Th e healing the „wounded identity” through the spiritualization of the tragic

Th e author of the paper signals, fi rst of all, the urgent need to introduce the phrase “wounded identity” (Michael Pollak) into the scientifi c circuit manifested with unparalleled eloquence in Transylvania and Bessarabia. The excursion into the area of autochthonous arts of the post-war period resulted in the discovery in the subtext of the works by I. Druță, V. Vasilache, G. Vieru, etc. of the “obsession with self-identifi cation”, which later becomes the guide of the subject and of genuistically-stylistic structures. The cardinal problem of the nation’s consciousness, that of losing oneself in the rush of the “terror of history”, is extrapolated in the 60s in the seventh art, culminating in the two archetypal samples: Pădurea spânzuraților/ The Forest of the Hanged and Gustul pâinii/The Taste of Bread, inscribed in the solemn gravity of the tragic genre. In these cinematographic works of universal resonance, the unprecedented psychoanalytic survey impresses the turbulent state of mind of the protagonists, who face, even at the cost of their lives, the nation’s Golgotha “of carrying the life of a stranger in oneself ” (L. Rebreanu). Th e fi lms, subjected to a comparative analysis, reveal the shocking phenomenon — the interpenetration of the great echoes of the ancient tragedy; the prophecies of nature and music corresponding to the famous chorus. In conclusion, the author launches a novel hypothesis: the “ethnic renaissance” is due to the recuperative mission — the healing of the “wounded identity” through the cathartic impact of the work of art.