The paper entitled The Intentional Structure of the Image of the Devil in Creanga’s Works refers to an aspect specific to the Creanga’s works, both famous and neglected: that is the question concerning Creanga’s relation to folklore, focusing on the representation of the devil. According to the author of this paper, imagining a «literary object» of the devil’s type is possible by means of two imaginative modalities: via analogica and via ethnologica.
The former consists in the free association of the idea of the devil with images and representations illustrating in an exemplary way the idea of the evil, the latter consists in imagining the devil by the appeal to the representative tradition of a community. Given than Ion Creangă takes over the poietic repertoire following the via ethnologica, why so many discussions around his works? The author’s answer referring to the matter of the representation of the devil but which probably has a wider pertinence concerns the intentional character of the images. The image, taken over from the folklore, carries its intentional load. The writer that wants to valorize esthetically a folkloric image such as the one of the devil, must first establish a relation with the intentional inheritance of the concerned image. Thus, from the perspective of present analysis, Ceranga’s ingeniosity is to be found in the way he manages to deviate the initial intentional project of the image of the devil and impress it a new intentional orientation. The way of achieving the alteration of the original intention of the devil’s image also includes the violence the artist used to distance himself from the folkloric pattern.