Nichita Stănescu - poezia ca aventură ontologică:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Iaşi
Lumen
2009
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Nichita Stănescu - poetry as ontological adventure |
| Beschreibung: | 107 S. |
| ISBN: | 9789731661537 |
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Datensatz im Suchindex
| _version_ | 1812535833712918528 |
|---|---|
| adam_text |
Cuprins:
Introducere
.7
I.
De la starea existenţei la starea poeziei
.13
1.
Sensul iubirii şi O viziune a sentimentelor, ipostaza corporală a
cuvântului ca expresie a unităţii dintre trup, sentiment şi gând
.13
2.
Etapa sciziunii sau conştiinţa trecerii „dinspre firesc spre
cuvinte" în Dreptul la timp
.18
3. 11
Elegii: aventura din spaţiul cuvântului. Reconvertirea
cuvântului în „material fundamental uman"
.25
II.
Reinstituirea mythos-ului în locul
logos-xňxiv.
recuperarea
„stării impure" a poeziei ca act in
statu nascendi.
45
1.
De la Obiecte cosmice la
Necuńntele: transcenderea
metaforei
spre „necuvânt" ca expresie i-mediată a unei tensiuni semantice
prelingvistice
.45
2.
în dulcele stil clasic, deconstrucţia parodică şi „dezgrăirea".
Starea ludică a poeziei ca „stare impură"
.56
III. Instituirea propriu-zisă a poeziei metalingvistice
.63
1.
De la cuvântul-act la cuvântul ca pură „fiziologie":
deliricizarea sau transfigurarea poeziei în „epică a unui sentiment"
in Măreţia frigului şi Epica
Magna
.63
2.
Noduri si semne: trecerea de la inerenta stării de „nod" la
transcendenţa semnului-stare ca marcă literală absolută
.74
3.
Opere imperfecte şi Opere impersonale: noua estetică a poeziei
ca „organ de simţ al viitorului": dincolo de text şi creator
.84
Concluzii
.95
Summary
.97
Bibliografie
.101
1.
Bibliografie de autor
.101
2.
Referinţe critice
.104
Summary
Nichita
Stănescu
—
Poetry as ontological adventure
The present study proposes an analysis of the stages
undergone by the poetic word throughout Nichita
Stănescu's
poetry, from its corporal expression, in complete fusion with
nature and feelings, going through the dramatic experience of
rupture, to a point when metaphor is transcended towards the
unword, enabling the emergence of a new form of poetic
expression: the metalinguistic poetry.
These transformations emphasize the innovating aspect of
Nichita
Stănescu's
work, which imposed a rethinking of the
Romanian poetry: the profound ontological significance that infuses the
poetic expression; as the poet says, "a poem does not consist, in
its essence, of words", it transcends metaphor and rejects any
element of mediation and symbolic substitution.
The most noticeable change I identified throughout the
poet's work is represented by the transition of poetry from an
expression in
statu nascendi,
in permanent evolution, as process (this
stage is marked by the invention of "the unword", an imperfect
form which originates in a vital impulse, in "a semantic tension
towards a word from the future", denying the rigid, closed,
"grammatical" structure of the linguistic sign) to the poetry as
"physiology" (at this point
—
indicating the shift from the word as
process to the word as state
—
the metalinguistic poetry is actually
Bayerische ] 97
Staatsbibliothek
München
Irina
Monica Bazon
instituted: the emphasis is placed upon literality, reflected by what
the poet calls "hemographj, that is the writing with your self),
consisting of a total fusion between the ontological and textual
principles (a stage when the poetic sign is imbued with a supreme
ontological significance and, as a result, the vitality of being is
completely restored).
These stages can be associated with two fundamental
human experiences: on the one hand, poetry as an act of life, an
experience which is never completed and consumed, coinciding
with an imperfect form, the word in
statu nascendi
(this stage
especially includes the volumes from
/ /
Elegies to In
Smet
Classical
Style). Being a vital utterance, poetry maintains the utterer's live
presence. Reflecting a prelinguistic semantic tension (as the poet
writes in his essays, "poetry is the semantic tension towards a word that
doesďt
exist, to a word yet to be found. The poet creates the
semantics of a word that doesn4 exist"), the word is transfigured
into a "fundamentally human matter", the sign is transcended
towards existence. Whereas metaphor refers to a given, exterior
object and is based upon representation, upon symbolic
mediation, the umvord emerges direcdy from ontos, from state, from
sensation, from a space of potentiality, from the ineffable and
pure intuition: it has a creative, not a mimetic function. To give
an example, the verse "She was beautiful as the shadow of an
idea" is not actually a simile, but an unword which contains an
abundance of meaning: it cannot be understood, expressed,
represented, but only felt and intuited (beauty is not an imitation
of an ideal, given pattern, it is untranslatable into notions or signs,
it only reflects itself into our consciousness as a vital presence).
98
Nichita
Stănescu
poezia ca aventură ontologică
Poetry is rather related to perception than to representation: as
"physiology", it is a "pre-poetic phenomenon, its aim being the word
seen as a vehicle of an unnotional conscious tension" (Nichita
Stănescu).
On the other hand, the second essential stage (which is
representative for the final volumes, beginning with
Epica Magna)
of the poet's creation reflects the experience of death: poetry turns
into "epic", into a metalinguistic and metapoetic discourse, it becomes
"hemographj" (corresponding to an act of "depoetization"), that is,
a "physiological", direct, rough transcription of an agonic
experience, which is most relevantly conveyed in the poet's haiku:
"I am but a speaking blood stain"; the stain does not represent
anything, it "speaks" without mediation, direcdy from ontos, it is
an object of pure perception, an existential "knot", without
support or rest, a "literal sign"
(Stefania
Mincu).
In Nichita
Stănescu's
poetry, death manifests as "a vital state" and, hence, its
deconceptualised nature is emphasized: as a matter of fact, this
adventure takes place exclusively within "the anatomy and
physiology of being", at a sensory level, and not as an experience
of consciousness (its perception does no longer imply the
symbolic meaning of "the great passage", as in
Lucian Blaga's
poetry). In Knots and Marks, death appears in its nude, literal,
violent aspect, as sacrifice, not as symbolic change. The poetic
writing literally becomes splitting, tearing, a protean, imperfect,
rough discourse as a literal mark of a traumatic experience
(the most intense sensations are converted into signs). The poet
creates, with his own wounds literally transposed into sign, a
universal ontological meaning and, therefore, the poem becomes
99
Irina
Monica
Bazon
impersonal.
The accent is moved on the receiver (the reader), the
supreme ontological significance which infuses the poetic sign
being activated as reflection into the receivers' consciousness.
The final volumes, Imperfect Works and Impersonal Works,
summarize the poet's entire work, being representative for the
new perspective which it proposes on poetry: firstly, poetry as
imperfect expression, in
statu nascendi,
transcending the sign
towards existence, and secondly, poetry as impersonal expression,
which transcends the biographic self of the author through the
integral ontological meaning contained into sign. As a
consequence, the artistic language achieves a supreme
metalinguistic significance, emphasizing its autonomy towards the
writing and the creator.
The metalinguistic poetry, the unwords and literality are
fundamental features of Nichita
Stănescu's
poetry and play an
essential part in the anticipation of postmodern lyricism, opening
new perspectives for the Romanian poetry.
100 |
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| indexdate | 2024-10-10T14:01:12Z |
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| spelling | Bazon, Irina Monica Verfasser aut Nichita Stănescu - poezia ca aventură ontologică Irina Monica Bazon Iaşi Lumen 2009 107 S. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: Nichita Stănescu - poetry as ontological adventure Stănescu, Nichita 1933-1983 (DE-588)119074753 gnd rswk-swf Lyrik (DE-588)4036774-5 gnd rswk-swf (DE-588)4006432-3 Bibliografie gnd-content Stănescu, Nichita 1933-1983 (DE-588)119074753 p Lyrik (DE-588)4036774-5 s DE-604 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=021173331&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=021173331&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Bazon, Irina Monica Nichita Stănescu - poezia ca aventură ontologică Stănescu, Nichita 1933-1983 (DE-588)119074753 gnd Lyrik (DE-588)4036774-5 gnd |
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| title | Nichita Stănescu - poezia ca aventură ontologică |
| title_auth | Nichita Stănescu - poezia ca aventură ontologică |
| title_exact_search | Nichita Stănescu - poezia ca aventură ontologică |
| title_full | Nichita Stănescu - poezia ca aventură ontologică Irina Monica Bazon |
| title_fullStr | Nichita Stănescu - poezia ca aventură ontologică Irina Monica Bazon |
| title_full_unstemmed | Nichita Stănescu - poezia ca aventură ontologică Irina Monica Bazon |
| title_short | Nichita Stănescu - poezia ca aventură ontologică |
| title_sort | nichita stanescu poezia ca aventura ontologica |
| topic | Stănescu, Nichita 1933-1983 (DE-588)119074753 gnd Lyrik (DE-588)4036774-5 gnd |
| topic_facet | Stănescu, Nichita 1933-1983 Lyrik Bibliografie |
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