Eros şi reprezentare: convenţii ale poeziei erotice româneşti
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Piteşti
Ed. Paralela 45
2005
|
| Schriftenreihe: | Deschideri
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 396 S. |
| ISBN: | 9736974065 |
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Datensatz im Suchindex
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|---|---|
| adam_text | CUPRINS
PREFAŢĂ
........................................................................................................7
ARGUMENT
................................................................................................13
I.
PROTOISTORIA CONVENŢIEI
....................................................21
Poezia timpurie
.......................................................................................23
Poezia paşoptistă
....................................................................................38
II.
INSTAURAREA CONVENŢIEI. MIHAIEMINESCU
.........77
III. PERSISTENŢA CONVENŢIEI
..................................................131
Erotica simbolistă
.................................................................................133
Tudor
Arghezi
-
inovaţia modernistă
...............................................157
Lucian
Blaga
—
noul vizionarism
........................................................189
Radu Stanca, Ştefan Aug. Doinaş
-
favorizarea convenţiei
..........203
Ana Blandiana
-
sensul şi mitul confesiv
.........................................213
Ileana Mălăncioiu
-
invocarie şi iniţiere
............................................219
IV.
NEGAREA CONVENŢIEI
...........................................................225
Fronda avangardistă
.............................................................................227
Ion
Barbu
-
infrarealismul
..................................................................242
Nichita Stănescu
—
erotica metalingvistică
.......................................256
Marin Sorescu
-
paradoxul şi concretul ironic
................................277
V. DECONSTRUCTIA
INTEGRATOARE A CONVENŢIEI
285
Mircea Cărtărescu
—
erosul textualist
................................................287
Florin Iaru
—
comedia literatorii
.........................................................302
Mariana Marin
—
„autoerotism textualist
........................................308
Marta
Petreu
—
vivisecţia
textualista..................................................
314
Ion Mureşan
-
metafizicul textualist
.................................................320
EPILOG
........................................................................................................327
NOTE
............................................................................................................331
BIBLIOGRAFIE
........................................................................................367
ABSTRACT.
...................................................................................................383
INDICE DE AUTORI
.............................................................................391
ABSTRACT
EROS
AND REPRESENTATION
The Conventions of Romanian Love Poetry
This book proceeds from the idea that a history of love poetry is
also a history of POETRY itself, for the most part of it. Love poetry
provides categories and determinants by which the poetic phenomenon
reveals, in many aspects, its true essence. That becomes evident if we
study its historical organization, following the ways of structuring the
blocks of the imaginary, the language as its support of communication,
the characters involved in the poetic love script, the objects present in
the lyrical universe, as defined by eroticism, or the poetic vision that or¬
chestrates all these elements, integrating them into a whole, which is the
artistic product. At the same time, the history of love poetry is a history
of subjectivity. This is the very reason for which Julia
Kristeva
focused
upon it, in Histoim
d amour,
when she analyzed figures of love in the West¬
ern culture, the relationships between the protagonists of love and the discour-
sive consequences of the dynamics of love. From the point of view of the
present study (which has Romanian
literature
as its object), such a his¬
tory of subjectivity becomes relevant both for Romanian poetry in
general, and for the specific field of love poetry.
The ways in which the subject is made up, as a subject in love, the
forms in which it is represented as a character and as a being, in its onto-
logical unity and becoming, in relation with the object of that love, the
manners of making up the object itself, as a character to relate to, are
some of the important consequences of the present analysis of the poetic
383
Eros and representation
imaginary in love poetry. Then, the body as an instrument for expression,
as an object of dispute or as an allegory of love itself, the world as a locus
amoreus or, on the contrary, as a place of frustration, as symbolic geogra¬
phy of „the crash of love, the harmony or disharmony between these
elements on
иге
one hand and the subject in love on the
omet,
the au¬
thenticity of the feeling or the drama of „no longer being in love , the
comfort or discomfort of the affection, the ecstasy or the irony (the last
one also seen as a relation of the subject with its own emotions) are all
fundamental articulations of the structure of the imaginary, approached
within the present analysis. Last but not least, the means by which these
structures of the imaginary are put into words, their discoursive support,
the strategies of the poetic utterance complete the image of the coming
into being and development
(i.e.
evolution) of Romanian love poetry, as
this research intended to show.
The history of Romanian love poetry covers less than over two
centuries. It is a short history, as compared to the development of Euro¬
pean literary structures. From its beginnings, though, Romanian poetry
reveals an ardent effort of redeeming itself. Within this effort, poetry is
permeated not only by the discoursive tropes, but also by the poetic
myths of the ages. We can choose to trace exemplary legends, with cha¬
racters such as Tristan or Don Juan, if we ate to mention only the most
important erotic scripts that dominate and characterize entire literary
epochs. Or we can choose to look upon currents or even individual writ¬
ers that impose certain paradigms of organizing the poetic vision; these
paradigms exert significant pressure on next generations. The result is
the same, in terms of literature s feverish quest of synchronization. Ro¬
manian poetry has an evident availability to mould over such structures,
to enclose them creatively, to transform them into authentic gains and
adapt them (to use one of
Eugen Lovinescu s
terms) to the specific cha¬
racter of the native poetic sensibility. As a result, during the Romantic
period, the poetic vision that characterizes Romanian love poetry, in its
canonical aspects (that is, in the manner of imagining the relationship
between the „I , the world and the
texђ,
makes it highly
synchronie
with
the European literary structures of the time.
This history starts with what could be named
—
following Harold
Bloom and his Western Canon
—
the Romanian „Aristocratic Age . Study-
384
—---------------------------------■-----—------
Abstract
ing
Romanian literature from the perspective of love poetry, we must
accumulate a number of certitudes. The Romanian
premodern
poets
were, undoubtedly, strongly influenced by Petrarch; their erotic „idola¬
try , the „heroic aspects of the subject s way through the infemo of
love, as well as through its paradise, qualify
Vacărescu s
poetry or
Conachi s poetic work for a canonical position in a possible Romanian
„Aristocratic Age . Historically speaking, they are followed by an age of
passage
—
the early Romanticism
-
during which the structures of the
imaginary and the poetic vision change, from „idolizing the object to¬
wards „centralizing the subject . Thus, „the way an angel senses , re¬
ferred to in Ion
Heliade-Rădulescu s
poetic work, the elegiac lament in
the manner of Vasue Alecsandri, the passionate and tragic
utopia
of
beauty usually found in Dimitrie Bolintineanu s verses, the interrogation,
(sometimes ironical), of his own affection, chiefly noted in Grigore Ale-
xandrescu s poems, are forms of evident crystallization of the centrality
of the subject in the poetic vision. Moreover, if we follow Bloom s asser¬
tion to its end
—
but without trying a transplant of his system in die field
of Romanian
Eterature,
which is not our intention in this book
-,
the
centrality of the subject actually means the centrality of bis memory about
himself. As far as Romanian literature is concerned, this last step is made
by Mihai Eminescu. He opens the way to the following literary age,
whose first representative he actually is. More than a paradigm of the
Romanian Romanticism, Eminescu is a paradigm of poetic visionarism.
In the present study, I read
dus
structure through the ways in which it
establishes, first of all, a poetic convention of the imaginary, and then of
the lyrical language as such. This convention will dominate the symbolic
and discoursive systems of Romanian literature in post-Eminescu period,
but also of the literature that preceded him, because of a „cultural read¬
ing through a new filter.
The pressure of Eminescu s convention over the next generations
of poets is a huge one. From „the Eminescu complex viewpoint, Ro¬
manian poetry takes a road already taken before by European literature,
in other times of its history. Harold Bloom, considering Shakespeare s
work as the utmost portrayal of the Western canon itself, gave expres¬
sion to the difficulties of a literary destiny in post-Shakespeare period, in
terms of: a. representation of the human and b. memory as an instru-
385
Eros and representation
ment
of knowledge and of metaphorical development. We could trans¬
late such problematic elaborations by a simple question: „Can anyone
rise above Shakespeare? The meaning of it is highly significant for Ro¬
manian poetry as well, which, for a century, suffered from the same type
of crisis: „Can anyone rise above Eminescu? Can anyone be equivalent
to Eminescu? As far as Romanian poetry is concerned, and love poetry
in particular, the present research ascertains two solutions. Following the
historical becoming of poetry, from the standpoint of succession and
evolution (to imply the
Bergsonian
difference between the terms), there
are two different ways of receiving Eminescu s legacy: iconodulic and
iconoclastic. These two are visible during all the literary history that
suc¬
cèdes
Eminescu.
The persistence of convention, that is, the organization of the
blocks of the poetic imaginary as established by the norms of Eminescu s
visionarism and by his models of structuring it, is one of the main con¬
cerns of this critical work. Firstly, the present research draws up a „map
of the canonical writers in post-Eminescu period who are
stül
under the
domination of visionarism. With such authors, the novelty (in the sense
of innovation) comes, on the one hand, from the fact that they accept
and practice some modernist discoursive formulae that bring a new face
to the old visionarism, thus perpetuating its fascination. On the other
hand, these writers lay stress preferentially on some of the elements al¬
ready present within the old diagram of convention. For instance,
George
Bačovia
combines the tragic mask of the subject in love with the
disharmony of a symbolist music that functions as a „broken figure of
the old Romantic „music of spheres . Tudor Arghezi unifies die mo¬
dernist innovation (the „aesthetics of ugliness and the poetics of „real¬
ity as inspiration , all based on the materiality of words) with a visionary
consciousness in which the subject knows that the visionary architecture
of the world is not the result of its reading, but of its hypothetical projection.
The result is an erotic poetry based on agony and marked by signs of
awaiting and delay.
Lucian Blaga s
new visionarism transforms the old
patterns of the originary into Dionysiac stories of love. Following the
paths of mystery, he finds again the paradise lost in the twilight of Ro¬
manticism. Nevertheless, we realize that Blaga s poetic universe con¬
stantly avoids dreaming and raving, which had functioned as one of the
386
-----------------------------------———-------------
Abstract
most important literary pretexts for the Romantic visionarism. With a
powerful consciousness of the convention,
Radu Stanca
and
Ştefan
Au¬
gustin
Doinaş
take over the antithesis between past and present, but they
push it beyond the simple contemplation of the past. Their goal is to re¬
produce the fundamental gestures that characterized that past. Thus,
they disclose to us a love poetry characterized by mannerism and thea-
tralization, in which the troubadour performs again and again the eso¬
teric rituals of the courtly love. In her poetic confessions, Ana Blandiana
maintains the mythical consciousness of an innate, primary reality, but
she gives up the illusion of a word powerful enough to poetically capture
the meaning of the world. In its
tum,
love signifies the exploration of
this meaning, without ever finding it. Finally,
Ileana Mălăncioiu s
emo¬
tional
universalia
find support in the elements of a deconstructive visio¬
narism. Her love poetry is a „reduction to naught in which the subject
and love itself are closer to death than ever before.
On the other hand, the negation of convention and the iconoclas¬
tic position are revealed to us in the attempts of some authors to surpass
the Romantic model that structures the poetic work. Writing against the
canon, they tried to blow up the Romantic visionarism, either by replac¬
ing it with the naught itself, or by elaborating new formulae for con¬
structing the imaginary, the result of that being not a new visionarism, but
a different one. From the viewpoint of their poetics, these authors are not
innovators, but inventors. Therefore we can draw a „map of negating con¬
vention , which is composed of a succession of poetic models. These
models impose, in their turn, a number of conventions that are func¬
tional for many authors of the succeeding generations, but such filiations
are not the object of the present study. This „map proposes, in terms of
evolution, a history of the polemical readings of the literary canon esta¬
blished by Eminescu. The gestures of the
avantgarde
represent the first
of these readings that are approached in this analysis. The
avantgarde
expresses first of all a crisis of literary
modemům,
as well as a crisis of love
poetry that comes along with it. The constant revolt against the old lit¬
erature, the refusal of fiction, the disturbance of the aesthetic vision, in¬
sulting language and automatic diction are instruments by which
visionarism begins to lose its referentiality. Literature is now replacing
the organic, visionary imaginary with a void populated with images. The
387
Eros and representation
convention is ironically and sarcastically contested, the mere principle of
the „literary is denied and the text displays an invasion of reality fol¬
lowed by a violent anti-rhetoric of love.
Geo Bogza s
The Invective Poem
speaks in our favour. On another level of invention, Ion Barbu s infra-
realism is strongly detached from the Romantic visionarism by its non-
anthropomorphous nucleus that represents the basis of his poetic vision.
This constitutes an expression of a crisis of the subject, which is figured by a
„deviation in the poetic „sight . Its instrument is love, seen as a cosmic,
trans-individual and mythically structured phenomenon. Nichita
Stănescu s
love poetry, on
tlie
other hand, is the result of a symbolic an-
thropocentrism in which the body takes over functions (or feelings) of
the subject and even of the whole world. The symbolic interpretations of
affection, the idea of going beyond words as guarantee for an
edenic
condition of existence and, most of all, the distance between the subject
and the love object as a paradoxical logic of union are some of the im¬
portant elements with the help of which we can determine „the turning
upside-down of
Stănescu s
vision, as compared to the conventional
norms of poetry. Last but not least, in the context of an identity crisis of
the text itself,
Marin Sorescu s
love poetry erodes the convention by de¬
constructing the mystical nature of mythological symbols, by the afflic¬
tion of the poetic self upon the objects around, by the objectified
confession as well as by directing poetic rules towards the epic, the dra¬
matic and, mostly,
Úieptvsažc.
The two chains of the imaginary, split up after Eminescu s epoch,
reunite during Postmodernism. I consider the
avantgarde
fronde a
ges¬
ture of ironical contest of convention. I will call the Romanian literary
Postmodernism a gesture of ironical revisitation of it. This means that
convention
-
and conventions in general, including the anti-canonical ones
-
are evoked, mimicked and deconstructed, that is, they are
reactualiza,
brought back into the present. Irony means „awareness of conventions
and it is a good pretext for playing freely with them. It is a game that
brings different significants of the same convention, or significants of
different, conventions, even contradictory conventions under the same
textual umbrella. We are thus shown a textual territory in which the unifi¬
cation of the chains is realized on the basis of an acute consciousness of
the difference. This is a sign of a play-like meta-logics. Romanian Post-
388
---------------------------------------------
Abstract
modernism
proposes,
in its turn, two types of accents: a type of imagi¬
nary based on the obsession with everyday life and the temptation of
derision, having the domain of definition in the physics of the world, and,
secondly, a type of imaginary with obvious traces of metaphysics. Both
formulae are sustained by a language structured in a shattered syntax and
an ambiguous referentiaHty.
Love poetry subscribes to all of these facts. Between invocation
and imprecation, between deconstructing and reconstructing the world,
Mircea
Cărtărescu s
love poetry revisits the erotic convention through
the filter of a „new love disorder . In the context of an accentuated in¬
terest in derision, Florin Iaru proposes an
„eros
as happening , in the low
register of everyday life, treated ironically and parodically. Mariana
Marin
internalizes the vision. She substitutes the facts of the immediate reality
for the internal, ontological gestures of the „self, which are reflected by
poetic gestures of an existentialist nature. The result is a form of love
oriented towards the „self, which is seen as an „other . The ontological
memory plays a very important part in this game.
Marta Petreu s
love
poetry translates love as an ontological event, by an obsession with the
body, which becomes a symbol assuming the traumatic signs of living.
Its vivisection is equivalent to an act of revealing the intimacy of the sub¬
ject in love. Exemplary for the metaphysical accent, Ion
Mureşan
creates
a type of imaginary which is marked by the signs of death and for which
the erotic object represents a fatal center. The woman s carnation ema¬
nates loneliness, her anatomy is the revelation of an artificial „exactness
and all her elements of description reveal certain skepticism, on the part
of the author, directed towards love and the couple. The formal support
is a fairly organized poetic syntax, less tempted by the experimental
fragmentarism.
As a whole, this research of literary history and criticism, uses as its in¬
strument the poetics of the imaginary, and it is based on a corpus of lyrical
texts selected according to the criteria of: a. theme of love and b. aesthetic
value, constantly following the interpretation of meaning. I worked with a
preferential distribution of accents, meaning that I was interested, first of
all, in the poetic imaginary and, secondly, in the poetic language. I did not
intend to make a study of Hnguistic
clichés.
They were, of course, sig¬
naled in the course of this analysis, whenever I considered it relevant, in
389
Eros and representation.
one way or another, for an evolution of poetic forms. However, they do
not stand for the main object of this research. The historical poetics of
linguistic
clichés
would have been, in fact, a history of the downfalls of
language (and of poetry). I was not interested in this kind of literary
facts. On the contrary, what I was interested in were the high points of
poetry, the „stereotypes of the imaginary in a positive sense,
i.e.
the con¬
stant, convergent and coherent organization of its blocks. I did not intend to
redefine the concept of „convention , but to circumscribe the poetic
convention^) of love in Romanian poetry, based on its canonical hypos-
tases. The contextualizations (for historical epochs and literary trends)
have served for concise descriptions of die literary atmosphere in which
the canonical authors I was interested in manifested themselves. The
„general map of these canons is the most important result of the pre¬
sent study. Primarily, I followed their historical organisation, on a horizon¬
tal level, more than their historical genesis, on a vertical level. Therefore, I
appealed to the idea of canon not because of an express wish for „canoni¬
cal eccentricity
—
as compared to the anti-canonical obsessions of the
present times
—
but because of a definitive and intimate belief in the au¬
thority and the perenniality of values, as well as in the stringent necessity
for a scale of authentic landmarks.
390
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| author | Teutişan, Călin 1969- |
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| era | Geschichte 1800-2000 gnd |
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| id | DE-604.BV035623389 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-09T21:41:49Z |
| institution | BVB |
| isbn | 9736974065 |
| language | Romanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017678487 |
| oclc_num | 62073043 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 396 S. |
| publishDate | 2005 |
| publishDateSearch | 2005 |
| publishDateSort | 2005 |
| publisher | Ed. Paralela 45 |
| record_format | marc |
| series2 | Deschideri |
| spelling | Teutişan, Călin 1969- Verfasser (DE-588)139258965 aut Eros şi reprezentare convenţii ale poeziei erotice româneşti Călin Teutişan Piteşti Ed. Paralela 45 2005 396 S. txt rdacontent n rdamedia nc rdacarrier Deschideri Geschichte 1800-2000 gnd rswk-swf Love poetry, Romanian / History and criticism Love poetry, Romanian History and criticism Rumänisch (DE-588)4115807-6 gnd rswk-swf Erotische Lyrik (DE-588)4152859-1 gnd rswk-swf Rumänisch (DE-588)4115807-6 s Erotische Lyrik (DE-588)4152859-1 s Geschichte 1800-2000 z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017678487&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017678487&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Teutişan, Călin 1969- Eros şi reprezentare convenţii ale poeziei erotice româneşti Love poetry, Romanian / History and criticism Love poetry, Romanian History and criticism Rumänisch (DE-588)4115807-6 gnd Erotische Lyrik (DE-588)4152859-1 gnd |
| subject_GND | (DE-588)4115807-6 (DE-588)4152859-1 |
| title | Eros şi reprezentare convenţii ale poeziei erotice româneşti |
| title_auth | Eros şi reprezentare convenţii ale poeziei erotice româneşti |
| title_exact_search | Eros şi reprezentare convenţii ale poeziei erotice româneşti |
| title_full | Eros şi reprezentare convenţii ale poeziei erotice româneşti Călin Teutişan |
| title_fullStr | Eros şi reprezentare convenţii ale poeziei erotice româneşti Călin Teutişan |
| title_full_unstemmed | Eros şi reprezentare convenţii ale poeziei erotice româneşti Călin Teutişan |
| title_short | Eros şi reprezentare |
| title_sort | eros si reprezentare conventii ale poeziei erotice romanesti |
| title_sub | convenţii ale poeziei erotice româneşti |
| topic | Love poetry, Romanian / History and criticism Love poetry, Romanian History and criticism Rumänisch (DE-588)4115807-6 gnd Erotische Lyrik (DE-588)4152859-1 gnd |
| topic_facet | Love poetry, Romanian / History and criticism Love poetry, Romanian History and criticism Rumänisch Erotische Lyrik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017678487&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=017678487&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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