Mitul Luceafărului şi constelaţiile exegezelor sale
The Myth of Luceafărul and the Constellations of its Exegesis

Summary/Abstract: While Eminescu’s work and personality is still holding an important place on the Romanian academic agenda, our paper aims at showing what sort of continuity lines have formed around “Luceafărul” and its exegesis. As main topic of our research, we endeavour to foreground a specific critical reaction toward the self-implied hermeneutic difficulty of Eminescu’s masterpiece as well as toward the precise identification of that origin kernel, which is the creative activity’s primummovens. Thus, we introduce as hypothesis the idea that “Luceafărul” undergoes two types of de-codification. On the one hand, we find the seekers of Absolute (a critical concept already coined in Eminescu or on the Absolute), a group formed of researchers such as Rosa del Conte and Dumitru Irimia, who decode the literary text through the categories of reason. On the other, there are the seekers of Diaphanous, such as Petru Creţia and Gisèle Vanhese, both of them witnessing the endlessness and the incompleteness of what has been commonly regarded as the Absolute standard of art. Occasioned by the publication, in Romanian, of Gisèle Vanhese’s book „Luceafărul” de Mihai Eminescu. Portretul unei zeităţi întunecate, the present paper’s goal is to underline the importance of theCalabrese scholar’s work. After noticing – at the first reading of the original version and, then, at the several readings entreated by our own translation process– the integrative and essential feature of Gisèle Vanhese’s book,we felt that our own paper should turn into a plea for a diaphanous reading of Eminescu’s masterpiece. More than the broadening and the deepening of previous research (wherefore we find how much Eminescu’s Luceafărul is inserted into the mass of the Romantic literature), this book comes with very exciting approaches; Gisèle Vanhese chases after Hyperion’s beauty within Veronica Micle’s poetry, within Mircea Eliade’s novel The Snake and, then, within Ingeborg Bachmann’s autobiographic work Malina.

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