Black & Decker HS1776 Manuel d'utilisateur télécharger pdf (Page 42)

Lucian Chișu

the researcher Victor Durnea.

2. Also before investigating the series of

polemical articles, we ought to make a few

notes about the two publications initially

involved. According to the historical‑liter‑

ary file published in the General Dictionary

of Romanian Literature ‑ Dicţionarul General

al Literaturii Române (DGLR, vol. II, letters

E/K, p. 202‑203.), „Evenimentul literar” was a

„social and literary magazine, which

appeared in Iași, then in Bucharest, on a

weekly basis starting from December 20th

1893 up until October 24th, 1894”. The edi‑

tors’ board was comprised of Sofia and Ion

Nădejde, Raicu Ionescu‑Rion, G. Ibrăilenau

(editor’s board secretary) Emil. D. Fagure

and C. Stere. The political and aesthetic

options of „Evenimentul literar” were rooted

in the ideology of „art with a tendency”

from „Contemporanul”, the magazine tend‑

ing to „switch from a type of publication

that was only addressing a narrow circle of

readers… to one of a broader spread of the

literary and cultural supplement [3]. The

propense themes of the editors at

„Evenimentul literar” were aiming subjects

regarding the relationship between art and

society under various aspects, on the one

side, and on the other, their purpose was

promoting poporanism (a current inclined

towards the general mass of people), avant

la lettre. „Evenimentul literar” ceases being

published in October‑December 1894,

avataring itself into „Lumea nouă”.

On the other side of the fence there is

„Vieaţa”, (DGLR, vol. VIII, letters V/Z, p. 301‑

311.), a magazine that appears almost at the

same time, more specifically one month

before „Evenimentul literar”, on November

28th 1893, and ends its activity after a period

marked by throw outs of the normal flux,

two years later, in January 1896. The head

board was covered by Al. Vlahuță and Alceu

Urechia, and the collaborators enlisted

Delavrancea, Coşbuc, O. Carp, I. N. Roman,

Şt. O. Iosif, Radu D. Rosetti, Constanța

Hodoş, Ion Gorun, Ion Găvănescul, Dem.

Moldovan, George Murnu.

As a tendency, „Vieaţa” represented the

nationalist cultural breath and was support‑

ing a „healthy climate” in the literary

atmosphere of the era, which it considered

to be grim due to the fratricide struggles

among the writers. In comparison with

„Evenimentul literar”, „Vieaţa” was pointing

out a distinction between the literary ideol‑

ogy and its enslavement under the political

phenomenon, representing, not necessarily

without turning tippet, the „art for art” for‑

mula. Supporting the above‑mentioned slo‑

gan, the representatives of „Vieaţa” have

engaged in incendiary polemics with the

ones opposing their theory. Its editors were

militating for manifesting the Romanian

spirit in science, in arts, in reforms, in any‑

thing that could grant a more special char‑

acter to the force and activity of our nation.

It was also aiming to put to trial the ridicu‑

le part of life, most departures from the

announced programme originating here,

but being accompanied by somewhat dis‑

turbing melancholies, in the name of sup‑

porting an ethical ideal of universal love.

That is why, on several occasions despite

the writings on its flag, „Vieața” has main‑

tained disputes showing personal outbursts

that got a hold on literary personalities like

B. Petriceicu Hasdeu, I. L. Caragiale, or new

writers like Const. Dobrogeanu Gherea, A.

Bacalbaşa, Const. Mille.

III. After those shown above, we will stop

at the polemic that arose between the two

magazines. The first of the articles on subject

is called Duelul Caragiale‑Vlahuţă [4] an dis

signed by Oricine. The comment is referring

to Vlahuță’s abusive interpretation of

Caragiale’s sketch Cum se înţeleg ţăranii, pub‑

lished in the 3rd number of the „Vatra” mag‑

azine, the same year. Beyond the suddenly

augmented sensitivity of the two (ex)

friends, Vlahuță’s pain is similar to that of a

hurt mistress, which adds to Caragiale’s

charge the reproach that Dan, the novel that

he wrote, had been given very unfavourable

opinions among the groups of friends. Stere

is more objective, noticing that, in the incrim‑

inated case, although he was one of the most

talented authors, Caragiale could not „add a

leaf to his laurel crown”. What rouses

Vlahuță’s discontent, among others, is finish‑

ing the article with a quibble that was

unfavourable to himself, by replacing „cine‑

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