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In referring to the poetry of the „generation in blue jeans,” I signaled the detachment from the excessive primacy of modernism by which the change of paradigm will be produced. In turning away from the Bessarabian project of rehabilitating the aesthetics, which was specihc to the '70es years of this past century, the poets of the '80es years of this past century have lost thei air of „freshness and adolescent ingenuity,” while putting on again the robe of „epigones.” As a consequence, the life fascination (unknown, mysterious) is replaced by the fascination of death (known), and the sensation of the open gives up in front of the terror of the sensation of the closed. In the game are involved poets who begin from the annihilating zero and come back to it again. There are road which are lost in nowhere and nevermore, since the world is demythicized, desecralized and without sanguineness; in a word, without ontogeny. From the cavaliers of the sad figure, the poets become cavaliers of their own death, while histrionically putting on the mortuary mask. There they leave an ambiguous space through which the gesture may seem sincere, and a picture, also, of the self-portrait is made by respecting the figure from the mirror and, at the same time, thickened, caricatured, artifactitious. Eugen Cioclea is a representative of the Bessarabian „generation 80”, with all its authenticism and biographicism.The poetry of Eugen Cioclea falls between anti-lyricism and anti-kalophilia. [ABSTRACT FROM AUTHOR]

The Moldavian/Bessarabian “generation 80” emerged under different historical and political conditions as compared with the Romanian one; nevertheless, it shares some characteristics similar to the Romanian model in what regards the sociolinguistic, imagological, rhetorical aspects. It did not appear as a declared opposition to a particular generation, but was born out of a normal reaction to recovery after a prolonged cultural convalescence and, of course, to synchronization by transfer with new experiences and experiments from Romanian and Western culture and literature. This “intersection” between the two axes of the generations 80 (the Romanian and the Moldavian ones) is illustrated by the intertextual poetry of Emilian Galaicu-Păun, displaying an interesting disclosure of the intertextualization process, the creation of the poem as a scriptural agent, by drawing the relative effects of the distances between the performer and performance. [ABSTRACT FROM AUTHOR]