126723677 Semiotica Si Hermeneutica Textului PDF

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Acamia tii a MiItitutu Fii

ColocviulInternaional

FIlologIA Modern:aizi i ppcti ctxt upa

(iia a II-a)

Semioticaihermeneuticatextului

Cati:Aia grATI, Ia CIoBAnU

Ciiu, 2009


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CZU

Lucrarea a fost recomandat pentru tipar de Consiliul tiinic alInstitutului de Filologie al AM.

dcia CIP a Cami naia a Cii:

ColocviulInternaional FIlologIA Modern: aizii ppcti ctxt upa (iia a II-a) Semiotica ihermeneutica textului / coord.: Aliona Grati, Inga Ciobanu Ch.:S. n. (Tipogr. ). Vol. II. 2009 314 p.

ISBN

P rocesare computerizat: Galina Prodan

Ititutu Fii a AM, 2009


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Pfa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .dumitu APeTrI,Formedereceptareinterliterarnraporturileculturale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ott ArhIP,Elements of visual semiotics(Elemente de semiotic vizual) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Aa BAnTo,Comprehensiunea (textului) catreceredelalocallaglobal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .nica BIleChI,Poezia LimbamoldoveneascdeNicolaeCostencoanalizatdinperspectiv hermeneutic . . . . . . . . .

oa BoTnArU,Aspectepragmaticealeenunurilornegative: ntre constativ i performativ . . . . . . . . . . . . . . . . .Tatiaa BUTnArU,Hermeneuticamituluimioritic:principiiderevigorarenliricacontemporan . . . . . . . . . . . . . . . . . . . .lumia BrAnITe,LucianBlagaitradiiasacr.Modele i remodelare n hermeneutica poezieibasarabene contemporane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ficia CenU, (De)misticarenprozaluiNicolaePopa . . . . . . . . .Ia CIoBAnU,Hermeneuticaalteritii . . . . . . . . . . . . . . . . . . . . . . .ea ConsTAnTInovICI,Abordareacomunicriidinperspectivasemioticii . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

nia CorCInsChI,EugeniaBulat: hermeneuticatririipoetice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .gta CornIA,Semioticamimicii. Construciasensului. . . . . . .Aa CoCIUg,Particularitilexico-semanticealeunitilorindividualizatoarentextelebiblicenvarianteleebraic,franceziromn . . . . . . . . . . . . . . . . . . . . . . . .Aia CoZMUlICI,Structurialegoricen Istoriaieroglic . . . . . .victia CrAvCenCo,Studiulsemanticalcuvntuluincadrulsistemelordeconcepte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Miai dolgAn, Ninge la o margine de existen(Reeciiontologiceintertextualelauntitludecarte) . . . . . . . . . . . . . . .

vati dorogAn,Aspectesemioticealecomunicrii publicitare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .lumiia drUgA,Dincolodecuvntulbiblic oabordaresemioticaunuitextdinsecolulalXVII-lea . . . . . . . . . . . . . . . . . . . . . .nica FeleCAn,Limbajulreligios lozocn scrierile luiAndreiPleu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .daiaa FeleCAn,TipurideenunuriinterogativendramaturgiaromneascdinprimajumtateasecoluluialXIX-lea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .oiiu FeleCAn, Creativitatea lexical contemporansau desprevulgarizarea limbajuluilozocvictia FonArI,Axiologiainterpretriitextuluiliterarsau hermeneuticaparadoxismului . . . . . . . . . . . . . . . . . . . . . . .

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Macu gABInsChI,Repetareacafenomensemioticngeneraligloticnparticular(Clasicare primar) . . . . . . . . . . . . . . .Aat gAvrIlov,Semnificaie, sens i valoaren dialogismul lui Bahtin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

octaia gordon,Traduceresauparafraz?Problemedetranspunereanelesurilordinlimbasurs(e.g. latina) nlimbaint (e.g. romna) . . . . . . . . . . . . . . . . . . . . . . . . .Aia grATI,Modelulpoststructuralistdedialog.Ereziilegramaticiitextualisteieeculdezumanizrii . . . . . . . . . . . . . . .liia grosU,HermeneuticadoruluincreaialuiIonVatamanu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Auia hAngAnU,Schem actanial,structuractanial iorganizareatextului . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .viica MoleA,ValorialelimbajuluinpoeziapostmoderndinBasarabia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Aida TodI, Aa Maia MUnTeAnU, Ftia rPeAnU,oaa diaa MUAT,Construcia iconului mediaticprin strategii de mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Miaa MUnTeAnU sIserMAn,Funciatematicaexpresiilornominale: delaenunlatext. Oabordarelingvistico-semiotic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .I nArIA,Limiteleinterpretrii . . . . . . . . . . . . . . . . . . . . . . . . . . .oa osIPovA, : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .dumitu olresCU,Opera de art (lmul):strategii hermeneutice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .siu PAvlICenCU,Traducerileromanului DonQijotecainterpretri: ultimatraducereromneasc . . . . . . . . . . . . . . . . . . . . .I PlMdeAl, Ilnyapasdehorstexte:lecturacaeveniment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ftia PoPA,Ritmulcreatordesensndiscursulradiofonic . . . . .nica rMBU,Barbariainterpretrii.ReeciidesprehermeneuticaluiSchleiermacher. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Timfi roCA,Hermeneuticastructuriilirice . . . . . . . . . . . . . . . . . .Aa sAInenCo,CntareaRomniei.Perspectivatemporalatextului . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Pta sAvIn,ValeneetnostilisticealetermenilorifrazeologismelorhrniriincreaialuiIonCreang . . . . . . . . . . . . . .ea AU,MonopolizareaperspectiveinarativenToiagulpstoriei de Ion Dru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ea UngUreAnU,Hermeneutica tiiniartainterpretrii . . .vita UngUreAnU,Referinasemanticnprocesuldeinterpretareasemnelorlimbii . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Aat vnTU,Textulvzutcareeadeimaginiobsedante.Reperelemetodologicealepsihocriticii . . . . . . . . . . . . . . . . . . . . . . . . . . .diaa vrABIe, Camil Petrescu sau noul substanialism . . . . . . . . . . . .

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Volumul cuprinde materialele colocviului internaionalFilologia modern:realizri i perspective n context european (ediia a II-a) cu genericul Semioticai hermeneutica textului (Chiinu, 7-8 mai 2008), organizat de Institutul deFilologie al Academiei de tiine a Moldovei n colaborare cu Facultatea detiine ale Comunicrii a Universitii Petre Andrei din Iai i Facultatea deLitere a Universitii de Stat din Moldova.

Aceast ntrunire preconiza o sesiune de comunicri tiinice care aveadrept obiectiv schimbul de experien ntre specialitii din R. Moldova i din alte

ri pe tema celor dou discipline complementare ale studiului asupra textului semiotica i hermeneutica. Discuiile n cadrul colocviului s-au axat pe legturaprofund ntre semiotic i hermeneutic, pe complementaritatea inevitabil ntrestudiul semnelor i al proceselor interpretative n abordarea textului literar saunonliterar. mprite mai degrab convenional n trei seciuni Limbaje semiotice,Teorii i strategii ale comunicrii,Hermeneutica textului prezentrile au vizatun spectru larg de probleme interferente vizavi de studiul comunicrii, care aufrmntat specialitii n secolul al XX-lea. Semiotica i hermeneutica devine,astfel, un context de referin pentru discursuri eteroclite: losoc, religios,antropologic, cultural, lingvistic, literar, mediatic, publicitar etc.

De la Platon, Aristotel i Sf. Augustin pn la Charles Peirce i UmbertoEco, omenirea a fost fascinat de interpretarea semnelor de orice natur:constelaii, cifre, ieroglife, guri geometrice, sunete, linii arhitecturale, imaginivizuale, simboluri, cuvinte, texte etc. Capacitatea de a interpreta, de a nelegesemnele deosebete omul de animale. Doar omul beneciaz de privilegiul dea disocia i constitui sisteme ntregi de semne precum miturile, religia, arta,tiina, istoria, toate acestea formnd sfera umanului. Hegemonia teoriilorlingvistice n sfera disciplinelor umaniste din secolul trecut a marcat procesulde interpretare a acestor sisteme de semne primordiale n comunicarea uman,vzute n general ca limbaje. Sub auspiciile acestei discipline empirice pn

i gndirea, datorit capacitii de a codica semnicaii, este identicat culimba, cu structurile ei. Structuralismul i poststructuralismul au dezvoltato semiotic (semiologie) independent n general de hermeneutic, denit cao teorie i o taxinomie a semnelor. E adevrat, coecientul de supravieuirea omului n era simulacrului, a uxului informaional depinde mult de capacitatealui de a glisa pe palierele multimedia ale fenomenelor interactive, care presupuncunotine n diversitatea de semne, modele, limbaje, imagini, coduri culturaleetc. ns boom-ul tehnologiilor avansate ar trebui s nu afecteze discursulumanist, surnd subiectul, discreditnd i relativiznd categoria de adevri valoare. Nu degeaba n ultimul timp semiotica european s-a deplasat spre

problemele interpretrii i a nceput s fac loc interesului pentru pragmatic ipentru relaiile omului cu semnele.


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Problema sintezei dintre semiotic i hermeneutic este una dintreprovocrile postmodernitii. Eforturi n vederea concilierii ntre lectura semnelori interpretarea lor, ajunse la un moment dat s e abordate ca disjuncte n modprogramatic, au efectuat Paul Ricoeur, Umberto Eco, Gianni Vattimo, Derrida,

Eero Tarasti etc. Se conrm iari postulatul lui Charles Morris care, n renumitulsu studiu de teorie a semnelor, intitulat Foundations of the Theory of Sings,aprut n 1938, scria: Ceva nu e semn dect pentru c este interpretat ca semna ceva de ctre un interpret.

Armaia a constituit n cadrul colocviului pretextul a numeroaseparafraze sau reinterpretri. Profesorul Nicolae Rmbu de la UniversitateaAl. Ioan Cuza din Iai invoc una dintre directivele nocive ale comunismului:Ai grij ce spui sau ce scrii, indc totul se interpreteaz!, pentru a iniiao discuie privind abuzurile barbare de interpretare a unor texte fundamentale.Dincolo de abuzurile cu efecte pozitive ale unor personaliti care au

realizat rsturnri axiologice spectaculoase n istorie, au existat acei mcelariai gndurilor care au folosit pumnalul invizibil al cuvntului pentrua suprima i a nimici. Regulile de interpretare a discursului, instituite deSchleiermacher, ar o modalitate ecient de a evita barbaria interpretriidemolatoare, arm argumentat hermeneutul ieean. Reuita interpretrii esteasigurat i de orientarea ctre unele modele notorii de scriitur. ProfesorulNicolae Felecan de la Universitatea de Nord din Baia Mare propune n calitatede model limbajul religios-losoc al lui Adrei Pleu care constituie etalonulscriiturii actuale, artistice i losoce romneti, iar dr. Oliviu Felecan, venit dela aceeai instituie, pune n eviden creativitatea i lejeritatea losofului Gabriel

Liiceanu n materie de inovaie lexical.Dezvoltarea paradigmei hermeneutice devine preocuparea mai multor

participani la aceast ntrunire, majoritatea orientai spre luarea n considerarea dimensiunii pragmatice a literaturii. La capitolul teoria hermeneutic am putearaporta comunicrile inute de dr. Ion Plmdeal (n legtura cu teoria lecturii),dr. Elena Ungureanu, dr. Inga Ciobanu (AM), dr. Victoria Fonari (USM),dr. Timofei Roca (UPS Ion Creang), secondate neaprat de aplicaiipe textul literar, semnate de acad. Mihail Dolgan (AM), dr. Olga Osipova(Universitatea de Stat M. Lomonosov din Moscova), dr. Elena au(USM), dr. Ana Banto (AM), dr. Ludmila Branite (Universitatea

Al. Ioan Cuza din Iai), dr. Felicia Cenu, dr. Nina Corcinschi(AM), dr. Diana Vrabie (Universitatea Aleco Ruso din Bli) etc.Dr. Octavian Gordon (Universitatea din Bucureti), dr. Sergiu Pavlicenco idr. Dumitru Apetri (AM) sunt interesai de extrapolarea, n cmpul hermeneuticii.a problemelor complexe legate de traducere, iar dr. Dumitru Olrescu (AM)scoate n eviden cteva modaliti de interpretare a lmului de nonciune.

Pentru a demonstra faptul c cele dou aspecte sunt indisolubilei inerente oricrui act de comunicare i naturii intrinseci a cuvntului,dr. hab. Anatol Gavrilov (AM) invoc argumentele savantului rus Mihail Bahtincare, n cadrul unei teorii dialogice foarte inuente n a doua jumtate a secolului

al XX-lea, a dezvoltat ideia relaiei intersubiectuale n interiorul cuvntului,iniiind o abordare inedit a noiunilor semnificaie, sens i valoare.


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Interpretarea este o operaie semiotic prin intermediul creia interpretulasociaz dou fapte: faptul interpretat (interpretandum)i faptul prin care acestaeste interpretat (interpretans), susine n comunicare sa profesorul Ionel Naria(Universitatea de Vest din Timioara). Interpretarea constituie i o operaie

universal, aplicabil oricrui fapt: de la apariia unei pisici negre n strad pnla urmele zaului de cafea, poziiile atrilor sau imaginile aprute n timpul visrii.Cercettorul i propune s demonstreze n baza unor raionamente logice faptulc interpretarea depete cadrul strict al actelor de comunicare i c adevruli cunoaterea nu pot analizate dect prin mbinarea demersurilor logicii isemioticii. Perspectiva semiotic asupra textului anim comunicarea doamneidr. Odette Arhip (Universitatea Petre Andrei din Iai) care analizeaz ctevaelemente de semiotica vizual, cea a doamnei dr. hab. Elena Constantinescu(AM) asupra paradigmei comunicrii, cea a doamnei Georgeta Corni(Universitatea de Nord din Baia Mare) despre construcia sensului n comunicarea

nonverbal, n cazul dat, prin intermediul mimicii, precum i cele ale dr. LuminieiDruga (Universitatea din Bacu), dr. Valentin Dorogan (USM), dr. hab. MarcuGabinschi (AM), dr. Aurelia Hanganu (AM), dr. Mihaela Munteanu Siseriman(Universitatea de Nord din Baia Mare), dr. Florentina Popa (UniversitateaAl. Ioan Cuza din Iai) etc.

Prin efortul comun al participanilor la colocviu volumul a avut ansa s vadlumina tiparului, dovedind utilitatea acestei reuniuni att prin valoarea tiinica lucrrilor prezentate, ct i prin colaborrile ulterioare pe care le poate genera.

Dr. conf. univ. Aliona Grati


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ForMe de reCePTAre InTerlITerAr

n rAPorTUrIle CUlTUrAle

Dumitru APETRI

(Academia de tiine a Moldovei)

n comunicarea de fa ne vom referi pe scurt la dou forme de receptareinterliterar: traducerea artistic i interpretarea critic, forme care s-aumanifestat activ n cadrul dialogului cultural ntre R. Moldova, Federaia Rus i

R. Ucrainean n a doua jumtate a sec. XX.Traducerea artistic pe drept este considerat ca: mijloc principal decomunicare ntre literaturi, spaiu al tranzaciilor ntre culturi, act de prietenie ntrescriitori, modalitate de redistribuire a capitalului simbolic, iar nii tlmcitoriide beletristic s-au nvrednicit de calicativul oeri de legturi ntre diversetezaure literare.

Este semnicativ faptul c necesitatea acestui gen de creaie literar nua fost pus la ndoial niciodat, iar aportul lui este, cum se tie, deosebit devaloros. Nu ntmpltor marele scriitor german I. W. Goethe a introdus termenulliteratur universal, atunci cnd versiunile artistice se nceteniser n cadruldiferitelor culturi. Sunt demne de atenie i considerentele francezului P. Chavycare scot n eviden multiple funcii ale traducerilor: de exemplu, informativ,lingvistic, stilistic, literar, recuperativ, importatoare, selectiv, patriotic,democratic i asociativ.

n perioada cnd spaiul romnesc de la est de Prut s-a aat n componenaUniunii Sovietice (1940-1991), aici, la noi, s-a desfurat o intens activitate detraducere din literatura rus i din cea ucrainean rezultat al intereselor politiciiculturale promovate consecvent de Moscova. Concomitent, au fost replsmuite unir de opere din tezaurul literar universal, din creaia anumitor scriitori proveniidin rndurile popoarelor ce conlocuiau n fostul imperiu sovietic, precum i ctevacreaii folclorice valoroase ale unor etnii.

Prezena n arsenalul de traduceri a mai multor opere ale clasicilor rui(L. Tolstoi, A. Cehov, F. Dostoievski, I. Turghenev, M. Saltkov-cedrin,I. Krlov, A. Blok, S. Esenin . a.) i ucraineni (T. evcenko, I. Franko, L. Ukrainka,I. Kotlearevski, M. Koiubinski, O. Vinea, M. Rlski, V. Sosiura . a.) constituiepartea pozitiv a dialogului literar ntreinut prin intermediul tlmcirilor.1

Ct privete calitatea operelor recreate n romn observm i aicio latur pozitiv. Cu toate strduinele ideologiei totalitare de a implanta

1 Date detaliate, n acest sens, gsim n elaborrile bibliograce semnate deP. Savca (Relaiiliteraremoldo-ruso-ucrainene, Chiinu, 1973) i Irina Zatuevski

(, , , I 1979,II 1982), precum i n cartea subsemnatului Arta replsmuiriiartistice (Chiinu,2008, p. 125-142).


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10 Dumitru APETRI

n republic o limb literar deosebit de cea romn,1 scrierile (dealtfel, puine la numr) care au nimerit sub pana a astfel de personalitica Irog Creu, Al. Cosmescu, P. Starostin, G. Meniuc, V. Vasilache,Vl. Beleag, Aur. Busuioc, V. Levichi, M. Lutic i I. Gheorghi denot un

nivel artistic elevat.Rezultatele pozitive menionate privind nsuirile artistice sunt nsadumbrite de calitatea neglijabil a majoritii textelor. De exemplu, raportulvaloare / nonvaloare n cadrul tlmcirilor efectuate din literatura ucraineaneste, dup convingerea noastr, urmtorul: dintre cele 16 cri de poezie merits e transferate n grae latin doar un sfert, dintre cele 52 cri de proz numai zece. Din dramaturgie a fost transpus n romnete doar piesa Natalka dinPoltava de I. Kotlearevski i, spre norocul cititorilor, reuit. n anumit msurmai apreciabil se arat a calitatea replsmuirilor din literatura rus (e resc,tlmcitorii notri cunosc limba rus mult mai bine dect ucraineana), dar i ncadrul lor vom constata supremaia scrierilor cenuii, anemice, cu un potenialinformativ politizat i ndoielnic, asupra operelor de real valoare estetic.

Este mbucurtor faptul c practica literar luat n discuie dispune de celedou caracteristici de ordin pozitiv la care ne-am referit, dar e foarte regretabilc aceast activitate ntrunete mai multe componente negative. Printre acesteatrebuie nominalizat selecia vdit lacunar pe care a determinat-o n permanenpolitica sovietic totalitar ptruns de un proletcultism excesiv, nverunat.

Anume aceast situaie a pus n circulaie mult producie livresc lipsitde potenial estetic. Literatura sovietic plsmuit n spiritul realismului socialist,cu temele ei specice, ntrecea cu mult tezaurul de clasic. Din numrul criloraprute peste hotare erau alese pentru traducere cu preponderen acelea, n care

se cuta a demonstra prioritatea sistemului socialist fa de cel capitalist.O astfel de selecie i-a marginalizat, alteori i-a mpins cu totul numbr pe astfel de scriitori rui valoroi din sec. XX ca M. Zocenko,A. Platonov, M. Bulgakov, A. Soljenin, B. Pasternak, B. Mojaev,V. Grossman, pe clasicii ucraineni I. Franko, I. Fedkovici, E. Grebinka,Gr. Skovoroda, P. Gulak-Artemovski, pe eminenii poei din generaian vrst V. Sosiura, M. Bajan, M. Vingranovski, Lina Kostenko,D. Pavlicko i pe cei mai originali furitori de poezie din generaia tnr. Ctprivete literatura ucrainean a fost neglijat n mare msur genul dramatic ifolclorul. Situaia dat impune urmtoarea concluzie: o atare modalitate deselectare i nfptuire a traducerilor prejudiciaz arta literar, iar n cele dinurm prestigiul culturii i chiar imaginea rii respective.

La etapa actual, intervine nc un factor nefavorabil. Fondul de traduceri,chiar i lotul nensemnat marcat de caliti artistice, este astzi, n mare msur,nefuncional din cauza graei ruseti inaccesibile cititorului tnr i celui relativtnr. Dei dialogul literelor moldave cu cele ruseti i ucrainene care s-a ntreinutprin mijlocirea tlmcirilor atest mai multe laturi i componente neprielnice,totui nu putem nega rostul i valoarea lui cultural-literar luate n ntregime.

1 Esena utopic, pguboas i, pn la urm, caraghioas a unei atare politici

o am dezvluit relativ recent ntr-un ir de materiale de investigaie intitulateMoaeleinaii limbiimoldoveneti i publicate n cotidianul independent Timpul,ntre 28 septembrie i 7 decembrie 2007.


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11Forme de receptare interliterar n raporturile culturale

Raporturile literare moldo-ruso-ucrainene au fost nsoite, pe parcursulperioadei discutate, i de anumite interpretri critice.

Cele mai importante aciuni de interpretare a acestui dialoginterliterar sunt urmtoarele: dintre culegerile colective cele trei volume

intitulate Relaii literare moldo-ruso-ucrainene (Chiinu, 1978, 1979,1982, redactor responsabil C. Popovici), studiile monograce care trateazlegturile directe sau indirecte ale scriitorilor rui i ucraineni Pukin,Lermontov, Gorki, Maiakovski, L. Tolstoi . a. cu spaiul basarabeansemnate de C. Popovici, S. Pnzaru, Vl. vackin, E. Dvoicenko-Markova,B. Trubekoi, precum i acelai gen de lucrri care reect prezena mijlocitsau nemijlocit a unor scriitori romni n arealul culturii ce aparine slavilorrsriteni. Ne referim la crile Ion Creang i basmul est-slav (1967) de C.Popovici, Izvoarele friei (1977) de A. Romane, Relaii literare moldo-ruso-ucrainene (1971) de I. Osadcenco i Prezene moldoveneti n publicaiile rusedin anii 1880-1905 (1976) de Alexandrina Matcovschi.

Este o ncercare (nereuit, trebuie s spunem) de a dezvlui ctevaaspecte ale raporturilor literare despre care vorbim i cartea lui Isac GreculCuvnt despre prietenie (varianta ucrainean 1974 i rus 1976). Merit a pomenit n acest context i lucrarea lui Gruia Iaentiuk Eminescu n traduceriucrainene (Bucureti, 1958, n limba ucrainean). Anumite tangene au cusubiectul discutat i studiile lui Gh. Bogaci Gorki i folclorul moldovenesc(1966) i Pukin i folclorul moldovenesc (1967). Se cuvine s pomenim aici istudiul monograc al subsemnatului Dialog intercultural. Aspecte ale receptriiliterare (2006) care ia n discuie trei dintre cele mai active forme ale dialoguluicultural moldo-ucrainean: traducerile literare, explorarea tematicii ucrainene

de ctre scriitorii din republica noastr i interpretarea critic a versiunilor ia procesului de reectare artistic. Extinznd cadrul geograc i investigativ,e necesar s nominalizm i studiile monograce ale lui J. Kojevnikov MihaiEminescu i problema romantismului n literatura romn (Moscova, 1968,Iai, 1979) i Mihail Sadoveanu (Moscova, 1960), lucrarea E. LoghinovskiEminescu n limba lui Pukin (ed. I 1987, ed. II 2000).

n crile numite vom aa o informaie divers la subiectul comunicriinoastre, informaie de multe ori obiectiv, dar nu n puine cazuri subiectiv iexagerat. Subiectivismul i exagerrile erau cauzate de politica totalitar sovieticcare urmrea consecvent i insistent ca elaborrile respective s demonstreze, nprimul rnd i cu preponderen, inuena pe care o exercita arta literar rus iucrainean asupra literelor pruto-nistrene. Evidenierea inuenei inverse nu eradorit i nici promovat la modul cuvenit. Dac totui se cuta a sparge gheaa,aciunea era supus unei critici vehemente.

Dou exemple concludente: n 1958 la Chiinu apare culegerea de materialePagini ale friei n care erau tratate relaiile literare moldo-ruso-ucrainene. Ediiaconine i un studiu introductiv intitulat Prietenia multisecular, n care autorulA. Borci prezint unilateral i exagerat mai multe fapte de inuen slav asupraculturii noastre. Aceast situaie l-a alarmat pe V. Coroban, decanul lologieidin Republica Moldova, i el i-a expus opinia ntr-o recenzie [1, p. 137-139.].Pentru aceast cutezan savantul a avut de suferit n tot cursul activitii sale de

mai departe n forul academiei. Dup acest incident, vigilena politicii totalitarea sporit enorm.


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Al doilea caz: la nceputul anilor 70, lologul Isac Grecul care se aa cusediul la Kiev a prezentat editurii i din capitala Ucrainei un manuscrisintitulat Cuvnt despre prietenie. ntruct n aceast lucrare erau luate n discuiediverse aspecte ale raporturilor literare moldo-ruso-ucrainene, editura a expediat-o

pentru recenzare la Institutul de Limb i Literatur al Academiei de tiine aMoldovei.Subsemnatului care pe atunci era preocupat de anumite aspecte ale

raporturilor literare moldo-ucrainene i s-a ncredinat manuscrisul pentruexaminare i preuire. Dei eram n postur de doctorand, am fcut o recenzieampl i negativ asupra modului de tratare a majoritii fenomenelor. Cu toateacestea, n 1974 cartea a aprut la editura i nelundu-se n seam maimulte dintre obieciile principiale expuse n recenzie. n consecin, am ncercats-mi spun prerea despre carte n pres, ns nu am reuit.

n 1976 cartea lui Isaac Grecul a aprut, n varianta rus, la Chiinu,

editura Cartea Moldoveneasc. Acum am ntreprins a doua tentativ de a iein pres cu o recenzie, atrgndu-l n calitate de coautor pe colegul de serviciu,colaboratorul tiinic Vasile Ciocanu, persoan cu autoritate n organizaia departid a institutului, dar i de data aceasta aciunea a euat.

Prin urmare, cam multe momente i aspecte din lucrrile cu pretenii deinterpretri critice, la care ne-am referit n prezenta comunicare, denatureazadevrul sau prezint faptele literare n mod greit sau, n cel mai bun caz,exagerat. Aceast situaie impune, de mai mult timp, o revizuire obiectiv iimparial a acestui gen de interpretri i comentarii.

reFerIne BIBlIogrAFICe

Zam V.1. 1 O prefa agramat // Nistrul, 1959, nr. 8.

1 E pseudonimul lui V. Coroban.

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eleMenTs oF vIsUAl seMIoTICs

ODette ARHIP

(Universitatea Petre Andrei din Iai)

From a theoretical point of view, we try to present, clearly and admittedly,the linguistic sign vs. visual sign relationship, because this kind of approachrequires a simile between words and images. The most relevant contributionsare those of the Swiss Ferdinand de Saussure and of all his disciples (on account

of the verbal sign) and of the Groupe , especially Jean-Marie Klinkenberg (onaccount of the visual sign). This is also a many folded problem. Linguistics statesthat the former is in fact a connection between signi and signiant / form andcontent / acoustic or visual perception and concept. Regarding the latter, the visualsign, the Gestalt theory points out that forms enforce an overall and simultaneousperception, their predictability being partial. On the other hand, the informationscience applied to aesthetics shows interest in the distinction between semanticinformation and aesthetic aspects. The semantic message implies an ensembleof codied signs, always able to be translated. All the visual facts are hard todeal with because of their discreet character, continuous and non-homogeneousaspect. Of course, it is relevant to bring forth the difference between icons andgurative signs. Generally speaking, the iconic aspect is applicable to cinema,photos, etc., but it may be as well identied as noise or in music (narrative music),tactile and olfactory expressions, not to mention in details the major implicationfor literature. The gurative signs depend on the context and any dichotomy hasvarious acceptations.

With the visual turn carried out by media studies in Great Britain(esp. The Birmingham Group), the main focus has denitely changed. Broadlyspeaking, the focus has shifted from an instrumental approach tracing mediaeffects, to placing media within cultural frames with the reception as one ofthe central sites of media-formation. If the crucial metaphor of the rst approachwas transport viewing media as vehicles transporting meaning from sender toreceiver , the second tends to see media studies in terms of rituals. Apart froma metaphorical use of the term ritual in media studies, a more elaborated eldwas gradually established during the last decades when a more detailed theoryis necessary to be developed on a more sound conceptual basis and in order tolink media, also all kinds of brands, with rituals and sometimes also linkingthem identities, cultures, etc.

At least some of the possible parallels between media / brands and ritualsseem to be evident already at rst sight: the regular, everyday use of mediacontains the element of habit which is also deemed to be characteristic of rituals.

For example, media can be seen to function as an institution linking individuals tothe outside world or to different imagined communities. Some recognazible,


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traditional rituals get mediated through moderm mass media. However, activitiesthat could intuitively be listed as examples of media-related rituals appear tobe so unrelated that anybody can legitimately argue against the use of the termritual in the realm of media, since it seeminly functions just as another metaphor

or analogy, without bringing new, more rened conceptual dictinctions. If weacknoledge regular everyday use of media (e.g. watching evening news or onesfavourite series) as ritual, how can we possible talk about ritual use of mediaalso when it comes to watching the funeral of Lady Di or that of Tito, whichare obviously a rare and unique ritual? It is not true that through such use ofthe term ritual, the already vague conceptual framework producing generalized,oversimplied conclusions grows even more indistinct?

The aim of this paper is to show how, despite a certain conceptual confusion,which is also partly due to the excessive and inappropriate use of the term ritual,a more coherent theoretical approach can be developed to link media and brands

to rituals. The main benet that can be provided through such an approach is, inour opinion, an insight into how, through rituals, creativity, as well as subjectiveexperiences and objectied structures, are interwoven. In this respect, one of thecurrent dilemmas is: to what extent media / brands determine and inuence theaudience and how much freedom they allow in the process of interpreting mediamessages? If we observe them closer, from a potentially more fruitful angle, wend out a better way to understand.

Furthemore, by linking freedom to constraint, such an approach can providean appropriate framework to takle the question oh how contemporary media areinvolved in the social construction of realities / communities / identities. Roughlyspeaking, the main idea is to observe how media / brands, through their involvementin rituals and ritualization process, form a crucial part in the tradition, in actingout some social relationships, developing a sense of legitimized continuity intime and space, providing a basis for legitimating power positions, constructingauthority and, nally, in delineating a group identity. In other words, our aimis to observe how they succeed, consciously or un consciously, deployed as atype of social strategy, involving formal modeling of some social relationshipsor realities in order to promote either their change or perpetuation, and thus theirinternalization and legitimatization as well.

The main thesis we would like to develop and defend is that media / brandsrelated rituals are to be seen as an integral part of a larger process affectingcontemporary societies the process of re-enchantment of the world. Thisprocess has to be reviewed as a reaction to the never fully completed processes ofdisenchantment and rationalization stemming from the Enlightment era, as wellas a specic outcome of globalization and trans-nationalization.

We would like to stress that we are not suggesting that is idea of oursneither represents a new theoretical Holy Grail nor would we claim that media/ brands are ontologically rituals. We rather use ritual as a semi-descriptivecategory, a tool of approaching, a way of seeing some aspects which may notbe so evident when we attain other theoretical options. We suggest a simple,descriptive typology, with quite a lot of analytical concepts, based on the simple

scheme of communication as a process divided into production and consumption(or encoding / decoding) of messages.

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Ritual practices related to production of messages inside productionwe observe the whole set of practices constituting institutions which areaffected by and partly intermingled with economic, political and otherprcatices;

Ritual practices related to consumption (ritualized media / brandsconsumption or use);Ritual as the reference (the represented reality) of messages or as partof events;

What we could gain by approaching media / brands as rituals is the fact thatwe can overcome some of recurring dilemmas. The history of conceptualizingmedia / brands is, to a large extent, revolving around the dilemma of creativity andconstraint (e.g. active / passive audiences). Since media / brands tend to be analyzedwith reference to a bipolar conceptual model (production and consumption; orencoding / decoding), they usually get stuck in the debate between advocates

of their power and advocates of audiences independent interpretations. And itis precisely at this point where we see a ritual appoach very helpful, since ritualactivities are conceptualized as the site of a merging of cretiave interpretations andperpetuation of certain social structures and perceptions of reality. To summarize,ritual present a point where creativity and constraint converge; they can evokefeelings or express the thoughts of individuals. However, being a formalizedactivity (at least to a certain extent), they also have the distancing effect that servesto articulate and communicate attitudes of institutionalized communication. Itis precisely this peculiar combination of creativity and constraint that is crucialfor the formation of the legitimation-basis of certain social construction throughrituals. Thus, various constructions, value system, etc., are not simply imposedor forced, but accepted without questioning. For example, particular ethnicminorities or even societies living in a diaspora utilize their performances asareas in which they afrm their own identities. Paradoxical as it may seem, evenproduction of alternative meanings and resistance to preferred meanings mayserve as a very effective way of absorbing individuals into established society.Such a paradoxical combination of self-appropriation and manipulation of thesame rituals stems from a specic blindness that occurs within ritual activity:the ritual performers, as a rule, do not see how the symbols they are using andconstructions they are conveying in and through rituals are not simply given,but also constituted through their very activity.1 This is not to say that peopleinvolved in ritual activities do not know what they are doing. Rather, they do notsee what they are doing does. Or in other words, the values, realities, symbols,etc. evoked in rituals are always understood as existing before and outside theritualization itself.

Lets see some denitions of ritual activities. For example, Catherine Belllays out an approach to ritual activities that stresses the primacy of the socialact itself, and uses the term ritualization to draw attention to the way in whichcertain social actions are strategically distinguished from other actions: In a verypreliminary sense, ritualization is a way of acting that is designed and orchestrated

1Cf. the similarity to the socalled speech acts or performatives of J. Searle andJ. L. Austen

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to distinguish and privilege what is being done in comparison to other, usuallymore quotidian, activities [1, p. 74]. In other words, the focus is not on theritual as an accomplished act or a recognizable dened and bounded entity, butrather on rituality as a specic aspect of certain activity, and thus on the process

of ritualization which results in adding a particular ritual aspect to an activity.Ritual as an accomplished act is thus a product of such a process, and presentsitself as an entity that is more complex and unnatural than mundane spheres ofhuman experience. Ritual, in these terms, is part of a distinct situation, since itis symbolically, if not physically set outside the normal terms of time and space:it occurs in time spans outside ordinary schedules, and in space out of those wefrequent every day.

Following Van Genneps analysis of ritual, another author, Victor Turner1suggests another useful approach. Every ritual, be it traditional or modern,religious or profane, one can distinguish three elementary phases:

division;passage;re-composition;

In the rst one a clear cut distinction is introduced on various levels:a special space outside real space is created;a special time (outside time) is established; 2

new roles / statues / norms, clearly differing from everyday ones, areintroduced;

The second one or liminal phase lies somewhere in between. It is full ofambiguities, representing in a way a social limbo where no clear structure ormeaning can be inferred. This phase, full of symbols, is a multidimensional one.The symbols often oppose meanings or refer to unreal or strange phenomena.

Finally, the third one comprises a resolution: real time and space are (re)-introduced in a coherent structure with clear social roles / statues / norms. Thistime, space and structure need not be entirely new they may be new in relationto the previous time / space / structure or from the point of view of an individual,but they are actually pre-planned and quite old from a given collective point ofview, or from a longer time span or larger standpoint. The conclusion: under thedisguise of new a relatively old state can be introduced.

Turners approach has some advantages. Many ambiguities and subtledistinctions (ordinary or non-ordinary, familiar or unfamiliar) can also searchfor more specic ways in which these ambiguities can get solutions. Ambiguitiesshould be most evident in those socio-historical constellations which arecharacterized by continuous ux and changes (for example: wars, change ofpolitical systems, natural catastrophes, etc.). In such moments, one may expectmedia to convey ambiguous constructions of realities and communities, allowingvery different interpretations. Therefore, media related rituals in such contextwould include a longer and more evident phase, while the resolution would be

1Cf. Turner, Victor, Odritualado teatra, Zagreb, August Cesarec Centre apudThe Bricolage of Media Studies, Ljubljana, 2001, p. 134135.

2 Anybody connotes this with Bahtins chronotop or Mircea Eliade well-knowncontributions.

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more supercial and weak. When entering a phase of social stability, ambiguitiesin media related rituals would slowly be reduced and a coherent picture of theworld is presented, selecting parts of realities from the past and re-interpretingthem in order to t to the new realities. The liminal phase would thus be shortened

and the reversion to a coherent, mono-vocal picture of the world would appearmore smooth and self-evident.Therefore, we suggest a different quality in understanding rituals. These

must not be regarded as mere practice set outside the ordinary reality andaffecting the change or the reinforcing. This practice constitutes the possibilityof a very clear distinction between what is to be considered as ordinary or non-ordinary including either changing, challenging and displacing or normalizing,reinforcing and perpetuation. Anyway, liminal phase must be regarded as crucialfor ritual. It can also function as a legitimation of the already existing structures,re-establishing them from the in-between standing point (e.g. state of chaos,

disorder, etc.). It simulates the golden age and repeats symbolically the processof creating as it was accomplished once upon a time. It allows also exploringsubjects related to interplay creativity and constraint in social activities. Finally,it is on such basis that one can also understand some of the often proclaimedcharacteristics of rituals systematically listed and critically examined when wetalk about communication rituals. For example: formality, xity and repetition.These features, however frequently they may appear, are not intrinsic to ritualsin general. They are simply the most appealing strategies used to differentiateritual activity from other types of activities. They do, however, often appearbecause the non-ritualized activities are less formal, more prone to changes andschaotic, unpredictable situations; in relation to them ritual establishes itself asformal, static, reliable, often representing a symbolic guarantee of stability insituations full of risk and uidity. No strategy is, therefore, in a nut shell, is perse characteristic of rituals; what is ritual is always contingent, provisional anddened by difference.

We may state that is a kind of a new working denition in context of media/ brands. In more specic terms, through such an approach one would observehow and why a person can act so as to give to such activities a privileged statusvis--vis others not taking into consideration the fact that the above mentionedactivities are situated in the sphere of production or in that of consumption.

Discussing at this point of our paper the two things, media and brands,separately we have to distinguish between two aspects at least:

miat itua;ituaiz t tu miati

Miat itua

The rst one implies a very frequently raised question: watching or listeningto a religious service (a mass) for example, has it the same value or importance?Is it a viable substitution? Are mediated rituals to be regarded as less rituals, asless real or less effective because of being mediated? Previous explorations

of the interplay between traditional rituals and media, especially in connectionwith tourism, support a rejection of the clear cut distinction between live and


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broadcast events. Many people argue that the media version alters live performanceand moves it into a midway position between the church / temple, etc. andtelevision or radio. Others say that the presence of cameras makes the ritual moreauthentic, as acknowledging the cameras, the performers engaged in rituals put

greater importance on the perfection of their art. I personally agree with the rstones. And furthermore, I see mediation as bringing a certain deterioration of theauthentic aspect or reality. But I must admit that there are a lot of people whohave a different opinion: mediation magnies the ritual aspect and makes it evenmore ritual. This is, of course, a long term dispute.

rituaiz t tu miati

The second aspect highlights the fact that events mediated or ritualizedonly a posteriori distinguish them from other similar activities that are

recognizable as rituals as such, and this provides them a higher status. Sometimesmediation succeeds to transform an event into a ritual (e.g. the NATO summit inBucharest).

Due to such an effect of mediation as a strategy of ritualization, we areconfronted with various perverse outcomes: no matter how less important anactivity, the simple fact of mediation (especially and currently via TV) sets itoutside the other common bulk of everyday activities and transforms it intosomething special. In a world longing for enchantment, anything, even the mostsimple and quite dirty detail, can be exposed to the eye of camera (e.g. TheEye of the Big Brother). This disclosure has trivial effects. It has more likely theeffect of turning a dull neighbor into a TV-star by sanctifying all those details.

Apart from examining the extreme examples of most banal activitiesritualized by presence of media, it is very important to see the overall structureof events. A central question appears: what type of events is mediated and whatis not? How are these mediated events introduced into the structure of a certaintelevision program? How are they divided into spheres of politics, economy,culture, etc.? How is established one of the events by means of temporal sequenceas well as visual organization? Sometimes, we come to the conclusion that anotherlogic structure exists behind the mediated event. It is precisely this layer of mediareality construction that is more effective. The logic behind the selection and thenew structure reveals the basic cognitive schemes which are at the same timeconstructed and taken for granted by the media. It is not through what is said orshown, but through what is implied that media are most effective in conveyinga certain picture of reality or a certain set of values.

Thus, through involvement in ritualization, different media enter theprocess of articulation of certain cognitive schemes, epistemological premisesand binary oppositions, naturalizing and stabilizing them in order to allow andsupport their unquestioned application in everyday life. Media rank again places,events, persons, personalities and offer us a new special and temporal structurein order to interpret and to understand the whole of the world in a different way,in order to support it as a supposed entity. We have in front of us a re-constructed

world, rectied through the tools of media. The media-related rituals act asinstruments for knowing another, more appropriate / convenient world.

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Once the worldview and lifestyle are legitimated and authenticated as idealmodels of the world, they become models for viewing and living in the world.

There is yet another dimension of media reality construction that concernsus: media achieve imagined collectives,1 a process which includes a shared

recognition of the past and present as well as a set of distinctions, seen as rooted inthe common history, which are meant to differentiate one collective from others.Media have become the main locus of the constitution of identities and a space forconguration of communities bringing individuals into coherent publics that aresubjects of the action. Thus, to conceptualize the relations of modernity one mustsee the media as a central factor in the constitution of social actors. However, theacknowledgement of medias role in the construction of realities and communitiesis nothing particularly new or conned to mass media.2 We should add that thedynamics of the interweaving of creativity and constraint, already mentioned,can most effectively be explored through observing the specic ways in which

mediated rituals enter different reception contexts and fuse with rituals of a privateor semi-private character. Here, mediated rituals are introduced into sets of publicand domestic relationships and thus into a variety of different discourses throughwhich they are made meaningful in terms of family relationships, peer-grouptalks, as well as individual standpoints. A televised event is domesticated into thesociety of the family life and shaped by the complexities of family interaction(e.g. one would look at men watching football match, buying drinks and foodor women viewing their favorite soap-operas trying to separate themselves fromtheir everyday household duties both of them take care not to be bothered whileenjoying the program).

Finally, let us add another context to link the variety of the argumentspresented until now into a more coherent picture and place it into a larger frame ofsocio-historical processes. We believe that media are to be seen as an integral partof the process of re-enchantment of the world. We would argue that after a periodof fascination with the idea of progress (the period of growing rationalization anddisenchantment stemming from Enlightenment), it now seems that the prevailingattitude towards modernity is a kind of disillusionment. The central buzz-worldof contemporary prophets is no longer progress, and technological innovationsare no longer deemed to be the necessary pavement of the road towards a bravenew world. Contemporary opinion-makers tend to structure their speeches aroundmetaphors of stability and sustainability, warning against menaces caused by newtechnologies and new scientic discoveries, and raising ecological concerns.

It is obvious that modernity has not lived up to many of its promises ofsocial, political, or cultural liberation. It did succeed to reach a certain level ofdisenchantment, but at the same time new sciences failed to provide a coherent

1 Cf. Anderson, Benedict, Imagined communities: reectionson the origin andspreadofnationalism, London New-York, Verso, 1995.

2 Here, the so-called mediology by Rgis Debray can prove to be an useful ap-proach. Instead of focusing on how media are involved in communication, one shouldrather focus on the role of media in transmission, thereby exploring how different media

are involved in the dynamics of collective memory, and how they function in the contextof structures for a long period of time Cf. Rgis Debray,Introductionlamdiology,Paris, 2000 apudThe Bricolage of Media Studies, Ljubljana, 2001, p. 140-141.



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system of meaning comparable to those offered by religion. Thus, the emergingdisenchanted world appeared impersonal, abstract, and technical, devoid ofmeaning / warmth / safety. Of course, it can be argued that enlightenment andmodernization did not even promise to provide such an alternative safety in the

rst place. But this does not deny the fact that a great amount of fascinationby modernization and progress was fuelled by such expectations. Progresswas undoubtedly one of key elements of the prevailing mythology at theend of 19th century, and it is important to note that the myth of modernity,including the promise of a heaven on earth which would be established byscience and technology, constituted itself in relation to a supposedly moremeaningful, humanly spread and responsive pre-modern world. With sucha picture of the world, the growing disillusion with modernity and progressalmost automatically resulted in various attempts to come back to the mythical,romantic safety of the once upon a time. Thus, it should not be surprising that

the pervasive rationalization is closely linked to new forms of closed, sectarianor fundamentalist movements. In the middle of rapid changes, mostly provokedby the rationalization and technological progress itself, people are searching forfoundations beyond human constructions.

On the ground of such an understanding of contemporary society, itshould be obvious that regarding media-related activities, or other kind ofcommon social practices, in terms of rituals, as well as the ritualization ofmedia itself, can be considered as a constitutive part of the process of re-enchantment. Both mediation of rituals and ritualization of media-relatedpractices tend to make certain realities / practices / communities special andoutstanding as compared to others. For example, the family is symbolicallystrengthened through regular watching of Sunday evening TV-shows, andthereby television watching becomes a similarly sanctied practice as it wasonce characteristic of heaving meals at the family table. Marin Predas famouscharacter, Ilie Moromete, has no longer something to patronize. The ancientritual appears to be gone for ever.

Furthermore, one can recall examples of how watching a football matchis recognized as a practice requiring special preparation and concentration:the other members of the family are asked to be quite, the children must leavethe room, etc. It forms also a vital part of the construction of male friendships.To take yet another example, watching a certain TV-series can constitutean important part in both creating a space of ones own and escaping, for amoment, from everyday duties, and in forming a sense of belonging to a certaingroup through discussing latest developments of the plot. But we should notforget: as inclusion is always the ip-side of exclusion, all the ritualizedpractices can also form a basis of exclusion (e.g. you cannot participate inmorning-coffee discussions at the ofce or in smoking break if you did notwatch the TV-series, because you are regarded as a traitor; the same thinggoes for the football match, etc.). We may add also the classic example whichoften gures in jokes: by reading the morning newspaper (stereotypically, thehusband), he excludes the other members of the family and thus the private

sphere symbolically enters spheres of collective referred to in the newspaper,the so-called public spheres.

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Ba-ritua

Debating the issue of brands, we may come to an almost similar conclusion.Looking at the following slides, one can notice that they are less or more all

alike. The reasonable question is: how can we give a true answer if we have inmind of the most common denition of brand? Be different! They are mere labelsfor all kind of products: people, cans, nations, coffees, communities, perfumes,countries, food, etc.

In Romanian context, the rst attempts to create a brand have been far awayfrom the real Romanian specicity. The country is presented almost exclusivelyfrom a tourist point of view, and it looks as a rather cheap and alike holidaylocation. The country is presented almost exclusively from a touristic point ofview, and it looks as a rather cheap and alike holiday location. The Romanianendeavor does not prove as successful as that of Spain, especially after the Football

Championship (1982), the Olympic Games or the International Exhibition fromSeville (1992). All these Spanish events were very well organized and they couldimprove the perception of the national identity. We will mention some otherimportant contributing elements as well: positive economic and political changes;the adhesion to the European Union in 1986; persuasive campaigns for powerfulnational companies (Repsol, Telefonica, Union Fenosa, etc.); the adornment andmodernization of the main cities (Barcelona, Bilbao), nevertheless Almodovarsself-ironical and tragic-comical artistic movies. In fact, the Spanish rebrandinghas been a victory, and the interchange of the welcome taglines (Passion forLife, Bravo Spain!). Nowadays Spain is justly considered a most desirableplace for holiday, a beautiful and secure state, a cultural capital of Europe inall seasons. In 2002, the Spanish government in association with The NationalInstitute of Tourism (Turespaa) founded Spain Marks in order to promote thenational spiritual values. Even the Spanish people have a better opinion of theirown country and are proud to face the world, which is a very important exponentof the outside credibility and the capacity to turn the people out.

Hannah Arendt, Heideggers disciple, would have no trouble unpackingthis strange paradox which is obviously close to Ulysses. The famous hero isignorant of his birth, does not seem to know who he is, until he meets with himselfthrough the tale of his story. For Arendt, it comes from the fact that the categoryof personal identity postulates Alterity as necessary. Even before another can

render tangible the identity of someone by telling her / his / its story, many othersmust be indeed spectators of the constitutive exposure of the very same identityto their gaze. In other words, a human being, a country, etc. is unique and showsto be such from the very moment it is exposed. This is why identity correspondsto the question Who? put to each newcomer. Who are you? The urge towardself-display by which living things or countries t themselves into a world ofappearances, makes of identity an innato exposure of the Who to the gaze and toother questions. In the general exhibitionist spectacle of brands,Appearingcannotbe the supercial phenomenon; it has to reveal the uniqueness, intimate and trueessence. The expositive and the relational character are thus indistinguishable.

Everybody needs a story to become aware of its signicance. OtherwiseNoOne is the name of each country / person trying to mislead Polyphemus.



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The Sibiu campaign, for example, was nally a success for Romania. Itendues talents and a professional approach of the campaigns. All the 337 projectsand 2062 events certied, in most of the cases, equilibrium and a choice of goodtaste, even a battle won by the city against the monotony and the current dull

life. The design, the conceptual fantasy, the appropriate administrative measuresoffered a deserved joy and fame to the city. It was a holiday for all the Romanianpeople during a whole year. We have to remind you that 2008 is the year inwhich Iai, the capital of Moldavia, the oldest and second academic centre of thecountry, celebrates 600 years since its documentary certication. It has also beennominated to be the European Cultural Capital in 2019. Iai evidently deserves abetter campaign in this year of historic importance, and a more adequate one forthe next 2019, especially after the experience of Sibiu, which has represented astep forward. For us, the question What will happen in 2019 if this paradoxicalattitude remains the same? is entitled. As we all know very well the city benets

from a richer historical and spiritual past than Sibiu: the rst political unionof the two regions (Moldavia and Muntenia) took place in 1859 the UnionMuseum, recently rebuilt; the rst university in Romanian (language); the rstimportant cultural movement and Association called Junimea was created in1864, and after three years, in 1867, the rst literary magazine in Romanian(language) issued in Iai (Convorbiri literare); the second national library assize and value of books; the most important religious centre of the country (theleader of the Moldavian Orthodox Church has always become Patriarch of thewhole country; we may add that the relics of the main Romanian Saint, SaintParascheva, are preserved here bringing more than two million pilgrims eachautumn); the biggest and most signicant Complex of Museums (precisely, 22)is to be found in our city, as an overwhelming number of best writers, painters,musicians, architectures, sculptors, professors, etc. were born in Moldavia and,of course, were related to Iai. During the World War I, Iai became the capitalof the country (1917). Beside these arguments, a lot of other major facts mayhelp anyone to get a clear image of the importance of the town: old and beautifulmanor houses became along the centuries the City Hall, the Philharmonic, theNational Museum of Literature.

But the entire precious context was ruined during Ceausescus regimeand is disregarded nowadays. We mention only a few of the negative factorsthat inuenced the decline of the city: the poverty of the country in spite ofthe generous geographical and natural resources, the communist ideology andindoctrination, the greed of the present political class, the increasing ignoranceof the young generation, the lack of respect for common sense rules, culture,tradition, civilization. The last causes underlined can be detected and they turnout to be true in all the former communist countries and in those from WesternEurope too. The local / national specicity submits an approachable and moreprofound presentation. Our intention is to draw attention on many spiritual assetsto which previous activities of this kind failed to take notice. The contemporarysociety lives mainly due to images, mostly to the huge industry of illusions /dreams cinema. One of the deceiving opinions induced by this modality to

tell beautiful lies to people regards the so-called realism of the images. Infact, there is no realism in them; none of the images is real. The grid of imagery

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intercedes between the concrete world and the ctitious world of image or of theliterature. A subtle spiritual rapport attains to settle a link and to complete theinformation about the Romanian mentality / habits / historic, social and culturalbackground. The difcult problem at which we do not have yet solutions or answers

is the lack of the receivers feed-back. We are confronted to The Fall of publicman the public sphere seems to lose, for the present moment, the capacityto understand / discuss / interpret with arguments and knowledge background theinter-subjective issue of Who are we? / What do we stand for? Televisionand other mass-media render real public contact unnecessary; also indulge insentimentality losing the real values of personality. If culture and spirituality arenot brought forth and presented in an inspired and convincing modality, we willwaste all our chances to introduce ourselves to the world. Romania will continueto be a vague place at the border of the European Union, somewhere in the Balkanregion, the capital will be confounded with Budapest or Soa, etc. But this is

not the most important issue. Nobody knows anything about our tradition, ourcontribution to the European spiritual glory box or dower or fortune. Spiritualvalues and culture must come rst in order to defeat ourselves of ignorance andto accomplish that intercultural goal of European integration. This requires a bigeffort, patience and inspiration, the courage to bring the administrative agentsto face the nancial problems, so that the former European Cultural City wouldinherit the benets of well-done and well considered investments.

Finally, we underline the fact they we, the professors, teach lies toour students, presenting all kinds of models of the act of communication. Thedifferentiation and the feed-back may be obtained only if we have a persuasiveeffect, a real transfer of knowledge and a personied brand. In order to transcendcommunication barriers, its compulsory to understand and to render emotions, tomake hidden values perceptible. We must realize a logical connection in our mindand we have to adapt ourselves to the intended audience frame. Unfortunately,the Western countries expose a much external inuence, an atomistic view of theworld (opposite, for example, to the Asian holistic view) and, thus, the potentialattention is fragmentized and the impact of the message is diluted. Based on fewnave assumptions, only because they worked quite well in the past, we havetoday conicting massages. The geography of our minds has changed. Wehave to learn about what builds reciprocity and what will bring strength to ourrelationships. The answer, in our opinion, is personal value and the exibilityabsolutely necessary to adapt to each context. This is why we dare to present anew scheme for the act of communication as well as a simple representation ofthe rapport between Context Brand Audience Deliveries.

reFerIne BIBlIogrAFICe

Bell C.1. RitualTheory,RitualPractice. London & New York: Routledge,1992.



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CoMPrehensIUneA (TeXTUlUI) CA TreCere

de lA loCAl lA gloBAlAnA BANTO


Hermeneutica, ale crei nceputuri dateaz din secolul al XV-lea XVI-lea, pune accentul, de pe la mijlocul secolului al XIX-lea, pe comprehensiuneai interpretarea textului. Esenial n aceste condiii este nu reconstruireasemnicaiilor n conformitate cu modul de a gndi al autorului, ci construirea

multiplelor semnicaii posibile. Gianni Vattimo va vorbi despre aceastdominant relativist a hermeneuticii ca despre o koine, adic o limbcomun a timpului nostru [1, p. 9], demonstrnd (n lucrarea sa Dincolo deinterpretare, 1994) c rolul hermeneuticii n losoa contemporan este de areconstrui raionalitatea. Jean Grondin, profesor de losoe la Universitateadin Montreal, autorul ctorva studii consacrate hermeneuticii (Luniversalitdel'hermneutique, 1993; Tournant hermneutique de laphnomnologie, 2003;L'hermneutique, 2006) distinge trei mari accepiuni ale hermeneuticii, ntre care,ntr-un sens mai restrns i mai frecvent utilizat termenul, n accepia autorului,desemneaz sfera losoei universale a interpretrii i a tiinelor umaniste carepune accentul pe natura istoric i lingvistic a experienei noastre asupra lumii

[1, p. 9]. Anume n aceast direcie a evoluat, n a doua jumtate a secolului alXX-lea, structuralismul, critica ideologiilor, deconstrucia, postmodernismul. Totn cadrul acestei orientri se situeaz, n opinia interpretului francez, i ideilelui Gadamer, Ricoeur i a urmailor lor care pun accentul pe arta de a interpretacorect textele. Amintim c din perspectiva lui Paul Ricoeur, hermeneutica estefundamentat pe imposibilitatea nelegerii directe a experienei umane originale.Pentru a favoriza nelegerea acesteia din urm este inevitabil ca omul s treacprin diverse mediatizri, precumsemnul,simboluli textul. Doar n felul acestael poate face comprehensibil eul propriu, sinele su, pe cellaltul i lumea dinjur. Deci textul ca naraiune intermediaz experiena temporal a omului. Timpulcare n mod obinuit ne este familiar, dar, totodat, este opac devine timp uman n

msura n care este articulat ca naraiune.Universul de gnduri i idei, sensurile i valorile pe care autorul textuluile-a conceput ntr-un plan mai adnc, anume acestea se a n obiectivulhermeneuticii. i Gadamer i pune ntrebarea Ce nseamn a interpreta?formulnd urmtorul rspuns: Cu siguran nu este o lmurire sau o nelegereconceptual, ci mai curnd comrehensiune i explicitare. El menioneaz cla origine a interpreta nsemna a arta ntr-o direcie, dar consider importantfaptul c orice interpretare nu precizeaz o int anumit, ci doar arat ntr-odirecie, adic nspre ceva deschis, care se poate ndeplini n diferite moduri[2, p. 7]. Schleiermacher arma i el c aa cum orice discurs prezint o dublraportare, la totalitatea limbii i la totalitatea gndirii creatorului su, orice act

de comprehensiune comport dou momente: a nelege discursul ca un decupajdin limb i a-l nelege ca fapt al subiectului care gndete [3, p. 24]. Cci n


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gndirea sa individul este condiionat de limb (care are un caracter comunitar)i nu poate elabora dect enunuri care au astfel de semnicaie n limba sa.O alt idee nou nu ar putea comunicat dac nu se raporteaz la semnicaiileexistente deja n limb. Autorul precizeaz c acest lucru se ntemeiaz pe faptul

c gndirea este un limbaj interior. i Eugen Coeriu al nostru, la rndul su,menioneaz c limbajul este o activitate uman universal care se realizeazn mod individual, dar totdeauna conform unor tehnici istoric determinate(limbi). ntr-adevr, toate inele umane adulte i normale vorbesc; ntr-unanumit sens vorbesc ntotdeauna (contrariul vorbirii este, de fapt, tcerea, carepoate conceput numai n raport cu vorbirea: ca ind un a nu vorbi nc saua ncetat a vorbi). Pe de alt parte, ecare subiect vorbitor vorbete n modindividual (inclusiv din dialog): limbajul nu este niciodat activitate coral.Limbajul se prezint totdeauna ca ind determinat istoric: ca limb (spaniol,italian, francez, german etc.); nu exist vorbire care s nu e vorbirentr-olimb. n limb, prin urmare, pot desprinse trei niveluri: unul universal, altul

istoric i altul individual [4, p. 233-234].Revenind la Schleiermacher, vom aduga urmtoarea observaie a sa cuprivire la mecanismul funcionrii cuvintelor ntr-o limb: Limba neind doarun complex de reprezentri particulare, ci un sistem al nrudirii reprezentrilor,prin forma lor cuvintele sunt puse n legtur, ecare cuvnt compus ind onrudire, unde ecare prex sau sux are o semnicaie (modicare) proprie. Dardeoarece sistemul modicrilor difer de la o limb la alta, ecare individ, autoral discursului, estedoarunlocncarelimbasemanifest. ns, ne atenioneazSchleiermacher, ecare discurs trebuie neles ntotdeauna numai plecnd dela ansamblul vieii cruia i aparine ecare autor al discursului nu poate neles dect prin intermediul naionalitii i al epocii lui [3, p. 25]. Astfel,

actul nelegerii este conceput de ctre Schleiermacher ca ind constituit dindou momente la fel de importante: interpretareagramatical i interpretareapsihologic: Actul nelegerii nu exist dect n ntreptrunderea acestordoumomente (gramaticalipsihologic). Dar mai face urmtoarea precizarecu privire la cele dou momente ale demersului hermeneutic: interpretareagramatic este mult mai exact n comparaie cu interpretarea psihologic pe careSchleiermacher o consider mult mai aproximativ, dar care, bazndu-se n maremsur pe intuiie, a dat rezultate cu mult mai numeroase, aceasta din urm indconsiderat drept veritabilul obiect al hermeneuticii.

ntrebarea primordial pe care i-o pun specialitii de astzi n domeniulhermeneuticii este dac nelegerea, mai exact, comprehensiunea unui text este

ntotdeauna posibil, care sunt procedeele care conduc spre comprehensiune, maipe scurt, cum se nfptuiete comprehensiunea?Exist mai multe tipuri de rspunsuri la aceast ntrebare, unele dintre ele

venind din perspectiva apropierii dintre structuralism i hermeneutic, altele dinperspectiva apropierii dintre matematic i hermeneutic etc. Nu ne propunems ne referim la ele n aceast intervenie. Ne vom referi doar la corelaia dintrelocalsaufragmentar(un fragmentar dus la limita posibilitii de divizare a frazein propoziii, a propoziiilor n sintagme, a sintagmelor n morfeme, n cuvinte, acuvintelor n litere sau n sunete) i global, prin care se are n vedere nelegereaunui text n totalitatea lui.

Vom meniona mai nti faptul c este o mare diferen ntre

comprehensiunea unui text scris i comprehensiunea cuvntului rostit. ntr-undiscurs rostit sau ntr-o conversaie lucrurile sunt mai simple, deoarece doar

Comprehensiunea (textului) ca trecere de la local la global


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prin ntrebri i rspunsuri se poate ajunge la o comprehensiune mutual. ntextul scris ns cuvntul are un rol mai complicat, innd cont de faptul cel este nu doar intermediarul sau mijlocitorul ntre emitor i receptor, dar,ntr-un anumit fel, i un anume scop al cercetrii. n acest caz funcioneaz

un alt tip de relaie, ntre text i cititorul care ncearc s ptrund i sneleag ce a vrut autorul s exprime. ntre acetia doi intervin mai mulifactori (timpul, spaiul, contextul cultural sau istoric etc.) care i distaneaz.Textul, nainte de a perceput ca o compoziie alctuit din uniti interioare,este atribuit unui ansamblu de consideraiuni. Situaia sa social i istoric,intenia individului de a-l aborda pot atribuite prioritar textului n ntregime.i dimpotriv, aceste consideraiuni globale asupra textului se pot proiectaasupra elementelor sale constitutive. Receptarea unui text este un proces caredureaz de-a lungul lecturii succesive a prilor pn la nele textului. Nuputem vorbi despre comprehensiunea textului atta timp ct lectura lui nueste ncheiat. Aceasta presupune c, fr doar i poate, comprehensiunea se

desfoar ca o trecere de la local la global. Anume analiza acestui procesconceput circular st la baza hermeneuticii ca teorie general a interpretriitextului. Comprehensiunea unui text ncepe prin segmentarea textului pn launiti semantice minimale, noiunea de locus sau de localind asociat cuentitile elementare care pot coincide cu o fraz, cu un enun, cu un cuvntsau chiar cu o silab sau cu o liter sau cu un sunet. Locusuleste consideratde ctre specialitii din domeniu drept punctul n care litera dispare i ncare survine semnicaia, segmentarea aceasta pn la unitile semanticeminimale ind una din modalitile importante de dezlegare a sensurilor isemnicaiilor ntr-o oper literar. Cci autorul unui text artistic intr ntr-un dialog dublu: pe de o parte, cu cititorul, iar pe de alt parte, este vorba de

un dialog mai puin obinuit, al autorului cu nsui limbajul, provocnd sauinterognd necunoscutul din limbaj.Pentru a exemplica vom recurge la creaia lui Grigore Vieru. n cunoscuta

sa poezie Casamea de Grigore Vieru poetul improvizeaz un memorabil dialogntre el i arhaica, btrna cas printeasc de pe margine de Prut, prsit, uitatde vreme. Este un dialog despre care, fornd ntr-o anumit msur nota, amputea spune c se desfoar ntre dou tipuri de civilizaii:

Tumiart, o, miart,Casameadehum, tu,Despretoate-amscrispelume,

Numaidespretinenu

Citim n aceste versuri adresarea, pe de o parte, a ului rtcitor,alias omulmodern desprins de lumea nceputurilor, iar, pe de alt parte, vedem aici adresareapoetului din secolul al XX-lea aat n dilema comunicrii. La modul poetic,autorul nostru triete ntr-un mit, n mitul lumii de nceput a cuvntului. Dinaceast cauz accentul, la Vieru, se deplaseaz pe nsi rostirea cuvintelor. ntr-opoezie autorul scrie: Rostesc cuvintecas iauaer. Multitudinea de versuriconsacrate limbii materne devine explicit anume din aceast perspectiv.

tim, nc de la Nietzsche, c omul i schimb mentalitatea odat cudezvoltarea tehnico-tiinic, cea care a transformat lumea ntr-un obiect de

exploatare tehnic i matematic, excluznd din aria preocuprilor universulconcret al vieii. Omul este aruncat n tunelul ngustelor specializri, ajungnd

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ntr-un spaiu al uitrii de sine. n timp ce noile tehnologii opereaz un soide ruptur ntre subiect i obiect, universul mitic, ne atenioneaz MirceaEliade, este un cosmos, un ntreg care exprim lucrurile la modul global ipermite cunoaterea intuitiv, comprehensiv, poetic i complet a lumii.

Prezena mitului n viaa noastr cotidian este un fapt demonstratfrecvent. n poezia contemporan, n limbajul poeziei universale sau al celeiromneti ecourile mitului se materializeaz prin Sisif, Graalul, personajecare i viziteaz deopotriv pe moderni i postmoderni. Aceleai drame revinn actualitatea vieii moderne, drame care sunt puse n scena literaturii prinintermediul imaginarului poetic.

Harold Bloom, bunoar, observ un lucru foarte important referitorla creaia lui Kafka, anume faptul c naraiunile sale mai lungi America,Procesul, Castelulsunt mai bune cnd le citim fragmentar dect n totalitate.Concluzia autorului Canonuluioccidental. CrileicoalaEpocilor estec pentru a cunoate sinele adnc al celui mai canonic geniu literar al epocii

noastre, trebuie s l cutm n bucile n care se voia ct mai obiectiv iimpersonal, dei sperana sa s-a dovedit a deart [5, p. 449]. Aceastconcluzie la care ajunge Harold Bloom vizavi de creaia lui Kafka devine imai explicit dac inem cont c evenimentul marii arte narative kafkiene este,dup Gadamer, destrmarea orizontuluicomunde interpretare. Considerc toat complexitatea abordrii hermeneutice a textului i a discursului ngeneral este determinat anume de acest concept (al destrmrii orizontuluicomun de interpretare).

Ar curioas o lectur n paralel, din perspectiva destrmriiorizontuluicomundeinterpretare, pe de o parte, a lui Kafka i, pe de alt parte, a scriitorilorbasarabeni din perioada postbelic. La Kafka demersul narativ se soldeaz

cu preschimbarea alegoriilor aparente ntr-o echivocitate deschis (HaroldBloom). Iar n proza din peisajul pruto-nistrean, de exemplu, naraiunea, celpuin la unii prozatori (la Ion Dru, n primul rnd) este orientat spre reperareaunui orizont comun de interpretare. Cu ce se soldeaz aceast iniiativ iato ntrebare complex i complicat, al crei rspuns deocamdat rmne nateptarea formulrilor adecvate. Este clar ns c fenomenul acesta dureaz untimp, pn prin anii 80, dup care lucrurile se schimb, tinerii la acea vremescriitori proiectndu-i naraiunile spre un orizont comun de interpretare, care, deacum ncolo, este destrmat, optzecitii fcnd efortul de a se apropia mai multdect predecesorii lor de experiena literar universal. Acest fapt nu diminueazimportana predecesorilor, la fel cum nu este un motiv de supraestimare a creaieicelor din urm. Cum se explic fenomenul acesta, e o alt chestiune care necesito analiz mai pe ndelete. n comunicarea de fa vom constata doar un fapt evident:literatura din peisajul interriveran a avut o perioad de micare n contrasenscu cea de pe plan universal. Aceasta ns nu nseamn c nu merit a luatn consideraie, ci nseamn c poate mai bine neleas cu ajutorul analizeihermeneutice. Lucru pe care l vom proba n continuare revenind la creaia luiGrigore Vieru.

n general, menionm c universul artistic vierean este creat cu mijloacepuine, ntr-un stil care astzi s-ar numi minimalist. nsui autorul are o explicaiemagistral a felului su de a n poezie: Eu nu asimplu rvnesc, ci a

neles, scrie autorul aat parc n unison cu cei mai nveterai hermeneui.Astfel n modul su de a se adresa casei printeti, uitate pe malul Prutului: Tum



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iart, o, miart, sau n felul cum evoc gura sfnt a micuei, prinparsprototo, cum ni se prezint mna n acest caz:

O, mnaei, o, mnaei,

O, mnaei, caramulvetedAmbtrnitlamine-ncretet.Ambtrnitlamine-ncretet,

se poate citi dorina poetului de a devansa limbajul sau de a-l abandonapentru a-l reinventa, sau pentru a-l replmdi. La mijloc se afl doumomente: 1. Se tie c n general limba romn vorbit pe teritoriul dintrePrut i Nistru este marcat ntr-o msur mult mai mare de arhaisme, ncomparaie cu romna vorbit n Romnia i lucrul acesta nu putea s nu sersfrng i n creaia unui poet att de popular cum este autorul Verdeluicenevede (Acest nivel corespunde aspectului definit de ctre Schlermacher

drept obiectiv-istoric care nseamn anelegecumseinsereazdiscursulnansamblul limbiiimodul ncaretiinapecareoconineseprezintcaunprodusallimbii [3, p. 41] ); 2. este cunoscut de asemenea tendinapoeilor, n anumite perioade de a rscoli straturile adnci, arhaice ale limbiipentru a o ozona, pentru a-i da impulsuri de revigorare. Amintim aici inumele lui Velimir Hlebnicov, poetul care la nceputul secolului al XX-leaexperimenta n spaiile ntinse ale limbii ruse pentru a-i da o nou vigoarei dimensiune creativ. Cunoatem destule exemple asemntoare n istoriapoeziei universale, n care poeii fie c ajung la esena limbii n carecreeaz i a firii poporului din care fac parte, aa cum procedeaz, bunoarF. G. Lorca, fie rstoarn, torsioneaz limbajul, sau sucesc gtul elocinei,

aa cum i propunea poetul francez Paul Verlaine.ns n jocurile lingvistice aparent naive ale lui Grigore Vieru, jocuri ncare se pune o miz mare i pe segmente, pe uniti semantice minimale, se poateciti mai mult dect att, cci ele trebuie raportate, pe de o parte, la starea de atunci(i de acum) a limbii n care scrie poetul i, pe de alt parte, la imposibilitateaevocrii, ntr-o perioad a ateismului acerb, a credinei n Dumnezeu.

Bunoar, cuvntul veted se preteaz unor analize extrem de interesanteanume n raport cu contextul ateist n care a fost conceput poezia respectiv. Lafel i interjecia O, din versurile:

O, mnaei, omnaei,

O, mnaei, caramulveted,A-mbtrnitlamine-ncretet.

Sau:

O, neamuletu,Adunatgrmjoar,Aiputeasncapintr-osinguricoan !,

toate acestea contureaz un univers sacru, n care gura principal este chiar fora

divin reprezentat prin mna micuei i prin neamul care, precum se tie, estedat de la Dumnezeu. Exclamaia O! pare rupt din adresarea cea mai frecvent

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a celui care i cere ndurare Celui de Sus: O, Doamne, ndur-te de noi!. Amevocat acest moment pentru a demonstra c n poezia lui Grigore Vieru, careeste conceput la modul fonetic, interjeciile, exclamaiile, nu sunt locale i nicinu sunt forme de autism. Ele nu fac parte dintr-un discurs autotelic, care s e

adresat lui nsui. Toate acestea se insereaz ntr-o poetic global cu o organizarefonematic particular.n creaia artistic relaia dintre cele dou aspecte, concepute ca local

i global, dincolo de simpla lor proiecie ca atare, aa cum am vzut n celecteva exemple aduse aici, se prezint din perspectiva unui raport complex,deoarece anumite fenomene locale pot avea repercusiuni asupra ansamblului.La analiza acestui raport bilateral este important s nu se adopte o atitudineglobalist dogmatic. Mai mult dect att, este insuficient s ne limitmdoar la dou nivele, mai simplu spus, la raportul dintre cuvnt i text. Cuatt mai mult c, potrivit lui Mihail Bahtin, textul literar este locul dentlnire a mai multor voci. Mai nti, este vorba de ntlnirea dintre autor i

personajele sale, care sunt n raport de egalitate. Autorul se situeaz n locullor pentru a se departaja, pentru a se separa ulterior de el i pentru a-l privica pe un altul. Acelai procedeu este operat i asupra lectorului, care e, deasemenea, un altul. Prin urmare, constat Bahtin, opera literar e ndreptatn afar, nu asupra ei nsi, asupra auditoriului, lector i ea anticipeazntr-o anumit msur eventualele reacii. Dar n afar de aceasta mai existo instan superioar pe care Bahtin o numete supradestinatarul carereprezint comrehensiunea respondent ideal. Ulterior acesta va devenilectorul model.

Din perspectiv hermeneutic literatura nu face altceva dect ne ofer ansanelimitat de a intra n dialog, lucru asupra cruia atrgea atenia i Gadamer, care

consider opera de art drept alteritate ce provoac cititorul la dialog. mpreuncu opera de art receptorul poate traversa timpul i spaiul. n acest context, dinperspectiv hermeneutic, poezia, de rnd cu alte genuri literare i artistice, ni seadreseaz din adncurile tradiiei. Ceea ce se produce n decursul acestui dialog esteexperiena adevrului, lucrul pe care am ncercat s-l demonstrm, reperndu-nepe exemplul poeziei vierene care contribuie n mod real la elucidarea universuluiontologic pruto-nistrean postbelic.

REFERINE BIBLIOGRAFICE

Grondin J.1. Hermeneutica. Chiinu: Editura tiina, 2008.Gadamer H.-G.2. Actualitateafrumosului. Iai: Editura Polirom, 2000.Schleiermacher F. D. E.3. Hermeneutica. Iai: Editura Polirom, 2001.Coeriu E.4. Leciidelingvisticgeneral. Chiinu: Editura Arc, 2000.Bloom H.5. Canonul occidental. Crilei coalaEpocilor. Bucureti:Grupul Editorial ART, 2007.



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PoeZIA LIMBAMOLDOVENEASC de nIColAI CosTenCo

AnAlIZAT dIn PersPeCTIv herMeneUTIC

nicOlAe BILECHI


Opera de art e ca i natura: nu poi s-i adaugi nimic sau s-o lipseti de cevafr s-i strici naturaleea. Poi doar s-o protejezi. Nimeni, zicea dramaturgulgerman F. Hebbel, nu poate s-i adauge ceva unui copac, unei ori. Tot aa cu

opera de art. Nimeni, zicem i noi, n afar de sistemul totalitar sovietic, cares-a dezis de legea de aur a naturii i a mbriat ideea voluntarist conform creiatotul se poate. Axiomele snte limba, istoria, religia i alt. au fost reicate,coborte la preul obiectelor uzuale. Despre acestea din urm nc J. B. Molirespunea c lucrurile valoreaz att ct le facem s valoreze.

n cele ce urmeaz vom analiza poeziaLimbamoldoveneasc de NicolaiCostenco, ncercnd s-i determinm importana adevrat n raport cu valoareastabilit n mod arbitrar. Operaia, recunoatem, nu e deloc uoar, dar o spunemfranc greutatea analizei se rscumpr prin bucuria restabilirii, la captultravaliului critic, a adevrului tiinic.

Nu tim exact, dar, dup toate probabilitile, poezia n cauz a fost publicatla cumpna anilor 50-60 ai secolului XX, dup reforma ortograc din 1957, carea deschis posibiliti mai largi de folosire a lexicului considerat nainte curatromnesc, deci, conform ideologiei timpului, incompatibil cu cel moldovenesc.Discuiile care au precedat acest eveniment au determinat autoritile totalitaristes simt c n societate se creeaz o situaie, cum denea marxismul, cu adevratrevoluionar, cnd mediul literar de jos nu mai putea suporta presiunea conduceriide sus, iar conducerea de sus nu mai putea aplica, ca mai nainte, fora sa fa deceea ce se ntmpla jos. S-a mers n acest caz pe o tactic oarecum conciliatoare:scriitorii recuperau lexicul aa-zis romnesc cu mare ndrzneal, dar i cu multabilitate, iar conducerea de vrf, prefcndu-se loial la tot ce se ntmpla, cutan secret msuri, chipurile, democratice, dar, n fond, extrem de dure de stvilirea procesului declanat.

Era, pentru creatori, bineneles, o atmosfer de elan suetesc. Scriitorii,care pn la reforma ortograc se ntrebau ,,dar unde-i cuvntul ntreg(L. Damian), acum se ntreceau, cntrind n palm toate sinonimele lui, pentrua-l alege pe cel cu mai multe carate. La cumpna anilor 50-60 ai veacului trecutnu credem s existat vreun poet de valoare care s nu scris mcar o poezieconsacrat limbii.

N. Costenco a scris poezia Limba moldoveneasc care imediat a fostdeclarat drept un imn i asemuit cu cele mai frumoase poezii consacrate limbii

scrise de Alexe Mateevici i Gheorghe Sion. Se trecea cu vederea doar un lucru c A. Mateevici i G. Sion au scris despre limba romn, pe cnd N. Costenco


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prea c vorbete, aa cum spune titlul, despre limba moldoveneasc, ceea ce,desigur, convenea sistemului totalitar sovietic.

Dar oare despre limba moldoveneasc vorbea n poezia sa N. Costenco?ntrebarea e mai mult dect legitim, azi, cnd, beneciind de atmosfera

revendicativ a restructurrii, ne vedem, n scopul salvrii de motenireafalsurilor sistemului totalitar, nevoii s revedem toate argumentrile decndva, s le regndim i s le repunem pe nite temelii sntoase i cnd,protnd de avantajele sistemului hermeneutic de analiz, putem face mailesne astfel de aprecieri.

Din multitudinea preceptelor hermeneutice de analiz am ales pentrudemersul nostru critic doar cteva: cele ale lui P. Ricoeur i dezvoltate apoi deJ. Culler referitoare la hermeneutica suspiciunii i hermeneutica recuperrii, celeale lui F. D. E. Schleiermacher privind detaliul care se cuvine corelat cu ntreguli examinat prin intermediul naionalitii i al epocii respective i cele ale lui

Ezio Raimondi ce susin ideea c nespusul prevaleaz asupra spusului. Pe parcursne vom bizui pe ele.Textul poeziei lui N. CostencoLimbamoldoveneasc se a ntr-adevr

ntre o hermeneutic a suspiciunii i una a recuperrii. Suspiciunea vine dela faptul c asupra autorului poeziei timp ndelungat a planat prerea c ele un adept al moldovenismului. Se tie c, lucrnd la ViaaBasarabiei, ela promovat i, ntr-o anumit msur, chiar a teoretizat astfel de noiuni caneaoismul, autohtonismul, regionalismul i basarabenismul. A fcut ns nupentru c era moldovenist, cum credeau unii, ci din convingerea c, mergndspre Marea Unire, moldovenii trebuie s dezvluie tot ce au mai frumos, sdemonstreze, c ei vin spre acest eveniment cu zestrea de acas. Dar nu a fostneles. Din acest motiv, cnd, la cumpna anilor cincizeci-aizeci ai secoluluitrecut, a publicat poezia Limbamoldoveneasc, nimeni nu a pus la ndoialautenticitatea denumirii ei. Nu a fost pus la ndoial autenticitatea denumiriipoeziei mult timp nici dup apariia ei. Analizat n 1998, cnd a devenitclar pentru toi c limba noastr literar e romna, poezia a fost consideratde ctre cercettorul V. Malanechi ,,drept un tribut pltit contient i,deci, responsabil momentului politic-ideologic ostil libertii de expresie.Ce e drept, ceva mai jos, privind perspectiva acestui gest, criticul adaugcondescendent, i nu fr temei, c ,,proslvind n versuri naripate virtuilelimbii mat

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