New Perspectives in European Cultural Area Based on Lucian Blaga s Philosophical System

New Perspectives in European Cultural Area Based on Lucian Blaga s Philosophical System Bianca Tripon, Babeş-Bolyai Cluj-Napoca, Romania Liviu Zăpârţan, Babeş-Bolyai Cluj-Napoca, Romania Abstract: Lucian Blaga is the first Romanian philosopher who built a philosophic system. From the theory of knowledge to the theory of culture and surrounded with very complex studies of nature, art or historic ways of debating life process, this huge work presented at high level, maybe the most elaborate process of writing philosophy of culture by an Romanian author. Centered on the philosophy of history and culture, Blaga s system provides a lot of opportunities in studying his cultural themes. Unfortunately, Lucian Blaga s writings are not intensively studied in Romania and abroad, since he isn t so famous like Mircea Eliade or Emil Cioran, but his work gave us a lot of information for the cultural and historical research. It was a time when communist system tried to put Blaga down for his attitude and his cultural ideas, and they almost succeeded. This paper presents Lucian Blaga s contribution in development of cultural and historical philosophy first in Romania and then in every place where cultural area is studied. In this research the metaphysical theories and all the implications of those theories in the philosophy of culture are debated. We also need to present Lucian Blaga in front of the Romanian philosophers, as he deserves to be appreciated at a high level. Studying Lucian Blaga is not an easy research task because it is necessary to read and try to understand all his books no matter if those books consist in volumes of poetry, dramaturgy, novels, biography and the entire philosophical system (Trilogy of Knowledge, Trilogy of Culture, Trilogy of Values and The Cosmological Trilogy). A vision of culture according to the theory of knowledge can be assumed, and also a vision of culture due to the theory of values and then a perspective of historical and cultural goals according to the cosmological and anthropological points of views can emerge. All those mixed could create a great cultural field for those who want to understand better how the cultural process in our word takes place according to Lucian Blaga. Keywords: Lucian Blaga, Romanian philosophy, culture, values

I. Introduction in Lucian Blaga s personality and philosophy Lucian Blaga is one of the greatest Romanian philosophers and a complex personality in Romanian history and culture. Due to his extraordinary talent and vision, he became an authority especially in cultural area and he is the first Romanian philosopher who built a philosophic system. He was born on May 9, 1895, in one small village in the heart of Transylvania, Lancrăm, a few kilometers away from Alba Iulia, an important city in Romanian history. Alba Iulia is also historically important for Hungarians or for the Saxons, because between 1541 and 1690 it was the capital of Principality of Transylvania. It is also important to understand that Lucian Blaga is the 9 th child of an orthodox, but in the same time, atheist priest. This may look like a contradiction, but we will see that this will be actually the fundamental part in Lucian Blaga education as a child. He grew up in an house full of books and full for love of knowledge, he felt asleep in a lot of evenings hearing his parents interesting conversation about life, death, God, evil and human power to understand how things goes in the Universe. It was an atmosphere in that simple, after all, family that we can consider Blaga to be in the perfect place at the perfect time for his childhood, and than for all his very creative life. From all his brothers he seemed to be the most receive to this type of education, the only one able to learn everything that, that position offered him. The village of Lancrăm, where Blaga was also buried in another day of May 9, but 1961, and its surroundings, inspired him to write his speech for the attending in Romanian Academy, in 1937, Elogiu satului românesc (Romanian Village Praise) in which we can see his metaphysical ideas that lived in his own heart as a human being from an early age. He said that the village is situated in the center of (his) existence, but for its geography, we could easily extend it in mythology [1]. One can see how strong was his relation with his village, with his family roots, he believes that living in an village means living in an cosmological atmosphere and in one s destiny conscience emanated from eternity. For Blaga, the village, and the life he spent there is somehow beyond tine [2]. As a child he has an extraordinary pleasure in staying in the yard, in a shade of a tree, reading an old collection of the Convorbiri literare (Literary Talks) a popular cultural journal, which he found in his fathers home library. This was the moment when he discovers the work of Schiller, Goethe that he could read in German, but also Romanian authors like Eminescu (our national poet) or Alecsandri and Negruzzi. Blaga is found of them and their work, he cant get enough of reading and it became obvious for him and for his family that going out of the village for his education is a necessity. He started his education in Sebeş-Alba, and than he goes in Braşov to participate at the Andrei Şaguna College, courses. He was always a brave and remarkable student. That s way nobody is amazed when he decided for University in Oradea and than in Sibiu. But the Theological University wasn t definitely his domain. He gets there only because the First World War has

started, and being a student was a privileged position for not going to fight in the war, and accepted it. But his thoughts remains in the books he was reading in the childhood. It was then he was decided to go for philosophy in Vienna. All this facts are mentioned in his autobiographical volume Hroniciul şi cântecul vârstelor [3]. He started to write in 1908 a few poems, published in journals like Luceafărul, or Tribuna. But his first philosophical article was Reflecţii asupra intuiţiei la Bergson (Reflections Upon Bergson Intuition), which was also published in another journal, Românul [4]. After a few volumes of poetry and aphorisms, one of the most important moments in Blaga s life and career is considered to be his Phd thesis, Cultură şi cunostinta, (Culture and Knowledge) defended in the autumn of 1920 at the University in Vienna. Actually, with this thesis Lucian Blaga introduced us in the main point of his philosophical system. Of course, at that time not even Blaga could be able to believe how complex that system will become. But, he was sure that he is decided to build his personality according to his interior structure [5]. Blaga was 21 at that time, but he was always asking if it is possible to become a personality before being jus a human being. Based on this unexpected questions he wrote his philosophical system and we can considerate it started with Cultura şi cunoştinţă (Culture and Knowledge), but there is an intermediate period between this theses and the complex system that he started a little bit later. We are referring here at his philosophical work from the years 1924-1930, when papers like Ferestre colorate, Fetele unui veac, Filosofia stilului, Fenomenul originar, or Daimonion, define and make an introduction to what was to follow. I m not saying that this work is not important but, this study doesn t show yet the entire blagian way of thinking, the entire construction that Blaga could transform in an masterpiece. That s way we are not insisting here, but of course it was important to mention. Between 1931 and 1948 Blaga has the most productive years of his work, here are the years when he worked hard at his system. He started in 1931 with the Trilogy of Knowledge introducing a lot of new philosophical terms in Romanian culture, creating a complex theory about how humans could reach the knowledge in a word of transcendent censor. Then, in 1936 he wrote the Trilogy of Culture and after that Trilogy of Values, both forming the philosophy of culture masterpiece that will be developed in the next part of this paper. And finally the last part of the system consist in The Cosmological Trilogy, the most important work in what concern the historical issues of philosophy, but this one remains unfinished. In 1939 he became a professor at the Cluj University and it was for the first time when somebody teach cultural philosophy in Cluj, actually this department was created for him. Everybody heard about his excellent diplomatic career and about his published poems, studies and his popular dramatic work. He became the personality that he was talking about. For teaching philosophy of culture he renounced at his career in diplomacy and he devoted all his time to University. Unfortunately this didn t happen for such a long time that he believed, because the historical context chanced too fast, too radical. Lucian Blaga declined the invitation to head the Popular Party, a satellite at the Communist Party at that time. This turn against him,

and in 1948 he was fired and the cultural domain in the Cluj University was abolished. This was the time when communist system tried to put Blaga down for his attitude, but also for his cultural ideas, for the fact that he raise up by being an philosopher against the system that rules the country. And they almost succeeded. The author s work reflected the author s life, but in the same time, Blaga s life is reflected in his work. One of the biggest exegetes of Lucian Blaga, Ion Bălu said that all Blaga s texts are in a continuous interdependence: mundane events and happenings of a single common external life, exemplary or unusual biography is reflected in the interior and, hence, are transgressed in the works [6]. Blaga, the philosopher is by intent, by starting point and the by the goal watched an apologist for the idea of creation [7]. His philosophical work contains 15 volumes, but in a triagonal architecture, as Blaga himself used to name it in his editorial testament [8]. In a time when the center was nowhere, like Constantin Noica, another important Romanian philosopher said, Lucian Blaga came to change the human direction and made him succeed. From the periphery of Europe, Blaga throw the idea, which can change the negativism in positivism and human limitation in his source of creation [9]. II. Lucian Blaga and the philosophy of culture Lucian Blaga has developed one of the most interesting and coherent theories of culture in entire Europe of his age. His dedication to the philosophy of history and philosophy of culture are according to his character and his strengthens. World s cultural life is always covert by its historical life, as it could be seen also in Blaga philosophy and then is right to ask ourselves if that the philosophy of culture isn t the same with the philosophy of history [10]. And if somebody reads Blaga s entire work will be able to see that he never put culture out of historic context, no matter if he speaks about Romanian culture or culture in an universal meaning. Being a man starts in the very beginning with the way of founding a distance from the things, thoughts and feelings that are around us, and try to put ourselves in the area of mystery. Human beings have to do this because everything that one knows and everything that one feels from the stuff that are around exists only for taking over it. That s why culture is definitely human destiny. According to Blaga, the creation is born from two sides, metaphor and style that bled. In one side is the metaphor, which appeared in the moment that man realized that he couldn t describe an object till the end and this because of the language; there is a limiting language. On the other side is the style. Any creator is the prisoner of his own style. Blaga said that the style couldn t be felt every time, but who feel actually the earth atmosphere? (an direct and very clear analogy). What

is the style according to Blaga and how human can understand it? He said: We will define the style: singularity of the artistic structure in a group of operas according to their agent, no matter if this agent is the artist, or the nation, or the era, or the cultural area [11]. Of course that Blaga used later an beautiful metaphor for another definition of the style in an more philosophical way, that an advised eye could easily discover, but unfortunately the meaning could be changed in the translation, in this case Romanian language keeps all its beauty. First, the idea of style appears at Nietzsche, but it becomes a serious reason of philosophical meditation at Frobenius, Spengler, Riegl or Keyserling. Each of them has had a different idea about style and this because each of them has had a different consideration for the elements of the style. This philosophers and historians are the voices of the morphology of culture, Blaga inspire his work from the morphology of culture, but he was disappointed in a lot of ways, he rejected most of its ideas trying to explain in the Trilogy of culture why those may be wrong. For example, Blaga considers space, one of the important elements that formed the style. Spengler saw the space like a creation of our sensibility, ranging from a culture to another [12]. Than, Alois Riegl believes that there is no special sense, but on the other hand Leo Frobenius believes that the special sense is the only determinant in a culture [13]. Blaga had his own questions about this and he tried to answer them in his way. He asked himself why in the same area can coexists different culture and different spatial senses or why in different areas a culture can survive and maintained for a long period of tine the same spatial vision [14]? And here is Blaga original contribution: Our contribution in the explanation of the phenomena of style consist in the fact that we can introduce in the area, the unconscious [15]. The unconscious like a psychoanalysis phenomena is a reality with a positive meaning, but in Blaga s acceptance the unconscious isn t in the psychoanalysis area but in the one of romanticism, like in the poetry and philosophy of nature. Unexpected is the fact that Blaga was unsatisfied by the psychoanalysis and he only wants to demonstrate that are a lot of unconscious determinants that can describe the phenomena of style. Blaga couldn t agree with Locke well known formula: there s nothing in the unconscious that wasn t before in the conscience. This is something that he couldn t accept at all, because he sees it as an empty of form. Instead he said that this formula could be completed in the way there s nothing in the unconscious that wasn t before in the conscience, except for the unconscious itself. Blaga pretend that he wants to talk only about the status of the unconscious according to the conscience. But for this Blaga introduced another new specific term in his philosophy: personanta, witch is an important quality of the human soul. Is the role of the psychic life, when the unconscious gave to the conscience different, new and paradoxes aspects. Ones may ask how is this an cultural issue, and all that we can say right now is the following: this is an very complex problem but not an accidental issue, because in the unconscious deepest meaning take place the spiritual process of human creation, especially the artistic one, because there are secrets horizons, without we can imagine the entire creational process.. With other words it can be said that this personanta is the psycho-spiritual creation, without the cultural creativity can exist. The personanta is the deepest feature at the cultural domain. Knowing this, it can be said that Blaga found his own spatial sense, the unconscious sense,

something like a spiritual reality much better than a simple feeling can ever be. After all the spatial vision have to be he last frontier in human imagination of the spiritual filed [16]. But in Blaga s theory there are not only spatial senses in the cultural creation, but also temporal senses equal in importance. As it can be seen in the ideas about unconscious, it can be assumed as in spatial sense of the unconscious, also a temporal one. It is known that a temporal sense of conscience is totally admitted like something that physics can always explain but from the psychology we have as dimensions the present, the past or the future, moments that are rather abstracts than clear. Those moments became in fact the horizon of the unconscious, but Blaga doesn t let them like that. He tries to translate those moments in time in new concepts, created with the help of the metaphors. In this order we have: havuz-time, when our wishes are looking in the future, than waterfall-time when the present doesn t mean anything and the past has the supreme value, and the last river-time witch mean in a way living on the present. The conclusion in here is that referring to the time it can be seen its original meaning only if man can bring him a direction. Usually the history can be understood only in temporal sense because it is an existential dimension. And there are histories according to all those type of temporal sense. History came because of this fact with an interior profile and a deeper signification. Upon these time models the historic perspective are built. As Blaga said the unconscious and its spatial and temporal senses are not the only determinants on the style idea, as the style is not all culture is about. The culture is a cosmoid with something that Blaga called cosmotic structure, there is noting chaotic in it. The only problem is that the complexity of a cosmoid is one of the ideas that succeeded in culture. Culture doesn t exists only because of some genius and talented people, culture is purely human, but it is necessary for human to change at all his way of existence only for being able to create. Without this change, culture couldn t exist, no meter how geniuses some people are. He want to reveal in this way that culture is the human object in creation the object, not the subject. Once Blaga finished to determine the style and how this important aspect makes sense in the cultural domain, he develops the Romanian style in the most complex research of this in entire Romanian culture. It is called Spaţiul mioritic (Mioritic space). It is not quite relevant for this paper to discuses it in here, but it has an important statute in Blaga s philosophy an also in Romanian culture. All the meanings he found in Horizon and Style takes place here, in the basic theory of Romanian culture. According with the first two parts of his Trilogy of Culture, it s almost perfected the presence of the essay Metaphor s Genesis and the Meaning of Culture, that concludes in an interesting way this powerful trilogy. If in the first part, that speaks in an purely theoretic way about the natural aspects of creating culture, and in the second part using all his research in founding Romanian cultural roots, in the last part, Blaga extends his cultural research in cultural area, to the contemporary philosophy of his time, and the universality of culture, and gives us the most understanding work about major and minor culture.

Blaga s way of thinking about the national spirituality match with the critic s examples of distinctive types of culture and civilization, named trough the terms of minor culture or major culture. But Blaga used these terms in total different meanings, because he decides that those terms aren t negatives like the critics are seeing them. Actually they decides the terms due to the ages of culture and Blaga wants to reveal that is nothing, but absolutely nothing about the age. He said that not the rank or the age of the culture is the facts that decide the minor or major aspects but the deepest structural features. As it can be seen in here we have the minor culture created by basic structure and similar with the childhood sense, in the same way that a major culture is not the maturity age, bur is similar with the basic maturity structure. So, an independent human being can be a cultural creator in any horizon he wants, by being enthusiastic and creating in the childhood field or in the maturity field. In here it can be revealed Blaga s idea that appears at the very beginning of his research, that we can t consider the cultures ages to be the same with the humans ages, because not the human being in the subject of the culture, but, the culture with its soul is the subject for itself [17]. Blaga classifies cultures in an original way. For the minor culture he is decided to go in the way of a little one, as the village culture for instance. It was said at the beginning of this paper that Blaga was very careful with the village aspects and with a patriotic common sense he put the village in the center of the Universe. But he used his own memories to make us understand that he doesn t see the village from a sociological point of view but from a mythological one that provides us the unique, spiritual essence of the popular soul. The man that lives in this area has in a strong meaning the understanding of a huge but naïve horizon in the same time. He lives in a minor culture, only because the modernity doesn t rich there, Blaga doesn t denies the inconvenience of those who lives in the villages, but he is proud of them and their capacity of understanding. In an antithesis with the minor culture, Blaga sees the major culture as the culture of modernity, as the culture of the big cities. The man in here lives in the total opposite with the one who lives in the village. But this man is in an overwhelming sadness, because he is perfectly lucid. Here Blaga gave one idea, which in time will be used by different Romanian authors, that in different stages of creation put the idea of drama in relation with the idea of clear conscience. For example, Cezar Petrescu, one Romanian drama author, used the approximate same words in his drama Jocul ielelor, and this became a very used line in Romanian language referring to the human drama of conscience, where s a lot of conscience, there s a lot of drama [18]. Ones can see that this is the man drama that lives in a major culture. But, the question is, why? Why, does he live surround by this culture? Blaga has the answer here too: the major culture is not a repetition of the minor culture, is in fact the praise of the minor culture. The major culture, builds a monument for the minor culture, but puts the man away from he actually is. If anybody goes to the Spengler masterpiece The Decline of Occident, or at the Leo Frobenius, Africa s Culture, anybody can observe that they inspired Blaga, but in an elegant style he rejected almost all their hypotheses based on the actual meaning of major or minor culture. And this because, Blaga with all the difference between those type of culture, and with the idea that he accepted the terms, he sees the positives aspects, and negatives ones, the advantages and

disadvantages in each one, major or minor, that can be used also in all the cultures around the word. In spite of any disputes based on these themes, the readers of the volume, Trilogy of Culture will appreciate, how much Blaga speaks for their ways of knowledge, but for sure Blaga will specks for the originality and specificity of the cultural area. Alexandru Tănase, one s of Blaga biggest exegetes writes every time he has the opportunity that, The Trilogy of Culture is the biggest contribution in the cultural theory, and its highest lesson is very actual and works like an social pedagogy according to one important cultural politics: knowing how to integrate in the new cultural universe the true values of the past [19]. III. Universality of Lucian Blaga s philosophy: one of the complexes philosophies in culture of Europe Romanian philosophy of culture has in the center the national specific theory, based on humanist philosophy of culture, one of the biggest and complex in Romanian philosophy. The cultural process isn t an accident for man, the cultural process is as it is said a necessity, the human specific way of existence. The determinant in the culture is the style, an spiritual hidden force that bled the sensibility and the creating conscience. The deepest roots of style exists in the unconscious, witch in Blaga s acceptance has an important role in the cultural creative mission. As it can be seen, we presented Blaga conception about cultural phenomena in a very few words. Now, everybody could be accustomed with Blaga s theory, so that, it remains us to show how universal and new is Blaga even nowadays and how the cultural area became an major factor in human life in all over the world. Any act of liberty is in his meaning an act of culture; any cultural creation is a new step in being free as human being [20]. And this because to the origin of any cultural act exists all the time human disappointment to his existence, his aspiration to a higher level that usually modify his entire existence. The man is not only the result of his own world, but also the creator of a new reality. Blaga blend the creation not by the spirit, but by the beginning of a new way of existence, a new, more deep and risky way. Lucian Blaga measure of this way can take place by founding first of all a distance from the closeness by situating in the mystery. Culture isn t an abstract phenomenon, but there s human dignity that makes things a little bit harder. After all the human dignity is always paid with unhappiness [21]. Is something new in here? It can be said, that, not at all. What Blaga said almost 100 years ago is very present today. Human nature is not changed in this way and it will never be, because although life is in a continuous evolution the dignity and things that define human race aren t changed at all. Culture isn t the second human nature, is exactly what human being add to his own nature.

For instance in Europe, we are use to that there is an obvious evolution in the each country culture. We are always referring that one country is more civilized and one another is less civilized. But, this is not a conclusion that we can say it loud now, because things are not changed by time. If Germany has another type of culture is because it had it since forever. Usually my compatriots are saying that Romania isn t a small country, but is a small culture, and this because it doesn t rich the civilization as for instance France does. But things aren t like that, because of the civilization. Spengler goes with the fact that the civilization is the end of the culture; Blaga came with the idea that the civilization is only the nest level of the culture. Who s right? And why from this point one country is small and other is big? That s why Blaga s work is so valuable, because he speaks about things that may concern us today, that make us sees things in a light that could be either positive or negative in what our culture means. Blaga speaks about culture in the universal meaning, but for me he speaks in the Romanian meaning. I don t wonder if for an Italian, Blaga is heard speaking in an Italian meaning, or for a Czech of course in a Czech meaning. Everybody could take from Blaga s philosophy his own part, and moves it in his own culture. It is useful just to identify the style and your horizon. It s daring to say that the cultural issues should to concern a lot of people as it can be seen in the fact that cultural issues were always in the middle of wars and social conflicts, natural disaster and difficult ways of living. Actually, Lucian Blaga philosophy of culture is more appalling in the way that s so general. Spengler anyway said that each culture has its own philosophy but in here we deal with a philosophy that concerns every culture. Except the Spaţiul mioriti (Mioritic Space), every essay that came from Blaga s work is about the way of a universal cultural meaning. It is important to say that because of the communist system Blaga s ideas were kept in the archives and only because of his only daughter, Dorli Blaga, our philosopher work could be known entirely today. We re wondering what would happen if Blaga s creation could be appreciate at its high level at its own time? Certainly some mentalities were chanced forever, and the idea of culture more properly shared at least in Europe. He was nominated to the Nobel Prize for Literature on the proposal of Bazil Munteanu of France and Rosa del Conte of Italy, but it seems the idea was of Mircea Eliade. Still, the Romanian Communist government sent two emissaries to Sweden to protest the nomination because Blaga was considered an idealist philosopher, and his poems were forbidden until 1962. But what happened was very unfair not only for Blaga but also for Romania and for the culture of Europe. Blaga was disappointed about the treatment his country applied to him, but after all, as a contemporary author said, each person means in our life, exactly how much we can keep from him, after his death [22]. And we kept a lot of Lucian Blaga, and certainly a lot of Romanians want Blaga in the position he needs to be after such a long period of time. He deserves to be heard, and he deserves to be read though his contribution to the philosophy of culture.

References [1] Blaga, Lucian, Elogiul satului românesc, in Isvoade, edited by George Gană, Bucharest, Minerva, 1972, page 36. [2] Blaga, Lucian, Elogiul satului românesc, in Isvoade, edited by George Gană, Bucharest, Minerva, 1972, page 37. [3] Blaga, Lucian, Hronicul şi cântecul vâstelor, in Opere, volume 6, edited by, Dorli Blaga, Bucharest, Minerva, 1979. [4] Bălu, Ion, Opera lui Lucian Blaga, Bucharest, Albatros, 1997. [5] Bălu, Ion, Dimensiunile interioare ale personalităţii in Opera lui Lucian Blaga, Bucharest, Albatros, 1997, page 20. [6] Bălu, Ion, Opera lui Lucian Blaga, Bucharest, Albatros, 1997, pages 5 and 6. [7] Blaga, Lucian, Prefaţă by George Gană, in Isvoade, edited by George Gană, Bucharest, Minerva, 1972, page 6. [8] Ghiţă, S. and Ghişe, D., Omnibus Studies in Filosofie şi religie in evolutia culturii române moderne, volume II, Editura Ştiinţifică şi Enciclopedică, Bucharest, 1984, page 349. [9] Noica, Constantin, Introducere in filosofia lui Lucian Blaga in Simple introduceri la bunătatea timpului nostru, Bucharest, Humanitas, 1992. [10] Vianu, Tudor, Studii de filosofie a culturii, Bucharest, Eminescu, 1982. [11] Blaga, Lucian, Trilogia culturii, in Opere, volume 9, edited by Dorli Blaga, Bucharest, Minerva, 1985 [12] Spengler, Oswald, Declinul Occidentului, translated by Ioan Lascu, Craiova, Beldai, 1996. [13] Frobenius, Leo, Cultura Africii, translated by Ion Roman, Bucharest, Meridiane, 1982. [14] Blaga, Lucian, Trilogia culturii, in Opere, volume 9, edited by Dorli Blaga, Bucharest, Minerva, 1985. [15] Blaga, Lucian, Trilogia culturii, in Opere, volume 9, edited by Dorli Blaga, Bucharest, Minerva, 1985, page 108. [16] Blaga, Lucian, Trilogia culturii, in Opere, volume 9, edited by Dorli Blaga, Bucharest, Minerva, 1985, page 113

[17] Blaga, Lucian, Trilogia culturii, in Opere, volume 9, edited by Dorli Blaga, Bucharest, Minerva, 1985, page 336 [18] Petrescu, Cezar, Jocul ielelor, [19] Blaga, Lucian, Trilogia culturii, in Opere, volume 9, edited by Dorli Blaga, Bucharest, Minerva, 1985, page 64 [20] Bâtlan, Ion, Introducere in istoria şi filosofia culturii, Ed. Didactică şi pedagogică, Bucharest, 1995, page 25. [21] Vidam, Teodor, Lucian Blaga şi filosofia europeană a secolului XX, Casa Cărţii de Ştiinţă, Cluj-Napoca, 2005, page. 20 [22] Liiceanu, Gabriel, Declaraţie de iubire, Humanitas, Bucharest, 2001, page 138 Acknowledgements Ph.D. scholarship, Project co-financed by the SECTORAL OPERATIONAL PROGRAM FOR HUMAN RESOURCES DEVELOPMENT 2007-2013 Priority Axis 1. "Education and training in support for growth and development of a knowledge based society" Key area of intervention 1.5: Doctoral and post-doctoral programs in support of research. Contract nr.: POSDRU 6/1.5/S/4 DOCTORAL STUDIES, A MAJOR FACTOR IN THE DEVELOPMENT OF SOCIO-ECONOMIC AND HUMANISTIC STUDIES Babeş-Bolyai University, Cluj-Napoca, Romania