelungete agonizant i post-integrare, polariznd

acut manifestrile critice ale anilor 2010-2012. Pentru
Eugen Simion, este o exprimare simptomatic a unei
anxieti sociale aflate ntr-o nesfrit cutare de
identitate, captiv n faza acestei interminabile,
zgomotoase i, n fapt, deprimante tranziii7, care
nlocuiete criteriul estetic printr-o agresiv,
inchizitorial revizuire a moralitii cuplului
autor-oper, un sindrom post-traumatic al criticii
postdecembriste cutnd cu fervoare inculpai i
trdtori ntr-un obsesiv ne revizuim, ne revizuim,
pn la apusul istoriei8
n alt ordine de idei, dezbaterile n jurul rolului
criticii legitimeaz fireasca disociere ntre cutarea
insistent a gradului de compromitere ideologic a
operei, un recurent i obsesiv reflex al criticii
proletcultiste fundamentaliste (Gabriel Dimisianu9)
care, postdecembrist, performeaz, n oglind, partitura
conformrii ficiunii literare la ficiunea doctrinar
supra-ordonatoare, i adevrata cutare a esteticitii
operei prin forjarea unor strategii, neangajate politic, ale
criticii estetice. Cu toate acestea, manifestrile
deviaioniste ale criticii supralicitnd, postdecembrist,
purgatoriul demascrilor pactizanilor sunt nc
vizibile, legitimnd autoritatea unor modele de
incontestabil pervertire a mesajului ficional. Este
cazul amplului interviu luat lui Gh.Grigurcu de ctre
Iulian Boldea n Vatra, nr. 3-4/2011, n care criticul
polemist re-definete destinul revizionist al criticii
contemporane, stigmatiznd definitiv profilul
oportunistului. Panoramarea trdtorilor acutizeaz
aceeai paradigm a criticului cuttor de pete din anii
anteriori momentului integrrii, inventariind
repetitiv-programatic colaboraionitii i de-mistificnd
falsele valori ale operei acestora. Angajarea
pro-comunist a lui G. Clinescu, Marin Preda,
scriitorul urcat conjunctural pe un platou de mare
altitudine prin producia sa pe teme urbane,
indenegabil mediocr, umflat cu pompa de o critic
jenant magnanim10, o contiin comunist,
promotor i beneficiar al vasalitii sale de partid,
ncredinat pn la finele vieii c spiritului agresiv ar
trebui s i se opun spiritul revoluionar11 sunt
argumentele-pivot ale ofensivei est-etice. n acelai
registru sunt portretizai Nichita Stnescu, lansat de
timpuriu pe o pant descendent a creaiei, capotnd n
inflaie, fctur abstractizant, indigest. ansa sa de
moment a reprezentat-o susinerea ce i s-a acordat din
dou direcii divergente, din cea a criticii tinere, dornice
de schimbare la ieirea din tunelul dogmatismului celui
mai tenebros i din cea a unei oficialiti perfide ce dorea
s-i adjudece un blazon al nnoirii ca un merit propriu,
dar i Petru Dumitriu care, alturi de Marin Preda i
Eugen Barbu, formeaz un trio de prozatori nzestrai,
dar corupi pe msur, slujitori plini de rvn ai
propagandei, ahtiai de funcii, arghirofili.12 Autorului
Cronicii de familie i a Drumului fr pulbere, compoziii
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76

pline de cinism, i sunt amendate necontenita sa

erpuire pe terenul opiunilor politice (vezi laudele aduse
lui Ion Iliescu), fixnd cazuistica exemplar a unui
scriitor cu activitatea devastat de oportunism.13
Aceste de-mistificri vitriolante reprezint, dup
Gh.Grigurcu, efectele normalizrii ntr-o literatur
care i recupereaz, est-etic, adevratele valori, cci
elul revizuirilor, s precizm iari i iari, nu e
demolarea, desfiinarea valorii, act imposibil, ci degajarea
ei de sub stratul de balast care s-a ntmplat s-o
desfigureze ori s-o ntrerup atunci cnd contiina
auctorial, n calitatea sa de demnitate, s-a sinucis.14
Cu toate acestea, paradoxal, miza revoltei criticului se
ndreapt acid asupra unei pri a criticii
postdecembriste creia i este imputat conservarea
unei stranii inhibiii. Nici azi nu e de bonton s scrii
neconvenional despre unele nume n vog, ce n ochii
unora constituie o rezervaie hrzit exclusiv aprobrii
totale, encomiului. nainte de 1989 (lsm la o parte
perioada cea mai rebarbativ, proletcultist), existau
civa autori cu o situaie analog. Statutul lor ambiguu,
de staruri ale realismului socialist celui mai vnjos i de
opozani de cafenea, ce nu puneau nici un moment n
chestiune legitimitatea comunismului i n ruptul capului
nu riscau a-i pierde privilegiile deinute fr ntrerupere,
nu era pus n discuie. E cazul unor Geo Bogza, Eugen
Jebeleanu, Marin Preda. Li se cuvenea doar o
prosternare, un buchet de elogii cu un odorat ameitor.
Acum, locul le-a fost luat de aa-ziii elititi, intelectuali
distini, cu aplombul unor directori de contiin.15
Ofensiva contra adepilor autonomiei estetice este
evident, critica de tip adoratio et imprecatio fiind ireversibil
asociat culpei instituirii unui canon, care, surprinztor
sau nu, rezist nc examenului analitic. Formula
rezistenei prin cultur este demontat fr drept de
apel printr-o logic exclusivist a recunoaterii
demoniei ideologice care reprim combativitatea
afiat, ct i pe cea ficionalizat, de ni. Unui
teoretician al iluziilor literaturii, rezistena prin
estetic i se pare o formul flatant, care rezult dintr-o
comprimare a etapelor i dintr-o imagine ofensiv, nu
prea onest, a raporturilor cu Puterea16; n
contra-replic, un contemporan ideolog al
mistificiunilor propune analiza celor dou
coordonate din perspectiva credibilizrii unei
autenticiti bipolare a existenei, manifeste prin diferite
grade de co-implicare reciproc Literatura i politica
sunt pn la urm cele dou fee ale participrii noastre
la viaa comun, una orientat spre realitate, spre
prezent, cealalt spre idealitate, spre virtual, spre viitor;
dar ele ne implic nu numai alternativ, ci i simultan, cel
puin n anumite perioade, i ntre ele exist o relaie,
obscur, greu de definit, dar evident.17 Mai mult,
Romnia literar gzduiete, n 2011, celebra reabilitare
a lui Sorin i Alexandru Toma, publicnd interviul
confesiune al lui Sorin Toma acordat lui Ilie Rad,
Articolul despre poezia lui Arghezi, l-am scris din nsrcinarea

conducerii superioare de partid, o pledoarie pentru

revizuirea unor nedreptii ai criticii
postdecembriste. Auto-culpabilizarea devine, i acum,
parte a mecanismului de re-credibilizare: Dac regret
acest articol, este nu numai pentru concepia estetic
fals pe care o promova i pentru rolul pe care l-a jucat
n sfera menionat, ci mai ales pentru viciul su
primordial, a zice congenital, i anume: era pus n slujba
unei linii politice generale false, care avea s duc la
dezastru. i astfel, momentul apariiei articolului,
evenimentele cu care mai mult sau mai puin a coincis,
ntregul lan de msuri luate ulterior n cele mai diverse
domenii toate acestea au fcut ca, n timp, articolul
s-i depeasc obiectivele iniiale: el s-a integrat
funcional n arsenalul ofensivei partidului pentru
instaurarea i consolidarea unui regim totalitar de tip
stalinist.18 Identitile interanjabile, rsturnarea relaiilor
individului cu Istoria i re-conversia ipostazelor
clu-victim devin puncte de atracie ale unei polemici
critice n care amestecul politicului de-formeaz miza
estetic a interpretrii, preocupate acum mai mult s
gseasc vinovai dect s pun n eviden structuri i
strategii ale imaginarului ficional, minimalizate de
excursul asupra moralei. De-legitimarea grilei estetice
genereaz implicit i rsturnarea raportului de rezonan
textcontext social, asociindu-i primului o facticitate
ncrcat de traume totalitariste care i restricioneaz
intrinsec sensurile n vederea denudrii unei
subversiviti ideologice semnificante. Suspectat de
ncheierea unui pact ruinos cu ideologia vremii,
scriitorului i se refuz definitiv opiunea salvrii prin
estetic, pus n criz de forjarea est-etic a
instrumentelor lecturii plednd pentru inautenticitatea
formulei non-militante, evazioniste a recluziunii
ntr-un univers, care odat amprentat de culpa
colaboraionist a autorului, nu se mai poate salva de
la deriziune, indiferent de codul de reprezentare, parabolic,
simbolic, aluziv-combatant, la care apeleaz. Memoria
post-traumatic, n cadrul practicii postdecembriste
de reconstrucie identitar, funcioneaz fie
restrictiv-anacronic, prin supralicitarea mitului
scriitorului-delator, fie proiectiv-democratic, prin
selectarea validant a scriiturilor rezistente prin estetic
care trebuie s fac fa asaltului inchizitorial. n acest
fel, fa de conflictualitatea moral circumscris a
revizionitilor, autonomitii apeleaz la ceea ce
Jean-Charles Szurek numea memorie democratic:
aceasta nu trebuie nici s nele asupra doliului (s
esenializeze crimele, s ia crimele drept o esen
interanjabil), nici s se lase copleit de cutrile
identitare (trecutul traumatizant acord sens viitorului
meu), nici s se preteze la intrigi politice (s utilizeze
trecutul ca instrument politic). Ea trebuie s cunoasc
i s neleag tragedia tuturor celorlali.19 Este
coordonata care tempereaz elanul vntorii de
oportuniti printr-un demers echilibrat cu sine nsui
i consecvent n aplicarea grilei estetice. Cu toate acestea,

n mod recurent, perioada anilor 2010-2012 este

marcat, n discursul cutnd vinovii morale, de o
aceeai schizoid suprapunere a ipostazelor scriitorului,
ca instan privat ce gestioneaz universul intrinsec al
ficiunii sale i cea de ipostaz civic-public, dosariada
continund i dup momentul integrrii din 2007, cnd
tensiunile revanarde ar fi trebuit, cel puin teoretic, s
se estompeze. Nicoleta Slcudeanu constat, ntr-un
articol publicat n 2011 n Cultura, c i acum persist
acelai fenomen, cu nimic mai agresiv n aciunea lui
demascatoare dect cel actualizat n primii ani de
libertate: O dat puritatea criteriului estetic fisurat,
interpretarea operei literare se va deschide imprudent
ctre ingerinele, extrem de turbulente, mai ales dup
cderea regimului comunist, ale politicului (). Se fac
epurri, excomunicri, deconspirri, simbolice desigur, iar
tonul nu este diferit de al celor ntlnite n presa cultural
i nu numai, din anii de nceput ai comunismului. Un
jdanovism pe dos, cu semn schimbat, n care tolerana
pare s se fi depreciat ireversibil. Intelectualitatea
romneasc, scriitorul romn, nu pare, la mai bine de
douzeci de ani de la cderea comunismului, dispus la
un dialog raional, de ordin cultural. S fie posibil
rinocerizarea i n condiii de libertate?20
n acest mod, procesele intentate maculailor
ideologici, combtnd rebours discursurile estetice
ntemeietoare din planul doi, trdeaz un
comportament patologic al aripii reformiste a criticii
post-revoluionare, intrate sub incidena unui mecanism
revanard al repolitizrii trecutului dar i prezentului
vieii literare21 ntr-un rzboi rece mereu i
oportun renclzit de ppuari din culise22: este o
manifestare maladiv fa de care reprezentanii criticii
tinere ncep s-i afirme coerent-stenic distana:
Cunoaterea trecutului totalitar are finalitate etic doar
n msura n care ne stimuleaz reflexele de aprare
critic mpotriva derapajelor autoritariste ale oricrei
Puteri i ne nva s nu repetm, azi, greeli pe care
aderenii sau supuii regimurilor totalitare le-au comis.
Altfel, relevana rmne pur cognitiv i manipulabil
propagandistic. () N-ar trebui folosite mizeriile istoriei
recente pentru a valida interese i agende ideologice
actuale, depreciind tacit opere valabile. Cei care
procedeaz astfel nu fac dect s caute api ispitori n
trecut un trecut instrumentabil pentru falimente din
prezent, i s transforme, lucrativ, n simulacre
profitabile cauzele nobile prin care se legitimeaz.23
Pledoaria pentru o critic non-partizan legitimatoare,
care s nu mai opereze maniheist cu supra-tipologiile
evazionitilor tolerai i a colaboraionitilor
maculai actualiznd n egal msur scenarii
mistificatoare iluzorii, recunoscute sau nu prin
auto-denunuri publice24, devine miza prezentei
panoramri a discursului critic postdecembrist
nregistrnd diferitele metamorfoze ale unei critici
post-comuniste n aciunea sa de a reconstrui o just
gril de valori cu funcie de reprezentare identitar.
77 >>>

Note:

1. Paul Cernat, Iluziile revizionismului est-etic (I), n Observatorul

cultural, nr. 539/august 2010, articol disponibil la adresa
http://www.observatorcultural.ro/Iluziile-revizionismului-e
st-etic-(I)*articleID_24183 articles_details.html, accesat la 6
septembrie 2012.
2. Solomon Marcus, Sorin Alexandrescu n oglinda Occidentului,
n Observatorul cultural, nr. 126/iulie 2002, articol disponibil
la
adresa
http://www.observatorcultural.ro/Sorin
-Alexandrescu-in-oglinda-Occidentului* articleID_3684articles_details.html, accesat la 12 august 2012. Autorul
articolului gloseaz pe marginea tipologiei identitii propuse
de Sorin Alexandrescu: Sorin propune o tipologie a
identitii, alctuit din patru posibile variante de nelegere
a acesteia: a) mereu el nsui i mereu acelai (identitatea
ideal, o utopie pozitiv, romantic); b) nici el nsui, nici
acelai (pierderea total a identitii, o utopie negativ, o
negare anarhic i sinuciga a oricrei valori proprii); c)
mereu el nsui, dar nu mereu acelai (cu trsturi generale
de continuitate la un nivel superior, dar cu discontinuiti i
rupturi la un nivel inferior, ceea ce el numete o analiz
pluralist, o imagine de sine nuanat, lucid afectuoas); d)
mereu acelai, dar nu i mereu el nsui (un tip de identitate
pe care Sorin Alexandrescu l vede ca rezultat al unui act
violent, conducnd la o imagine fals, tipic pentru
societatea comunist totalitar). Chiar din modul n care sunt
descrise este clar c Sorin Alexandrescu opteaz pentru cel
de al treilea tip, singurul rezonabil.
3. Edmond Marc Lipiansky, apud Stelua Chefani-Ptracu,
Vasile Alecsandri i identitatea naional romneasc, n vol.
Identiti colective i identitate naional. Percepii asupra alteritii
n lumea medieval i modern, Ed. Universitii din Bucureti,
2000, p. 4.
4. Lucian Boia, Romnii i Ceilali. Istorie i mit n contiina
romneasc, Bucureti, Ed.Humanitas, 1997, p. 177-223
5. Sorin Alexandrescu, Le paradoxe roumain, n vol.
Identitate/alteritate n spaiul cultural romnesc, editor Al. Zub,
Iai, Ed.Universitii Alexandru Ioan Cuza, 1996, p. 11-20.
6. Ion Simu, Argument n Valenele europene ale literaturii romne
contemporane, Ed.Universitii din Oradea, 2007, p. 8-9.
7. Eugen Simion, Fragmente critice vol.6, Bucureti, Fundaia
Naional pentru Literatur i Art, 2010, p. 2.
8. Ibidem.
9. Gabriel Dimisianu, Starea criticii (I, II), n Ramuri, nr.
4-5/2011, articole disponibile la adresele http://
revistaramuri.ro/index.php?id=1488&editie=58&autor=de
%20Gabriel%20Dimisianu http://revistaramuri.ro/index.
php?id=1523&editie=59&autor=de%20Gabriel%20Dimisi
anu, accesate la 25 august 2012.
10. Vatra-dialog cu Gheorghe Grigurcu: N-a putea consimi la ideea
unei dispariii a criticii, nr. 3-4/2011, p. 22, articol disponibil
la adresa http://www.revistavatra.ro/pdf/vatra_3_4-2011.
pdf, accesat la 3 septembrie 2012.
11. Ibidem., p. 23.
12. Ibidem.
13. Ibidem.
14. Ibidem., p. 22. n viziunea criticului, termenul est-etic
are meritul de-a nfia n alctuirea sa consubstanierea
dintre etic i estetic, factori ce n-ar putea fi disociai n
reconstituirea, analiza i sancionarea epocii comuniste
strbtute de rile captive din Estul continentului nostru.
<<<

78

Ruvoitorii, cei ce vor s disimuleze ceva din trecutul lor, l

persifleaz. ncearc a-l reduce abuziv la prima sa
component spre a-l amalgama cu moralizarea, firete
exterioar, firete inadecvat interpretrii intrinseci a creaiei
artistice. Dar nu de moralizare e vorba, ci de recunoaterea
valorii estetice, de attea ori nesocotite, sfidate, trte n
imundul tendenionism ideologic. Nu ne referim la conduita
extraestetic-existenial a scriitorilor, nu avem n vedere
bunoar adeziunea la o formaiune politic, participarea la
o edin, relaiile personale cu nomenclaturitii etc., ci la
text. La pcatul prin text. Punctul de vedere est-etic e un soi
de curire chimic. ntr-nsa intr o sumedenie de veminte
murdare, cteodat de lux, din care unele se destram i se
arunc n pubele, altele rmn n starea n care-i pot gsi
locul n garderoba care este partea vie a istoriei literare. Un
deziderat de la care criticul abdic n chiar sentinele
propuse. Unui Petru Dumitriu, ca s ne referim doar la o
inadecvare, i se imput vehement opiunea sa
pro-iliescian. i atunci, ntrebm retoric, unde e referina la
text?!
15. Ibidem., p. 22.
16. Eugen Negrici, Interviu de Cornelia Maria Savu: Care
slug nu a visat s mbrace mcar o dat cmaa de zale a stpnului,
n Cultura, nr. 54/2011, articol disponibil la adresa
http://revistacultura.ro/nou/2011/12/eugen-negrici-%E2
%80%93-70/, accesat la 16 septembrie 2012.
17. Mircea Anghelescu apud George Neagoe, Tranzacii
universitare. Mircea Anghelescu (ed.) Literatura i politicul,
n Cultura, nr. 322/5 mai 2011, articol disponibil la adresa
http://revistacultura.ro/nou/2011/05/tranzactii-universitar
e/, accesat la 16 august 2012.
18. Articolul despre poezia lui Arghezi, l-am scris din nsrcinarea
conducerii superioare de partid Sorin Toma interviu de Ilie
Rad, n Romnia literar, nr. 41/2011, articol disponibil la
adresa http://www.romlit.ro/sorin_toma_redactor-ef_al
_scnteii_ntre_1947 1960_articolul_despre_poezia_lui_
arghezi_l-am_scris_din_nsrcinarea_conducerii_superioare_
de_partid, accesat la 3 septembrie 2012/.
19. Apud Florin Abraham, Rezisten, Gulag, Holocaust
i construirea memoriei democratice dup 1989, n Caietele Echinox,
nr. 13/2007, articol disponibil la adresa http://www.
phantasma.ro/en/caiete.html, accesat la 4 septembrie 2012.
20. Nicoleta Slcudeanu, A cincea posteritate a lui E.Lovinescu,
n Cultura, nr. 54/2011, articol disponibil la adresa
http://revistacultura.ro/nou/2011/07/a-cincea-posteritatea-lui-e-lovinescu/, accesat la 3 septembrie 2012.
21. Paul Cernat, Deconspirarea scriitorilor, mod de ntrebuinare
(II), n Observatorul cultural, nr. 575/mai 2011, articol
disponibil
la
adresa
http://www.observatorcultural.ro/Deconspirarea-scriitorilo
r-mod-de-intrebuintare-(II)*articleID_25346-articles_details
.html, accesat la 2 septembrie 2011.
22. Ibidem.
23. Ibidem.
24. A se vedea n acest sens cazurile colaboratorilor cu
securitatea Ioan Groan, Nicolae Breban sau
auto-denunul public al lui Ioan Es.Pop din nr. 16/2011 al
Romniei literare De acum ncolo te vei numi Marton.

Bibliography:
Abraham, Florin. Rezisten, Gulag, Holocaust i
construirea memoriei democratice dup 1989 [Resistence,
Gulag and Holocaust and the Reconstruction of the
Democratic Memory after 1989]. n Caietele Echinox, nr.
13/2007, articol disponibil la adresa http://
www.phantasma.ro/en/caiete.html, accesat la 4
septembrie 2012.
Alexandrescu, Sorin. Le paradoxe roumain. n vol.
Identitate/alteritate n spaiul cultural romnesc
[Identity/Alterity in the Romanian Cultural Space], editor
Al. Zub, Ed.Universitii Alexandru Ioan Cuza,
Iai, 1996.
Boia, Lucian. Romnii i Ceilali. Istorie i mit n contiina
romneasc [The Romanians and the Others. History and
Myth in the Romanian Collective Mentality], Ed.
Humanitas, Bucureti, 1997.
Cernat, Paul. Iluziile revizionismului est-etic (I) [The Illusions
of the East-Ethic Revisionism]. n Observatorul cultural,
nr. 539/august 2010, articol disponibil la adresa
http://www.observatorcultural.ro/Iluziile-revizionis
mului-est-etic-(I)*articleID_24183-articles_details.ht
ml, accesat la 6 septembrie 2012.
Cernat, Paul. Deconspirarea scriitorilor, mod de ntrebuinare
(II) [Bringing the Writers into the Open How to use]. n
Observatorul cultural, nr. 575/mai 2011, articol
disponibil la adresa http://www.observatorcultural
.ro/Deconspirarea-scriitorilor-mod-de-intrebuintare(II)*articleID_25346-articles_details.html, accesat la
2 septembrie 2011.
Chefani-Ptracu, Stelua. Vasile Alecsandri i identitatea
naional romneasc [Vasile Alecsandri and the Romanian
National Identity]. n vol. Identiti colective i identitate
naional. Percepii asupra alteritii n lumea medieval i
modern [Collective Identities and National Identity.
Approaches on Otherness in the Medieval and Modern
World], Ed. Universitii din Bucureti, 2000.
Dimisianu, Gabriel. Starea criticii (I, II) [The State of
Critique]. n Ramuri, nr. 4-5/2011, articole disponibile
la adresele http://revistaramuri.ro/index.php?id=
1488&editie=58&autor=de%20Gabriel%20Dimisia
nu, http://revistaramuri.ro/index.php?id=1523
&editie=59&autor=de%20Gabriel%20Dimisianu,
accesate la 25 august 2012.
Marcus, Solomon. Sorin Alexandrescu n oglinda Occidentului
[Sorin Alexandrescu Face to Face to the West]. n
Observatorul cultural, nr. 126/iulie 2002, articol
disponibil la adresa http://www.observatorcultural
.ro/Sorin-Alexandrescu-in-oglinda-Occidentului*arti
cleID_3684-articles_details.html, accesat la 12 august
2012.
Neagoe, George. Tranzacii universitare. Mircea Anghelescu
(ed.) Literatura i politicul [Academic Negotiations. Mircea
Anghelescu (ed.) Literature and Politics]. n Cultura, nr.
322/5 mai 2011, articol disponibil la adresa

http://revistacultura.ro/nou/2011/05/tranzactii
-universitare/, accesat la 16 august 2012.
Negrici, Eugen. Interviu de Cornelia Maria Savu: Care
slug nu a visat s mbrace mcar o dat cmaa de zale a
stpnului [Is There one Slave who has ever not Dreamt of
Getting Dressed with his Masters Ironed Clothes?]. n
Cultura, nr. 54/2011, articol disponibil la adresa
http://revistacultura.ro/nou/2011/12/eugen-negric
i-%E2%80%93-70/, accesat la 16 septembrie 2012.
Slcudeanu, Nicoleta. A cincea posteritate a lui E.Lovinescu
[Eugen Lovinescus Fifth Posterity]. n Cultura, nr.
54/2011, articol disponibil la adresa http://
revistacultura.ro/nou/2011/07/a-cincea-posteritatea-lui-e-lovinescu/, accesat la 3 septembrie 2012.
Simion, Eugen. Fragmente critice [Critical Fragments] vol.6,
Fundaia Naional pentru Literatur i Art,
Bucureti, 2010.
Simu, Ion. Argument [Prologue]. n Valenele europene ale
literaturii romne contemporane [The European Values of
the Contemporary Romanian Literature , Ed.Universitii
din Oradea, 2007.
Toma, Sorin. Interviu de Ilie Rad: Articolul despre poezia
lui Arghezi, l-am scris din nsrcinarea conducerii superioare
de partid [I Have Written the Article about Arghezis Poetry
at the Commandment of the Party]. n Romnia literar, nr.
41/2011, articol disponibil la adresa http://
www.romlit.ro/sorin_toma_redactor-ef_al_scnteii_n
tre_1947 1960_articolul_despre_poezia_lui_arghezi_
l-am_scris_din_nsrcinarea_conducerii_superioare_d
e_partid, accesat la 3 septembrie 2012/.
Vatra-dialog cu Gheorghe Grigurcu: N-a putea consimi la
ideea unei dispariii a criticii [I Could not Approve the
Death of Critics], nr. 3-4/2011, articol disponibil la
adresa http://www.revistavatra.ro/pdf/vatra_ 3_42011.pdf, accesat la 3 septembrie 2012.

This paper is supported by the Sectorial Operational

Programme Human Resources Development (SOP
HRD), financed from the European Social Fund and
by the Romanian Government under the contract
number SOP HRD/89/1.5/S/59758
79 >>>

Impactul psihologic al exilului

asupra creativitii
artistului
Briscan Zara CIOCRLEA

Universitatea Al. I. Cuza, Iai, coala Doctoral de Studii Filologice

Al. I. Cuza University of Iai, Doctoral School of Philological Studies

B-dul Carol I, Nr. 11, RO-700506 - Iai; Romnia

tel.: +40 (232) 201052; 201053; fax: +40 (232) 201152; http://www.uaic.ro/uaic/bin/view/Academic/Litere
Personal e-mail: briscanzara@yahoo.com
The psychological impact of exile on artistic creativity

Exile is an overwhelming event in the life of any person. Its influence is mainly at the psychic level, as it generates
changes in all the aspects of the individuals life (behaviour, language, identity, cultural manifestation, etc.) In order to adapt
to the new environment, the exiled person must exhaust this negative energy disturbing his existence. The artist is by
definition a person searching for katharsis and liberation; the exiled artist will be even more involved in approaching this
goals. The present study observes the manner in which the creative process and the psychic manifestations of the artist
are influenced by exile.

Keywords: exile, literature of exile, exiled artist, psychological impact, creativity, adaptation.

ste binecunoscut tendina ignorrii

aproape complete a locurilor sau fiinelor
care fac parte din viaa noastr de zi cu
zi, cele care ne sunt aproape, atta vreme ct sunt la
ndemn, ct avem contiina c le putem accesa n
orice moment dorim, dei nu o facem. Aceast reacie,
ntructva fireasc, a memoriei de a lsa deoparte
lucrurile uor accesibile i a le aduce n prim- plan doar
pe cele greu de atins ori perceput, este echivalent n
mare msur cu un soi de uitare, de orbire. n filosofia
indian aceast ignoran este asociat cu o vraj, un
blestem aruncat asupra fiinei umane de ctre Natur
(Durga) (Eliade 1963: 115). Amnezia de zi cu zi a
omului este asemnat cu moartea i invers.
ntorcndu-se ctre materie i arznd din dorina de a
experimenta existena corporeal (128), sufletul i uit
identitatea, el uit locaia lui originar, adevratul lui
centru, fiina etern (ibidem). Din aceast cauz
deteptarea sau anamneza devine o condiie
obligatorie pentru desvrirea spiritului, n final pentru
atingerea unui soi de imortalitate, cel puin spiritual.
Cderea n plasa ignoranei sau, aa cum afirma
Eliade, cderea spiritului n cercul existenei (115)
duce fr doar i poate la o pierdere a Sinelui
contient i implicit la o ratare a sentimentului libertii,
pe plan spiritual, a izbvirii (Nirvana). Eliberarea din
<<<

80

captivitatea amneziei provocat de imersiunea n Via

(118) devine astfel o misiune a oricrui individ care
dorete s se regseasc pe sine i s devin o entitate
contient de lumea care o nconjoar.

Uitarea este un fenomen att de frustrant i tenebros

nct este deseori asociat cu captivitatea, nchiderea
ntr-o camer ntunecat, moartea i, n mod logic,
reamintirea sau anamneza este vzut ca o readucere la
via, o revigorare. Poetul, individ aparte, posesor de har
i inspirat de Muze, are acces la memoria primordial i
astfel la realitile originare care se manifestau n
timpurile mitice ale nceputului i constituie fundaia
acestei lumi (120) i care, datorit faptului c au aprut
ab origine, nu mai sunt perceptibile n experiena
actual. Din acest motiv comparaia fcut de J. P.
Vernant dintre inspiraia poetului i evocarea unei
persoane din lumea de dincolo este uor de neles.
Poetul ncearc s uneasc fragmentele izolate
(nenumrate rencarnri), aparent fr legtur ntre ele
i s formeze un singur model cu un singur neles. El
ncearc practic s mpreuneze nceputul cu sfritul
(121) fiind mesagerul care deteapt omul adormit
i i aduce att via, ct i mntuire. Devenind astfel
contient de adevrata sa natur, omul amnezic se
trezete.

Dar cum reuete poetul nsui, scriitorul n genere,

s scape, s evite sau s nving uitarea, orbirea aceasta
casnic? Prin ndeprtare de tot ce este familiar, de
lumea cunoscut lui, prin desprinderea de cas,
printr-un soi de alienare. Aceast aparent simpl
deplasare n spaiu are dintre cele mai interesante
consecine pe plan fizic, dar mai ales pe cel psihic.
Odat ndeprtat de teritoriul natal, familiar lui,
omul devine n prim faz o prad uoar dezorientrii,
nesiguranei, lipsei echilibrului spiritual i n consecin
nostalgiei, dorinei de ntoarcere n inutul siguranei,
acolo unde aproape totul era unde trebuia s fie i unde
era uor de gsit. n astfel de situaie, lucrurile mici,
uor de trecut cu vederea, la ndemn sau ignorate, de
care pomeneam la nceput, capt brusc o importan
uria, dezgolind dintrodat un ntreg univers care pn
atunci fusese aruncat n umbr i care devine inta
principal a interesului nstrinatului.

Nostalgia declaneaz la rndul ei o criz care se

manifest pe patru planuri ale structurii individului
deteptat, recuperat, n cazul nostru, exilat: timp,
spaiu, limb, cultur i identitate. Fiecare dintre
aceste componente creeaz o tensiune dialectal care
este cu greu sau deloc rezolvat i cu care individul se
lupt ntreaga sa via dndu-i senzaia de suferin
perpetu, asemnat deseori cu chinurile Purgatoriului.
Departe de familie i prieteni, trind deodat ntr-un
mediu necunoscut, el se afl ntr-o situaie confuz,
dificil sau imposibil de neles. El suport un oc care i
afecteaz att nivelul contient, ct mai ales cel
incontient, situaie din care singura posibilitate de ieire
este adaptarea. Dac reuete s duc la bun sfrit i
acest proces deosebit de complex i s-i restabileasc
ordinea interioar i exterioar, se afl n situaia fie a
unei adaptri conforme la noua societate, fie, paradoxal,
ntr-o stare de saietate general care poate crea senzaia
de neadaptare la nivel global (niciun loc nu mai poate fi
acas).

Ajungem n acest punct la o dilem: att uitarea

(amnezia), ct i (re)amintirea (anamneza) sunt asociate
cu moartea, cu (non)existena de dincolo de via. Prima
pentru c face ca individul s se distaneze de
primordial, de adevrul i realitatea suprem,
scufundndu-se n traiul imediat i efectiv doar a ceea
ce este prezent, apropiat, a doua pentru c amintirea
propriu-zis devine un chin, o zbatere continu, o lips
a linitii i a mpcrii. Deci, ce poate fi mai temeinic
asociat cu moartea: amnezia sau anamneza? n cazul
studiului nostru, exilul, care e o ndeprtare de viaa
normal, de viaa tiut, familiar, este moarte sau via?
Condiia exilatului este i va fi mereu o ntrebare fr
rspuns, n aceasta const de fapt fascinaia ei, precum
i nelinitea creativ ce o genereaz. Chinurile groaznice
i n acelai timp bucuriile i satisfaciile aduse de
rememorarea trecutului reprezint fora creatoare a

exilatului, cea care l propulseaz dincolo de orice limit

a unui btina rmas acas. Exilul este la nivel psihic o
stare de bulversare absolut. El produce n cel care l
triete un sentiment de nlare i de scufundare, de
libertate, dar i de nctuare, o stare i o condiie
paradoxale. Acest paradox, aceast nelinite dureaz
atta vreme ct dureaz tensiunea cauzat de corzile
ntinse ntre locul de origine i locul exilului (Saha 188)
ce trag n direcii opuse. Vocea migrantului va ncerca
s descrie, nu att pentru alii, ct mai ales pentru el
nsui, ce nseamn a simi ca un strin i totui ca acas,
a vorbi cel puin dou limbi simultan sau niciuna, a tri
n acelai timp nuntrul i n afara situaiei imediate, a
fi continuu pe fug, a gndi mereu la rentoarcere, dar a
realiza imposibilitatea de a o face, din moment ce nu
este vorba doar despre o alt ar, un alt spaiu, ci despre
un alt timp, n afara prezentului.

n condiiile descrise, creaia, munca devin singurul

mod, singurul instrument, tratament prin care exilatul
poate scpa de ncordare, de angoasa anamnezei,
vindecarea nefiind niciodat garantat. Cel deteptat,
poetul n cazul nostru, simte nevoia de a scrie, de a
aterne pe hrtie tot ceea ce cndva a fost uitat, trecut
cu vederea i a face un soi de istoriografie a vieilor
trecute. Herodot nsui mrturisete c a scris pentru ca
faptele oamenilor s nu fie pierdute n trecerea timpului.
Autorii celor mai vechi scrieri istorice din Israel spun c
au recurs la scris pentru a dovedi existena unui plan
divin i intervenia Zeului Suprem n viaa oamenilor
(Eliade 1963: 125). Scriitorul englez de origine japonez
Kazuo Ishiguro atinge i el aceeai idee legat de
anamnez: momentul din viaa noastr n care ieim
din bula protectoare a copilriei i descoperim c lumea
nu este acel loc confortabil aa cum am fost nvai s
credem c este Chiar i atunci cnd devenim aduli,
ceva din acea dezamgire nc mai rmne (Ishiguro
336) i explic pornirea lui de a scrie prin ncercarea de
a reconstrui ceea ce a fost pierdut, uitat. Nostalgia, n
opinia sa, este motorul principal declanator al
anamnezei: nu este nimic ru cu nostalgia. Este
echivalentul idealismului. Foloseti memoria pentru a te
ntoarce la un loc mai bun dect cel n care te gseti la
un moment dat. ncerc s dau nostalgiei un nume mai
bun (Vorda 154). Desigur c multe lucruri, amnunte
sunt i vor fi pe vecie uitate, dar e cert c practic totul
este reconstruit.

Exilul reprezint pentru un scriitor o nefericire i

totodat o oportunitate fericit, o ruptur grav n
destinul lui i o nou ans n carier, o pierdere a
inocenei i fericirii ignorante din patrie i n acelai timp
o descoperire a unei lumi noi, vaste i complexe; e o
desprire de principalul mod de exprimare dobndit,
limba matern, dar o revelaie contient a unei limbi
noi. Exilaii nii ai tuturor timpurilor au afirmat despre
ei ori despre exil opinii dintre cele mai contradictorii:
81 >>>

spre exemplu, Publilius Syrus afirma n primul secol

I.C.: Exilatul a crui cas nu este nicieri este mort fr
a fi ngropat1. Ovidiu, care a introdus i a devenit
modelul, norma artistului dezrdcinat pentru secolele
ce vor urma, a tras aceeai concluzie tranant: exilul
este moarte (Lal 110). Pentru acetia, o persoan
alungat din inutul natal era asemnat cu una alungat
din via, sortit la rtcire perpetu, la cutarea
rdcinilor, la migrare.
S-a ajuns att de departe nct actul propriu-zis de
prsire a patriei s devin un ritual mortuar. Priveghiul
american din tradiia irlandez este cea mai bun
ilustrare a acestei perspective. Obiceiul amintit i
practicat ani la rnd n diferite localiti irlandeze, surse
de emigrani n special ctre Noul Continent, era o
petrecere de rmas bun din noaptea dinaintea despririi,
plin de simbolism, asemntoare n mare parte prin
manifestare i simire cu priveghiul de nmormntare,
simboliznd enormitatea i finalitatea plecrii. Irlanda a
avut n ultimul secol cea mai mic rat de ntoarcere a
emigranilor din ntreaga Europ, astfel c n cele mai
multe cazuri plecarea era vzut ca definitiv. Cel care
pleca i lua rmas bun de la toi din comunitatea
respectiv ncheindu-i ntr-un fel socotelile definitiv cu
locurile natale i oamenii apropiai de acolo: n seara
dinaintea despririi oamenii din mprejurimi se
ntlneau n casa mortuar a viitorului defunct cei
mai btrni stteau pn la 10 noaptea, dup ei venind
cei tineri. Se petrecea cu butur i dans pn dimineaa.
Mortul era bocit de trei ori n timpul nopii. ntreaga
adunare l nsoea cteva mile n cltorie, apoi cei rmai
ateptau n picioare pn ce migrantul disprea din
vedere (MacGabhann 49)2. De aici o mulime de
termeni i expresii din limbajul i folclorul popular: a
pleca cu barca, a traversa apa etc.

Pe de alt parte, muli artiti, ndeosebi din perioada

modern sau postmodern, apreciau beneficiile venite
odat cu prsirea trmului natal i chiar obligativitatea
acestui demers existenial pentru desvrirea individului
ca artist sau om n general. Pentru acetia a fi exilat
nsemna a fi viu (Lamming 24). Cea mai bun ilustrare
a acestui lucru este reprezentat dup prerea noastr
de autoexilai, acei indivizi care fie au o structur
intrinsec ce se preteaz congenital, am putea spune, la
exilare, fie devin astfel dup ndelungi dezamgiri legate
de pmntul i mediul cultural, social ori politic natal.
n acest caz, plecarea nu mai este vzut ca o desprire
dureroas, ci mai degrab ca o mare uurare, o eliberare
de constrngeri: sinele nfrnt are doar dou opiuni
rmase pentru a vindeca rnile provocate de aceast
nfrngere: suicidul sau emigrarea (Friggieri i Massa)3.
i n acest caz ntoarcerea este pus sub semnul
imposibilitii, improbabilitii.

i, n sfrit, o alt categorie de exilai cuprinde pe

aceia care descriu starea de nstrinare mai mult sau

<<<

82

mai puin forat fa de trmul natal drept una

intermediar, avnd att nsuiri pozitive, eliberatoare,
ct i negative; pe aceast idee Joseph Brodsky constata:
dac cineva ar trebui s desemneze vieii unui scriitor
exilat un gen, ar trebui s fie tragicomedie (Brodsky
apud Ugrei 10).
Confruntarea i dialogul cu ceea ce este strin, nou
din timpul exilului l face pe subiect s dezvolte o
contiin i o valorizare a rii de origine. nstrinarea
capt astfel o dubl conotaie, una de existen n afara
spaiului originar, cealalt de incitare, provocare din
partea noii realiti. Amndou duc la o cunoatere
diferit i superioar a lumii. Exilatul trece printr-o faz
iniial de suferin i remucri, urmat de una de
transculturalizare i o a treia de revenire la echilibrul
apropiat de cel iniial, dar niciodat identic, sau
dimpotriv de iluzii nesfrite i ntrebri rmase mereu
fr un rspuns.

Ceea ce face i mai dificil ntreaga situaie a unui

om nstrinat de ara sa este c exilul se manifest ca un
fel de boal cronic incurabil care, odat contractat,
are o mulime de simptome. Vindecarea, recuperarea
complet sunt imposibile, orice s-ar ntmpla. Nici
mcar ntoarcerea n locul natal, din care s-a plecat iniial
nu este o soluie. Migranii care o fac afl c, odat ajuni
n patria mult rvnit, dup muli ani de lips, se simt
nc/tot ca ntr-o ar strin pentru c aceasta este
diferit fa de cea din memoria lor. Avem, de pild,
cazul exilailor chilieni care s-au ntors acas din Marea
Britanie, doar pentru a reveni n scurt vreme napoi n
aceast ar, simind c cea natal s-a schimbat dincolo
de ateptri. Ei au trebuit s se adapteze nc o dat nu
att la noul spaiu, ci mai ales la noua perspectiv,
mprosptat, despre vechea lor patrie. De aici deducem
clar c cei mai grei ani din viaa unui exilat sunt primul
din exil i, eventual, dac aceasta are loc, primul dup
ntoarcerea n ara natal.
Sentimentul de vin joac i el un rol important n
acumularea tensiunii din exil. Muli se simt vinovai
pentru c au prsit ara n loc s participe la lupta
mpotriva nedreptilor. Culpa intensific i mai mult
ataamentul fa de acel loc. Ei se concentreaz mai mult
pe ceea ce se ntmpl acolo, departe, n urm, uneori
cu preul ratrii cerinelor pentru adaptarea la noul
teritoriu. Participarea la micrile de solidaritate este de
multe ori mai important n exil dect nvarea limbii
din ara adoptiv sau urmarea unei cariere ori integrarea
mai bun n noua societate. Toi aceti factori ntrzie
adaptarea la noua cultur. Exilatul se simte ca un
trdtor, vznd nsi traducerea n noua limb a
expresiilor culturale native ca pe o trdare a neamului i
sinelui. Din acest punct de vedere, artistul cu att mai
mult percepe arta sa, inspirat din trecutul glorios, ca pe
un act de nelare i abandonare, defamiliarizare,
nstrinare. El simte c ,,i vinde patria lumii ntregi
pentru bani sau recunoatere.

Nevoia stringent de catharsis, de eliberare din

ncordarea strintii, duce la cele mai diverse soluii,
de la droguri, abandonul n snul viciilor, sporturi
extreme, hobby-uri de tot felul, pn la abordarea i
exploatarea laturii artistice a individului, la exprimarea
durerii sau sentimentului incertitudinii tipic exilatului
printr-o expresie artistic. n aceasta const de fapt
libertatea, eliberarea pe care o aduce exilul, in
posibilitatea de exprimare fr niciun fel de ngrdiri a
pornirilor intrinseci, pn atunci latente, creative sau
distructive din interiorul individului eliberat de
ncorsetrile obinuinelor diurne, obiceiurilor
plafonante, platitudinilor sau oricror constrngeri de
natur cultural din societatea de batin pe care
individul le-a acceptat prin natere, obinuin sau din
nevoie. Orice text creativ scris n timpul exilului este de
fapt o nregistrare pe suport solid, izolare a aspectelor
exilului pentru c prin scris un scriitor le exileaz din
sine nsui interzicndu-le s se mai ntoarc i le
condamn la hoinrire etern (Albahari 9).

O alt modalitate de a dobndi starea de catharsis

pentru cei plecai din ara natal este excelarea n munc.
Nu este o coinciden faptul c scriitorii exilai produc
mai mult dect cei neexilai ca i cum atmosfera
schimbat acioneaz ca un stimulent pentru ei.
Individul dislocat, solicitat activ de aproape toate
elementele nconjurtoare se afl ntr-o stare
permanent de ncordare, de concentrare, tinde s
lucreze mai mult n ara strin dect n cea de batin.
Este o reacie fireasc la dorina de a izbndi, de a depi
obstacolele ivite n adaptare. i chiar dac de multe ori
calitatea nu este dintre cele mai bune, cantitatea permite
n timp s apar i calitatea dorit. Aflat n strintate,
el se gsete n afara centrului ordinii stabilite, fr
repere clare impuse de cineva sau ceva i trebuie s-i
creeze propriile structuri de sens, situaie care cere un
efort n plus, munc n plus. El se afl n situaia unei
paralizii intime (Ortega y Gasset 425) nu neaprat din
motive de nostalgie fa de patrie, ci pentru faptul c se
gsete n prim faz ntr-o inactivitate iremediabil
(ibidem), pe o poziie de pasivitate impus de
necunoaterea mediului, a activitilor fireti, de zi cu zi
ale locului. El compenseaz aceast necunoatere cu un
efort n plus i se simte din aceast cauz ca i cum viaa
lui ar fi suspendat, ntr-o pauz indefinit, precum o
umbr (exsul umbra - exilatul e o umbr, spuneau
romanii); el nu poate interveni n politic, n dinamica
social, n speranele i entuziasmul rii strine (ibidem),
munca crud i crunt, chiar fizic n mare msur, fiind
singurul factor eliberator.
Principiul major aflat la baza tuturor reaciilor
exilatului este restaurarea lumii copilului (Couldrey i
Morris 4), iar piatra de temelie a acesteia este nevoia
copilului, a omuli in general, de a se juca. Tocmai de
aceea, de pild, se explic importana artei, a creaiei n
tratamentul psihosocial i protecia acordat copiilor

dislocai, cei care au nevoie de intervenii

psihoterapeutice sau doar de reabilitare social i
educaional, a celor traumatizai, ndeprtai de familia
lor, de locul natal. Acetia simt la nceput o lips de
ajustare psihologic exprimat n reinerea de a se adapta
la noul mediu social, dificulti speciale n nvarea
limbii rii i deseori o hipersensibilitate critic ce
respinge modelele vieii existente n cultura societii
gazd.
Nevoia de creaie a adultului, nevoia de art se
conformeaz acelorai reguli. Mircea Eliade, de
exemplu, explic importana creaiei ca fiind un
rspuns pe care cineva l poate da sorii, teroarei istoriei
(Eliade 1982: 94). Edward Said merge mai departe i
vede exilul ca pe un factor formator, productiv, al
gndirii i creativitii artistului, al intelectualului n
general: el trebuie s se exileze pe sine fa de ceea ce
i s-a dat, de ceea ce este obinuit i a vedea acel lucru ca
i cum ar fi provizoriu i strin. Acest fapt permite
independen druire dar independen i un anumit
fel de detaare (Said 2000: 13). Exilul, cu alte cuvinte,
este condiia esenial a intelectualului (Ouditt xii)4,
iar ca exemple, Said ofer pe acelea ale lui Theodor
Adorno i Erich Auerbach, ambii au fugit de regimul
nazist i au fcut munc vital ce reflect experiena lor
disruptiv (Barbour 295).
Pentru a-i atinge scopul, a-i ndeplini destinul,
artistul trebuie s ias n afar, precum protagonistul
din povestirea lui Kafka, The Departure: ,,Departe de
acest loc asta e inta mea5 (apud Simpson 96). O
explicaie a acestui aparent paradox este c un scriitor
n cariera sa, devine prins n cercul expectanei i ajunge
s scrie doar ceea ce se ateapt de la el i e foarte greu
de ieit din acel cerc, iar dac o face nu mai este neles,
pe cnd, dac este exilat ori se autoexileaz el recapt
libertatea creaiei, o libertate pe care numai n aceste
condiii nefireti o contientizeaz, apreciaz i
valorizeaz.
Exilul lui Adam i al Evei din Grdina Raiului,
rtcirile lui Odiseu, diaspora evreilor, toate vorbesc
despre un sentiment fundamental de pierdere, dislocare
i despre dorina de a rectiga un sim paradisiac al
unitii, al ntregului din spirit ori geografie. Pentru muli
exilai din lume totui, acea pierdere este transformat
din suferina deposedrii ntr-un mod alternativ de a
vedea lucrurile, o descoperire a mijlocului pentru o
exprimare fr opreliti a viziunii lor artistice sau de
orice alt natur despre lume.
Note:

1. Traducerea pentru Exsul, ubi ei nusquam domus est, sine

sepulcro est mortuus.
2. MacGabhann apud Duffy, p. 23.
3. Friggieri i Massa apud Cassola, p.173.
4. Ouditt apud Boldor, p. 2.
5. Traducerea pentru Out of here - thats my goal.
83 >>>

Bibliography:

Albahari, David. 2007. The Exiled Fragments. n In

exile. Ljubljana: Institute of Art Production
KITCH. <www.livingonaborder.net>
Barbour, John D. Edward Said and the Space of Exile. n
Literature & Theology, Vol. 21. Nr. 3, septembrie
2007, pp. 293 301.
Boldor, Alexandru. 2005. Exile as Severance. Disertaie
doctorat. Louisiana State University. <http://etd.lsu.
edu/docs/available/etd-07122005-112749/unrestric
ted/Boldor_dis.pdf>
Cassola, Arnold. 1995. Migration in Contemporary Maltese
Fiction. Russel King, John Connell i Paul White (ed.).
n Writing across worlds. Literature and migration.
Routledge, London i New York.
Couldrey, Marion i Tim Morris (ed.). Culture in Exile.
n Forced Migration Review Nr. 6. University of
Oxford.
Duffy, Patrick. 1995. Literary Reflections on Irish Migration
in the Nineteenth and Twentieth Centuries. n Writing
across worlds. Literature and migration. Russel
King, John Connell i Paul White (ed.). Routledge,
London i New York.
Eliade, Mircea. 1963. Myth and Reality. New York i
Evanston: Harper&Row.
Eliade, Mircea. 1982. Ordeal by Labyrinth. Chicago: The
University of Chicago Press.
Friggieri, O. 1979. L-evoluzzjoni storika tar-rumanz Malti
John Simpson, The Oxford Book of the Exile
(The historical evolution of the Maltese novel). n http://ecx.images-amazon.com/images/I/51iKS1Yd8UL._SL500_PIsitb-sti
Saggi Kritici. Malta: A.C.Aquilina & Co.
cker-arrow-big,TopRight,35,-73_OU01_SS500_.jpg
Ishiguro, Kazuo. 2000. When We Were Orphans. London:
Faber.
Kafka, Franz. The Departure. Trad. Tania i James Stern. Simpson, John (ed.). 1995. The Oxford Book of Exile.
Oxford University Press.
<http://www.endeneu.com/kafka/departure.html>.
Lal, Vinay. 2003. The Enigmas of Exile: Reflections on Ugrei, Dubravka. The Writer in Exile. Institute
of Art Production KITCH. Ljubljana. <www.
Edward Said. n Emergences, Volum 13, Nr. 1/2.
livingonaborder.net>
University of California, Los Angeles: Carfax
Vorda, Allan. 1991. An Interview with Kazuo Ishiguro.
Publishing.
n Mississippi Review nr. 2.
Lamming, George. 1992 (1960). The Pleasures of Exile.
Anne Arbor: The University of Michigan Press.
MacGabhann, Mici. 1959. Rotha Mr an tSaoil. Dublin,
Foilseachin Naisinta Teoranta. Tradus The Hard
Road to Klondyke. London: Routledge and Kegan Paul,
1973.
Massa, D. 1981. The Post-Colonial Dream. n World
Literature Written in English. Spring.
Ortega y Gasset, Jose. Temas de viaje. Obras. Madrid:
Espasa Calpe, 1932.
Ouditt, Sharon (ed.). 2002. Displaced Persons: Conditions
of Exile in European Culture. n Studies in European
Cultural Transition, XIV. Burlington: Ashgate.
Saha, Amit Shankar. Exile Literature and the Diasporic
Indian Writer. n Rupkatha Journal, Vol 1, Nr. 2.
Calcutta University, West Bengal, India.
Said, Edward W. 2000. Reflections on Exile and Other
Essays. Cambridge, Mass: Harvard University Press.
<<<

84

Btrna n romanele Virginiei Woolf

i ale Hortensiei Papadat-Bengescu
Ta n i a M U I N A

Universitatea Transilvania din Braov, Facultatea de Litere

Transilvania University of Braov, Faculty of Philology

Bulevardul Eroilor nr. 25, 500030, Braov, Romnia

tel: +40 268 474059, fax: +40 268 474059, e-mail address: f-litere@unitbv.ro
Personal e-mail: tania.musina@gmail.com
The Old Woman in Virginia Woolfs and Hortensia Papadat-Bengescus novels

Though not as prominent personalities and not so extensively present as the teenagers, the young ladies or the mature
women in their 30s or 40s, old women do have their representative figures in the novels written by Virginia Woolf and
Hortensia Papadat-Bengescu.
In Virginia Woolf s novels the old women Mrs. Haines from Between the Acts, the old Mrs. Oliver, Lucy Swithin
or Lady Millicent Bruton are treated kindly, with amused understanding by the novelist, due to the respect they deserve
for: 1. having been responsible educators for the young ones in their families and 2. for the veneration they have showed
for their ancestors.
Hortensia Papadat-Bengescu is less understanding, even with the old ladies in her novels, and presents vulgar characters
such as Salema or Vera with obscene behaviour, still bearing a grudge after a lifetime of compromise and promiscuity. The
only old lady who is saved in the eyes of the Romanian novelist is Tana, whose singleness due to religious convictions
offers her strength, balance and humanity.
Keywords: old women, dutiful daughters, respect for their ancestors, educators, vulgarity, religious convictions

hiar dac portetele de femei vrstnice

sunt mult mai puin numeroase n
creaia romanesc a Virginiei Woolf i a
Hortensiei Papadat-Bengescu, dect cele ale tinerelor
sau ale femeilor adulte, atunci cnd btrnele apar nu
sunt deloc mai puin memorabile.
Iat, de exemplu, un portret amuzant al uneia dintre
doamnele n vrsta din opera Virginiei Wolf: Doamna
Haines, din ntre acte, este comparat cu o pasre, dar
nu cu una care zboar, ci cu una de curte, al crei destin
nu este s cnte, ci s tulbure linitea celorlali: Doamna
Haines, soia gentlemanului fermier, o femeie cu o fa
de gsc i cu ochi cscai de parc ar fi vzut ceva de
nfulecat n an, spuse afectat: Ce subiect de conversaie
ntr-o sear ca asta! [Woolf, Acts] Ea ggie.
n ciuda aparenei lipse de sensibilitate, Doamna
Haines sesizeaz cu surprinztoare subtilitate relaia
emoional dintre Iza i domnul Haines; este atent i,
aparent, ocrotete sentimentele celor doi cu discreie,
pentru a rbufni apoi cu gelozie i ur: Doamna Haines
percepea emoia ce-i mpresura, lsnd-o pe dnsa afar.
Atept, cum atepi s se sting acordul unei orgi
nainte de a prsi biserica, n main, cnd aveau s

se napoieze spre vila roie dintre lanurile de gru, va

distruge ea emoia asta, cum gurete cu ciocul un sturz
aripile unui fluture pn i le smulge.. [Woolf, Acts]
Un comportament asemntor l are, n Concert din
muzic de Bach, i Fecioarele despletite de Hortensia
Papadat-Bengescu, Doamna Vera vecina indiscret a
familiei Rim. Necunoscnd genealogia vecinilor, trage
concluzii greite, cum ar fi aceea c Lic i Sia sunt iubii.
(Este drept c aceast confuzie este posibil i datorit
ambiguitii manifestrilor de afeciune ale Siei.)
Doamna Vera are un limbaj i un comportament
suburbane, care-i trdeaz originea umil n total
discordan cu apelativul doamn pe care romanciera
l folosete n mod ironic. Originea ei i lipsa bunei
creteri se vd cnd vorbeste despre vecinii Rim: Uite-i
sub geamul boierilor se pup-n strad! Ptiiu! i efectiv,
doamna Vera azvrlea pe scnduri, nu pe scoar,
dezgustul ei astfel coagulat ntr-o sput amruie care,
desigur, i uura organismul de prisosurile unui dispre
care, concretizat, i-ar fi putut face, Doamne ferete,
vreun ru.. [Bengescu, Concert]
Vulgara doamn Vera se ostenete de dup
perdele s vad ce se petrece ntre cuplurile ce se
85 >>>

opresc n faa caselor vecine. Trage concluzia final, aa

cum i st bine unei btrne acrite de viaa ei searbd,
c: Brbaii i bat joc de femei i fetele sunt nite
ahtiate.. [Bengescu, Concert]
Btrna doamn Oliver, mama socrului Izei, bunica
lui Giles, din ntre acte, este prezent astfel n memoria
fiului: De maic-sa i amintea c era foarte voinic, i
inea caseta cu ceai ncuiat, dar chiar n odaia sa i
dduse un exemplar din Byron. Erau mai bine de aizeci
de ani, le spuse, de cnd i dduse maic-sa poemele lui
Byron, chiar n odaia asta. [Woolf, Acts]
Doamna Lucy Swithin, sora btrnului Bartholomew
Oliver (zis Aiurica) este i ea un personaj interesant,
fr echivalent n romanele Hortensiei
Papadat-Bengescu. Ctre btrnee, relaia cu fratele ei
ncepe s fie tensionat datorit obiceiului lor de a-i
pune forele la ncercare cu fiece prilej, fie el ct de
nensemnat. De exemplu, cnd Lucy spune: E foarte
instabil. Va ploua, m tem. Nu putem dect s ne rugm,
adug ea dibuind dup crucea de pe piept. [Woolf,
Acts] Fratele ei replic i s ne pregtim umbrelele,
semn al lipsei de respect pentru puternica ei credin.
Lucy roi. Lovise n credina ei. Cnd ea spunea: s ne
rugm el aduga umbrelele. i acoperi n parte
crucea cu degetele. Se trase n sine, se ghemui. [Woolf,
Acts] Lucy pare a se resemna dar, imprevizibil, i revine
la vederea copiilor Izei, lucru care o face pe aceasta din
urm s o caracterizeze: Ce nger era femeia asta
btrn! S-i ntmpine aa pe copii. Apoi continu cu
acelai ton admirativ: Ct de curajos l nfrunt pe Bart
i vremea nesigur. [Woolf, Acts]

Lucy Swithin are un vis, pe care nu se decide s-l

realizeze: Totdeauna avusese de gnd s-i instaleze o
cas proprie, poate n Kensington, poate n Kew, nct
s profite de grdini [Woolf, Acts]; este nstrit, dar e
foarte legat de Pointz Hall, casa de mrime mijlocie
care aparinea familiei ei de circa 120 de ani., unde i
rmnea vara ntreag, pentru ca iarna s se retrag la
Hastings. Se simte la ea angoasa fa de apropierea
sfritului, dar este nc senin, nu nfricoat. Se bucur
de tot ce primete de la via: Dar acum era var, o
treziser psrile. Cum mai cntau! lund cu asalt
zorile, ca o droaie de mici coriti care s-ar fi npustit
asupra unui tort cu glazur. [Woolf, Acts] Este o
persoan instruit, raional, cu aplecare ctre domeniul
tiinelor naturii. Are stri de reverie cnd i trebuie
cinci secunde n timp real, cu mult mai mult timp mintal
s o separe pe Grace servitoarea ce aduce porelanuri
albastre pe o tav de montri cu trupuri de elefant, cu
grumazuri de foc, cu pielea groas, n stare s doboare
un copac ntreg, n lstriul verde al pdurii primare..
[Woolf, Acts]
nclin s lrgeasc limitele clipei prin zboruri n
trecut sau n viitor, sau lturalnic, de-a lungul unor
coridoare i alei ncearc s-i prelungeasc existena
cu aceste reverii i amintete de maic-sa care chiar n
aceast odaie o dojenea: Nu dormi cu ochii deschii, Lucy,
c se schimb vntul Ct de des o dojenise maic-sa,
dar ntr-o alt lume cum i-ar fi amintit frate-su.
Portretul fizic al lui Lucy este asociat cu tipicul
englezesc al ceaiului sugernd respectarea tradiiilor i a
obiceiurilor casei Aa c se aez s-i bea ceaiul, ca i

Virginia Woolf

http://upload.wikimedia.org/wikipedia/commons/d/d5/Virginia_Woolf_Painting.jpg
<<<

86

oriice alt doamn n vrst, cu nas mare, obraji

subirateci, un inel n deget i obinuitele ornamente ale
unei cam ponosite dar curajoase vrste naintate, care n
cazul ei includeau i o cruce licrindu-i auriu pe piept..
[Woolf, Acts]
Este religioas practicant La ora aceasta era,
bineneles, la biseric, asemeni Tanei Drgnescu, din
romanele Hortensiei Papadat-Bengescu.
n Rdcini btrna Tana artat ca fiind mereu
bolnav i mai ursuz de la moartea fratelui ei.
Iubindu-l acum pe Ghighi, mai mult dect orice pe
lume, nu pierde nicio ocazie s-l ncurajeze n exces:
Tana l nvase s fie ncrezut. Din iubire, de cte ori
erau singuri, repetat lui Ghighi Tu eti stpnul ! Tot
ce e aici e al tu. [Bengescu, Rdcini]
Elena, cumnata, are un respect deosebit pentru
sacrificiul de o via al Tanei, pe care o consider o
mucenic prin tria interioar care n-o las prad
dezndejdii, indiferent de ncercrile la care e supus
de destin: Mucenicia Tanei primea cu deopotriv
resemnare i rul i binele. La moartea lui Ghighi,
priniorul aei Tana, btrna st dou zile n ir n
casele mari, nchinndu-se la iconostasuri. [Bengescu,
Rdcini] Tana pare s fie singurul personaj echilibrat
perfect, datorit pactului ei de celibat, posibil reflex i
al credinei.
Lady Millicent Bruton din Doamna Dalloway
reprezint feminitatea spre btrnee, n forma ei
aristocratic, puin cam rigid, convenional, dar onest
i extrem de mndr de naintaii ei. Richard Dalloway
avea de gnd s scrie o istorie a neamului ei. () cei din
familia ei, militari, oameni de stat, amirali, fuseser
oameni de aciune, care i fcuser datoria Iar cea dinti
datorie era ctre ara lor () Are de aprat un lung ir
de oameni remarcabili i nu-i poate permite nici o
secund de trdare, este n permanen dreapt, merge
cu pai grei, maiestuoi.. [Woolf, Dalloway]
Spre btrnee, femeile din romanele autoarei
britanice devin ndreptit sau nu moraliste i
ncearc s educe tinerele din jurul lor. Chiar i Doamna
Dempster, care aduna coji de pine pentru veverie i
adesea i lua prnzul n Regent Park, vznd-o pe
Maisie i zice Fata asta habar n-are nc de nimic; e
bine s fii niel drz, niel nepstor, niel cumptat n
ndejdi... O s te mrii; eti destul de drgu ca s te
mrii. Mrit-te i ai s vezi atunci: buctresele, copiii,
fiecare brbat cu apucturile lui.... [Woolf, Dalloway]
Bibliography:

I. ISTORIE, CRITIC, TEORIE LITERAR I CULTURAL

Albrs, R.-M., Istoria romanului modern. Traducere de Leonid
Dimov. Prefa de Nicolae Balot, Editura pentru Literatura
Universal, Bucureti, 1968
Booth, Wayne C., Retorica romanului. Traducere de Alin Clej i
tefan Stoenescu. Prefa de tefan Stoenescu, Editura
Univers, Bucureti, 1976

Maria-Luiza Cristescu, Hortensia Papadat-Bengescu,

Portret de romancier

http://images6.okr.ro/auctions.v3/700_700/2011/11/08/2/7/670147961352
003600845746-4527014-700_700.jpg

Clinescu, G., Istoria Literaturii romne de la origini pn n prezent,

Ediia a II-a, revzut i adugit, Ediie i prefa de Al. Piru,
Editura Minerva, Bucureti, 1982
Manolescu, Nicolae, Arca lui Noe. Eseu despre romanul romnesc. vol.
II, Editura Minerva, Bucureti, 1981
Praisler, Michaela, Reality and Fiction with Virginia Woolf and Ernest
Hemingway, Editura Porto-Franco, Galai, 2000
Vianu, Tudor, Arta prozatorilor romni. Postfa i bibliografie de
Al. Han, Editura Minerva, Bucureti, 1988

II. HORTENSIA PAPADAT-BENGESCU

Fecioarele despletite, Editura Dacia, Cluj-Napoca, 1986. Prefaa de
Doina Modola
Concert din muzic de Bach, Editura Tineretului (Colecia Lyceum),
Bucureti, 1967. Prefa i note de Eugenia Tudor
Drumul ascuns, Editura Tineretului (Colecia Lyceum), Bucureti,
1967. Prefa i note de Eugenia Tudor
Rdcini, Editura Dacia, Cluj-Napoca, 1986. Postfa i tabel
cronologic de Doina Modola
Cristescu, Maria Luiza, Hortensia Papadat-Bengescu. Portret de
romancier, Editura Albatros (colecia Contemporanul nostru),
Bucureti, 1976
III. VIRGINIA WOOLF
ntre acte. Traducere i postfa de Frida Papadache, Editura
Univers, Bucureti, 1978
Cltorie n larg Traducere i note de Georgeta Pdureleanu,
Editura Univers, Bucureti, 1994.
Doamna Dalloway. Traducere de Petru Creia. Prefa de Geta
Dumitriu, Editura Rao, Bucureti, 2003.

87 >>>

Ion Heliade Rdulescu,

Kiseleff i cenzura
L u c i a n - Va s i l e S Z A B O

Universitatea de Vest din Timioara, Facultatea de tiine Politice, Filosofie i tiine ale
Comunicrii
West University of Timioara, Faculty of Political Sciencies, Philosophy and Communication
Sciencies
Bd. Vasile Prvan, nr. 4, Timioara, 300223, Romnia
tel. +40-(0)256-592111, fax +40-(0)256-592311
Personal e-mail: lvszabo@yahoo.com
Ion Heliade Rdulescu, Kiseleff and the censorship

Ion Heliade Rdulescu was a great personality of the first part of the 19th century in the place where Romania of today
would develop. Some aspects of his activity were less highlighted although almost two centuries have passed since then.
Besides being a poet and underlining some merits as a promoter of journalism, Heliade Rdulescu was a powerful publisher
(of books, newspapers and reviews) able to fight for imposing them in troubled times of strong opposition to the opening
of mass communication. Skilled in organising a newspaper and funding it, the publisher has been continuously fighting
the censorship. Each and every victory of his was important in a framework dominated by Romanian and foreigner
decision-makers (e.g. Kiseleff, the Russian general) of Vallachia administration. Those people did not want the journalist
activity to be developed. The present research brings important specifications regarding the Heliade Rdulescus merits in
his heated debates with the Political Power of that period.
Keywords: Romanian journalists, Heliade Rdulescu, Publisher, Curierul romnesc, Censorship, Kiseleff

Receptare cu probleme
n perioada tulbure i ncrcat de tensiuni
politice, sociale i naionale din prima
parte a secolului al XIX-lea, Ion Heliade
Rdulescu este vzut ca un deschiztor de drumuri.
Rolul su n jurnalistica romneasc a fost fixat cu
certitudine, deoarece s-a manifestat nu doar ca scriitor
i autor de articole de pres generalist, ci este primul
cel mai important editor romn. O prim constatare ne
d prilejul s stabilim faptul c a fost un fctor de
gazete, dar i omul care a ntruchipat pentru prima dat
ideea de publicist complet. O alt proeminen a sa este
sublinit de cercettori, n departajri clarificatoare, cci
el este nu numai fondatorul primelor publicaii
periodice cu o apariie ndelungat, ci i al presei
romneti moderne1. Acelai autor avea s sublinieze
complexitatea activitii desfurate de acest intemeietor,
care nu a fost doar literat (poet, prozator, critic,
teoretician al literaturii, lingvist), ci i un jurnalist
talentat, caracteristic fundamental n aceast meserie,
concluzia fiind evident: ntrunind atributele
animatorului, pe cele ale furitorului de fapt al
publicaiilor sale, Heliade ne apare ca un jurnalist
<<<

88

complet2. Scriitorul face parte din modelele

publicisticii, att literar, ct i cea generalist, de
gazetrie despre evenimentele din societate.
Receptarea activitii lui Heliade Rdulescu pune
probleme. n primul rnd este epoca, una marcat de
profunde schimbri politice, dar i n straturile societii.
Apropierea e limitat i de limba greu de neles pentru
cercettorii mai puin avizai, ba chiar fr nicio ans
pentru publicul larg. E nevoie de o traducere din
aceast romn veche n limba literar actual (pierderile
de sens fiind un pericol asumat, desigur!). Scriitorul i
gazetarul s-a folosit la nceput de chirilice, iar trecerea
la grafia cu litere latine s-a fcut treptat, cu mare grij,
pentru a nu ofensa diriguitorii rui aflai n rile romne.
i acesta e un capitol al disputelor cu puterea...
Aventurosul om Heliade i-a pus n umbr pe scriitor i
gazetar, o reevaluare fiind necesar. Mihai Zamfir o
propune pentru poet i prozator3. Istoricul literar relev
poziia lui Titu Maiorescu, ca o prim poziie n
receptarea n cheie ironic a lui Ion Heliade Rdulescu,
cu referire la creaia poetic din a doua parte a vieii.
George Clinescu se va manifesta i el n aceeai
manier, abordarea ironic fiind prezent la el la muli,

mult mai muli autori... Accentul e pus pe activitatea

politic i pe ntmplrile comune ale existenei, creaia
literar fiind neglijat pentru evocarea spectaculosului
vieii. Dar dac avem nevoie de o revalorizare a
scriitorului I. H. Rdulescu, aa cum pledeaz Mihai
Zamfir, la fel de important devine ntoarcerea la
ziaristul i editorul Heliade, mai ales la eforturile sale de
a publica n pofida limitrilor oficiale. Astfel, portretul
su se contureaz n mod adecvat.
Cnd se va referi la autor, n Istoria literaturii romne
de la origini i pn n prezent, George Clinescu i va fixa
de la nceput locul n literatur, considernd: Dup D.
Cantemir, a doua mare personalitate a literaturii romne
este fr ndoial I. Eliade Rdulescu, scriitor cu suflet
ardent, creator pretutindeni, desfurat deopotriv n
via i n art, nzestrat cu mari nsuiri i cu tot att de
mari cusururi4. Gazetria autorului este inclus
pesemne n acel pretutindeni, cci cu o indisticie
devenit mod de lucru n cercetrile de istorie literar,
Clinescu nu este preocupat, cel puin n prim faz, de
fixarea locului pentru publicist, pentru omul de pres.
Ceva mai la vale, criticul va reveni ns i va indica
meritele lui Heliade n editarea Curierului romnesc i n
dezvoltarea activitii n domeniul tipriturilor: Prsi
Sf. Sava i ncepu s fac jurnalistic. La 8/20 aprilie
1829 apru ntiul numr din Curierul romnesc. Dup un
an, la 11 octomvrie 1930, cumpr singura tipografie
particular ce se afla, aceea a d-rului Caraca de la
Cimeaua lui Mavroghene, pe care o instal pe terenul
cumprat de la tat-su, la Obor, aeznd presa chiar pe
locul unde fusese palatul lui Lazr5.

compoziia divers, generalist, dup un canon ce poate

fi recunoscut i n prezent: Acest Curier al Bucuretilor
va cuprinde n sine: 1. O culegere de cele mai folositoare
i interesante lucruri din gazeturile Evropii. 2. nsemnri
despre creterea i sporirea literaturii romneti. 3.
ntiinri despre cele mai folositoare articole ale
negoului. Cele din luntru i slobode svriri ale
statului nostru, precum i judeci i sfaturi nsemnate,
sfaturi i hotrri ale divanului pentru mbuntirea
patriei; voini ale divanului pentru publicarea vreunei
pricini .c.l. 5. Vnzri i mezaturi deosebite, i n sfrit,
multe nsemnri folositoare, precum pentru curenia
oraelor, pentru pzirea sntii, pentru deprtarea
boalelor celor grele .c.l., .c.l.8. Cadrul este bine stabilit,
cu tiri externe, lucrri literare, probleme de economie
i comer, urmrirea activitii instituiilor statului,
divanul (protoparlamentul de atunci), domnitorul i
guvernul, a actelor normative elaborate, elemente ce in
de sntatea populaiei, fr s fie uitate anunurile
publicitare. Aspectul compozit, o reet de editare care
ar putea figura afiat la loc vizibil n orice redacie
contemporan, va fi subliniat i de subtitlul publicaiei,
care se va declara gazet politic, comercial i literar,
autodefinire ce va fi preluat i de foile ulterioare pentru
a i identifica profilul.
Grigore ugui, cel care va face o analiz
documentat a activitii de publicist a lui Eliade
Rdulescu, avea s arate i faptul c editorul Curierului
romnesc avea preocupri i n ceea ce privete distribuia
gazetei. Ideea era ca aceasta s ajung la ct mai muli
cititori, pentru a fi informai, dar i la ct mai muli
pltitori, ceea ce l calific pe Eliade i ca un bun
organizator, un bun manager de pres, cum spunem n
prezent: Heliade preciza chiar n ntiinare c dorea
s-i rspndeasc gazeta n toate inuturile locuite de
romni, indicnd persoanele nsrcinate cu colectarea
abonamentelor i difuzarea n ara Romneasc,
Moldova, Transilvania, Ungaria, Basarabia i
Bucovina9.
Aprobarea este dat n condiiile de mai sus,
contextul fiind completat de un cercettor aplicat al
vieii i operei lui Heliade, care precizeaz c, probabil
n octombrie 1828, cererea este recomandat Divanului
printr-o predlojenie binevoitoare a contelui Pahlen din
29 octombrie, n care atrgea atenia redactorului doar
s pzeasc ndatorirea de a nu supra niciodat religia,
morala i bunacuviin10. Aprobarea avea s-i fie
comunicat editorului n 3 decembrie 1828. De
menionat c cererea oficial pentru aprobarea tipririi
publicaiei fusese naintat, n numele lui Heliade, de
Dinicu Golescu, om considerat simpatizant al ruilor,
astfel explicndu-se i faptul c a fost aprobat!

Monopol asupra tipriturilor

Istoria literaturii, dar mai ales cea a presei romneti
consemneaz mai multe tentative de a edita gazete
nainte de reuita lui Heliade, ncercri blocate mai ales
din motive administrative. Diriguitorii (domnitorii)
pstrau monopolul asupra presei, asupra oricror
tiprituri, cunoscnd posibilul efect al acestora n public.
Dei alte state (sau doar entiti politice la acea dat)
cunoscuser fenomenul dezvoltrii presei periodice,
domnitorii din rile romne au preferat mult vreme o
cenzur prealabil radical, n sensul c nu au permis
editarea de gazete. i cnd au fcut-o au impus condiii
drastice, chiar Curierul romnesc (n Muntenia) sau Albina
romneasc (n Moldova; aprut cu doar dou luni dup
gazeta de la Bucureti) vor supuse unui control riguros6.
Ulterior, viaa publicistic romneasc se va mai nviora,
ns cenzura va aciona nemilos, multe publicaii fiind
suprimate, de suferit avnd i editorii sau autorii.
O prim ncercare de a scoate o publicaie, n 1827,
n Muntenia va fi stvilit de autoriti, aa cum
precizeaz Mihail Koglniceanu n celebra sa Introducie,
aprut n primul numr din Dacia literar7. ntiinarea
Rea pedeaps!
despre viitoarea publicaie Curierul Bucuretiului, cum va
Activitatea n redacie va fi ns dificil. Cititorii erau
fi frontispicul propus iniial, i dat publicitii la sfritul puini, cci mult lume nu tia s citeasc! Dar i cei care
lui 1828, stabilea i coninutul acesteia. Este evident tiau preferau s colporteze informaiile, adesea punnd
89 >>>

de la ei. Este cunoscut fenomenul din epoc, cnd o

persoan citea o tipritur ntr-un cerc mai larg, un
public destul de numeros uneori. Este evident c puini
cumprau sau abonau gazeta, ceea ce ducea la dificulti
materiale pentru editor. Mai erau i interveniile decise
ale cenzurii, tabloul fiind conturat chiar de patron i
scriitor: Redactorul, ca s umple acea foaie cu acele
bagateluri fr niciun folos, trebuie s citeasc douzeci
de foi, s scotoceasc felurimi de articole ca s umple
coloanele gazetii, s alerge la cenzur i, dac de aci nu
i se va da voie, s fac altele, s le tipreasc de al doilea,
cu a doua tiprire s ias din fgduina sa ctre public
i toat aceast btaie de cap pentru ce? Ca s aib
oamenii ce vorbi. Rea pedeaps! i fr de niciun folos
moral!11. Vedem din aceste precizri fcute chiar n
publicaia n cauz i cum se proceda n faa cenzurii.
Redacia aduna informaiile, umplea coloanele i se
trgea un exemplar de prob. Cu el se mergea la
cenzur. Adesea, coninutul era modificat, aa c
editorul se ntorcea n redacie, iar apoi mergea din nou
n tipografie pentru a face modificrile. i tot aa pn
cnd cenzorul i ddea acordul.
Munca la gazet se arta dificil, iar Ion Heliade
Rdulescu nu era mulumit. Rezultatele erau modeste.
i cele de rspndire a informaiilor ori n domeniul
instruirii, dar i cele financiare. n aceste condiii nu este
surprinztor c se rfuiete cu publicul (care nu cumpr
i nu citete publicaia), dar i cu reprezentanii Puterii,
pentru oprelitile puse la fiecare pas. Marian Petcu va
reda ntr-un loc o astfel de rbufnire a editorului
Curierului romnesc: Redactorul trebuie ntr-un an s fac
articole, s alerge la cenzur, s ia responsablitatea
asupr-i, s citeasc gazeta, s aleag vestiri (...) s se
pomeneasc n rspunderea pentru alegerea sa de unde
nici nu s-ar gndi, s traduc, s ngrijeasc eirea i
mprirea lor, adic s fie rob un an de zile degeaba
pentru patrie12. Patrie care, nc, nu-i era
recunosctoare!
Aceast ncrncenare agitat a editorului fcea parte
dintr-un program mai amplu. Era important apariia
gazetei n sine, ns se acorda o mare atenie
coninutului. ntlnim, cel puin la nceput, o mulime
de articole redactate n stil administrativ i care sunt
ntiinri oficiale. Sunt furnizate de putere, fiind
preluate adesea cuvnt cu cuvnt. Reverenele la adresa
conductorilor sunt i ele prezente i sunt formulate n
stilul protocolar al epocii: Din zi n zi, msurile naltei
stpniri ne arat n fapt ct bunul nostru prezident
ngrijete pentru fiecare floare a patriei13. Bunul
prezident era chiar Kiseleff! ncet-ncet, i fac loc n
publicaie i articole care s relecte mai bine punctul de
vedere al editorului, n consonan cu programul
anunat n prospect i cu convingerile intime ale
autorului. n fapt, se ncerca, aa cum se va sublinia,
realizarea unei platforme de dezbatre i deschiderea
gazetei ctre un public mai larg, fisurnd monopolul
publicaiilor deinut de grupul restrns al clasei sus-puse:
<<<

90

Programul lui Heliade urmrea practic s desfiineze

acest privilegiu, introducnd n circuitul gazetelor, al
vieii politice deci, att mica boierime, ct i profesiunile
liberale, linititul literat i filosof (adic dasclii n
primul rnd) i pe negutor, fr a-l uita pe plugar, n
care trebuie desigur s vedem nu pe clca, ci pe micul
proprietar din ce n ce mai interesat ntr-o exploatare
raional, intensiv, a pmntului su14.
Un cercettor va preciza c era destul de greu s
ndeplineti condiiile cerute, arbitrariul n decizii fiind
la ordinea zilei: Cenzura este foarte sever, impunnd
nu numai o draconic selecie a informaiilor, ci i
interzicnd, n mod obinuit, orice comentarii asupra
lor, fapt ce nu permitea realizarea dorinei redactorului
de a se face neles i de a explica problemele politice
mai complicate15. Disputele cu cenzura vor fi aprinse,
paradoxal la un om care se declara conformist. Un
episod senzaional este relatat de Mihail Koglniceanu,
n articolul su de mai trziu, Jurnalismul romnesc n 1855.
Eliade i va da o palm (moral!) cenzorului, gest de
revolt neateptat i de neconceput: Dar cenzura,
plant necunoscut n pmnt romnesc i impus prin
ocrmuire strin, din zi n zi se fcea mai aspr. n ara
Romneasc Eliad, avnd curajul a ataca cenzura n chiar
persoana cenzorului, adresndu-i n public i prin tipar
aceste cuvinte, care n veci se vor pstra n istoria presei
noastre: Dar, domnule! Te plmuiesc i palma mi se
sfinete! Curierul romnesc fu suspendat o bucat de
vreme16.
Dificulti asemntoare n editare vor fi nregistrate
i de Albina romneasc n Moldova. n foaia de ntiinare
referirea la diriguitorii din acea vreme vor fi explicite:
ntru printeasc ngrijire, ce pentru binele public
pstreaz ctre patria noastr scutitoare mpria
Rusiei, nalta Ocrmuire a binevoit a da voie s se
tipreasc la Iai Gazeta Romneasc17. Ca i n cazul
Curierului, frontispiciul va fi altul. Cum stm cu celebra
grij printeasc ruseasc este lucru cunoscut, muli
scriitori i jurnaliti romni denunnd-o cu vehemen,
aa cum vom vedea la Slavici. Reverenele lui Asachi fac
parte cumva din formulele de adresare specifice epocii,
mai ales c Moldova (mpreun cu Muntenia, de fapt)
se afla sub ocupaie ruseasc. Deciziile erau luate la
sugestiile generalului Kiseleff, nume de bulevard
important n Bucuretiul de astzi. Mai multe detalii
aduce Marian Petcu: n timpul rzboiului ruso-turc, la
7 mai 1828 trupele ariste au trecut Prutul i au ocupat,
n numai cteva zile, teritoriile Moldovei i rii
Romneti. n absena domnitorilor, care se retrseser,
trupele de ocupaie au instituit o administraie militar,
condus de contele Pahlen. Printre chestiunile de ordin
militar i administrativ, comandantul trupelor ruse i-a
fcut timp pentru a-i ntreba pe boierii moldoveni care
era regimul tipriturilor n ara lor. I s-a rspuns c nu
existau alte restricii n afara celor legate de respectarea
religiei i moralitii. Nu peste mult timp, ruii au
instituit n ambele ri romneti o cenzur cum nu mai

cunoscuser acestea pn atunci18. Mai trziu, aa cum nu aveau ncredere n maturitatea clasei politice din
am vzut, controlul va fi exercitat de generalul Kiseleff. principat. n plusul de 1.500 de exemplare vede
Clinescu o mic escrocherie, cu acoperire legal. Am
putea avansa ns i o alt prere, cea a unui Heliade
Cenzur rafinat
Ion Heliade Rdulescu avea s observe un aspect Rdulescu preocupat nu doar s ctige ceva bani, ci de
dificil n evoluia Principatelor romne n istorie. Pe a promova cunoaterea Regulamentului organic, aspect
harta activitii sale, anul 1829 e vzut ca un prilej de de care Puterea se temea la acea vreme!
A fost una dintre disputele cu generalul Kiseleff, cci
schimbare, de a nltura suzeranitatea otoman i de a
evolua ca state independente. Nu va fi posibil, deoarece vor mai fi i altele. n 1841, scriitorul i gazetarul va mai
principatele se vor dovedi, deocamdat, prea slabe n a fi cercetat pentru un articol publicat n Foaie pentru minte,
scpa de sistemul pgubos al nlocuirii unui stpn cu inim i literatur. Clinescu e sceptic: Pentru articolul
altul. Grigore ugui detaliaz momentul, conturnd i de la 1841 pretinde Eliade a fi fost dat n judecat
o latur a portretului lui I. H. Rdulescu gazetarul: La criminal de o comisie numit ad-hoc prin struina
sfritul anului 1929, se public integral textul tratatului consulatului rus i a celui francez, sub nvinuirea de
de la Adrianopol, care treziser speranele patrioilor complot, articolul fiind denumit proclamaie la
romni n eliberarea de sub tutela turceasc. Ei, i revoluie. Nu a fost nicio consecin21.
Poate c autorul i-a exagerat meritele, ns n mod
Heliade n primul rnd, i vor da curnd seama de
inteniile reale ale puterii protectoare ce urmrea s se cert a avut dispute cu guvernatorul rus, deoarece erau
cunoscute reinerile sale fa de reprezentanii Moscovei
substituie Semilunii19.
Treptat, cenzura se va nspri i se va rafina, ns n (ntemeiate, dup cum tim, dup un lung ir de
acelai timp numrul tipriturilor va spori. Era n spiritul evenimente istorice!), aspect subliniat chiar de marele
vremurilor, ns Stpnirea avea nevoie de foi care s-i critic i istoric literar, artnd i un alt motiv de conflict
propage interesele, s o fac mai uor de acceptat de cu generalul rus. Era un rspuns la o provocare i o
ctre populaie. n acelai timp, nu putea accepta nesupunere la canoanele cenzurii, una care nu ar fi
independena gazetelor i tiprirea de cri n deplin permis sub niciun motiv, n condiiile de atunci apariia
libertate. n 1833 va aprea un ucaz, un act normativ cu replicii la provocare: Un ofier rus i citise un memoriu,
prevederi imperative, denumit Cenzura dinuntru. La scris din ordin, n care dovedea c alfabetul i limba
punctul 4 se va preciza cu claritate procedura de urmat romn sunt slavone. Eliade scosese, fr a supune
(i... urmat, dup cum am vzut la Ion Heliade cenzurii, o mic dizertaie n limba francez i romn
Rdulescu!): Orice manuscript, pn a nu se da la tipar, aprnd latinitatea romnilor: Coup doeil sur lorigine et la
se va supune Comitetului Cenzurii, i dup ce se va langue des Valaques, care umbl din mn n mn i
cerceta de ctre acest comitet, autorul nu va putea face nfurie pe Kiseleff 22. n ceea ce i privete pe consulul
nicio schimbare fr voia cenzurii. Tipograful va fi rus i pe ceilali oficiali ariti, nu poate fi negat faptul
rspunztor pentru orice mpotriv urmare. Pare c sub diriguirea lor rile romne au intrat pe drumul
curioas stabilit n sarcina tipografului, nu n cea a dificil al modernizrii, fapt ce nu ar fi fost posibili sub
autorului sau editorului. Nu putem s ne mirm ns controlul direct al Porii otomane. Totui, vorbim de o
prea mult, cci i actuala Constituie a Romniei limitare a suveranitii, aspect care primeaz, cci fiecare
stabilete o rspundere pentru tipografi, dei acetia nu stat i dorete o evoluie liber, dup propria voin i
sunt dect nite prestatori de servicii. Ei nu se pot dup propriile priceperi (cte exist...).
amesteca n coninutul celor tiprite i nici nu pot aplica
o cenzur20.
Ironii i vitez de reacie
Cum aminteam, George Clinescu nu va ezita s-l
George Clinescu nu va avea o prere prea bun
despre Heliade ca jurnalist, reinerile decurgnd mai ales ironizeze pe Ion Heliade Rdulescu pentru
din faptele omului. l consider vanitos, duplicitar, comportamentul su, fiind vizat mai ales viaa de
dornic s parvin, ba chiar spune clar c a fcut i unele familie i intimitile dezvluite, voit sau nu, prin intrigile
matrapazlcuri cu acoperire legal. n discuie se afl lui Grigore Alexandrescu. Nu va scpa de cuvintele
tiprirea Regulamentului organic, de fapt legea usturtoare nici Heliade omul politic, cruia i sunt
fundamental a Munteniei (dar foarte asemntoare i amendate unele posturi i imposturi. Ceva trebuie s fi
pentru Moldova). Se ntmpla ceva bizar cu aceste fost de capul lui, cci scriitorul i jurnalistul a fcut parte
prevederi legale, cci guvernanii (iar aici o contribuie chiar dintr-o locotenen domneasc! Cert este ns c
consistent o aveau ruii, prin acelai general Kiseleff!) s-a nelat n unele dintre ateptrile sale politice, iar
ar fi urmat s fie distribuite dup un an, fiind considerate unele poziionri i-au adus necazuri consemnate de
prea nnoitoare pentru a fi nelese i urmate. Heliade geografia sa publicistic. A fost primul mare ziarist
va primi o comand oficial de 2.000 de bucai, dar va romn i un la fel de important editor. Aceste aspecte
trage n plus 1.500. Va ncepe s le vnd dup termenul sunt remarcate de cercettori: Desigur, el avea soluiile
de un an, cu toate c guvernanii vor decide s nu sale, dar, pe msur ce timpul s-a scurs, ele au fost tot
rspndeasc cele 2.000 de brouri comandate, cci nc mai puin cele corespunztoare. Ca publicist avea ns
91 >>>

caliti remarcabile, prin care spiritul practic,

dinamismul, permanenta predispoziie spre ieirea n
aren i rapiditatea reaciilor n faa celor mai diferite i
mai neateptate situaii l recomandau i l-au fixat n
istoria presei romneti23. Dup cum vedem, istoricul
literar G. ugui l definete pe Heliade prin implicare i
viteza de reacie la evenimentele demne de a fi aduse la
cunotina publicului (ct era!), acestea fiind dou dintre
caracteristicile fundamentaleale gazetriei factuale, de
informare.
Este interesant i modul cum s-a sfrit Curierul
romnesc, n 1862. Heliade, acum mult mai n vrst,
scosese o nou serie, ns se manifesta virulent la adresa
domnitorului, n acea vreme cunoscutul Alexandru Ioan
Cuza. S-i fi intuit scriitorul i gazetarul viitoarele excese
autoritariste (materializate n lovitura de stat mpotriva
rudimentarului parlament de atunci, n implicarea n
uciderea premierului Catargiu i n conducerea cu mn
forte)? Ori putem acredita ideea avansat de istoricii
literari tradiionaliti, care vd acum n Ion Heliade
Rdulescu un politician dezamgit, refractar,
deziluzionat i ncrcat de resentimente? Poate cte
puin din toate, dei poziiile conservatoare de unde
trimitea critici aspre lui Cuza nu trebuie nelese n sensul
de concepii retrograde, depite i nici n sensul
partizanatului politic al termenului. Poate prea c
gazetarul slujete cauza pstrrii unor tradiii, ns se
arat n continuare ofensiv n activitatea sa, iar tonul
nu-i pierde voiciunea. Iar tiprirea Curierului romnesc va
fi oprit de domnitor (de... Putere) tocmai pentru c
deranja! Abuzul devine evident, orict de critic se va
arta scriitorul i jurnalistul n abordrile sale...
Note:

1. Grigore ugui, Ion Heliade Rdulescu ndrumtorul cultural i

scriitorul, Editura Minerva, Bucureti, 1984, p.180.
2. Ibidem.
3. Mihai Zamfir, ntemeietorul, Romnia literar, nr. 20, 20-26
mai 2011.
4. George Clinescu, Istoria literaturii romne de la origini pn
n prezent, Editura Minerva, Bucureti, 1986, p. 131.
5. Idem, p. 132.
6. Primul numr al Curierului romnesc va vedea lumina
tiparului n 8 (20) aprilie 1829, iar Albina romneasc va iei
n public penru prima dat la 1 (13) iunie 1829.
7. Introducia semnat de Mihail Koglniceanu este mai mult
un text de istoria presei, una generalist, nu doar literar.
8. ntiinarea a fost reluat n Nerva Hodo i Al. Sadi
Ionescu, Publicaii periodice romneti, Institutul de arte grafice
Carol Gbl, Bucureti, 1913, pp. 176-177.
9. Grigore ugui, op. cit., p. 184.
10. Mircea Anghelescu, Ion Heliade Rdulescu, Editura
Minerva, Bucureti, 1986, p. 43.
11. Curierul romnesc, an XI, nr. 165, 1839.
12. Marian Petcu, Puterea i cultura. O istorie a cenzurii, Editura
Polirom, Iai, 1999, p. 91.
<<<

92

13. Curierul romnesc, an II, nr. 12, 24 aprilie/6 mai 1830.

14. Mircea Anghelescu, op. cit., p. 46.
15. Grigore ugui, op. cit., p. 185.
16. n Mihail Koglniceanu, Misiune de credin, Editura Litera
internaional, Bucureti Chiinu, 2003, p. 177.
17. ntiinarea a fost reluat n Nerva Hodo i Al. Sadi
Ionescu, op. cit., p. 19.
18. Marian Petcu, op. cit., p. 87.
19. Grigore ugui, op.cit., p. 187.
20. Lucian-Vasile Szabo, Capcane ale comunicrii. Putere i
puteri n mass-media, Editura Univesitii de Vest, Timioara,
2011, p. 100.
21. George Clinescu, op. cit., p. 134. De fapt, i aici opinia
poate fi mai nuanat. Aricolul a fost scris pe la 1838, dar nu
a putut fi publicat n gazetele scoase de I. H. Rdulescu. A
aprut, n 1841, n Foaie pentru minte, inim i literatur,
supliment al Gazetei Transilvaniei girate de George Bariiu
la Braov. Dup apariie, Heliade va fi speriat de consecine
i-i va afirma loialitatea pentru domnitor. Necazurile
ntmpinate din cauza acelei scrieri, una cu tonuri pamfletare,
vor fi amintite la o reeditare de peste mai bine de dou
decenii, n 1862, cnd alta era situaia n ar. O consecin
a fost, totui, chiar dac George Clinescu nu o amintete:
intervenia fusese n mare parte n sprijunul dasclilor
romni, fiind argumentat necesitatea unui sistem de
nvmnt regulat. Din 1842, dasclii vor ntra n rndurile
funcionarilor de stat i se vor lua msuri pentru organizarea
colilor pe cicluri de nvmnt.
22. Idem, p. 143.
23. Grigore ugui, op. cit., p. 194.

Bibliography:

Anghelescu, Mircea, Ion Heliade Rdulescu, Editura

Minerva, Bucureti, 1986.
Clinescu, Clinescu, Istoria literaturii romne de la origini
pn n prezent / The history of Romanian literature from
its beginnings to the present, Editura Minerva, Bucureti,
1986.
Hodo, Nerva i Sadi Ionescu, Al., Publicaii periodice
romneti / Romanian periodical publications, Institutul de
arte grafice Carol Gbl, Bucureti, 1913.
Koglniceanu, Mihail, Misiune de credin / Mission of faith,
Editura Litera internaional, Bucureti Chiinu,
2003.
Petcu, Marian, Puterea i cultura. O istorie a cenzurii / Power
and culture. A history of censorship, Editura Polirom, Iai,
1999.
Szabo, Lucian-Vasile, Capcane ale comunicrii. Putere i
puteri n mass-media / Communication traps. Power and...
powers in mass-media, Editura Univesitii de Vest,
Timioara, 2011.
ugui, Grigore, Ion Heliade Rdulescu, ndrumtorul cultural
i scriitorul / Ion Heliade Rdulescu, the cultural guide and
the writer, Editura Minerva, Bucureti, 1984.
Zamfir, Mihai, ntemeietorul / The founder, in Romnia
literar, nr. 20, 20th-26th of May 2011.

Nunta n satele romneti din

Transcarpatia:

Cnd am fost io la nunta me, m-am mbrcat ae,

frumos, rumnete,
cu cioarici i kimee alb, sut, mndr
Camelia BURGHELE
Muzeul Judeean de Istorie i Art Zalu
County Museum of History and Art, Zalu
Str. Unirii Nr. 9, 450042 Zalu, Romnia,
tel. +40260.612.223, http://www.muzeuzalau.ro
Personal e-mail: cameliaburghele@yahoo.com

Traditional wedding within Romanian villages on the right Tisa bank

(Trans-Carpathia, Ukraine)

This paper presents by the help of several testimonies on the field the way weddings are carried out in the Romanian
villages on the right Tisa bank (Tans-Carpathia, Ukraine). One must remake the virtually general consensus of the
interviewed subjects towards comparing then and now when speaking about morality while categorically favoring the
old days.
The general opinion is that there is no more respect for those good manners and many of the people interviewed
speak of a breaking ancient beliefs:
For the traditional Romanian society, wedding is both a personal and family event and also a social communitary one.
Just as within the Romanian Maramures villages, the Maramures villages across Tisa see wedding as a precisely staged
script, while covering a ritual taken from the cultural background with all its identity features.
Performing the traditional wedding means to overlap a row of ritual actions the significance of which is not very clear
anymore to the group but which becomes activated on well established customs.
Keywords: Romanian villages, traditional Romanian society, wedding, ritual actions

omunitatea satului tradiional permitea

multe ntlniri ale tinerilor, unde fetele i
feciorii se puteau vedea. Danul
organizat de feciori la ur, clcile, colindatul sau
ntlnirile la cmp, la munc, ofereau un cadru comunitar
prielnic tinerilor i permiteau conturarea unor viitoare
cstorii. Fetele se mritau tinere iar feciorii se nsurau
de obicei dup ce terminau armata. ntlnirile tinerilor
erau supravegheate de prini, pentru c moralitatea era
superior valorizat, fiind, n fapt, chiar o condiie sine qua
non a cstoriei: dac fata nu era cinstit, nu-i putea pune
cununa de mireas pe cap, de frica lui Dumnezeu, iar
dac tot o fcea, atunci soul ei avea dreptul nu doar s
o demate, ci chiar s renune la ea. Tocmai de aceea,
politeea i bunul sim erau caliti care nu trebuiau s
lipseasc din profilul moral al tinerilor.

Trebuie s remarcm observaiile cvasigenerale ale

subiecilor intervievai referitoare la o comparaie, la nivel
de moralitate, ntre atunci i acum, n defavoarea
categoric a vremurilor prezente. Prerea general este
c acum nu se mai respect nimic din atributele acelui
model de bun cuviin iar muli dintre interlocutori
vorbesc i de o anume decdere a credinei strmoeti:

Feciorii fcea dan. Strngea bani i bga ceterai i fceau joc. i p

care fete le-o iubit, p alea le-o dus la joc. Feciorii mereau dup ele, fiecare
merea dup a lui i u-o cerea de la prini. O lai, mtue, ori uncheule,
c cum i-o ieu, ae i u-oi aduce napoi... No, da amu nu-s de-acelea. i
spunea prinii c no, pn la attea ceasuri te las, i fecioru o aducea
acasa dac o vrut s o mai capete i alt dat 1.
La joc nu te-ai dus dac ai fost mai tnr de 17 ani. Da amu s
duc...2
Tinerii nu o vrut ede acas, vorbeau cu fetele, da nu tare am ezut
snguri cu fata, numa cu mama i cu tata fetei.

93 >>>

Pn a mere la armat io am cunoscut pe soia mea. Io cnd m-am

dus am zs: Mrit-te, c io am gndit c oi muri n armat i acolo
am petrecut trii ai i am vinit acas, da ea o zis c nu s-a mrita pn
cnd a auzi c io oi mori 3.
Dac o fost fat cinstit, i-o pus cununa, da dac nu... Dumnezeu
o vzut-o. Dac nu o fost fata fat, atunci o fost mare ruine i o trimitea
brbatu napoi, s ducea sngur napoi. Cte unu s-o mai neles, alii
nu s puteau nelege. O fost aici n sat ae, c o trimis-o napoi. Dac
aveau copkii fr tat, aciie erau mai faini. Ae le zcea, fr tat, numa
d mam 4.

Pentru societatea tradiional romneasc, nunta este

deopotriv un eveniment individual, familal, dar i unul
social, comunitar; nunta este ntr-un fel o afirmare a
comunitii, a puterii ei evaluative, a mndriei i
prosperitii ei5, i de aceea performarea unei cstorii
nsemna n egal msur o reuit a tnrului cuplu i a
familiilor acestora, ca i a ntregului sat.
Dac actuala societate de consum, masiv
informatizat i profund axat pe destinul individual nu
mai valorizeaz att de mult interaciunea uman i nu
mai promoveaz conceptul de solidaritate comunitar,
pentru satul tradiional nunta oferea un bun prilej
pentru evidenierea spiritului de co-participare
comunitar, aa cum bine observa profesorul Ion
euleanu: cele dou familii fac eforturi de a-i integra
pe tineri; viitorii cstorii se arat interesai s se ataeze
de grup, iar colectivitatea d dovezi de ncuviinare, i
exprim, pe ocolite, prin proceduri codificate i deci
cunoscute, dorina de a-i cuprinde, de a ratifica noua
realitate. Putem vorbi (...) de acea solidaritate obteasc
ce se manifest cu putere n toate mprejurrile vieii, n
colectivitatea tradiional, solidaritate care, n cazul
nunii nu mai este doar una de ordin spiritual, ci i
economic. Neamurile direct nteresate i, n fapt,
ntregul sat, contribuie la demarajul noii familii, la
prosperitatea ei viitoare6.
La fel ca n satele maramureene romneti, i n cele
maramureene de dincolo de Tisa nunta urma un
scenariu precis etapizat, acoperind un ritual preluat din
fondul cultural, cu toate manifestrile sale identitare.
nainte de nunt, prinii feciorului meregeau la peit
acas la fat; cu aceast ocazie se discuta i despre zestre,
dar i despre data nunii i numrul nuntailor:

D zestre, ce o avut, aia i-o dat: nite cerji, nite oluri 7.

Cteodat la nunt nu cad la nvoial din cauza banilor. Da de
obicei la peit s duce cineva priceput la astea, la nelegeri i aranjeaz.
Trebuie s s descurce bine cu cuvintele. i l laud p mire i s ncepe
nelegerea i s nturluiesc unu p altu 8.
Oarecnd, cnd s nsura, i ddeau pmnt la copil, da dup aceie
o vinit kalhozu i nu s-a mai dat; amu s d iar pmnt. Ae s ddea,
numa, p voarb, nu cu acte...9
O fost cnd s-o luat tinerii la o lun, o fost cnd s-o luat la 8 ani, da
era bine ae, cam on an. Prinii o mrs la peit. O zs fecioru, dac u-o
iubit: No, mam i tat, inii cu mine astar, merem a pei c io vreau
luat. S-o dus i o peit fata i s-o invoit prinii i apoi s-o luat.
La peit s nelegeau i p zestre. Prinii i-o dat la fat ce o fost a
ei. Atunci i cretea la fat o vac ori nite oi i-i da, nu s ddea bani,
ca amu. Mai demult s-o dat on porc, oi, vac i lipideau, c doar n-a
durmi p lipideaule lui... dac o fost fata cu cas, o init el la ea, dac o
avut el cas, o mrs ea. Cum i-o gst, ae s-o dus 10.
<<<

94

Urmau, apoi, strigrile la biseric (bgatul de zle), atunci

cnd se ddea posibilitatea comunitii s fac observaii asupra
nunii sau chiar s o opreasc, dup care se fcea cununia civil,
adic scrierea la soviet:
O stat o lun ori dou i o bgat zle, s-o scris la soviet i o bgat
zle la biseric, c o trebuit i s cunune i o zs popa n beseric c ia,
acela i acela o ia p aceie i dac crede cineva c nu pot, s spun, c o
fcut ea ceva pcate, ori el i atunci nu s-o luat.
Ori prinii dac nu voiesc, atunci nu s-o luat 11.

La fel ca n cele mai multe enclave culturale

minoritare, i n comunitatea romneasc format de
satele cu populaie preponderent romneasc din dreapta
Tisei funcionau principiile endogamiei zonale i cei mai
muli dintre feciorii romni se cstoreau cu fete romnce,
dar erau permise i ntlnite i cstoriile interetnice:

S-o mai cstorit i rumni cu ucrainieni, da nu ae de mult, mai mult

rumnii ntre ei, i dac o fost din dou sate. Da n satele unde nu o fost
ae de muli rumni, s-o cstorit i rumni cu ucrainieni. Mai nainte i-o
cutat s fie feciorii din oamini mai sus, dup bogie, dup familie, da
acuma, nu. Dac te uii la el, i i place, l ia. Snt ae c s-o vzut ntr-o
sar i a doua zi s-o luat. Sau dac nu i-o lsat prinii, o fujit 12.
Dac o avut prinii ceva, i-o dat la fat zestre, care bani, care
animale, care cas. Care cum o putut o avut cas, fata ori fecioru. Dup
aceie s-o neles, dac o avut i fata i fecioru cas, unde s triasc.
Mereau feciorii i n alte sate, da noi sntem pune sate romneti i totui
o vrut s fie din prini buni, s fie romni 13.
S cstoreau feciori romni cu fete rusce, apui dac s-o iubit i dac
prinii nu o vrut, tt nu o lsat-o. Este i c o fur...14

Ceea ce am remarcat ns din discuiile cu btrnii

satelor a fost aderarea la o simbolistic special a
costumului popular de srbtoare mbrcat la nunile
vechi. A fost subliniat ideea c mirii se mbrcau nu
doar n costume tradiionale, din pnz fcute n cas,
ci, mai ales, c tinerii se cstoreau mbrcai n costume
romneti. Se face, astfel, o difereniere foarte clar ntre
comunitatea romneasc, bine nchegat i structurat
i comunitatea ucrainian majoritar. Costumul
tradiional romnesc se dimensioneaz, astfel, nc o
dat n memoria cultural, colectiv sau individual, a
romnilor din dreapta Tisei ca un element de identitate
etnic i cultural, ca o marc a perenitii i a aderrii
continue la modelul tradiional romnesc:

Cnd am fost io la nunta me, m-am mbrcat ae, frumos, rumnete,

cu cioarici i kimee alb, sut, mndr 15.
Nu cu costum, ce cu haine rumneti, cu kimee i cunun. Cununa
o fost anume, cu oglinzi i mrjele. Mirile o avut costum, da mai demult
o avut stru. La stegar i la mire i coase cu o sar nainte, la sara cununii,
struu i steagu. Mireasa cu drutele i coase steagu, ori ceva femeie
priceput. i-apoi cnt cnd s coase steagu i apoi mireasa s gat, o
tomsc mndru 16.

De altfel, trebuie s remarcm faptul c nici un

subiect de interviu nu a denumit piesele portului de
srbtoare drept costum popular sau costum
tradiional, ci au folosit exclusiv sintagma de haine
rumneti, ntr-un context emfatic vizibil.
Nunta se desfura sub acelai semn al
ceremonialului i al succesiunii de acte colective sau
individuale pe care le ntlnim n satele romneti.
Informaiile vorbesc despre o perioad cnd nunta se
fcea joia, dar i despre nuni mai recente, fcute

smbta. Un lucru este cert ns: nunile se fceau

obligatoriu n perioadele temporale dinafara posturilor,
mai ales n lunile de toamn trzie sau iarn. Dup
secvenele imediat premergtoare scoaterea
mobilierului din casele n care se desfura nunta i
aranjarea meselor, pregtirea mncrii nunta i urma
cursul, la casele mirilor, dup scenariul obinuit al
comunitii tradiionale romneti. Mirele i mireasa erau
mbrcai n haine de srbtoare: cu mai mult vreme n
urm, dup mrturia femeilor mai vrstnice, mirii aveau
costume populare romneti, aa cum am amintit deja,
cu podoabe deosebite pentru c rolul presupune
nsemne speciale ale costumului de srbtoare17; mai
recent, rochia alb i costumul negru le-au nlocuit.
Mireasa juca danu miresei; acum, darul se d n bani i,
mai ales, n valut, n dolari. Mncarea era mult i
felurit: festinul alimentar marca atmosfera de
srbtoare i fundamenta categoria srbtorescului:

La mireas s pune laier, nu s mai pune demult cunun. Fetele s

mritau la 16 ani. Nunile s fceau iarna, ae o fost datina, marea i
joia. Nunta era cu ceter i te apuca al doilea zi seara. Trebuia s stai cu
punga bine... Cununa era ca zgrdaru, cu multe colori i o purtau mai
multe fete 18.
Nunta s fcea vinerea i smbta. Erau mici nunile c pntru
nunt cu ceter i trab tare muli bani. S mrit tare tinere fetele.
M-am cununat la beseric, la ortodoci, m duc i amu la beseric. Avem
aici biseric mare i larg, da avem i ace micu de lemn, dn deal 19.
La noi o fost nunt n sptmna alb, cum s zce, la gtatu
clejilor, ae, cu ceter, cum trb 20.
Apoi s pregtea d nunt, cam cu o sptmn nainte. Care i-o
chemat, o mrs la nunt, c nechemat nu o mrs nimeni. Aducea gin,
ou, sclnin, on picior de porc, fcea colac. Aducea pecine, curechi, i le
ddeau la soccie, una era hamni socci, ea era principala. Nnaii
erau aciie care o botezat coconu. i s fcea nainte de nunt, sara cununii,
la fat acas, unde s fcea cununa. Merea i mirile. i rusoaice, i
rumnce, erau acolo drutele. Erau cam dou ori trii drute. i mirele
avea stegari. Ele erau gtate frumos cu cmee i cu irinc n cap cu flori.
i aveau stru. Stegarii de la mire aveau clop i stru p clop i aveau
bot. Avea steag p bot. Fcut din dou irinci ori trii pst una mai
mare, dedesubt. irinca era una pst alta, mai mare dedesubt i apoi
una mai mic pst ea i pst asta era una i mai mic. i punea un
stru pst ele i acela era steagu. Erau i ngali la bot. Mirele avea
i el stru, fcut cu flori mndre, cumprate, ori din grdin. La sara
cununii atunci o cusut steagu i fetele l-o pregtit s fie gata p a doua zi
i dup aceie o jucat.
A doua zi era nunt la el i la ea. i spuneau la ce ceas s-or ntlni.
O spus i s-o ntlnit i s-o dus la beseric i s-o cununat, apoi s-o dus la
soviet i iar s-o cununat i o mrs la el. Mirele mna nnaii dup
mireas i el merea cu a lui nnai i s ntlneau unde o avut cuvnt,
aici n drum, ct beseric i o luat-o el de mn d unde s-o ntlnit i
apoi intrau n beseric. n beseric s puneau inele 21.
Atunci nu s-o cumprat inele, da amu s cumpr, mireasa la mire
i mirele la mireas. Amu dac nu vreau s fac nunt, s peesc i in la
nunt numa cuscrii. Mai demult s-o fcut nunt i la mire i la mireas.
Mirele o init la el acas cu stegaru i nnaii inea s gate mireasa la ea
i gtau mireasa i inea mirele dup ia i sta i juca naintea csii pn
inea mireasa i s ducea la beseric. O pregtit mesele i ineau i s bgau
dup mas i mnca i apoi, joc. Apoi era jocu miresei i dup aceie
mereau la mire dup ce le ddea de mncare la mireas. Al doilea zi inea
nnaii i mirele dup mama miresii, dup prini i iar s-o dus la mire
i s-o mncat iar i o jucat i atunci, acolo, s-o spart nunta. Nnaii s-o
ales care o fost mai uurai... s tie s griasc. Zcea cu gina i trbuia

s plteasc. La mine nu o fost, da la fata mea o fost. Nnau pltea

pntru gin i gina o trbuit pltit. S trguiau cu gina i rdeau.
P mas la miri era doi colaci i o iag n mijlocu colacului avea mirele i
bani deasupra, legai cu a. Care o vrut, o dus cinste nainte de nunt.
S pa bani n taljer o s ducea ceva, care ce o avut. S-o pus galute p
mas i pecine i scoverzi tiate n patru i pancove. i s ddea plinc,
c ti s mbtau la nunt jip 22.
Nunta s fcea i la mire i la mireas. Prima dat merea mirele de
la biseric la mireas, pn la mnezu nopii. Cnd o trecut ceasu 12,
apoi ducea mireasa acas. Pn atunci nu l lsa nnau mare s scoat
mireasa din casa ei. De la mireas s duceau nuntaii la mire i acolo s
petreceau pn p la 3 4 ceas dimineaa. Erau strigturi p sama
naului, fceau gina. Dac era nau bun de gur, strga i el la
strigtoare. n Apa de Jos snt nite femei care tiu nite strgturi
extraordinare. Strg la nuntai, la care i place sau la care nu i place.
Era una, Anua lui Lorin, i la noi, i ea striga. S cumpr cadou la
socru, la soacr, o irinc, o cme i mireasa le d cadou. La fel face i
mirele cu prinii fetei. Naii nu s naii de botez, ce preteni. Ei boteaz
i copiii. O fost cndva c naii de la botez o fost i la cununie, da amu,
cine are bani, mere na, cine nu, nu-l chiam nime 23.
Io cnd am fost mireas am avut poale i kimee cu coli, i flori ae,
cosute mai cu rou. La mire era numa alb kimea. Sau avea sumn
fata. P cap avea o murun rotund i roat pru era mpletit cu
mpletituri. P murun erau oglinzi i pupi de ln. O fcea oaricine, nu
tt lumea tia face i avea o femeie murun i o ddea la una i la alta,
s o aib. i io am luat de la cineva. Muruna o fost roat i de la
mpletitura prului o mai avut nite mpletituri njos de la pr. Muruna
era ae, bgat n pr 24.
Am avut cizme i sumn i kimee, mi le-o fcut mama. Cmea
u-am fcut io, am cosut-o. Nunile s-o fcut cu ceter. Amu nu s mai
fac nuni cu cunun, ae, roat, ce numa cu laier. Atunci, p vremea
aceie, o fost atunci vo 30 de ani, s-o jucat i s-o cntat la nunt.
Fetele s mritau la 16 ani. S fceau numa iarna, c atunci era vreme
i ae o fost datina. S fcea marea i joia, da era cu ceter i te apuca a
doua zi sara. Trebuia s stai bine cu punga. S fcea cunun, ca zgrdaru,
i cu ea s mritau mai multe fete. Da amu s pune numa laier 25.

Consumarea nunii nsemna trecerea miresei n

rndul nevestelor i a mirelui n rndul brbailor
nsurai; trecerea se fcea printr-o sum de acte
simbolice subsumate unui cod cultural, a cror decodare
era bine cunoscut grupului:
Dac era gata nunta, mirele o dzbrca, i lua cununa din
cap, o luat irinca i o nvlit-o p cap i u-o luat de mn i s-o
dus cu ea. Mirele i-o luat cununa la mireas. Cu furca i lua
cteodat cununa de pe cap, ae o fost obiceiu atuncea 26.
Uneori, atunci cnd prinii nu erau de acord cu
cstoria, fetele fugeau de acas; ulterior fceau o nunt
restrns i se cstoreau doar civil, pentru c preotul
refuza s le cunune n biseric dac triser, deja, cu soii
lor; alteori, din diferite motive, cstoria religioas se
fcea odat cu botezul:

Nunta s face i la mire i la mireas. La peit merea neamurile

mirelui, fraii lui. Cnd prinii nu erau de acord cu nunta, fetele fujau.
i dup aceie fceau o mas, ae, cu pun lume i gata. S cununau
aici, da mereau numa la primrie. Io cnd m-am cstorit, nu m-am dus
la preot. Numa dup aceie, cnd am fcut on copil, atunci m-am dus s
l boteze la popa i atunci m-o i cununat la preot 27.

ns, dac s despart, i mare ruine! 28.

Un alt element semnificativ al ceremonialului nupial
este ospul, masa de nunt, a crei regie este esenial
n crearea cadrului specific pentru performarea rolurilor
participanilor la nunt. Antropologia alimentaiei
95 >>>

vorbete despre un limbaj culinar i despre un anume tip

de comportament cultural generat de parcurgerea
temporal a ospului de nunt, cu toate etapele sale:
Putem aprecia c limbajul culinar are o mare importan.
El se exprim, cu precdere, n registru srbtoresc se
servesc mncruri consacrate de comunitate ca fiind
specifice srbtorii (preparate, n general, din carne) (...),
sau desfurarea mesei pe fond muzical. Abundena
alimentar este o norm obligatorie a mesei de nunt.
Oferirea ostentativ de alimente li stimulente alcoolice
augmenteaz valenele srbtoreti (...). Prin consistena
i calitatea preparatelor, ordinea i maniera servirii lor, ce
pot fi ncadrate n modele culturale cu specific zonal,
masa mare, cu valenele ei particularizatoare, confer
identitate cultural comunitii29; n cazul nostru,
descrierea felurilor de mncare servite la nunt se
constituie ntr-un valoros reper identitar pentru
comunitatea romn de dincolo de Tisa:

La nunt se taie on viel i on porc i facem costie prjite, le coacem la

cuptor, dup ce le flim cu piper i sare i vegeta. i picioarele dinainte de
porc le punem la cuptor. Facem sup p gin i n ea rupem late cu fin
i cu ou. Facem i salaturi cu maionez i iarna s pune cureki morat i
poprici sau ciolomad cu morcovi. Io v-a nva a face mncri...30
La noi s face mult mncare de miel cu hadaburci. i s face
pelmeni, care s de la rui. S fac cu carne sau cu brnz. La noi s fac
multe halute, nu este nunt fr halute i zam. Halutele s primele.
S fac i rcituri. La sfrit s d zama i dup aceie s iese. i prima
mncare a miresei erau patru ou, le sprjea i punea nite smntn n
dnsele i le frijea la lespede i i le ddea la mire31.

Performarea nunii tradiionale nseamn

suprapunerea unui ir de acte rituale a cror semnificaie
nu mai este, uneori, prea clar n memoria grupului, dar
care este activat n virtutea unor cutume bine fixate; un
exemplu poate fi dat de magia premarital sau de diverse
acte petrecute n spaiul sacral al bisercii, la cununia
religioas:

O fost doi i o mrs la beseric i s cunune i ea o ntrat mai iute cu

picioru n beseric i dup ce o pit o zs ct el: Du-te mai ncolo, i
i-o bgat ceva su picior, o fcut ceva i apoi o ntrat ea. Da ea o fost cocou,
c ea o fcut ceva. Din mol, din lut, ca i varu, i-o fcut ou dac nu te-o
luat fecioru i l-o budit acolo, la horn i o fost cnd o slbit uomu la care
i-o fcut, i o slbit i pn la urm o luat-o p ea. Da erau femei care
dsfcea. Dac ai tiut c i-o bgat ae ceva n hornu de la cas, te-ai
dus i l-ai luat i l-ai aruncat, da n-ai tiut, c doar nu -o spus ea...i
te-ai uscat, te-ai uscat i nu te-o tiut doctorii c eti beteag ori ce ai,
numa c tu stai s mori...32

Acum, nunile se fac cu mult fast, performarea lor

mutnd accentului de pe latura ritual pe cea de
spectacol. Multe dintre verigile scenariului nupial au
fost eliminate, iar codurile vestimentare, alimentare i
economice au fost marcate profund de nlocuirea
vechiului cu noul, a tradiionalului cu modernul, a
ruralului cu urbanul. Observaia este universal valabil i
este suinut nu doar de mrturiile informatorilor din
teren, prezente n parcursul acestui studiu, care susin
spusele noastre, ci i de numeroi etnologi cercettori
ai fenomenului nupial. Pentru exemplificare, apelm la
un studiu mai recent, centrat pe chiar unul din satele
maramureene: autoarea articolului face o succint

<<<

96

analiz comparativ a desfurrii nunilor n satele

Maramureului romnesc, vecin cu zona studiat de noi:
dac altdat la nunt erau chemai muzicanii cu ceter,
contr i gordon, acum se aduc formaii de la ora,
unde un rol important au solitii; altdat nunile s
fceau joia i duminica, acum se fac smbta; altdat
nunile se fceau sub un umbrar din curte, acum se
face un cort cu schelet de lemn, acoperit de prelat;
mireasa era gtit cu poale albe, spcel alb din pnz,
bal i coroni de rozmarin, acum mireasa i cumpr
rochie lung i pantofi albi; mirele avea plrie cu
stru de rozmarin, acum are costum i cravat33.

Note:

1. Axenia imon, Strmtura

2. Axenia imon, Strmtura
3. Gheorghe Ona, Bouu Mare
4. Axenia imon, Strmtura
5. Achim Mihu, Nunta pe Valea Frumoasei, n Steaua, nr 12, Bucureti,
1971, p. 27
6. Ion euleanu, Nunta n Transilvania, Editura Viitorul Romnesc,
Bucureti, 2000, p. 48
7. Ileana Iovdi, a lui Gheorghe, Apa de Jos
8. Dumitu Marina, Apa de Jos
9. Gheorghe Ona, Bouu Mic
10. Axenia imon, Strmtura
11. Axenia imon, Strmtura
12. Clina Alb, Buou Mic
13. Valentina Ofrim, Podior
14. Gheorghe Ona, Bouu Mic
15. Ion a lui Iona a Nuii, Apa de Mijloc
16. Ileana Iovdi, Apa de Jos
17. Germina Comanici, Cercul vieii. Roluri i performan n obiceiurile
populare, Editura Paideia, Bucureti, 2001, p. 146
18. Anica Dan, Pliu
19. Ileana Iovdi, Apa de Jos
20. Ion a lui Iona a Nuii, Apa de Mijloc
21. Axenia imon, Strmtura
22. Ileana Iovdi, Apa de Jos
23. Dumitru Marina, Apa de Jos
24. Axenia imon, Strmtura
25. Anua Marina, Topcino
26. Axenia imon, Strmtura
27. Valentina Ofrim, Podior
28. Dumitru Marina, Apa de Jos
29. Ofelia Vduva, Pai spre sacru. Din etnologia alimentaiei romneti,
Editura Enciclopedic, Bucureti, 1996, p. 190
30. Viorica Marina, Slatina
31. Ion Mihalcea, Dibrova
32. Axenia imon, Strmtura
33. Rodica Sibiel, Obiceiuri prenupiale, n Memoria ethnologica, nr. 20, Baia
Mare, 2006, an VI, p. 1982 1983.

Bibliography:

Mihu, Achim, Nunta pe Valea Frumoasei / Wedding in Valea Frumoasei,

in Steaua, no 12, Bucureti, 1971
euleanu, Ion, Nunta n Transilvania / Wedding in Transylvania, Editura
Viitorul Romnesc, Bucureti, 2000
Comanici, Germina, Cercul vieii. Roluri i performan n obiceiurile
populare / The circle of life. Roles and performance in folk customs, Editura
Paideia, Bucureti, 2001
Vduva, Ofelia, Pai spre sacru. Din etnologia alimentaiei romneti / Steps
towards the sacred. From the ethnology of Romanian alimentation, Editura
Enciclopedic, Bucureti, 1996
Sibiel, Rodica, Obiceiuri prenupiale / Prenuptial customs, in Memoria
ethnologica, no. 20, 2006, year VI, Baia Mare, 2007