Abstract

The present study is a revisitation of Lucian Blaga’s work in all its compartments (from literary to philosophical), thoroughly deconstructing the labels attached to it by the different ideologies of three periods: the interwar, the communist, and the post-communist ones. Most of them abusive and/or erroneous, these labels transformed Blaga’s work into an artistic and theoretical corpus suffocated by ideological clichés. Using most diverse sources (from letters and memoirs to treatises of political sciences and biology), the author shows somehow apophatically what Blaga was not – concluding that, while traversing complicated eras of political extremism, he managed to remain immune to all their ideologies.

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