Abstract
If Mariana Marin’s tragic posture was largely built posthumously by her friends, the ethical one is assumed by the author herself and entitled by a collective ethos in terms of Meizoz. Interdependent, yet with distinct effects, the two categories mentioned – the tragic and the ethical – certify at least two wrong pathways regarding the author’s reception. Firstly, the woman poet becomes a romanticized-heroic fiction. Secondly, the ethical posture, is ambiguous because of a misreading: Mariana Marin’s so-called dissidence – a fake posture that is constructed for her from outside the country (by the two exiled personalities: Monica Lovinescu and Virgil Ierunca, as well as by the American translator Adam J. Sorkin) – versus a social-political engagement, perfectly valid, but which ends up diverting the hermeneutics of the texts towards the univocality of moral strands. So, being a study of the author and tangentially of her poems, I will also discuss the fictionalization of Mariana Marin within some poems by others.
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