the subterranean writer. case-study: ion d....

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The Subterranean Writer. Case-Study: Ion D. Sîrbu CUPRINS Introduction 3 I. The Public Writer and the Subterranean Writer 12 I.1 Primary and Secondary Literature. I.2. The Writer’s Profession (Occidental and Free). I.3. Turgenev’s Antinomy. I.4. The Extra Man. I.5. The S(Soviet Model) and its Mirror. I.6. We and the Train Schedule. I.7. Underground or Ivan Denisovici vs. Benedikt Petrovici. 1.8. From the Subterranean to the Loft, from Marx to Jesus. I.9. The Precursors of “Writing with two different Hands.” I.10. Endurable (endured) literature and the unendurable literature. I.11 Diaries as Cultural and Moral Resistance. I.12.Fellow Travellers Reconverted to Modernism. I.13 The Great Writers become Fellow Travelers. I.14. Lone Writers and Solidary Writers. I.15.The Secret Diary. Arguments for and against. I.16 Subterranean Literature. The Pink Version. I.17 „Official” Writers from the Literature School. I.18. Dissidentia. Endnotes 51 II. The Writer’s Life, Mirrored in the CNSAS Archives 55 II.1. Skilled Informers and Unskilled Informers. II.2. The Writer during the Year of his Arrest. II.3. The Writer, Coming out of Prison. II.4. Ion D. Sîrbu, Literary Secretary at The Great Theater, and at The Small Theater. II.5. Petrila, Open City, Genopolis, Forbidden City. II.6 Opening the Verification File. II.7. The Writer’s Neighbors, under Securitate Surveillance. II.8. Relationships with the Foreigners from Minerva. II.9. Opinions For and Against regarding the Followed Objective. II.10. The Transformation of the Verification File into the File for Individual Informative Action. II.11. Great Projects in 1968, the Year of the Prague Spring. II.12.Total Control of Information. The Investigation of the Projected Magazine Sinteze [Synthesis] II.13 Radicalization of Public Discourse. II.14 Cinematographic Failure; A First Success as a Playwright. II.15. The Fight against the North-Korean Model in Art and Literature. II.16. Getting Out of the System. Writing Drawer Literature. II.17. Giving up Dialogue. Calling upon the Word which Expresses Truth. Endnotes 97

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Page 1: The Subterranean Writer. Case-Study: Ion D. Sîrbudoctorat.ubbcluj.ro/sustinerea_publica/rezumate/2011/filologie/barbu... · The Subterranean Writer. Case-Study: Ion D. Sîrbu VIII

The Subterranean Writer. Case-Study: Ion D. Sîrbu

CUPRINS

Introduction 3

I. The Public Writer and the Subterranean Writer 12 I.1 Primary and Secondary Literature.

I.2. The Writer’s Profession (Occidental and Free).

I.3. Turgenev’s Antinomy.

I.4. The Extra Man.

I.5. The S(Soviet Model) and its Mirror.

I.6. We and the Train Schedule.

I.7. Underground or Ivan Denisovici vs. Benedikt Petrovici.

1.8. From the Subterranean to the Loft, from Marx to Jesus.

I.9. The Precursors of “Writing with two different Hands.”

I.10. Endurable (endured) literature and the unendurable literature.

I.11 Diaries as Cultural and Moral Resistance.

I.12.Fellow Travellers Reconverted to Modernism.

I.13 The Great Writers become Fellow Travelers.

I.14. Lone Writers and Solidary Writers.

I.15.The Secret Diary. Arguments for and against.

I.16 Subterranean Literature. The Pink Version.

I.17 „Official” Writers from the Literature School.

I.18. Dissidentia.

Endnotes 51

II. The Writer’s Life, Mirrored in the CNSAS Archives 55 II.1. Skilled Informers and Unskilled Informers.

II.2. The Writer during the Year of his Arrest.

II.3. The Writer, Coming out of Prison.

II.4. Ion D. Sîrbu, Literary Secretary at The Great Theater, and at The Small Theater.

II.5. Petrila, Open City, Genopolis, Forbidden City.

II.6 Opening the Verification File.

II.7. The Writer’s Neighbors, under Securitate Surveillance.

II.8. Relationships with the Foreigners from Minerva.

II.9. Opinions For and Against regarding the Followed Objective.

II.10. The Transformation of the Verification File into the File for Individual Informative

Action.

II.11. Great Projects in 1968, the Year of the Prague Spring.

II.12.Total Control of Information. The Investigation of the Projected Magazine Sinteze

[Synthesis]

II.13 Radicalization of Public Discourse.

II.14 Cinematographic Failure; A First Success as a Playwright.

II.15. The Fight against the North-Korean Model in Art and Literature.

II.16. Getting Out of the System. Writing Drawer Literature.

II.17. Giving up Dialogue. Calling upon the Word which Expresses Truth.

Endnotes 97

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The Subterranean Writer. Case-Study: Ion D. Sîrbu

III. Sagrada familia 99

III.1.Ancestors.

III.2. Parents

III.2.1.The Writer’s Mother, Elisabeta Glaser.

III.2.2. The Writer’s Father, Ion Sîrbu.

III.3. Stepbrother, Leopold Sterhlick.

III.4. Nephew Dorel Cr!ciun.

III.5. Niece Monica Cr!ciun Ionescu.

III.6. Wives:

III.6.1. Maria „Gigi” Ardelean.

III.6.2. Elisabeta “Lizica” Afrim.

III.7. An Impossible Love.

III.8. Sister, Irina Sîrbu.

III.9. Cousins, Uncles, Aunts, Nieces.

Endnotes 125

IV. The Valley and the Petrila Colony 128 IV.1. The Valley of Sîrbu’s Childhood.

IV.2. The Valley – from the Empire to the Romanian State (the story by Gustav Polyac de

Samson).

IV.3. The Colonies for Coal Mining.

IV.3.1.The Jiu Valley Colonies.

IV.3.2 The Multi-Ethnic Mining Colony in Petrila.

IV.3.3 The World of the Petrila Colony.

IV.3.4 The Petrila Colony in !oarecele B [B Mouse].

IV.4 Coal. Short History.

IV.5. Social “Consumption” in Jiu Valley.

IV.6.Culture in Petrila at the beginning of the Twentieth Century.

IV.7. Culture in Petrosani at the beginning of the Twentieth Century.

Endnotes 153

V. The Natal Matrix 155 V.1. Geographic and Historical Description of Petrila.

V.2. The Waters of the Land and the Historical Sources.

V.3. Mentalities of the Place. The Proletarian (the stranger/ baraba) versus the peasant

(momârlan) in the Valley.

V.4.The Valley – Borderland between the Empire and Country.

Endnotes 162

VI. The Home of his Birth 163 VI.1. The Tale of the House currently 6 Ion D. Sîrbu Street, formerly Zorilor, formerly

Malinovski, formerly Ferdinand

VI.2. The Park – the Heart of the Petrila Colony

Endnotes 168

VII. Sîrb Dezideriu’s School and Formative Years 169 VII.1. Grammar School.

VII.2. Boy’s Lyceum in Petrosani.

VII.3. College of Letters and Philosophy. Senior Thesis.

VII.4. Doctor of Philosophy – by Points

Endnotes 178

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The Subterranean Writer. Case-Study: Ion D. Sîrbu

VIII. The Frontlines 179 VIII.1 1001 days (and nights) on the Frontlines.

VIII.2. The Frontlines and the Senior Thesis.

Endnotes 186

IX. The Red Dice 187 IX.1. Communism in the beginning of the 20

th century in Jiu Valley.

Endnotes 194

X. “The Sibiu Literary Circle.” Heroes, Destinies and Collateral

Casualties 195 X.1.Preamble.

X.2.Manifestos.

X.3.Political Climate.

X.4.Reactions for and against the Manifesto.

X.5 Heroes and Destinies.

X.6 Collateral Casualties.

X.7 The Image of Young Ion D. Sîrbu in an Epistolary Novel.

Endnotes 217

XI. The Teacher Sîrbu. 219 XI.1. From Baia de Arie" to Revista de Pedagogie [Pedagogical Magazine] from Bucharest

Endnotes 225

XII. Ion Dezideriu Sîrbu’s Trials and Sentences 226 XII.1. The First Trial.

XII.2. The Second Trial.

XII.3. The Third Trial.

XII.4 Afterword to the Trials.

XII.5. Ion D. Sîrbu in the Final Report of the Presidential Commission for the Analysis of the

Communist Dictatorship in Romania.

XII.6. Ion D. Sîrbu in the Securitate White Book

Endnotes 246

XIII. The Writers and the Party before the Arrest of the Writer 247 XIII.1 The 1955 Writer’s Union Secret Conference.

XIII.2. The First Day of Meetings. 13 July 1955.

XIII.3. The Second Day of Meetings. Thursday, 14 July 1955.

XIII.4. The Third Day of Meetings. Friday, 15 July 1955.

XIII.5. The Fourth Day of Meetings. Monday, 18 July 1955.

XIII.6. The Fifth Day of Meetings. Tuesday, 19 July 1955.

XIII.7. The Sixth Day of Meetings. Thursday, 21 July 1955.

XIII.8. The Writers and the Party in 1956.

XIII.9. “The Journalists” Case.

Endnotes 275

XIV. The Prisons of Inmate Sîrb Dezideriu 279 XIV.1. The Arithmetic of Detention: 5 Years, 4 Months, and 20 Days.

XIV.2. The Floating Prisons.

XIV.3. The Buru Bear: Symbol of the Eternal Return in Chains.

XIV.4. Political Detention. Complementary Confessions.

XIV.5 The Inventory of Terror.

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The Subterranean Writer. Case-Study: Ion D. Sîrbu

XIV.6. Professor Sîrbu and Journalist B!nu".

XIV.7. The Advice of the Securitate: The Objective should Forget his Past.

XIV.8. Short ‘Remember’ about Camps and Prisoners.

Endnotes 309

XV. The Mine of the Ancestors 311 XV.1. L’eternel retour [The Eternal Return].

XV.2. The People in the Underground.

XV.3. Coal Sublimated in Burning Leaves.

Endnotes 317

XVI. The Files of Individual Informative Action 318 XVI.1.”The #erb!nescu” Objective.

XVI.2. “The Bear” Objective.

XVI.3. “The Grey” Objective.

XVI.4. Operational Sources and Techniques.

Endnotes 339

XVII. The Writer’s Travels 340 XVII.1. The Trip to the West.

XVII.2. The Writer’s Monologue about his Sole Trip to the Occident.

XVII.3. Travels to the East.

Endnotes 357

XVIII. 1977. One Year under the Surveillance of the Securitate 359 XVIII.1. January.

XVIII.2. February.

XVIII.3. March.

XVIII.4. April.

XVIII.5. May.

XVIII.6. June.

XVIII.7. July.

XVIII.8. August.

XVIII.9. September.

XVIII.10. October.

XVIII.11. November.

XVIII.12. December.

Endnotes 385

XIX. Epistolary 387 XIX.1. The Secret Censorship of Correspondence.

XIX.2. The Conspiracy of Censorship.

XIX.3. The Sîrbu-Doina" Correspondence.

XIX.4. Open Letters… 20 Years After.

XIX.5. Epistolary File Ion D. Sîrbu - Lucian Giurchescu.

XIX.6. The Letters. Potential Discoveries.

Endnotes 408

XX. Sîrbu, Countdown. 409 XX.1. Final Countdown.

XX.2. The Last Nine Months of Life: Hope is a Drug.

XX.3. The Death of the Writer in Steagul Ro"u [The Red Flag].

XX.4. Life Post Humus

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The Subterranean Writer. Case-Study: Ion D. Sîrbu

Endnotes 428

XXI. The Opus 430 XXI.1. Aesthetic Principles and Theatre.

XXI.2 Reception during his Lifetime.

XXI.3. The Cinematographic Adventure.

XXI.4 Posthumous Reception.

XXI.4.1. The Reception of his Poetry.

XXI.4.2. The Reception of the Writer in the History... by Nicolae Manolescu.

XXI.4.3. The Reception of the Writer in the History... by Alex #tef!nescu.

XXI.4.4 The Reception of the Writer in the History... by Marian Popa.

XXI.4.5. The Reception of Jurnalul unui Jurnalist f#r# Jurnal [The Journal of a Journalist

without a Journal].

XXI.4.6.Symbolic Animals in Sîrbu’s Work.

XXI.5 Isarlâk. History and Symbol of Dynastic Communism.

Endnotes 473

XXII. Sentimental ….Addenda 478 XXII.1. The Tale of a Providential Meeting.

XXII.2. Ion D. Sîrbu’s First Letter to Mihai Barbu.

XXII.3. Ion D. Sîrbu’s Letter to Mihai Barbu (2).

XXII.4. The Securitate Note Regarding the “Grey” – Barbu Correspondence.

Endnotes 482

Conclusions 483

Bibliography 492

Annexes 512

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Dissertation submitted in partial fulfillment of the requirements for the degree of

Doctor of Philosophy in the Department of Literature

The Underground Writer

Case Study: Ion D. Sirbu

(Summary/ English version)

Supervisor: Professor Doctor Ion Vartic

PhD Candidate: Mihai Barbu

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Note de Traducere

Note de subsol, note parantetice !i alte forme de referin"e la surse au fost schimbate în formatul MLA, folosit de obicei de Academia din Statele Unite. În restul textului s-au folosit conven"iile de notare prevalente în engleza academic# american#. Toate titlurile c#rtilor se bazeaz# pe titlul sub care au fost publicate în limba englez#. În cazul in care nu au fost publicate, traducerea se refer# la titlul tradus în limba englez# sub care apar, cel mai des, în publica"ii academice. Whatchamacallhim – se folose!te colocvial (exist# !i instan"e în care a fost folosit în

literatur#). Traducere mot-a-mot: “cum-îi-spune”, “cum îl cheam#”. Este folosit in loc de un cuvant (watchamacallit) sau nume (watchamacallhim/watchamacallher) pe care vobitorul nu !i-l mai aminteste.

s/he -- uz comun in limba englez# academic# dup# al doilea val al studiilor de gen. În afara de cazurile in care se vorbeste despre: o persoana unic# (genul este clar); doar despre barba"i; sau doar despre femei, dac# uzul pronumelui este generic pentru fiin"e umane, atât pronumele feminin cât !i cel masculin trebuie folosite concomitent.

Solidary exist# în limba englez#, de!i nu e folosit frecvent. A fost p#strat în traducere pentru a p#stra jocul de cuvinte din titlul sub-capitolului I.6.

The Securitate Numele nu a fost tradus deoarece textele academice în englez# care discut# despre numita institu"ie se refer# la ea doar în limba român#. E folosit# o grafie “italizat#” deoarece în limba englez#, orice substantiv în limba originar#, trebuie s# apar# în italice.

The Oak and the Calf – titlul sub care s-a publicat Vi!elul "i stejarul în limba englez#.