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Mannerism in the Romanian poetry of the 70s

Author: Lucia Ţurcanu
Degree:doctor of philology
Speciality: 10.01.01 - Romanian Literature
Scientific adviser: Mihai Cimpoi
doctor habilitat, professor, Institute of Philology
Institution: Institute of Literature and Folklore of the ASM


The thesis was presented on the 16 December, 2005
Approved by NCAA on the 23 February, 2006


Adobe PDF document0.38 Mb / in romanian


agudeza, ambiguity, ars combinatoria, artifice, asyndeton, concetto, discordia concors, equivocality, euphony, euphuisme, escapism, Gongorism, gratuitousness, holorhyme, ingenuity, lyrical irrelevance, lipogramatica, logodaedalia, ludic, Mannerism, Marinism, meraviglia, figurativeness, Neo-expressionism, Neo-modernism, Onirism, Orphism, palindrome, pangramatica, paranomasia, para-rhetoric, poetic nature, Post-modernism, linguistic legerdemain, stupore, seditiousness, Surrealism, tautosonority


Conceived as an analytical research, the dissertation Mannerism in the Romanian poetry of the 70s focuses on the existence of a Romanian literary Mannerism starting from the hypothesis that in the 70s of the 20th century a series of remarkable authors compell recognition; they promote poetry with a Manneristic plot, but they have been little valuated regarding their Gongoresque and Marinistic tendencies.

During the investigation it is ascertained that the reanimation of the Manneristic para-rhetoric in the Romanian literature of the 70s is double motivated: on the one hand, socially, implying the trial to evade the restrictions imposed by the political regime and to escape in refinement and euphuism, on the hand, aesthetically, supposing the seditious gesture of removing the Modernistic lyrical schemes and formulas grown irrelevant and also of imposing a new Post-modernistic aesthetics. At this stage in its development, Mannerism is no more a metaphysical trend (it does not constitute a separate artistic system, based either on the modification of the concept about life or on the relation between the artist and transcendence), but it is a structural movement (it becomes a trans-historical concept that supposes a change in the relation between the writer and the text each time the traditional poetic techniques are no longer productive).

The correspondences of the Manneristic attitude in the Romanian literature having been studies, it is found that, until the middle of the 20th century, the relatively young Romanian literature has not suffered an agony of forms or of styles to which the Manneristic unshaping could respond. Almost all the authors reach a Manneristic stage in their creations, as, when the existing models are not to people’s liking any more, the text orientates towards its own form, looking for new structures.

Nevertheless, in the 70s, regardless of the fact that more aesthetic tendencies are established, such as Neo-modernism, Onirism and Sur-realism, Neo-expressionism, Neo-romanticism, Orphism, the majority of the pats adopt the rhetoric made up of the word trick and of the imagistic artifice, escape the reality to hide behind the words, refinement and skillful art , thus rescuing the Romanian poetic nature from the total subordination to the authoritative proletcultist schema. The representatives of the structural Mannerism (Gheorghe Tomozei, Romulus Vulpescu, Horia Zilieru, Virgil Bulat, Nina Cassian, Nora Iuga, Şerban Foarţă), the oniristic and surrealistic Mannerists (Leonid Dimov, Virgil Mazilescu, Daniel Turcea, Emil Brumaru), neo-expressionistic Mannerists (Adrian Popescu, Ion Mircea, Dinu Flămînd, Anatol Codru), orphic Manerrists (Mihai Ursachi, Dan Laurenţiu, Cezar Ivănescu, Arcadie Suceveanu), confronting the new formulas of taste and of the cultural fancy and facing the imperative to transcend, in a violent delimitation, the space of the superseded Aristotelic mimetic poetics, seem to be interested in the language creation, in the expounding of the language barriers and going beyond the logical and reasonable language frames.