The inexhaustibile danger of the prankster Emil Cioran

ISBN

Formato digital
979-13-88142-06-2

Fecha de publicación

12-12-2025

Licencia

D. R. © copyright 2025. Nelson Guzmán Robledo, Ciprian Vălcan e Irma Carannante

Todos los contenidos de esta obra se comparten bajo la licencia Creative Commons Atri-bución/Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional (CC BY-NC-SA 4.0). Esto implica que no está autorizado el uso comercial de la obra original ni de las eventuales obras derivadas, las cuales deberán distribuirse bajo la misma licencia que rige la obra original. No obstante, se permite a terceros compartir el contenido siempre y cuando se reconozca debidamente la autoría y la publicación original en esta editorial.

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Felix Nicolau
Universidad de Granada
0000-0002-8288-6516

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Making use of methods specific to hermeneutics and cultural-historical analysis, this article takes aim at debunking a few preconceptions that beset the interpretation of Cioran’s oeuvre. No doubt there are several stages in Cioran’s thinking and writing, but the most important are two: the philosophy of history and culture permeated by the Nietzschean energy of his youth, then the stage of his nihilist-melancholy exile, as detached as possible from the applied analysis of his present day problems. In the same manner his écriture writing evolved, as it is well known, but the argument that the French language imposed a different rhythm and stylistics on him is naive. This naivety is due to the crediting of various cultural considerations issued by the essayist even though he never claimed to be a scientific authority, nor have scholars of his work used it as a source of irrefutable arguments, i. e. examples of logic and verified information. However, even those who have taken some of Cioran’s statements as sound arguments have not been shy about regarding many of his other statements as aberrant speculations and many of his other statements merely likeable.

Referencias

Isabel Durán Giménez-Ríco, ¿Qué es la Autobiografía? Respuestas a la crítica, Universidad Complutense de Madrid, Madrid, 1993, p. 75
Ciprian Vălcan, La concurrence des influences culturelles francaises et allemandes dans l’oeuvre de Cioran, Editura Institutului Cultural Român, București, 2008, p. 168
Bolea, La concurrence des influences culturelles francaises et allemandes dans l’oeuvre de Cioran, Editura Institutului Cultural Român, București, 2008, p. 108
Vid. Nicolae Țurcanu, Cioran sau excesul ca filosofie [Cioran or Excess as Philosophy], Limes Publishing House, Cluj, 2008.
D. P. Horan, “Beyond essentialism and complementarity: Toward a theological anthropology rooted in haecceitas”, Theological Studies, 75 (1), 2014, pp. 94–117.
M. Garoiu, « La poétique du fragment dans l’œuvre de Cioran [The poetics of fragment in Cioran’s work] », AYLLU-SIAF, 3(2), 23-38, DOI: 10.52016/AylluSiaf. 2021.3.2.1
Nica, M., “The irony and obsessions of Cioran’s philosophy”, Multicultural Representations: Literature and Discourse as Forms of Dialogue, 118-124. Retrieved from: << https://portalcioranbr.wordpress.com/2018/10/20/irony-obsessions/ >> .
Universitat de Barcelona, Barcelona, 2015
Manuel Arranz “Prólogo” in Cioran, Cuaderno de Talamanca, Pre-textos, Barcelona, 2002, p. 9.
Cfr. Ibidem, p. 12
Ibidem, p. 14
Cioran, Cuaderno de Talamanca, p. 27
Ibidem, p. 44. [“En Europa, ya sólo se puede encontrar tanta nostalgia cotidiana en Hungría”].

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