This paper examines Gothic-Postmodernism in Dora Pavel's fiction. In the first theoretical part, it will be presented the symbiotic convergence and the genetical affinity between Gothic and Postmodernism. In the second part, it will be shown that the works of the Romanian writer, through hybridizations and grafts, incorporates Gothic features sometimes explicitly, sometimes unconsciously and in a more encrypted way. A summary analysis of the first two novels-Dying Agata (Agata murind, 2003) and The Captive (Captivul, 2006)-will be proposed, through which some Gothic traces will be reviewed. A more extended case study will be dedicated to the novel Powder (Pudră, 2010).

RIASSUNTONella sua opera Kore-Persefona, pubblicata nel 2004, la poetessa romena Ruxandra Cesereanu offre una riscrittura postmoderna del doppio mitico Kore-Persefone. Questo articolo si propone di studiare le metamorfosi del mito e le sue valenze simboliche all'interno della poetica dell'autrice, in cui KorePersefone si configura come la paradossale metafora di un io mentalmente scisso tra sanità e nevrosi. PAROLE CHIAVEMito, doppio, Kore, Persefone, metamorfosi, identità, Ade, nevrosi, delirionismo. THE METAMORPHOSIS OF THE MYTHIC DOUBLE SELF IN KORE-PERSEFONA BY RUXANDRA CESEREANU ABSTRACTIn her work Kore-Persefona, published in 2004, the Romanian poet Ruxandra Cesereanu performs a postmodern rewriting of the mythic Double Self Kore-Persephone. This article aims at studying the metamorphosis of this myth and its symbolical meaning in Cesereanu's poetry, in which KorePersephone represents the paradoxical metaphor of a Self mentally divided between sanity and neurosis.

In the frenetic and eccentric panorama of the Romanian avant-garde, Paul Păun's poetic and pictorial work had a singular and obscure fate, marked by the silence of an enigmatic, solitary, and discreet life. As Monique Yaari stated in a 1994 article, Păun's work prior to 1975 is little known outside Romania, and the only volume that appeared in 1975 in Israel, written in French-La Rose parallèle (Parallel Rose)-knew only a very limited circulation, having been produced and distributed "privately. .. without copyright, in the best situationist anarchist tradition." 1 This situation made the poet's work appear, in the words of Yaari, twenty years ago, as a veritable "chimera" ("Paul Paon's Sur-surreal Chimera" 108)-although in her analysis the term is primarily used to describe a major trope in the poet's texts. In terms of recognition, things have been slowly evolving since the 1990s, and the present article aims at contributing to the rediscovery of this poet. Paul Păun, pseudonym of Zaharia Herşcovici 2 , made his literary debut in 1931 in number 6 of the first series of the review Alge (Algae) edited by Aurel Baranga. Already signing under his pseudonym, the budding poet was then only 16 years * The introductory pages of this article appeared in French as an introduction to the author's extended analysis of Plămânul sălbatec in

The eccentric theater of alterity: the decadent femininity in Alexandru Macedonski's poetry): More than a hundred years after his death, Macedonski's multiform and eclectic literary career is still waiting to be rediscovered and objectively evaluated in a transnational perspective, necessary today, given that we are in the presence of a bilingual author whose work in French has the same value as that in Romanian. Macedonski's poetics, constantly open to innovation, through fruitful grafts and hybridizations with the literary and artistic currents that dominated and shaped the Western European culture, carries within itself all the devastating contradictions and paradoxical excesses of a transitional, deeply precarious and unstable age. If we consider the time frame of Macedonski's work , we will notice that, in his eccentricity always exhibited in a narcissist way, his work overlaps, in part, with an "extended" and "amplified" fin de siècle, a troubled historical and cultural period, but at the same time dynamic in the highest degree, which can no longer be circumscribed only to the last years of the 19th century. Beyond these chronological coincidences, the very coordinates of the Macedonski's work require us to frame it in a specific cultural atmosphere, imbued not only with aestheticism and esotericism, but also with experimentalism. If we look at it through this prism, the literary and existential trajectory of Macedonski is configured as one of the most emblematic moments of European Decadentism, an era traversed by the anxieties of a fractured complexity. The Macedonskian identity, as it is constructed especially at the level of eroticism (focused on an ambiguous interrelationship between male and female polarities, with their specific representations in the poetic imaginary) is certainly the thematic area in which, more than any other, a fin de siècle spirituality is mirrored, marked by abysmal stratifications and mythical sedimentations. I propose to outline, this time focusing only on some poetic texts in Romanian and in French, the construction of Macedonskian femininity as a reflex of the decadent theatricalization of alterity, and the interaction between femininity and masculinity which, as I will demonstrate, is materialized through magnetism, both psychic and erotic.