Sincronizarea criticii româneşti postbelice în deceniile opt şi nouă: teorii, metode, critici
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Bucureşti
Ed. Muzeului Naţional al Literaturii Române
2013
|
| Schriftenreihe: | Colecţia Aula Magna
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung und Inh.-Verz. in engl. Sprache |
| Beschreibung: | 186 S. |
| ISBN: | 9789731671475 |
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Datensatz im Suchindex
| _version_ | 1822694079679430656 |
|---|---|
| adam_text |
Cuprins
I.
PREMISE. CRITICA ROMÂNEASCĂ ŞI POST-TEORIA
.7
II.
CRITICA ŞAIZECISTĂ
.19
Eugen Simion, între scepticism şi post-teorie
.19
Polemica Cioculescu-Simion
.20
„întoarcerea autorului". Lecturi în răspăr
.26
„Scriitori romani âe azi"
.29
LucianRaicu -un
antimodern.38
Nicolae Manolescu- simplitatea în răspăr
.48
Conceptul de „istorie critică"
.51
Portretul criticului la tinereţe
.54
O istorie exclusivistă şi purificată
.56
Istoria literaturii ca istorie a formelor
.58
„Cronicarul" operelor clasice
.60
O originalitate căznită
.62
Singur printre postbelici
.63
Un canon necreditabil
.64
Erori şi contradicţii
.66
Mircea Martin
-
dicţiunea teoriei
.68
Raportarea la actualitate
.76
Ascuţirea armelor
.78
Virgil
Nemoianu -îmblânzirea structuralismului
.80
Ion Pop
—
Avangarda românească prin filtrul tematismului
.87
Valériu
Cristea
-
critica arhisubtilă
.92
Adaptarea la obiect
.93
Eugen Negriei
-
senzaţionalismul revizuirilor
.95
Experimentalistul deghizat în „vechist"
.98
Un interpret democrat
.99
Un poetician al comunismului românesc
.100
Un diagnostic neaşteptat
.104
„Simulacrele normalităţii"
.106
----------------------------------------------------------- 5 -----------------------------------------------------------
Mihai Zamfir. Cazuistica interpretării
.109
O mare (literatură) de suspecţi
.110
Detectorul stilistic de minciuni
.111
Când detectivii se înşală
.222
Paul Cornea.
Manualul de hermeneutică
.113
Minus interpretare, plus realitate
.225
Logica duşului scoţian
.226
Pozitivişti de ieri şi de azi
.227
Matei Călinescu, Elasticitatea conceptelor
.119
Ionesco
vs. Ionescu
.123
Fotografie în mişcare
.225
Prin ipoteze false, către adevăr
.226
Mircea Anghelescu şi „istoriile apocrife"
.127
Ion Vlad. Simulacrul derridean
.131
III. CRITICA OPTZECISTĂ
.135
Gheorghe Crăciun. Un model teoretic tranzitiv
.135
„Viviile lumii
postmoderne"
.240
Radu G. Ţeposu. O istorie
postmoderna
.144
Ion Simuţşi „revizuirile" criticii optzeciste
.149
Istoria actualităţii
.149
Normalitatea Tezelor din Iulie sau Simuţvs. Negriei
.251
Neomodernismul
—
canonul literaturii actuale?
.253
AL Cistelecan, critic al criticii
.155
Dan C. Mihăilescu. Caricatura foiletonismului
.159
La vremuri noi, critici noi
.260
O istorie orală
.262
Tinereţea foiletonistului
.264
Herme(neu)tizări aplicate
.265
ANEXĂ. DEZBATERI STRUCTURALISTE
.167
BIBLIOGRAFIE
.176
ADDENDA
ABSTRACT
.181
TABLE
OF CONTENTS
.186
---------------------------------------------- 6 ----------------------------------------------
ADDENDA
Abstract
By the beginning of the
1980s,
the exploding career of French Theory
begins to tire out. Formalism, Neo-Marxism, psychoanalysis, in the forms
established by Roland Barthes, Gerard
Genette,
Tzvetan Todorov, Julia
Kristeva
or Philippe
Sollers
reach a visible downward slope. In
1980,
with
the re-publication of the collective volume
Theorie
d'ensemble,
Sollers was
announcing the return of Theory, with an indirect acknowledgement of its
retrogression. In the meantime, however, not only that the theory did not
come back, but many of its key-creators began divorcing it. Roland Barthes
had been doing it delicately since the post-structuralist stage, along with
Le
Plaisir du texte,
whereas authors such as
Genette or
Todorov became, soon
enough, opponents of "methodological terrorism", ready to face self-
criticism for the first part of their work. Of course, this brief overview of the
post-theoretical thought cannot exclude an influential American critic such
as Harold Bloom who, in his turn, rejects his French Theory premises in The
Anxiety of Influence, only to revisit
-
in The Western Canon
-
an equally
dogmatic and impressionistic criticism.
The most representative book of this post-theoretical stage belongs,
however, to
Antoine Compagnon. "Le Démon de la théorie"
states that
in the last decades Theory, whose innovative contribution cannot be
ignored, has rejected systematically the so-called "common sense".
Compagnoni
imprecise term is meant to blow up the
taxonomic
passion of
the structuralist era. The most severe heresy of French Theory
-
ever so
aggressive in the fight against prejudice, when not against mere evidence
-
relates to the reinsertion of common sense in the literary system. Thus,
109
Antoine Compagnon,
ed.
cit.
----------------------------------------------- 181
Compagnon
revisits several of the most prominent
topoi
of the last4half
century
-
from the death of the author to intertextuality or anti-mimesis
-
denouncing their figurative meaning. If still acceptable in the current
theoretical discourse, such concepts are to be understood only
metaphorically. Transferred as such in the literary analysis, they are either
useless or reduced to mere reading "methods".
Nevertheless, in the post-war Romanian context, theory-related
scepticism was relentless. In my book
Critica
în tranşee
I tried to analyse
how the language of New Criticism entered the Romanian discourse,
emphasizing on the interdictions of the political system. Even after
1965,
not all Western critics could be cited
-
and when it did occur, it was not in
any context. This somewhat exterior fact in this anti-theoretical setting is
joined, on the other hand, by the traditionalism of the Romanian critics,
who are interested in resuming with the inter-war period rather than in
finding new critical instruments. Maiorescu, Lovinescu and
Călinescu
are
the critical paradigms on which the emergent generation of Romanian
critics has relied since the
1960s.
But this doesn't mean that synchronization
with the Occident was entirely absent; it only means that influences
followed a specific path.
While Romanian criticism was borrowing the French theory rhetoric,
it chose to remain attached, at core, to G. Calinescu's impressionistic model.
The main features of post-war Romanian criticism are: the rejection of
methods in favor of close and comprehensive readings; the concern with
the truth of the work to the disadvantage of the methodological validity;
the distrust of the scientific approach, even when it yields results; the quest
for the irreducible individuality of the work, rather than of its position in
the system.
Truth be told, although the "methodological terrorism" of French
criticism in the same period is firmly rejected, the language of Romanian
criticism becomes somewhat scientific in the
'70s
and
'бОѕ.
The greatest
urge of this process originates in the need to update the critical perspective
on the classics. From this point of view, the two above-mentioned decades
are really prolific. One cannot identify an important Romanian writer who
doesn't become the object of a consistent monographic study. That's why,
182
re-reading the same authors in a new light would be indicative of a hidden
interest in renewing the critical approach. Romanian essayists did not
praise theory as such, but they did use it in order to re-interpret classic
authors. At the beginning of the
1970s,
Eugen Negriei
sets an authentic
record regarding the cultural distance between the object of the analysis
and the novelty of the "critical methodology". The studies on
Antim
Ivireanul, Dosoftei or Miron Costin can be considered the most violent
updating of classic Romanian authors. In
Antim.
Logos
şi personalitate
(1971)
or
Naraţiunea în cronicile lui Grigore Ureche şi Miron Costin
(1972),
the
notes
on language and rhetoric prevail over the study of the individual authors.
Like in the Russian formalists' or structuralists' books
—
whom
Negriei
praises
-,
the focus is on the mechanism of the literary itself. It's obvious
that
Eugen
Negrici's re-readings have a theoretical hidden agenda as he
attempts to endorse the concept of "involuntary expressiveness"
-
understood as a way of freeing the reader from the passive and traditional
reception process: "We should encourage a new type of reading which
would claim adversities rather than confirmations", he states.
The studies of
Al. Călinescu,
Mihai
Zamfir
or Paul Cornea in the
same period are not innocent re-readings either. In Anton Holban.
Complexul
lucidităţii
(1972),
Al. Călinescu
annihilates the idea of authenticity
-
ever so
current in the period
-
in order to reveal the narrative convention behind it.
Authenticity in
Ioana
or in
O moarte care nu dovedeşte nimic
is created by
complex
literary mechanisms. In Caragiale
sau vârsta modernă a literaturii,
borrowing some of Shklosky's postulates,
Al. Călinescu
shows that the
secret of Caragiale's work resides in the literary transfer of the various
journalistic genres, minor par excellence. Therefore, Caragiale becomes a
trendsetter in the field of literary forms.
A whole study could be dedicated to the concept of "diachronic
stylistics", as proposed by Mihai
Zamfir.
In
Cealaltă faţă a prozei,
the critic is
interested
-
apart from the revaluing
excentric
writers like Max Blecher
-
in
the generative nucleus of the work, understood linguistically. The "stylistic
cypher" of writing, the "hidden image" represents its ultimate reality.
Finally, Paul Cornea's evolution in the same time span is quite
interesting from a theoretical point of view. From
Originile romantismului
183
românesc
to
Regula jocului or Introducere în teoria lecturii,
the
critic
makes
room for the theorist. Topics relating to the institution of literature, to its
sociological aspects or to the aesthetics of reception provide a particular
vision on criticism.
Most surprisingly, though, even critics who had stated, midway
through the
1960s,
that they were firm followers of
Călinescu
(hence,
suspicious towards Theory) like Nicolae Manolescu or
Eugen Simion
provide interesting re-readings of classic authors. The former reveals, for
example, a psychoanalytical approach on Maiorescu (in
Contradicţia
lui
Maior eseu,
1970).
Although
Nicolae Manolescu
doesn't acknowledge it,
Arca
lui Noe,
his most famous book, uses a typology that relies on the conceptual
core of the French New Criticism. The themes of the interpreted works are
revealed by the microscopic analysis of their formal aspects. As to what
Eugen
Simion is concerned, the volume most openly situated in the wake
of French New Criticism is
Dimineaţa poeţilor.
The Geneva School critic
Jean-Pierre Richard provides the framework for analyzing the forty-eighter
poets. The experimentalism of the method
-
approaching old writers with
new methods
-
is openly stated in the preface.
Summing up,
iťs
obvious that, although Romanian criticism had
been sceptical about aggressive import of Western critical Theory, a few of
its reforming consequences have been adopted. New interpretations
generate changes in the literary canon. Thus, in the first half of the
1980s,
when looking back, Nicolae Manolescu can conclude that "In the last
decade, the metamorphosis of criticism calls forth a metamorphosis of
classic literature". And that, although "the trend of structuralism has
passed, this doesn't mean we are back to the innocent impressionism".
In fact, Nicolae Manolescu is happy to note, with the decline of
French New Criticism, the (paradoxical, I would say) synchronization of
the Romanian and Western contexts. The rejection of structuralist premises
in
1980s
France
-
the starting point of the post-theoretical climate
-
resembles the Romanian critics' scepticism towards theory.
întoarcerea
autorului,
the most representative volume in this respect, belongs to
Eugen
Simion. Since the renewal of the critical discourse is an "access way" to
literature rather than an object in itself, it is only natural that the
184
parameters of this renewal be contemplated somewhat prudently. This
distrust is perhaps the main characteristic of the post-war Romanian
criticism. Mircea Martin's
"Critica
şi profunzime", Ion
Pop's
"Orele
franceze", Eugen Simion's "întoarcerea autorului",
although assimilating
the contemporary critical discourse, share the feeling of a permanent
distance from it.
185 |
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| id | DE-604.BV041641076 |
| illustrated | Not Illustrated |
| indexdate | 2025-01-30T17:02:09Z |
| institution | BVB |
| isbn | 9789731671475 |
| language | Romanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027081872 |
| oclc_num | 873470110 |
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| owner_facet | DE-12 |
| physical | 186 S. |
| publishDate | 2013 |
| publishDateSearch | 2013 |
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| publisher | Ed. Muzeului Naţional al Literaturii Române |
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| series2 | Colecţia Aula Magna |
| spelling | Goldiş, Alex 1982- Verfasser (DE-588)1023299461 aut Sincronizarea criticii româneşti postbelice în deceniile opt şi nouă teorii, metode, critici Alex Goldiş Bucureşti Ed. Muzeului Naţional al Literaturii Române 2013 186 S. txt rdacontent n rdamedia nc rdacarrier Colecţia Aula Magna Zsfassung und Inh.-Verz. in engl. Sprache Geschichte 1980-1989 gnd rswk-swf Geschichte 1960-1969 gnd rswk-swf Literaturkritik (DE-588)4036020-9 gnd rswk-swf Rumänisch (DE-588)4115807-6 gnd rswk-swf Literatur (DE-588)4035964-5 gnd rswk-swf Rumänisch (DE-588)4115807-6 s Literatur (DE-588)4035964-5 s Literaturkritik (DE-588)4036020-9 s Geschichte 1960-1969 z DE-604 Geschichte 1980-1989 z 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=027081872&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=027081872&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Goldiş, Alex 1982- Sincronizarea criticii româneşti postbelice în deceniile opt şi nouă teorii, metode, critici Literaturkritik (DE-588)4036020-9 gnd Rumänisch (DE-588)4115807-6 gnd Literatur (DE-588)4035964-5 gnd |
| subject_GND | (DE-588)4036020-9 (DE-588)4115807-6 (DE-588)4035964-5 |
| title | Sincronizarea criticii româneşti postbelice în deceniile opt şi nouă teorii, metode, critici |
| title_auth | Sincronizarea criticii româneşti postbelice în deceniile opt şi nouă teorii, metode, critici |
| title_exact_search | Sincronizarea criticii româneşti postbelice în deceniile opt şi nouă teorii, metode, critici |
| title_full | Sincronizarea criticii româneşti postbelice în deceniile opt şi nouă teorii, metode, critici Alex Goldiş |
| title_fullStr | Sincronizarea criticii româneşti postbelice în deceniile opt şi nouă teorii, metode, critici Alex Goldiş |
| title_full_unstemmed | Sincronizarea criticii româneşti postbelice în deceniile opt şi nouă teorii, metode, critici Alex Goldiş |
| title_short | Sincronizarea criticii româneşti postbelice în deceniile opt şi nouă |
| title_sort | sincronizarea criticii romanesti postbelice in deceniile opt si noua teorii metode critici |
| title_sub | teorii, metode, critici |
| topic | Literaturkritik (DE-588)4036020-9 gnd Rumänisch (DE-588)4115807-6 gnd Literatur (DE-588)4035964-5 gnd |
| topic_facet | Literaturkritik Rumänisch Literatur |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027081872&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=027081872&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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