{"id":31176,"date":"2017-07-25T07:27:45","date_gmt":"2017-07-25T07:27:45","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=31176"},"modified":"2017-07-25T07:27:45","modified_gmt":"2017-07-25T07:27:45","slug":"lina-codreanu-apropierea-departarilor","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2017\/07\/25\/lina-codreanu-apropierea-departarilor\/","title":{"rendered":"Lina Codreanu: Apropierea dep\u0103rt\u0103rilor"},"content":{"rendered":"

\"\"<\/a>E de mirare c\u0103 de sub marginile umbroasei p\u0103duri Dobrina a Hu\u015filor, unde \u015fi-a tr\u0103it copil\u0103ria \u015fi adolescen\u0163a, Valentina Teclici a ajuns s\u0103 se stabileasc\u0103 pe o \u00eensorit\u0103 margine a Oceanului Pacific. Re\u021beaua informatic\u0103 mondial\u0103 \u00eemi faciliteaz\u0103 aflarea distan\u0163ei \u00een aer de la\u00a0Hu\u015fi<\/a> (Rom\u00e2nia) la\u00a0Napier<\/a>\u00a0(Noua Zeeland\u0103) \u2013 17402 km \u015fi diferen\u0163a de fus orar \u2013 11 ore. Mare minune internetul! Intui\u0163iile lirice ale lui Tudor Arghezi din poemul Cel ce g\u00e2nde\u015fte singur \u2013 \u201eVorbe\u015fti cu fundul lumii la tine \u00een odaie,\/ Secunda-ntrece veacul \u015fi timpul se-ncovoaie\u201d<\/em> \u2013 au devenit certitudinile vie\u0163ii noastre. Argumentarea acestei comunic\u0103ri vine \u015fi prin proiectul literar conceput de Valentina Teclici \u2013 edi\u0163ia bilingv\u0103 rom\u00e2n\u0103-englez\u0103, Poetical bridges \/ Poduri lirice (Napier, New Zealand, Scripta manent Publishing House, 2016; Ia\u015fi, Rom\u00e2nia, Editura PIM, 2017).<\/p>\n

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\u00cen Cuv\u00e2nt \u00eenainte ini\u0163iatoarea \u00ee\u015fi motiveaz\u0103 alc\u0103tuirea c\u0103r\u0163ii prin dorin\u0163a de cunoa\u015ftere \u015fi interac\u0163ionare a dou\u0103 culturi, \u00een interiorul c\u0103rora, de\u015fi consacra\u0163i, poe\u0163ii din Noua Zeeland\u0103 nu au cuno\u015ftin\u0163\u0103 de crea\u0163ia semenilor din Rom\u00e2nia \u015fi invers: \u201eM-am g\u00e2ndit c\u0103 asta era o oportunitate s\u0103 apropii cele dou\u0103 \u0163\u0103ri \u015fi culturi aflate la capetele opuse ale lumii\u201d. Format\u0103 la \u015fcoala rom\u00e2neasc\u0103 de poezie, autoarei nu i-a fost greu s\u0103 se integreze \u00een cultura neo-zeelandez\u0103, f\u0103c\u00e2nd parte din cenaclul \u201ePoe\u0163i \u00een via\u0163\u0103 din Hawke\u2019s Bay\u201d. Volumul bilingv, e format din dou\u0103 p\u0103r\u0163i: crea\u0163iile a c\u00e2te doisprezece poe\u0163i din cele dou\u0103 \u0163\u0103ri \u015fi reperele biobibliografice despre fiecare dintre ace\u015ftia. Criteriul ales \u00een \u00een\u015firuire are \u00een vedere v\u00e2rsta poe\u0163ilor, \u00eencep\u00e2nd cu mentorul multor adolescen\u0163i, rom\u00e2nul Tudor Opri\u015f (1926-2015) \/ Dorothy Wharehoka (n. 1933) \u015fi \u00eencheind cu Alexandra (Dumitrescu) Balm (n. 1974) \/ insulara Mere Taito. Fiec\u0103ruia i-au fost alocate pagini corespunz\u0103toare unui num\u0103r limitat de crea\u0163ii.<\/p>\n

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Dincolo de aspectul tehnic al c\u0103r\u0163ii, de interes r\u0103m\u00e2ne tematica, expresivitatea, tehnica compozi\u0163ional\u0103, mesajul poeziilor \u015f.a., ceea ce \u00eenlesne\u015fte compara\u0163ia estetic\u0103. Oper\u00e2nd o acolad\u0103 peste pagini se observ\u0103 deschiderea imaginativ\u0103 c\u0103tre teme \u015fi motive universale: trecerea inexorabil\u0103 a timpului, condi\u0163ia artistului \u015fi artei, peisagistica, dubletul liric, miturile lumii\u2026 Arcul spiritual a c\u0103rui traiectorie une\u015fte continentele devine elocvent \u00een similaritatea arealurilor lirice. \u00cen eterna c\u0103utare estetic\u0103, crea\u0163ia r\u0103m\u00e2ne condi\u0163ia existen\u0163ial\u0103 artistului:<\/p>\n

\u201eMai am o bucurie: ca s\u0103 scriu, <\/em><\/p>\n

S\u0103-mi torn fiin\u0163a-ntreag\u0103 pe h\u00e2rtie <\/em><\/p>\n

C\u00e2nd timpul e o simpl\u0103 juc\u0103rie <\/em><\/p>\n

\u00centr-un decor distrus \u015fi cenu\u015fiu.\u201d\u00a0 <\/em><\/p>\n

(Tudor Opri\u015f, At\u00e2t \u00eemi mai r\u0103m\u00e2ne…)<\/p>\n

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Crezul artistic e pregnant at\u00e2t la poe\u0163ii rom\u00e2ni c\u00e2t \u015fi la cei neozeelandezi. Munca de artizan al cuv\u00e2ntului este trudnic\u0103 \u015fi \u00eendelung\u0103, purt\u00e2nd semnele vie\u0163ii \u015fi ale mor\u0163ii \u00eentru crea\u0163ie. Drama artistului \u00een raport cu propria crea\u0163ie presupune n\u0103vala cuvintelor (Mandy Pentecost: \u201eCuvintele a\u015fteptau\/ z\u0103boveau a\u015fa ca tu s\u0103 po\u0163i culege unul din aer\u201d,<\/em> Exist\u0103 un cuv\u00e2nt pentru asta), aten\u0163ia pentru alegerea cuv\u00e2ntului potrivit (Paul S\u00e2n-Petru: \u201eAi grij\u0103, p\u0103durare, las\u0103 loc,\/ Acestui lemn de leb\u0103d\u0103 lunatic\u201d<\/em>, La marginea cr\u00e2ngului), modelarea graiului \u00eentru \u201ena\u015fterea unui poem\u201d (Violeta Ionescu: \u201eC\u00e2nd toate cuvintele sar pe fereastr\u0103\u201d, Poem \u00een Morse), aspira\u0163ia c\u0103tre idealul absolut (Valentina Teclici: \u201eSim\u0163eam libertatea de-a fi,\/ Puterea de-a-ndr\u0103zni \u015fi-ac\u0163iona\/ S-ating prin zbor absolutul.\u201d,<\/em> M-am visat\u2026), tenacitatea \u00een urm\u0103rirea idealului (Monica S\u0103vulescu Voudouri: \u201edar \u00ee\u015fi adun\u0103 puterile,\/ ca s-o ia de la cap\u0103t\u201d, sunt ca \u00een dansul\u2026).<\/p>\n

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Nelini\u015ftea liric\u0103 genereaz\u0103 perspective variate, poe\u0163ii purt\u00e2nd povara destinului (Maria Weishaupt Sar\u0103u: \u201ePoe\u0163ii au tot timpul de lucru\/ [\u2026]\/ \u015fi uneori mor de dragul de a vedea \u015fi ei\/ cum e\/ s\u0103 duci cu tine un pumn de p\u0103m\u00e2nt\/ dincolo.\u201d<\/em>, Uneori). La r\u00e2ndul ei, arta \u00eembrac\u0103 expresia revoltei \u015fi-a iubirii (Mere Taito: \u201ecu aceste cuvinte\/ voi ridica bra\u0163ele \u00eempotriva ta\/ voi urla un strig\u0103t de lupt\u0103\/ [\u2026]\/ cu aceste cuvinte\/ te voi \u00eenf\u0103\u015fura cu grij\u0103\u201d, Bilingv), poate fi balsam erotic (Penelope Foster: \u201eDragostea este unde tu alegi s\u0103 fie\u201d, Dragostea este; Ana Anton: \u201eNu e de-ajuns c\u0103 sunt rana eului meu?\/ Ca un m\u00e2nz r\u0103t\u0103cit \u00eentr-o sear\u0103\/ Sufletul t\u0103u vine ho\u0163e\u015fte\/ P\u00e2n\u0103-n coliba t\u0103cerilor mele\/ S\u0103 m\u0103 t\u0103m\u0103duiasc\u0103\u2026\u201d,<\/em> C\u0103l\u0103torie) ori metafor\u0103 \u00een scoic\u0103 nipon\u0103 (Vasilica Grigora\u015f: \u201eindiscre\u0163ie \u2013\/ \u00een miez de noapte luna\/ printre pomii goi\u201d, haiku).<\/p>\n

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Contemporani fiind, reperele temporale conflueaz\u0103 \u00een clipa prezent\u0103, \u00een timp ce peisajele semnaleaz\u0103 diferen\u0163ieri. Europenii se mi\u015fc\u0103 \u00eentr-un peisaj cromatic bogat \u015fi revitalizant; peisagi\u015ftii neo-zeelandezi se re-\u00eencarc\u0103 sub for\u0163a valurilor \u015fi a brizei oceanice. Unii stau sub semnul mitologic al lui Dionysos (la greci, zeul vegeta\u0163iei), ceilal\u0163i \u2013 al lui Poseidon (zeul m\u0103rilor). P\u0103durea (Paul S\u00e2n-Petru, \u00cen marginea cr\u00e2ngului), marea (Mandi Pentecost, Momentul) \u015fi cromatica specific\u0103 \u2013 verde (Ana Urma, Libret de florar) ori albastru (Mark Raffills, C\u00e2nt\u0103re\u0163ul) \u2013 pun \u00een lumini diferite ariile geografice c\u0103rora le apar\u0163in poe\u0163ii.<\/p>\n

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Devenit familiar, dup\u0103 1990, elementul aparte este e\/imigra\u0163ia, motiv unduit \u00een melodia biografismului: \u201ear fi bine s\u0103 ne amintim\/ noi to\u0163i suntem din stocul de imigran\u0163i\/ care de asemenea a schimbat fa\u0163a acestui p\u0103m\u00e2nt.\/\/ Noi suntem rezultatele schimb\u0103rii.\u201d<\/em> (Dorothy Wharehoka, Rezultatele schimb\u0103rii) ori: \u201e\u00abNoi\u00bb suntem acum <\/em>\u021b<\/em>ara a ceea ce avem sau nu avem\/ [\u2026]\/ \u015ei la ultima mea r\u0103suflare\/ Condu-m\u0103 \u00eenapoi de unde am venit<\/em>\u201d (Nikora Henriksen, Treze\u015fte-te). Odat\u0103 ajun\u015fi \u00een locuri \u00eendep\u0103rtate, poe\u0163ii s-au sim\u0163it \u201eat\u00e2t de acas\u0103, \u00eenc\u00e2t am r\u0103mas\u201d (Mandy Pentecost). Totu\u015fi, sentimentul \u00eenstr\u0103in\u0103rii contrabalanseaz\u0103 talgerul bucuriilor (\u201edezr\u0103d\u0103cinat\u0103 din zona \u00een care m\u0103 sim\u0163eam protejat\u0103\/ acas\u0103 \u00eentre ai mei\u201d, Alexandra Balm, recunoa\u015ftere). Se prefir\u0103 unda unei nostalgii afunde, un bob de ne\u00eemplinire \u00een aventura vie\u0163ii celor pleca\u0163i din plaiul ob\u00e2r\u015fiei lume\u015fti. Specializat\u0103 \u00een socio-psihologia imigra\u0163iei, poeta Monica S\u0103vulescu Voudouri (dr.), \u00ee\u015fi surprinde dilematica stare existen\u0163ial\u0103 \u00een distihuri: \u201eUmblu prin lume\/ de la un cap\u0103t la altul,\/\/ peste tot sunt acas\u0103,\/ peste tot sunt str\u0103in\u0103\u201d<\/em>. Am\u0103r\u0103ciunea \u015fi indignarea l-au cople\u015fit chiar pe veteranul Tudor Opri\u015f, r\u0103mas \u201eacas\u0103\u201d, c\u00e2nd a constatat c\u0103 \u201eDe c\u00e2nd gonir\u0103m marele co\u015fmar\/ Nu-mi recunosc nici \u0163ara, nici poporul.\/ Trecutul moare, pl\u00e2nge viitorul\/\u2026\/ Prea mul\u0163i rom\u00e2ni \u00ee\u015fi iau din \u0163ar\u0103 zborul\u201d <\/em>(De c\u00e2nd gonir\u0103m\u2026).<\/p>\n

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Pentru antologia bilingv\u0103 rom\u00e2n\u0103-englez\u0103, Poetical bridges \/ Poduri lirice (Napier, New Zealand\/ Ia\u015fi, Rom\u00e2nia), Valentina Teclici \u015fi-a asumat rolul de traduc\u0103tor \u015fi redactor echidistant \u00een raport cu \u201eales\u0103turile\u201d lirice, a\u015fez\u00e2ndu-\u015fi onest cele trei poezii la fel ca pe al celorlal\u0163i. Ca poet\u0103, a debutat din timpul liceului, dup\u0103 care a colaborat la revistele literare din \u0163ar\u0103 cu versuri, proz\u0103 scurt\u0103, reportaje… C\u0103r\u0163ile i-au adus un premiu na\u0163ional acordat c\u0103r\u0163ii pentru copii \u2013 De la noi din gr\u0103dini\u0163\u0103 (Bucure\u015fti, Editura Ion Creang\u0103, 1986) \u015fi i-a facilitat acreditarea, \u00een 1992, ca membru al Uniunii Scriitorilor din Rom\u00e2nia. Unele volume sunt autonome (selectiv: Jocurile verii, 1991; L\u2019Enfance en Poesie, 1993; The Dance Lesson, 2002; Gioconda nim\u0103nui, 2011; De la imposibil la posibil \u2013 From impossible to possible, 2013) c\u00e2teva, prin congeneritate de idei, sim\u0163\u0103minte, idealuri, \u00een colaborare cu Cezarina Adamescu, Ana Anton, Violeta Ionescu \u015f.a.<\/p>\n

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Meritul scriitoarei este implicit motivat de harul poetic \u015fi de buna cunoa\u015ftere a subtilit\u0103\u0163ilor expresive din cele dou\u0103 limbi, rom\u00e2n\u0103 \u015fi englez\u0103. \u015ei totu\u015fi pentru a transla un text poetic \u00een alt limbaj poetic truda a fost complex\u0103, fiindc\u0103 a trebuit s\u0103 p\u0103streze expresivitatea, tonul, vocea liric\u0103, melodia interioar\u0103 etc. Cu at\u00e2t mai merituos acest proiect cultural. \u00cei accentuez importan\u0163a, \u00een final, printr-un citat dintr-un interviu ini\u0163iat de Rodica L\u0103z\u0103rescu, redactor-\u015fef al revistei \u201ePro Saeculum\u201d, luat lui Leo Butnaru. Poetul insista asupra binomului autor-traduc\u0103tor \u015fi opina printr-o \u201eparabol\u0103\u201d c\u0103 atunci \u201ec\u00e2nd apare \u00een limba rom\u00e2n\u0103 traducerea unei opere importante din literatura englez\u0103 (german\u0103, francez\u0103, rus\u0103…) sau invers, c\u00e2nd apare \u00een Anglia (Fran\u0163a, Germania, Spania…) o traducere din limba rom\u00e2n\u0103 a unei opere remarcabile, la lans\u0103rile acestei c\u0103r\u0163i\/traduceri ar trebui s\u0103 se intoneze imnurile celor dou\u0103 \u0163\u0103ri, [ai c\u0103ror cet\u0103\u0163eni creatori] genereaz\u0103 astfel de evenimente comune memorabile.<\/p>\n

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Ascult\u00e2nd imnul, s\u0103 st\u0103m cu m\u00e2na la inim\u0103 pentru literatur\u0103, pentru limba \u0163\u0103rii, pentru \u0163ar\u0103\u2026\u201d (\u201ePro Saeculum\u201d, nr. 3-4\/2016).\u00a0 De net\u0103g\u0103duit!<\/p>\n

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\u201cLitere\u201d, Revist\u0103 lunar\u0103 de cultur\u0103 a societ\u0103\u0163ii scriitorilor t\u00e2rgovi\u015fteni, Nr 3 (204), martie 2017<\/p>\n

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***<\/p>\n

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BRIDGING THE DISTANCES<\/strong><\/p>\n

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It is amazing that after living her childhood and adolescence under the shaded edges of the forests of Dobrina\u2019 s area from Husi, Valentina Teclici has settled on a sunny edge of the Pacific Ocean.<\/p>\n

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The global computer network allows me to find the air distance from Husi (Romania) to Napier (New Zealand); that is 17402 km and a time difference of 11 hours.<\/p>\n

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What a big miracle the Internet is! Tudor Arghezi’ s lyrical insights from his poem “He who thinks for himself\u201d – “You talk to the other end of the World from your room\/ the moment surpasses the century and time is conforming\u201d –\u00a0 became the realities of our lives. The justification of this communication also comes through the literary project created by Valentina Teclici \u2013 Poetical Bridges\/Poduri lirice, Romanian – English bilingual edition (Napier, New Zealand, Scripta manent Publishing House, 2016; printed by PIM Ia\u015fi, Rom\u00e2nia,2017).<\/p>\n

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In the Foreword, the initiator of this project justifies the issue of the book through the desire for sharing knowledge and interaction between the two cultures, within which, although well-known, New Zealand poets are not aware of the creations of Romanian poets and vice versa: “I thought that this was an opportunity to bridge the distance between the two countries and cultures located at opposite ends of the world\u201d. Educated at the Romanian school of poetry, the author has found it easy to integrate into New Zealand culture, and be part of the literary circle within “Hawke\u2019s Bay Live Poets\u201d.<\/p>\n

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The bilingual collection consists of two parts: the work of twelve poets from each country and bibliography notes about each of them. The ordering criteria pertains to the poets age, from the Mentor of many adolescents, the Romanian Tudor Opris (1926-2015) \/ Dorothy Wharehoka (1933) and ending with Alexandra (Dumitrescu) Balm (n. 1974) \/and the islander Mere Taito. Each one was allocated corresponding pages for a limited number of creations.<\/p>\n

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Beyond the technical aspects of the book, there are relevant themes of expressiveness, compositional technique, and the message of poems, all of which facilitate the aesthetic comparisons. Analysing the poets\u2019 work, there is imaginative openness towards the universal themes and motifs: the inexorable passage of time, the condition of the artist and art, the landscape, lyrical dialogue, the myths of the world… The spiritual arch, its path connecting the continents, becomes eloquent in the similarity of the lyrical areas. In the eternal aesthetic search, the creation remains the artist’s existential condition:<\/p>\n

\u201eI still have a joy: to write<\/p>\n

Pouring my whole being on the paper,<\/p>\n

When time is like a simple toy<\/p>\n

In scenery that\u2019s destroyed and grey.\u201d<\/p>\n

(Tudor Opris, \u201eAll I Have Left…\u201d)<\/p>\n

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The artistic creed is striking in both Romanian and New Zealand poets. The work of crafting the word is arduous and takes time, bearing the signs of life and death into creation. The drama of the artist in relation to their own work involves the invasion of words (Mandy Pentecost: \u201dThe words used to be waiting \/ hanging about so you could pluck one from the air\u201d There\u2019s a word for it,), paying attention to choose the right word (Paul S\u00e2n-Petru: \u201dTake care, woodman, leave room,\/ For this swan wood of moonlight\u201d,\u00a0 At the Edge of the Grove), moulding the speech into “the birth of a poem” (Violeta Ionescu: \u201dWhen all words are jumping out the window\u201d, Poem \u00een Morse), the aspiration towards the absolute (Valentina Teclici: \u201cI felt the freedom of being\/Willpower, deed and action\/To touch the Absolute with my flight, I Dreamt I Was), tenacity in the pursuit of ideals (Monica S\u0103vulescu Voudouri: \u201cbut gathering strength to start again\u201d, I\u2019m like in the Greek dance\u2026).<\/p>\n

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The lyrics restlessness generate various perspectives, the poets bearing the burden of destiny (Maria Weishaupt Sar\u0103u: \u201cThe poets are always busy [\u2026] and sometimes they are dying to see how it feels\/to take a handful of homeland earth\/to the other side\u201d, Sometimes). The art also is an expression of love and hate:\u00a0 (Mere Taito: \u201cwith these words\/ I will take up arms against you\/ scream a war cry [\u2026] with these words I will carefully wrap you\u201d), could be healing love (Penelope Foster: \u201cLove is where you choose it to be!\u201d, Love Is; Ana Anton: \u201cIsn\u2019t it enough that I am the wound of my ego?\/As a lost foal\/Your soul sneaks in one evening\/Into the hut of my silence\/To heal me…\u201d, Journey) or metaphor in Japanese shell (Vasilica Grigora\u015f:\u201d indiscretion -\/in the middle of the night, the Moon\/amongst the naked trees\u201d, haiku).<\/p>\n

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The landmarks of time confluence in the present moment, while scenery presents different things. The Europeans poets move in a living landscape rich in colour; New Zealanders re-charge themselves under the force of the waves and the breeze of the ocean. Some are influenced by mythology of Dionysus (Greek god of vegetation), others – of Poseidon (god of the sea). The forest (Paul San Peter, At the Edge of the Grove), the sea (Mandy Pentecost, No one owns the sea), and a specific chromatic – green (Ana Urma, Libretto florist) or blue (Mark Raffills, The Singer). These elements reveal in different lights the geographical areas where the poets belong.<\/p>\n

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Becoming familiar after 1990, the special theme is immigration, a motif recited in the in the biographical track: \u201cwe do well to remember\/we are all from immigrant stock\/which has also changed the face of this land.\/\/We are the products of change. (Dorothy Wharehoka, Products of Change) or: \u201c\u2018We\u2019 are now the land of the have and have nots\u201d; \u201cAnd when I take my final breath\/Lead me back from whence I came (Nikora Henriksen, Wake up and Sea People). Once arriving in faraway places, poets have felt \u201cso at home here that I have stayed\u201d (Mandy Pentecost).<\/p>\n

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However, the feeling of alienation outweighs the feeling of joy (\u201cbeing taken from the easy zone of known comfort \/ reassuring growing\u201d, Alexandra Balm, recognition). I notice a shade of deep nostalgia, a seed of incompleteness in the life adventure of those who left their home country. Specialized in social-psychology of immigration, the poet Monica S\u0103vulescu Voudouri (PhD), expresses the dilemma of her existential condition: \u201cI am walking through the world\/from one end to the other,\/\/I\u2019m at home everywhere,\/I\u2019m a foreigner everywhere\u201d.<\/p>\n

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Bitterness and indignation have overwhelmed even the veteran Tudor Opri\u015f, who remained “home”, when he found that: \u201cSince we drove away the big nightmare\/I can\u2019t recognize either my country or my people.\/ The past is dying, the future is crying\/\u2026\/Too many Romanians leave their country\u201d (Since We Drove Away..)<\/p>\n

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For the Romanian-English bilingual poetry, Poetical bridges\/Poduri lirice (Napier, New Zealand \/ Iasi, Romania), Valentina Teclici assumed the role of translator and editor being equidistant in relation to the lyrical “choices”, and honestly placing her three poems in the book just like everyone else. As a poet, she made her debut during high school, and then she collaborated with poems, short prose, reports …with the national literary magazines. Her books brought her a national award for the children’s book – From Our Kindergarten (Bucharest, Ion Creang\u0103 Publishing House, 1986) and facilitated her accreditation as a member of the Writers’ Union of Romania in 1992. Some of her volumes are autonomous (selectively: Summer Games, 1991;<\/p>\n

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L’ enfance en Poesie, 1993; The Dance Lesson, 2002; Nobody\u2019s Gioconda, 2011; From Impossible to Possible, 2013) a few, by cogeneration of ideas, feelings, and creeds, in collaboration with Cezarina Adamescu, Ana Anton, Violeta Ionescu and others.<\/p>\n

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The writer’s merit is implicitly motivated by the poetic talent and by the good knowledge of the subtleties of the two languages, Romanian and English. And yet, to translate a poetic text into another poetic language, her hard work was complex, because she had to keep its expressiveness, tone, lyrical voice, inner melody, etc.<\/p>\n

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For all these reasons, this cultural project is even more valuable. Finally, I emphasize its importance, through a quote from an interview initiated by Rodica L\u0103z\u0103rescu, editor in chief of the magazine “Pro Saeculum”, and taken to Leo Butnaru. The poet insisted on the binomial of author-translator and opined through a “parable” that “when the translation of an important work of English literature (German, French, Russian …) is issued in Romanian or vice versa, when a Romanian translation of a remarkable work is published in England (France, Germany, Spain …), the hymns of the two countries, [whose creator citizens] generate such memorable events, should be performed at the book launches.<\/p>\n

\n

By listening to the hymn, let’s hold our hearts for literature, for the language of the country, for the country … ” (” Pro Saeculum “, 3-4 \/ 2016). Undeniable!<\/p>\n

\n

\u201cLetters\u201d, Monthly Culture Magazine of the Society of Writers from T\u00e2rgovi\u015fte, No 3 (204), March 2017<\/p>\n

——————————————-<\/p>\n

*Translated by Valentina Teclici<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

E de mirare c\u0103 de sub marginile umbroasei p\u0103duri Dobrina a Hu\u015filor, unde \u015fi-a tr\u0103it copil\u0103ria \u015fi adolescen\u0163a, Valentina Teclici [&hellip<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-31176","post","type-post","status-publish","format-standard","hentry","category-articole"],"_links":{"self":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/31176","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/comments?post=31176"}],"version-history":[{"count":2,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/31176\/revisions"}],"predecessor-version":[{"id":31179,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/31176\/revisions\/31179"}],"wp:attachment":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/media?parent=31176"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/categories?post=31176"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/tags?post=31176"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}