Ocheanul balcanic: privire asupra imaginarului literar în opera lui Mateiu I. Caragiale
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Iaşi
Inst. European
2009
|
| Schriftenreihe: | Colecţia Academica
71 : Seria Litere |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. und franz. Sprache |
| Beschreibung: | 276 S. |
| ISBN: | 9789736116049 |
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| 600 | 1 | 4 | |a Caragiale, Mateiu I. / 1885-1936 / Criticism and interpretation |
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Datensatz im Suchindex
| _version_ | 1804149097800663040 |
|---|---|
| adam_text | Cuprins
Cuvânt înainte
I
9
Argument/
15
Dimensiunea balcanică a operei
/ 23
Structurile timpului şi ale spaţiului
/ 97
Ordinul cavalerilor mateini
/153
Deprofundis
—
coordonatele thanatice ale operei
/179
Rude literare ale crailor mateini
/237
Bibliografie
і
253
Abstract
/261
Resumé
1
269
Abstract
The works of Mateiu I. Caragiale are still eye-catching for the
literary critique due to their heavy folds of mystery which preserve
unknown depths of meaning and yet determine new opportunities for
interpretation and analysis. The present study tries to go beyond the
conceptual limits set by previous critics and to motivate
-
by endless
regard for the Balkan scent of the fictional world
-
the main features
of the literary imagery in Mateiu Caragiale
s
texts.
Even if the picturesque
-
which E. Lovinescu identified in
the novel
Craii de Curtea- Veche
{The Philanderers)
-
is subordinated
to G.
Călinescu s
Balkanism , these concepts have long been accepted
without any proper definition or determination. In the last years there
has been an attempt of recovering the Balkan element of Mateiu
Caragiale
s
literary texts, but it was part of an extensive study which
regarded Romanian literature as a whole. We wanted to focus the
analysis upon the very texts of Mateiu Caragiale and to depict those
constant values that can always motivate their Balkan characteristics.
Far from being a mere challenge, our endeavour has determined
perpetual references to Balkanology studies providing thus the necessary
socio-cultural
background. This perspective offers a material which
identifies the Balkan images in Mateiu Caragiale
s
works and,
moreover, within its structural details, as the concept is no longer a
simple label but the very core of our analytic attempt. Due to the lack
of argumentation (or its insufficiency) in other studies on these texts,
we considered a rightful and necessary gesture to go deeper into a
hermeneutical research in order to assert the existence of a Balkan
fictional world.
261
MARIUS
NICA
The first chapter
-
The Balkan Dimension
-
proposes a strict
conceptual delimitation of the Balkan features of Mateiu Caragiale s
literary works. The word Balkan (balkanism) has become generating
core for all future interpretations and therefore it has undergone clear
and comprehensive definitions in order to eliminate any possible
intricacy. Therefore, the study gains in conceptual determination and
sets up a valid theoretical background for the analyses to come. In the
first chapter, we present to what extent the works of Mateiu Caragiale
may sustain the Balkan spirit and consequently identify those
elements which outline within the literary imagery a south-eastern
European mentality. The proposed hermeneutics has surpassed a
specific
topos
and identified the values of Balkan realities as they are
put into fiction by the writer himself. We focused the analysis upon
the literary texts of Pajere (Royal Eagles), Remember and the novels
Craii
de
Curtea-Veche (The Philanderers) and Sub
pecetea tainei
(Under the Oath of Mystery). We consider that these texts, taken as a
whole, materialize a unitary purpose of literary representation.
The first part of the study establishes a hierarchy of Mateiu
Caragiale*
s
values and determines a strong conceptual coherency for
the entire analysis. One may observe that all heroes and characters can
be discussed as being part of a specific literary typology, that of the
south-eastern European spirit, in which diversity (as it is developed by
the Western, Mediterranean or Oriental influences) exists within the
Balkan unity.
In the second chapter, Structures of Time and Space, the
analysis becomes indebted to the symbolism of time and space as it is
depicted in the structures of literary imagery. The reality of the text
has forced the interpretation to take into account all those Balkan
values which the geographical universe and the characters space of
action would render. Thus, we point at the tavern as a centre of the
spiritual world of Mateiu Caragiale s literature and we eventually state
that it becomes
a topos
for all the texts. It succeeds in developing itself
into a pattern of the philanderer s meetings, determining certain gestures
and behaviour. The tavern is the place where homo balcanicus asserts
262
Ocheanul balcanic
himself and where his attitude proves a self-identification with the
spiritual universe of the Balkan peninsula.
And yet, maybe the most challenging interpretation, due to its
novelty and wide range of symbolical suggestions, is the chapter
Mateiu s Chivalric Order. It is the part where we tried to save (in an
aesthetic-literary manner) the characters and heroes inhabiting the
fictional space; the salvation from a low-morale profile was possible
as we brought forward the idea of knighthood and chivalric code as a
certain possibility of reconstruction and reinterpretation of the
narrative and lyrical structures. The symbolism of Mateiu Caragiale
s
literary text may very well sustain such a proposal as the author s
biography is much indebted to the noble as well as to the chivalric
spirit. Taking this fact into account, we have chosen to overlap the
hermeneutical endeavour with the medieval spirituality, with the
image of the knight and its possible suggestions within a modern
literary text. Therefore, the heroes from Pajere and especially the
philanderers
írom Curtea-Veche
have gained new and profitable
meanings as their characterization was subjected to a powerful
medieval symbolism.
The title of the poems
-
Pajere (Royal Eagles)
-
comprises in
its symbolism at least two interesting connotations. On one hand, the
well-known bird of prey, and on the other hand, the sign, the repre-
senttation embodied in a coat of arms. The latter opens the interpret-
tation towards the imagery of the Middle Ages inducing the idea of
lords and knights wandering Mateiu Caragiale
s fiction.
Their repre¬
sentation (either graphic or imagistic-literary) is completed by their
personal coat of arms, it has become a common place to bring as an
argument the drawings that Mateiu Caragiale placed next to some of
his texts. Yet, one should acknowledge that the author felt the urge to
materialize the lyrical images into escutcheon and blazons. The same
thing happened with the characters from Curtea-Veche, to whom the
author offers graphic consecration which led to an endless confusion
regarding the real number of the philanderers. The necessity of a coat
of arms is not meaningless. It is the obsession of heraldry that states
263
MARIUS
NICA
that a noble person is somehow subordinated to an image, to a repre¬
sentation
-
more or less symbolic
-
which contains the very essence of
the individual. Pajere, seen as coat of arms, are by excellence the sign
of medieval knights and therefore they cast the expression of spiritual
superiority, of transcendence and of contemplation and intellectual
light.
If the Middle Ages meant accepting the chivalric idea or the
honour code, by the end of the 15th and 16th centuries there would
appear a historical dusk in which the medieval ideals will decline and
ethical codes would no longer be but mere conventions which would
ensure the manifestations of future ages. In Mateiu Caragiale s poems
the decline is not only that of the court, but of the entire world, of
everything it stands for: moral tradition and ethical ideal. We extended
the proposed analogy to all levels of imagery in the novel
Craii
de
Curtea-Veche,
where the Arnoteanus are an obvious suggestion of
disintegration. Their noble stock falls down in social class hierarchy
through
Maiorică s
family, through his gestures and depravation. The
maids in the one storey square-shaped building of the Arnoteanus
recast medieval representations. If Pajere reconstructs an old court in
its decline (both of the world and of the individual), in
Craii
de
Curtea-Veche the perspective seems to change. The medieval world
no longer exists, but there are three characters who try to recuperate it
-Paşadia, Pantazi
and
Povestitorul
(the Narrator). The last one will
explain the
Pena Corcoduşa
s
curse ( You philanderers.
..
Philanderers of
the Old Court! ) in the final dream which conceals the entire mystery
of the fiction. The space of the Old Princely Court becomes a sort of
axis rnimdi for the three libertines (even for Pirgu who will accompany
them as a guide), a space where their existences eventually converge.
They are in endless search for their own soul as genuine knights in
search for the Grail. But their journey will be one of failure and the
redemption will not be theirs. They cannot perceive the opportunity of
personal salvation by assuming the princely moral code and, instead
of entering the Court as noble knights, they will end up in the slum.
264
Ocheanul balcanic
And this will reach a climax when they will all leave the text, as
fictional death is the only way for them to leave this world.
As it may be expected, the analysis is continued with the
suggestion of the end , of the absolute decline in the chapter entitled
De
profundis
-
Thanatic coordinates. Since Tudor Vianu stated that
Mateiu Caragiale s works are night texts we found ourselves forced
to complete his idea by saying that they translate a symbolic-funeral
sensation of death in metaphysical terms. Mateiu Caragiale s mystery
is, in fact, the mystery of death or that of disappearance beyond any
possible explanation of the narrator. The Balkan universe supports this
event and ensures all its necessary connotations. In the poems from
Paj
ere
,
death is subscribed to the warrior-violent gesture or is just a
compensatory necessity for a certain type of existence. The lyric of
this volume outlines a Time of voivodes and court-ladies, of
boyars
and of court-advisers which asserts itself as the end, not only of the
individual, but mainly of the declining world. In Remember the
perspective is changed greatly as the characters are subjected to a
game of image in which death is valued differently. Thus, we offer a
new and profitable perception of the fictional journey of Aubrey
de
Vere.
Previous critics had continuously considered that his death is a
real one and that, in fact, the mystery of the short-story lies in the
incapacity of the reader- due to a firm refusal of the narrator
-
to find
out the circumstance in which the character was killed. Yet, a careful
reading would reveal the real Aubrey
de Vere
and would bring to the
reader s understanding that this English dandy is in fact an apparition.
He is an image and, necessarily, his death should be perceived as a
disappearance rather than a brutal gesture of murder. The deep narra¬
tive structures of the text have forced us to consider that the character
goes beyond what is human and that he cannot die physically, but he
is the one who kills out of the urge of hiding his being behind the
illusion of image.
Although it may seem somehow an eccentric interpretation
we strongly believe that all the arguments (all of them issued by the
text itself) succeed in supporting and validating it. This was completed
265
MARIUS
NICA
by that upon the narrative structure in the novel
Craii
de Curtea-
Veche where the characters death was commented according to their
symbolic journey in fiction and taking into account the old world, they
could have assumed not only in imagination but also ontologically. In
the Gore Pirgu
s
Balkan universe, the funeral loses its original signify-
cance and becomes a show, as it is homo balcanicus manner of acting
in the world. He seeks and takes great delight in asserting himself
among the others and his gestures are always a dramatic display as
part of a theatrical behaviour. Staging the meeting and eventually
death or funeral services is all part of the behavioural constants of the
individual and all these gestures sustain the Balkan character of
Mateiu Caragiale s works. Pirgu is gifted for guidance into this
universe of depravation and leads the other three in and out, towards
their final destination, even if this means a real or symbolical death.
The study ends with Literary Relatives of the Philanderers, a
chapter which we considered convenient in the whole approach as it
identifies possible reverberations of literary imagery (applied upon the
characters in
Craii de Curtea-Veche).
We tap into the inter-war
literary period and assert the typology of the libertine as a narrative
reality and at the same time we bring forward the manner in which
this image still inhabits contemporary Romanian novels. Without
thinking that we might have cleared away all possibilities of interpret-
tation we have focused upon a few novels
-
from different temporal
areas of Romanian literature
-
and tried to settle the boundaries of a
specific character for Balkan cultural space. From
Hortensia
Papadat-
Bengescu
or Gib
Mihăescu
to
Zaharia
Stancu
or even Nicolae Breban,
there have been identified certain features of homo balcanicus and of
Balkan spirituality. The initiation in the permissive world of the
peninsula which is done by a character like Gore Pirgu or
Diplomatul
comes as a necessity in the paradigm of the couple as this is formed of
two extremely different individuals from an ethical point of view.
Moreover, there is this staging temptation of characters like Rogulski
in the novel Don-Juan by Nicolae Breban. It is in fact the continuation
of the same type of behaviour we encountered in Mateiu Caragiale s
266
Ocheanul balcanic
works; it is a pattern which eventually determined the Balkan element
of the texts.
We tried neither to ignore nor estrange from previous literary
comments or critique, but we offered a new perspective which seeks
its validity in the literary world. Noticing that, although numerous, the
studies on Mateiu Caragiale s literary works had not succeeded in
providing an exhaustive interpretation, our endeavour comes to offer
an alternative and a new perspective. Referring to the models already
imposed in literature, The Balkan Spyglass is a modern text, with
boundaries setting theories and analyses which challenge the reader
and the entire specialized critique.
267
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| series2 | Colecţia Academica |
| spelling | Nica, Marius 20/21. Jh. Verfasser (DE-588)1024824101 aut Ocheanul balcanic privire asupra imaginarului literar în opera lui Mateiu I. Caragiale Marius Nica. Cuvânt înainte de Nicolae Florescu Iaşi Inst. European 2009 276 S. txt rdacontent n rdamedia nc rdacarrier Colecţia Academica 71 : Seria Litere Zsfassung in engl. und franz. Sprache Caragiale, Mateiu I. / 1885-1936 / Criticism and interpretation Caragiale, Matei I. 1885-1936 (DE-588)118702289 gnd rswk-swf Literaturkritik (DE-588)4036020-9 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Caragiale, Matei I. 1885-1936 (DE-588)118702289 p Literaturkritik (DE-588)4036020-9 s DE-604 Florescu, Nicolae 1942-2013 Sonstige (DE-588)1197927263 oth Colecţia Academica 71 : Seria Litere (DE-604)BV035808626 71 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024989571&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024989571&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Nica, Marius 20/21. Jh Ocheanul balcanic privire asupra imaginarului literar în opera lui Mateiu I. Caragiale Colecţia Academica Caragiale, Mateiu I. / 1885-1936 / Criticism and interpretation Caragiale, Matei I. 1885-1936 (DE-588)118702289 gnd Literaturkritik (DE-588)4036020-9 gnd |
| subject_GND | (DE-588)118702289 (DE-588)4036020-9 (DE-588)4143413-4 |
| title | Ocheanul balcanic privire asupra imaginarului literar în opera lui Mateiu I. Caragiale |
| title_auth | Ocheanul balcanic privire asupra imaginarului literar în opera lui Mateiu I. Caragiale |
| title_exact_search | Ocheanul balcanic privire asupra imaginarului literar în opera lui Mateiu I. Caragiale |
| title_full | Ocheanul balcanic privire asupra imaginarului literar în opera lui Mateiu I. Caragiale Marius Nica. Cuvânt înainte de Nicolae Florescu |
| title_fullStr | Ocheanul balcanic privire asupra imaginarului literar în opera lui Mateiu I. Caragiale Marius Nica. Cuvânt înainte de Nicolae Florescu |
| title_full_unstemmed | Ocheanul balcanic privire asupra imaginarului literar în opera lui Mateiu I. Caragiale Marius Nica. Cuvânt înainte de Nicolae Florescu |
| title_short | Ocheanul balcanic |
| title_sort | ocheanul balcanic privire asupra imaginarului literar in opera lui mateiu i caragiale |
| title_sub | privire asupra imaginarului literar în opera lui Mateiu I. Caragiale |
| topic | Caragiale, Mateiu I. / 1885-1936 / Criticism and interpretation Caragiale, Matei I. 1885-1936 (DE-588)118702289 gnd Literaturkritik (DE-588)4036020-9 gnd |
| topic_facet | Caragiale, Mateiu I. / 1885-1936 / Criticism and interpretation Caragiale, Matei I. 1885-1936 Literaturkritik Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024989571&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024989571&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV035808626 |
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