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THE CRITICAL IDENTITY from the 1960S THROUGH the 1980S. a CASE STUDY: the SECOLUL 20 MAGAZINE

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THE CRITICAL IDENTITY from the 1960S THROUGH the 1980S. a CASE STUDY: the SECOLUL 20 MAGAZINE Bulletin of the Transilvania University of Bra şov • Vol. 5 (54). No.1 - 2012 Series IV: Philology and Cultural Studies THE CRITICAL IDENTITY FROM THE 1960s THROUGH THE 1980s. A CASE STUDY: THE SECOLUL 20 MAGAZINE Irina GEORGESCU 1 Abstract: Translations and the intelligentsia’s endeavour to regain the critical discourse marked the representation of literature and the evolution of Romanian literary criticism starting the 1960s. Starting 1961 through the 1980s, covering therefore more than two decades, the Secolul 20 monthly was published bearing the subtitle “A magazine of world literature“ and featuring articles and case studies which made most of the vulnerability of the notion of realism. In this paper, our goal is, therefore, to see to what extent literary critics adopted or, on the contrary, rejected the discursive metamorphoses of the moment . Key words: 20th century, critical identity, essay, feuilleton, literary event. 1. Introduction fundamentally changed its profile in the 70s, becoming a publication of synthesis in The Secolul 20 publication was founded which the critical, exegetical coordinate as a magazine of world literature edited by prevailed. Its archaeology came from the the Writers’ Union of Romania. It came apprehension of a new type of relation to out monthly, starting January 1961, in a literature, based on an ongoing effort to book format. Its first chief editor was synchronize with literary formulas and Marcel Bresla şu, between 1961 and 1963, species. Translations, synthesis papers, followed for almost three decades (1963- thematic clusters and any reactions stirred 1990) by Dan H ăulic ă. Starting with its whenever a certain author or another was first issue in 2001, the Secolul 20 magazine published were instrumental to the survival changed its name into the Secolul 21 of this magazine and honoured its initial magazine, “a periodical of synthesis, goal, namely to be a publication of “world human sciences and the dialogue of literature”. At that time, fierce cultures”. Along the years, the Secolul 20 programmatic battles were waged between proved to be a publication which made the two hostile sides represented, on one possible the articulation of a critical hand, by the Săpt ămâna magazine (Eugen consciousness connected to European Barbu, Vadim Tudor and others) and, on theories on art and literature. The the other, by the Secolul 20 magazine (Dan magazine navigated as a ship among the Hăulic ă, Ştefan Aug. Doina ş etc.), cliffs of communist ideology, permanently România literar ă weekly and some endeavouring to keep up its aesthetic provincial magazines ( Echinox ). autonomy and its calibre. The magazine 1University of Bucharest, Romania and the Institute of History and Literary Theory “G. C ălinescu”, Bucharest, Romania. 90 Bulletin of the Transilvania University of Bra şov • Vol. 5 (54) – No.1 - 2012 • Series IV The year 1961 marked, on the literary Thematic clusters were meant to bring level, a moment of political recuperation, together, besides the “direction” already as it opened up to world literatures, in the established, papers voicing personal wake of the Innostranaia literatura opinions, sometimes quite daring, which magazine. Several satellite countries generously unveiled potential research allowed the publication of magazines that vistas. To this end, worth mentioning is the followed the model of the afore-mentioned concern for large-scale epic species, as one; nonetheless, the Secolul 20 always early as its first issue: Mihnea Gheorghiu, fought to keep up its autonomy and not to “What Is Going on with the American become a literary review. At its 100th issue Novel?” (1961), Elena Vianu and Savin the anniversary, Dan H ăulic ă insisted on Bratu, “«The New Wave» in the French the original character of this publication, novel”, Tatiana Nicolescu, “Perspectives in put in relation with the activity of the Soviet Novel”. Other issues dealt with translation and critical synthesis: “each the metamorphoses of poetry, either the [issue], exuberant or more austere, and all “«Adventures» of French poetry” or the together composing themselves like a vital relation between translation and growth scheme. One hundred issues, which innovation, or the way literature itself published tens of novels and stories, tens relates to the event. Another course of of plays and numberless poems, pages of research is the study of poetry: either in the translations and explanatory comments, critics’ and theoreticians’ studies or in the pages of critical synthesis, over 19,000 translators’ interventions, poetry stands out pages in all” (H ăulic ă, 1969, 3). Not only as a niche to bring to the fore aesthetic the books – habent sua fata libelli – but attributes. The diversity of species, the also the magazines have their fate, “which rehabilitation of reality and the variety of store up together a collective endeavour, topics define a new poetic direction. If, in an ambition toward culture, speaking up the case of Romanian poetry, the tendency for the spirit of the entire community” is to legitimize a new lyrical discourse, as (Hăulic ă, 1969, 5). This magazine’s role regards the translations, what matters is was displayed, on one hand, in the variety that the texts should be accessible or, at of initiatives to be synchronous with the least, be commentated upon by a thorough literature of that time (translations, critical and subtle audience. studies, thematic issues etc.) and, on the other, in the dissolution of ideology at the 2. The Essay and the Feuilleton level of the articles “on the line”. The editorial team (Dan H ăulic ă, Ştefan Aug. Most of the critical papers fell under the Doina ş, Geta Br ătescu et. al .) were always incidence of the essay and the feuilleton. supportive of the exegetic characters of the The search for “synchronization” was articles, the frequency of translations and manifest, reaching out sufficiently to critical studies. The editorial board was define, in the midst of conceptual made up, along the years, by Mihai deliberations, a new relation between Beniuc, Maria Banu ş, Savin Bratu, Marcel literary criticism and history, mainly Bresla şu, Paul Georgescu, Mihnea between “interpretative and value- Gheorghiu, Eugen Jebeleanu, Mihai oriented criticism”, through a shift in Novicov, Zaharia Stancu. They were critical cannon and the vision on joined in time by Ion Brad, Ov. S. literature. Therefore, a species well- Crohm ălniceanu, Georgeta Horodinc ă, represented from 1960s through 1980s, Tatiana Nicolescu, Florian Potra et alii . the critical essay allowed, besides a I.Georgescu : The Critical Identity from the 1960s through the 1980s 91 subjective presentation of the theme under Moreover, the import of new concepts discussion, the opening up toward an from Western literature (American or arborescent representation, the display of Anglo-Saxon), triggered a kind of exotic, a “reading system” likely to maintain the enticing yet dangerous “cultural shock”, appetite for novelty and value. At that since the attempt at synchronization time, the polemics engendered the brings about the rapprochement to edulcoration of the notion of realism, the innovating tendencies and directions: inclusion of the notion of proto-chronism worth mentioning are the papers by Horia in cultural debates, in tandem with the Bratu, “What «the beat generation» is” idea of Europeism and, later on, with that (1961) and by Mihnea Gheorghiu, “An of synchronization (after 1977). What American Balance-Sheet” (1961), starting matters most is that, along with the from writers interested in society, war, concept of “realism” (derived from various dramas (William J. Lederer and socialist realism), a new, somewhat Eugene Burdick, Vance Packard, F. L. “evasionist” approach cropped up, which Nusser, Julius Horwitz, Ira Henry did not pursue any ideological Freeman, Jack Kerouac, Richard orientations but rather aesthetic Matheson), followed by some literary approaches to literature; furthermore, the profiles from Soviet writer Konstantin debates around the problematic of Fedin (described by Dinu S ăraru) and the modernism, the idea of “literary history” Chinese one, Lu Sin (presented by Ion (Cahiers roumains d’études littéraires , Vitner), to Roger Martin du Gard 1976 ) and “history of literature”, (outlined by Silvian Iosifescu) and synchronization, method, (scientism) and William Faulkner (through the eyes of impressionism became more and more John Howard Lawson). fervent. Also under discussion was the The “Synthesis and Profiles” columns relation between polemics and censorship, bring together articles featuring diffuse because “censorship is, besides the images of a puzzle that was restructured limitation of the right to information and along the years, undermining the role of the freedom of expression, the most ideology and maintaining an as tight efficient means to level up the track of brake as possible, to any intrusions to any propagandistic message. That is why, contaminate the literary space. Also the harshest moments in the application of recurrent are the studies on the censorship coincide the big importance of comparative literature, propagandistic actions” (Petcu 13). After together with an entire conceptual 1968, some articles “on the line” are inventory, trends, filiations and enough to have other (more daring) theoretical claims. In this sense, we can papers dedicated to literary topics (of mention Al. Dima’s contribution on “The course, on condition they do not Concept of World Literature” (1962), formulate ideas
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