Academic literature on the topic 'Horia, Vintila – Exil'

Abstract The Romanian-born European writer Vintilă Horia - whose birth centenary is celebrated this year - was a genuine searcher of truth. His entire work pleads for transgressive-integrating knowledge, in opposition to binary logic and scientism; it is the privileged space of articulation between cognition, creation and gnosis, between the apophatism of science, mystic apofatism and artistic apofatism. Although much less known than the trilogy of exile - Dieu est né en exil (1960), Le chevalier de la résignation (1961) and ¡Perseguid a Boecio! (1983) - the small-sized novel Le voyage à San Marcos (1972) acts as an exemplary attestation to this pompous conjunction. The current article focuses especially on the text’s trans-temporal valence

Abstract European writer of Romanian origin, Vintila Horia (1915-1992) - Goncourt Prize in 1960 for the novel Dieu est né enexil - was a truly awakened consciousness of his time. Wherever he was - in Bucharest or Florence, Buenos Aires or Paris, Rome or Madrid - this “polyglot nomad” (Jean-François-Malherbe) never left the unyielding values of the spirit and of knowledge. His work of literary epistemology, hisnovelistic creation - fed by exile, love and by the divine -, as well as the Journal d’un paysan du Danube (1966), stand as testimony. Focal point of my approach, this text sheds light on the metaphysical realm of a way of thinking in which the undivided man (a double-faced reality: big infinity /small infinity) and the man to come are one and the same. Since for the exiled VintilaHoria,”the peasant from the Danube” is “celui dans lequel ce qui fut rencontre celui qui sera, dans un espace-temps non-euclidien”, and his journal emphasizes this “rediscovery”, in spite of the dark times of history; an encounter in, through and beyond the broken grounds of science, art and philosophy, but nevertheless, deeply anchored in philosophy, art and science. Apparently, rediscovery and isolation of the same proportion; in fact, we are talking about an anagnorisis: the inner man and the outer man have never separated, despite the “microbial fauna of Kali Yuga” (“la faunemicrobienne du Kali Yuga”). “Nomade polyglotte” through his evolution, a result of flawless reflexive stability, Vintila Horia proves himself to be, at the same time, animmobile nomad; “the peasant from the Danube” is the plenary expression of this unusual simultaneity.

A literary magazine having a distinct character among all Romanian publications is Antilethe. Its name remind us of the Lethe River (the river of oblivion in Greek mythology) because the main purpose of the founder – Mihaela Albu – together with the editorial board - is an act of restitutio. In short – to bring into attention of the contemporary readers the cultural activity of the Romanian intellectuals from exile. Each issue has a specific subject - Vintilă Horia (no. 1), Mircea Popescu (no. 2), Ștefan Baciu (no. 3) and Camilian Demetrescu (no. 4). Our presentation is mainly focused on the life and activity of the great artist Camilian Demetrescu.

Vintila Horia (1915-1992) fue un escritor e intelectual de nacionalidad rumana. Condenado por la dictadura comunista de su país, vivió en el exilio gran parte de su vida, en Italia, Argentina y Francia, hasta que se estableció en España en 1953. Escribió una amplia y variada obra, que consta de artículos, novelas y ensayos, en rumano, francés y castellano. Ideológicamente tuvo un talante conservador y cristiano. Dos temas dominantes de su obra, relacionados entre sí, son el exilio y la disidencia intelectual. Analizaremos en este trabajo la incorporación creativa de la tradición clásica para expresar esos dos motivos. Varias de sus novelas versan sobre personajes históricos grecorromanos que, de alguna manera, representan al propio autor. Entre ellas, Dios ha nacido en el exilio (1960) recrea el exilio de Ovidio y su descubrimiento de la fe cristiana. En este trabajo se analiza el uso de fuentes clásicas por parte de Horia y la incorporación creativa de estos materiales como correlato objetivo y como base de creación de sentido en esa novela. Vintilă Horia (1915-1992) is a Romanian writer and romanist. Convicted by the communist régime of his country, he lived most of his life in exile, in Italy, Argentina, and France. He eventually settled in Spain from 1953. His production consists of articles, novels, and essays, written in Romanian, French, and Spanish. Ideologically, he was conservative and Christian. He develops two core subject-matters: exile and intellectual dissent. In this paper il will be analysed the creative use of the Classical reception for expressing these two motives. Several of his novels portray historical characters who represent the author himself: for instance, God was born in exile (1960) tells the story of Ovid’s exile and his conversion to the Christian faith. It will be examined the use of Classical sources by Horia and the creative assimilation of these materials as a correlative objective for creating meaning

Cette thèse se propose d’analyser la relation entre l’exil, la création littéraire et leslangues d’écritures dans l’oeuvre de Vintila Horia. Les méthodes que nous avons utilisées – lacomparaison de quelques exemples célèbres d’exils, l’analyse thématique et psychanalytiquedes romans, l’application aux textes de Horia des nouvelles théories concernant le personnageet l’écrivain comme personnage, tout cela signale l’interdisciplinarité et désigne la pluralité denotre domaine d’étude, à savoir la littérature de l’exil. Le corpus comprend les romans Dieuest né en exil, Le Chevalier de la résignation, Persécutez Boèce !, Une Femme pourl’Apocalypse, Les Impossibles, Le Voyage à San Marcos, La Septième lettre et Les Clefs ducrépuscule. Nous y avons ajouté des textes non fictionnels tels le Journal d’un paysan duDanube et des fragments de la correspondance de l’auteur avec son frère, de même que desarticles de presse, et des textes fictionnels qui ne s’inscrivaient pas du point de vuelinguistique à notre démarche, mais qui révèlent l’unité de l’oeuvre.Le fil conducteur de notre thèse est l’exil, étudié dans ses aspects multiples ; enparticulier nous avons surtout insisté sur le fait que l’exil déclenche et stimule la création. Deplus, l’exil apparaît comme un élément diffus, insinué dans les oeuvres, au point que saprésence ne se révèle pas toujours de la même manière.Dans la première partie, l’exil est présenté comme concept qui nécessite unedéfinition ou une redéfinition, selon plusieurs perspectives. L’analyse de l’exil (considérécomme réalité objective sociopolitique, psychologique et littéraire) procède d’une certainetradition européenne de l’exil ; elle est représentée par les Russes et par les Allemands. Cesdeux exemples se distinguent non seulement du point de vue quantitatif, mais aussi du pointde vue qualitatif. Aussi ont-ils servi de base à une démarche inductive qui tache de construireune théorie de l’exil en littérature, susceptible ensuite de s’appliquer, de manière déductive,au cas roumain, en particulier au cas de Vintila Horia.La deuxième partie est l’étude de cas induite précédemment. Le « portrait » de Horiaest réalisé à partir de ses propres textes, ce qui évite l’introduction d’une biographietraditionnelle dans la thèse et rend compte de la direction de recherche adoptée. L’intérêt decette partie est d’observer l’évolution identitaire et linguistique de l’individu Vintila Horiadans sa vie personnelle et surtout dans sa vie d’écrivain. Le plurilinguisme de sa création y estconçu comme un intermédiaire entre sa brève existence monolingue et sa francophoniepotentielle.La dernière partie s’appuie davantage sur les textes de Horia. Le roman Dieu est néen exil y occupe une place centrale, mais son analyse n’occulte pas l’importance d’autrestextes de l’écrivain et qui relèvent de sa préoccupation pour les problèmes théoriques de lacréation romanesque. Le dernier chapitre (qui propose une lecture nouvelle de l’oeuvre deHoria) est constitué de deux parties entre lesquelles l’analyse des romans se fait de manièrecontinue mais selon des perspectives différentes. Le point de départ de la première partieréside dans l’observation des pouvoirs bénéfiques de l’écriture sur l’existence de l’exilé. Acette occasion sont pris en compte d’autres moyens à travers lesquels l’exilé se défend contrela peine résultant de sa nouvelle condition. Le fonctionnement de ces moyens est suivi au6niveau des textes littéraires. Dans la seconde partie du chapitre les questions de l’écriture et del’écrivain deviennent centrales. Par les thèmes abordés – celui du personnage-écrivain et celuide la présence de l’auteur au niveau de son texte – Horia se révèle comme un auteur moderne,malgré l’air archaïque de son oeuvre
The objective of this study is to analyze the connection between exile, literarycreation and the languages used by Vintila Horia in his works. The methodology of thepresent study – based on the comparison of several famous exile cases, the thematic andpsychoanalytic analysis of the novels, the application of the new theories about the writer as acharacter to Horia’s work – indicates the interdisciplinary and plural nature of our field ofstudy, which is the literature of exile. The corpus consists of the following novels: Dieu est néen exil, Le Chevalier de la résignation, Persécutez Boèce !, Une Femme pour l’Apocalypse,Les Impossibles, Le Voyage à San Marcos, La Septième lettre and Les Clefs du crépuscule. Tothese, we have added some non fictional texts such as Journal d’un paysan du Danube, somepassages of the correspondence between the author and this brother, some press articles andfinally some fictional texts that were linguistically separated from the rest of our corpus, butwere chosen for their capacity of proving the unity of the work.Our study was built around the concept of exile, studied in its multiple forms, ofwhich we chose to insist on the one that represents this phenomenon as an initiator and animpulse of the human creative attitude. The exile is conceived in our research as an elementdiffused into the works in various manners, thus requiring different approaches.In the first section exile appears as a concept in search of its own definition,approached from different perspectives. The analysis of the exile (as an objective,sociopolitical, psychological and literary reality) was based on the existence of a tradition ofexile in Europe, best represented by the Russian and the German case. These two exampleswere distinguished not only quantitatively but also qualitatively. That is why they were usedin the developing of an inductive approach that was aimed at the discovery of a theory on theliterature of exile, to be subsequently used for the description of the Romanian exile,especially that of Vintila Horia.The second section is the case study previously announced. The „portrait” of Horia iscreated on the basis of his own texts, which gives us the opportunity to offer a less traditionalform of biography. It also indicates the direction of our research. This section has focused onthe development of Vintila Horia – as a man and as a writer – seen under the aspects oflanguage and identity. The plurilingualism of his creation is designed as an intermediarybetween his short monolingual existence and his potential Francophony.7The third and last section is based even to a greater extent on the author’s texts. Dieuest né en exil helds a central position in this process, yet its analysis does not reduce theimportance of other texts, that refer to the author’s interest in theoretical matters of the literarycreation, especially that of the novel. The last chapter is composed by two parts connected bythe analysis of the novels undertaken from different perspectives. The starting point of thefirst part is the observation of the positive effects of writing on the exile. On this occasion westudied some means of defense used by the exile in order to face his new existence. Wesearched and examined these elements at text’s level. The second part of the chapter focusedon the matters of writing and writer. The topics present in Horia’s novels – the writer as acharacter and the presence of the author in the text itself – reveal a modern writer, in spite ofthe archaic appearance of his work