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Craiova, 2015

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Craiova: Universitaria; %XFXUHúWL: Pro Universitaria, 2015
Bibliogr.
ISBN 978-606-14-0929-7; ISBN 978-606-26-0392-2

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II. Florea, Aurelia (coord.)

316.77
Cuprins

Introducere 9

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1. Creating Virtual Faces to a Real World

Diego Oswaldo Camacho Vega 13

2. &RQWULEXĠLDYDORULORULQWHUFXOWXUDOHODUHDOL]DUHDSURLHFWXOXLLQVWLWXĠLRQDO
DO8QLYHUVLWăĠLLGH6WDWGH0HGLFLQăúL)DUPDFLHÄ1LFRODH7HVWHPLĠDQX´
Argentina Chiriac, Liliana Panciuc 20

3. Language Worldview in Bulgarian Verb Formation

Zlatina Dimova 28

4. 'LVFXUVXULOHHXURSHQHDOHÄDXWHQWLFLWăĠLL´GLQDQLL-1930.
&ăWUHXQQRXFDGUXFRQFHSWXDO
ùWHIDQ)LULFă 33

5. &RPSOH[XOLGHQWLWDUúLH[SHULPHQWXOVFHQLFOD7DGHX]V.DQWRUúL
la Eugène Ionesco
Gabriela Mihalache 39

6. Internetul – PRGHODWRUDOLGHQWLWăĠLLSRH]LHLDFWXDOHGLQ&KLQD
Paula Pascaru 47

7. Vlachs and Their Origin

Aleksandar Risteski 57

Partea a II-D&RPXQLFDUHOLWHUDUă 63

1. 'LVFXUVXOLURQLFGLQSHUVSHFWLYDSUDJPDWLFăDFRPXQLFăULL
Poliana Banu 65

2. De tristesse et mélancolie à ယࢀaware– les premières traductions

de poésie moderne française en japonais
Alina-Diana Bratosin 74

3. 'HL[LVvQSRH]LDURPkQHDVFăSRVWPRGHUQă
Beatrice Diana Burcea 84
4. Oralitatea. Aspecte dialogice în romanul DimineaĠăSLHUGXWă
GH*DEULHOD$GDPHúWHDQX
Irina Elena Catrinescu 94

5. 7HQWDĠLDSRVWPRGHUQLVPXOXLGLQFRORGHSUR]DDQLORU¶
(PLQD&ăOSăQăúDQ 101

(URWLVPúLVH[XDOLWDWHvQILFĠLXQHDOXL0LUFHD&ăUWăUHVFX
Silvia Maria Comanac (Munteanu) 110

7. The Light and Darkness Metaphors and Similes in Markus Zusak’s The Book Thief
Steliana-Maria Deaconu 119

'LDOHFWLFDILLQĠHL-de-DLFLFXILLQĠHOH-de-acolo în proza Simonei Popescu

9LFWRULĠD(QFLFă 127

9. Repere privind comunicarea elementelor spiritual-ereditare în

Povestea lui Harap Alb úLvQMRFXOğXUFD
Adela Corina Fekete 135

10. Comment rendre Philoctète jouable

Tatiana Fluieraru 146

11. The Influence of Heinrich Heine in the Romanian Literature

in the Nineteenth Century before the First World War
Mihaela Hristea 155

12. 6SLULWXDOLWDWHúLVSLULWLVP%3+DVGHX– iniƜiatorul spiritismului românesc

Florinel Augustin Ilie 163

13. Richard Wagner’s Literary Work and Socio-Political Stance

under the Communist Regime
Roxana Ilie 171

14. 3DUWLFXODULWăĠLDOHMXUQDOHORUOXL/LYLXV&LRFkUOLH
Elena Mateiu (Manole) 179

15. The Ethics of Writing in Franz Kafka and Maurice Blanchot

Hossein Moradi 186

16. Identity Politics in the Literary Works of Ismail Kadare

Irena Myzeqari 195

17. L’onomastique dans Codin de Panait Istrati

Adela-Marinela Stancu, Iuliana-Adelina Iliescu 202
'RXăWLSXULGHDJHQĠLGHSROLĠLHvQURPDQXO5RGLFăL2MRJ-%UDúRYHDQX
Studiu comparativ
Dorina Nela Trifu 206

19. Modele retorice romane în opera lui Dimitrie Cantemir

Eugenia =JUHDEăQ 213

Partea a III-D&RPXQLFDUHúLDOWHIRUPHGHGLVFXUV 223

1. )DPLOLDOH[LFDOăDYHUEXOXLDvQFkQWDvQSRH]LDOXL7UDLDQ'RU]
Florina-Maria %ăFLOă 225

2. 5HJLPXOMXULGLFúLSURWHFĠLDMXULGLFăDSOLFDELOHVROLFLWDQWXOXLGHD]LO
Andra Brezniceanu 233

3. 3DUWLFXODULWăĠLOHWHUPLQRORJLHLPHGLFDOH ODOHFĠLLOHGHOLPEDURPkQă
Aliona Busuioc, Argentina Chiriac 241

4. The Desperate Housewives Serial – a Popular Culture Product

$GULDQD1LFROHWD&RFvUĠă 247

5. Blogues des enseignants et identités numériques

(OHQD*HRUJLDQD&RQGRLX9LQWLOă 253

6. ,QVHUĠLDDEVROYHQĠLORUGHVWXGLLVXSHULRDUHSHSLDĠDPXQFLL
Dacian Florea, Andra Brezniceanu 261

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Dacian Florea 267

0HWDIRUDMXULGLFă3UHFL]ăULSUHOLPLQDUe
Alina Gioroceanu 271

9. Démarche de classement des emprunts terminologiques médicaux d’origine française

Corina Lungu 277

10. Figuri de stil în discursul jurnalistic

Elena Opran 285

11. Media Exposure Behavior toward ASEAN Community of People:

A Case Study of Bangkok
Singh Singkhajorn 291

12. Olfaction and Metaphor: Perfume Advertising and Marketing in the Virtual Space
$OLQDğHQHVFX 297

13. Biblia online: anali]ăWH[WRPHWULFă

Elena Ungureanu 303
14. La vulgarisation économique et ses marques identitaires
Maria-0ăGăOLQD8U]LFă3RLDQă 313

List of Contributors 321

Introducere

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Universitatea din Craiova

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 10

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numerice/virtuale.
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al volumului.
 11

Partea I

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12
 13

Creating Virtual Faces to a Real World

Diego Oswaldo Camacho Vega

Universidad Autónoma de B.C.

The construction of identity is a process that is changing constantly; it is composed

by many factors such as personal history, temperament, social context etc. Currently
the new technologies of information have facilitated the globalization phenomenon
which modifies the way in which individuals perceive themselves and how they are
perceived by others. Nowadays, people are spending considerable time trying to
display an image to others through the Internet and especially through social
networks like Facebook. But social network sites could help people show an identity
accepted by those who have access to their profile. On the other hand, social network
sites (SNS) may hinder the acceptance of the own identity in certain cases (Turkle
2010). Our study explains how face to face relationships are preferred by young
people to show their own identity.

Keywords: Facebook, face to face relationships, identity, social network sites.

1. Introduction

Social network sites (particularly Facebook) are media that permit college students to show
their identity and receive feedback about who they are. There are two important aspects to
consider: self-disclosure (Park, Jin, and Jin 2011) and self-presentation (Chen and Marcus
2012). This study focuses on self-presentation, a process related to communication issues
(Derlega et al. 1987). It also explains the self-presentation of individuals through Facebook,
how it impacts their expression in the real world and how Facebook is changing the way
college students self-present themselves in face to face relationships. Existing research has
identified that Internet has implications for social and psychological factors (Pettijohn II et
al. 2012). Among examples of positive impact there are: community engagement,
education, social connectedness, identity development; in negative issues, there are
symptoms of depression associated with social connectedness (Shields and Kane 2011).
It is important to study the self-presentation through Facebook because it helps to
show a congruent identity in face to face relationships; if the persons lose that ability, the
risk to lose psychological and social abilities in a real world will exist, that means, in a face
to face relationship world. The “real world” is characterized by relationships in a human
communication context. So, there are specific abilities of communication that are necessary
to maintain and develop functional face to face relationships, for example, analogical (non-
verbal) communication (Watzlawick et al. 1985).
 14

2. Theory

The concept of “identity” has been approached by different traditions ranging from
psychology to sociology. One of the first concepts elaborated theoretically was found with
Freud (1929). He explained that identity is constructed around two intersected axes: the
first is an imaginary axis, in which the self is regarded and taken by the own image like an
image in the mirror; the second is a symbolic axis, in which the subject receives the
recognition of the other in the form of a significant ideal that he has to settle for being
loved. Therefore, the subject’s identity comes from imaginary and symbolic axes.
Erick Erikson complemented theoretically the concept of “self”, proposed earlier by
Freud, emphasizing the influence of society in personality development. Identity is shaped
by beliefs, ideologies etc. This handles the individual’s life in a self-acceptance way
(Erikson 2002). Meanwhile, Melucci (2001) suggests that identity has a cognitive
interpretation, so individuals can choose who they are cognitively and how they will impact
its inception in collective action, which means that the identity is defined both: internally
and externally. According to George Mead (1993), this collective action is based on the
recognition of self and self-presentation over other persons. But to accept the self is not
enough: the individuals need to access it, which could be done through the acquisition of
linguistic tools socially accepted. The bipolarity between the access to one’s self and its
social expression permits the formation of identity.

2.1. Identity on social networks

Individuals use different ways to express themselves:

“Adolescents use many different kinds of materials to construct their sense of

identity. They use their relationships with clothing, with records, with causes. There
is an obvious way in which computers can become part of this process: they can
become a way of life” (Turkle 2005: 132).

Thus, social networks sites are other ways to express themselves, they also allow
individuals to build a picture of themselves opposite others (Chen and Marcus 2012). Social
network sites enable individuals to construct a member profile, connect with potential
friends, and view other profiles:

“Their appeal derives from providing a stage for self-presentation and social
connection. SNS’s provide props that facilitate self-presentation, including text,
photographs, and other multimedia capabilities, but the performance is centered
around public displays of social connections or “friends”, which are used to
authenticate identity and introduce the self through the reflexive process of fluid
association with social circles. Thus, individual and collective identities are
simultaneously presented and promoted” (Papacharissi 2012: 172).

In brief, social networks allow the expression of identity and the validation of the
self by others (Stern 1999; 2004). This ability to manipulate self-presentation searches for
the acceptance by others is an image that individuals expect to hold in the real world. I
agree with Turkle (2005: 19): “technology catalyzes changes not only in what we do, but in
how we think. It changes people’s awareness of themselves, of one another, of their
relationship with the world”.
 15

2.2. Identity on Facebook and face to face relationships

Social networks are attractive to individuals resulting in ego-centered networks and

impacting on a personal, cultural and social context (Boyd 2006a). Also the self-
presentation is construed in two ways. The individuals expect that the image presented on
Facebook will be accepted by other individuals on the SNS’s. However, in the virtual world
it is easier for individuals to maintain their constructed identity; the problems could come
when individuals meet each other in the real world, which means, in off line world.
As a social network, Facebook allows individuals to show the trace left on their
profiles, trace which others could interpret (Walther et al. 2008). Thus, it puts the
individual’s identity in a “Glass House” (Papacharissi 2012: 217) where identity, or at least
part of it, is exposed publicly.
Existing research has identified that social networks, based on social connectedness
and social support, are related with higher levels of wellbeing. Cohen, Gottlieb, and
Underwood (2000), and Lee, Robbins (1995) suggested that the Internet is related with
positive psychological outcomes. The impact of Facebook is reflected by the fact that it can
influence the development and maintenance of interpersonal relationships mainly in people
who, for some reason, cannot communicate themselves face-to-face (Grieve et alii 2013).
Also, there is evidence that the use of SNS’s facilitates the process of self-
presentation:

“Alternatively, it is likely that individuals will act in a more socially desirable

manner by disclosing more positive information and disclosing information more
relevant to the interests of their audience in an SNS environment, where there
remain electronic records and traces of one’s interactional behaviors” (Chen and
Marcus 2012: 2092).

On the other hand, communication technology can provide less sociability in face to
face relationships and could be translated in less social resources (Zywica and Danowski
2008). Facebook creates more negative and less positive self-disclosure in lonely people
and less communication skills in face to face relationships (Borae 2013).

2.3. Digital communication: Cues to survive in a real world

Communication occurs in a relational context between people. Human communication is

characterized by the transmission of messages between sender and receiver 1, the message
changes according to the socio-cultural context in which it is issued, but it also depends on
the processing and assimilation that people have about that specific context. The human
interaction allows participants to relate interpersonally; the human relations are defined like
“any act in which two or more people are involved in a human relationship” (Gonzalez,
2007: 2). So, human relationships are strictly related to communication, but face to face
communication has particularities opposite communication mediated by computers. One of
the principal differences is analog communication. Analog communication refers to any
nonverbal communication:

1 Communication is defined as a process that refers to “send and receive messages or transfer
information from one mind to another” (Craig 1999: 125).
 16

“We believe that the term should include posture, gestures, facial expression, voice
inflection, sequence, rhythm and cadence of the words themselves, and any other
non-verbal statement” (Watzlawick, Beavin and Jackson 1985: 62).

2.4. Self-presentation

Gwendolyn Seidman suggests six categories to explain why participants in her research
used Facebook to facilitate self-presentation:

“Two assessing self-presentational behaviors (general self-disclosure and emotional

disclosure), one assessing attention-seeking motivation, and three assessing the
extent to which Facebook was used to express different self-aspects (actual, hidden,
and ideal)” (Seidman 2013: 404).

Neeman and Harter (2012) have conducted several instruments to measure self-
perception of people at different stages of their life. The authors considered thirteen
categories which permit them to measure the preference between self-presentation through
Facebook or through face to face relationships:
- creativity: perception of his or her ability to be creative and inventive;
- intellectual ability: feeling as smart or smarter than other students;
- scholastic competence: distinction between scholastic and intellectual ability;
- job competence: feeling proud of and satisfied with the work one does;
- athletic competence: feeling good at physical activities and sports;
- appearance: thinking one is physically attractive;
- romantic relationships: ability to develop new romantic relationships;
- social acceptance: being satisfied with one’s social skills, and the ability to make friends
easily in life;
- close friendships: gets lonely because one doesn’t have a close friend to share things with,
and whether one has the ability to make close friends;
- parent relationships: liking and feeling comfortable with the way one acts around one’s
parents, as well as whether one gets along well with one’s parents;
- finding humor in one’s life: ability to laugh at oneself and take kidding by friends;
- morality: the feeling that his or her behavior is moral;
- global self-worth: general feeling about the self, assessed with items such as liking the
kind of person one is, and liking the way one is leading one’s life.

3. Methodology

3.1. Research question, participants, method

Are college students feeling more comfortable with self-presentation through Facebook or
face to face relationships? The participants were undergraduate students that currently are
studying in the city of Tijuana, México. Median age was 21 years old, 22% males and 78%
females.
In order to investigate the preference of self-presentation of the identity through
Facebook or face to face relationships, a quantitative method was selected based in the
above thirteen characteristics of Neeman and Harter (2012), in their scale for college
 17

students in Tijuana Baja California, México. Questionnaires in paper were applied to 102
undergraduate students in Tijuana, Baja California, México.

3.2. Data collection and analysis

This study has been designed to be solved in different countries; there is an online version
of the instrument which is supervised by a researcher in the country where the instruments
are applied. For researcher’s considerations, a paper version was used for Mexican students.
The instrument consists of four general questions about age, schooling, semester,
gender and nineteen structured questions that permit students to rank in a five level scale in
each question. While students choose boxes closer to one, it means they prefer self-
presentation using Facebook, on the other hand, if they choose boxes closer to five, they
prefer face to face self-presentation. Our study used an adaptation of the thirteen
characteristics proposed by Neeman and Harter (2012). It consists in nineteen specific
domains and corresponding definitions:
- a) imagination: perception of his or her ability to be imaginative;
- b) invention: ability to create functional products;
- c) creativity (see 2.4.);
- d) intellectual ability (see 2.4.);
- e) academic achievements (see 2.4.);
- f) job achievements (see 2.4.);
- g) athletic achievements (see 2.4.);
- h) appearance (see 2.4.);
- i) romantic relationships (see 2.4.);
- j) social acceptance (see 2.4.);
- k) self-acceptance: feeling good with yourself;
- l) others acceptance: feeling good with the way one accept people;
- m) close friendships (see 2.4.);
- n) parent relationships (see 2.4.);
- o) ideas about religion: expression of believes about topics of religion;
- p) believes about good and bad in society: expression of believes about what is good and
bad in society;
- r) identity: being satisfied with one’s identity;
- s) who they would like to be in life: feeling comfortable with the way one acts and he or
she will be in the future.
The compilation of data is based on information supplied by the questionnaires. We
measured the level of preference on a scale between 1 and 5: a) closer to one, means that
Facebook is most preferred; b) closer to five, means that face to face is most preferred.
The results suggest that 55% of students prefer self-presentation specifically through
face to face relationships, while only 3% prefer self-presentation through Facebook. 42% of
the students are between face to face and Facebook self-presentation.

4. Conclusion

Results suggest that self-presentation through face to face is preferred by undergraduate

students in Tijuana, México. Facebook is not the most important way to this topic with
undergraduates. Meanwhile, it is necessary to do a deep statistical analysis about variables
to consider this result. Also, it is necessary to select a bigger sample and consider other
countries to compare results.
 18

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 20

ContribuĠia valorilor interculturale la realizarea

proiectului instituĠLRQDO GLQ FDGUXO 8QLYHUVLWăĠii de Stat
GH0HGLFLQăúi Farmacie „Nicolae TestemiĠanu”

Argentina Chiriac
Universitatea de Stat de 0HGLFLQăúi Farmacie „Nicolae TestemiĠanu”
ChiúLQăX5HSXEOLFDMoldova

Liliana Panciuc
Universitatea de Stat de 0HGLFLQăúi Farmacie „Nicolae TestemiĠanu”
ChiúLQăX5HSXEOLFD0ROGRYD

Concepts like “plurilingvism” and “interculturalism” have a strong connection with

the notion of “contemporary education”. The process of education itself is
comprehended as John Dewey stated: “Education is not a process preparing for life;
education is life itself”. Reality and the modern approach of its perception represent
the fundamental concept of education.
One of the fundamental principles of intercultural education is that of reciprocity.
Curriculum and didactic discourse should reflect this principle in practice.
Application of some training strategies of intercultural education systems are a must
for users who want to join fully the social group. Intercultural values are presented
as fundamental values that intercultural education relies on. In the context of intense
globalization, promoting intercultural values is an imperative.

Keywords: contemporary education, curriculum, interculturalism, value, principle.

1. Introducere

Conceptele „plurilingvism” úL„interculturalism” VHvPSOHWHVFVWUkQVFXQRĠLXQHDGHHGXFDĠLH

FRQWHPSRUDQă ,QVWUXLUHD vQ VLQH HVWH SHUFHSXWă GXSă FXP DILUPD -RKQ 'HZH\ vQ felul
XUPăWRUÄ(GXFDĠLDQXHVWHSUHJăWLUHD SHQWUXYLDĠăHVWHYLDĠDvQVăúL´5HDOLWDWHDúL abordarea
modernă D SHUFHSHULL HL UHSUH]LQWă fundamentul conceptual al instruirii. 6FKLPEăULOH
contePSRUDQH DX OHJăWXUă FX QRĠLXQL SUHFXP JOREDOL]DUH VRFLHWDWH LQWHUFXOWXUDOă
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calitate care, la rândul ei, presupune utilizarea 7,&vQDFWLYLWăĠLOHFRWLGLHQHFRQúWLHQWL]DUHD
PHPEULORU VRFLHWăĠLL GHVSUH RSRUWXQLWăĠLOH PLQLPDOL]ăULL UROXOXL GLVWDQĠHORU JHRJUDILFH
Emigrarea într-XQ QRX JUXS VRFLDO vQĠHOHJHUHD úL DFFHSWDUHD DFHVWXLD UHSUH]LQWă UHDOH
SURYRFăUL SHQWUX VLVWHPHOH HGXFDĠLRQDOH H[LVWHQWH $SOLFDUHD XQRU VWUDWHJLL GH IRUPDUH a
VLVWHPHORU HGXFDĠLRQDOH LQWHUFXOWXUDOH FRQVWLWXLH R QHFHVLWDWH SHQWUX XWLOL]DWRULL FDUH vúL
GRUHVF LQWHJUDUHD SOHQDUă vQ JUXSXO VRFLDO $VWIHO EHQHILFLLOH HGXFDĠLHL LQWHUFXOWXUDOH úL
multiculturale se pot manifesta la stabilirea LGHQWLWăĠLL SHUVRQDOH D XWLOL]DWRUXOXL OD
 21

vQĠHOHJHUHD membrilor familiilor (în cazul familiilor PL[WH úL D FHORU H[WLQVH vQ FDGUXO
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ÄSHGDJRJLD DVLPLOăULL´ OD ÄSHGDJRJLD UHFHSWăULL´ 3DUDGLJPD GH LQVWUXLUH WUDGLĠLRQDOă DYHD
XQ FDUDFWHU WUDQVPLVLY úL ILQDOLWăĠL GH DVLPLODUH D XWLOL]DWRUXOXL GH Fătre grupul social
PDMRULWDU3HGDJRJLDUHFHSWăULLSUHVXSXQHDFRPSHWHQĠDDPEHORUSăUĠLGHDFRQVWUXLUHODĠLL de
DFFHSWDUHUHFLSURFăÌQXUPăWRUXOGHFHQLXvQVă, DSDUHQRĠLXQHDGH SHGDJRJLHLQWHUFXOWXUDOă
3RUQLQG GH OD UHDOLWăĠLOH H[LVWHQWH VLVWHPHOH internDĠLRQDOH GH vQYăĠăPkQW DX VWDELOLW GRXă
obiective fundamentale DOHHGXFDĠLHLLQWHUFXOWXUDOH
,QWHJUDUHDSOHQDUăDXWLOL]DWRUXOXLvQFDGUXOJUXSXOXLVRFLDO
 3ăVWUDUHD FRQH[LXQLORU GLQWUH FXOWXUD QRXOXL JUXS VRFLDO úL FHO PDWHUQ SăVWUDUHD
OHJăWXULLFX FXOWXUDúLOLPEDPDWHUQă

2. Principii úi valori DOHHGXFDĠLHLLQWHUFXOWXUDOH

8QXO GLQ SULQFLSLLOH IXQGDPHQWDOH DOH HGXFDĠLHL LQWHUFXOWXUDOH HVWH FHO DO UHFLSURFLWăĠLL
&XUULFXOXPXO GLVFLSOLQDU úL GLVFXUVXULOH GLGDFWLFH YRU oglindi acest principiu în pUDFWLFă
3DUDGLJPHOHGHvQYăĠDUHDFWXDOHVXQW FDUDFWHUL]DWHGHÄSHGDJRJLDGLDORJXOXL´DWkWFDIRUPă
de relevare a noilor FXQRúWLQĠH FkW úL FD PRGDOLWDWH GH GHVFKLGHUH VSUH QRL RUL]RQWXUL
OLQJYLVWLFHúLFRPXQLWăĠLFXOWXUDOH$UWDFRPXQLFăULLSUHVXSXQHXQGialog autentic, cu toate
aspectele lui, caracterizat de comprehensiunea celuilalt, de raportare a utilizatorului în
FLUFXPVWDQĠHOH FRPXQLFDWLYH H[LVWHQWH 'LVFXUVXO SHGDJRJLF HVWH FRQFHSXW DVWIHO vQFkW Vă
RIHUHVROXĠLL la factorii de risc ce ar putea surveni pe parcursul instruirii în stilul pedagogiei
LQWHUFXOWXUDOH9DORULOHIXQGDPHQWDOHFHVWDXODED]DHGXFDĠLHL interculturale sunt respectul
SHQWUX GUHSWXULOH RPXOXL úL VWDWXO GH GUHSW 6RFLHWDWHD FRQWHPSRUDQă vúL IRUPXOHD]ă
SULQFLSLLOH H[LVWHQĠLDOH vQ EDza valorilor general-umane precum: corectitudinea, respectul,
demnitatea, dreptatea, pacea, empatia, responsabilitatea etc.
Semnificativ din acest punct de vedere este proiectul Michelangelo, care descrie
GHSDJLQLGHFXOWXUăHXURSHDQă'HVFULHUHDHVWe cu DWkWPDLYDORURDVăFXFkWFRPELQă
LQIRUPDĠLL GH RUGLQ LVWRULF VRFLRORJLF demografic cu cele culturale. Sunt conturate
SULRULWăĠLOHD[LRORJLFH ale diverselor grupuri etnice în diferite perioade temporale, dar sunt
SUH]HQWDWH úL VLPLOLWXGLQLOH GH UHFHSWDUH D UHDOLWăĠLORU H[LVWHQWH SULQ prisma valorilor
XQLYHUVDO DFFHSWDWH 6WXGLLOH FRPSDUDWLYH GH OLWHUDWXUă3SLFWXUă VFXOSWXUă DUKLWHFWXUă HWF
QXPDLFRPSRUWăXQFDUDFWHUGRDU HOLWLVWFLDXYDORDUHSUDFWLFăSHQWUXHILFLHQWL]DUHDDFWXOXL
FRPXQLFăULL interumane.
'LVFXUVXOSHGDJRJLFVHYDED]DSHPDWHULDOHFHFRQĠLQLQWHUIHUHQĠHFXOWXUDOH stabilite
de-D OXQJXO VHFROHORU $FHVW SULQFLSLX YD IL UHIOHFWDW úL în procesul de elaborare a
FXUULFXOXPXOXLGLVFLSOLQDU%LQHvQĠHOHVVH YDĠLQHFRQWGHYDORDUHDSR]LWLYăDVWHULRWLSXULORU
IRUPDWH úL VH YD HOLPLQD WRWDOLWDWHD GH FRQRWDĠLL QHJDWLYH 5HPDUFDELOă HVWH DILUPDĠLD GLQ
lucrarea Intercultural education in Europe: epistemological and semantic aspects de
Agostino Portera: “The intercultural educational approach represents the most appropriate
response to the challenges of globalisation and complexity. It offers a means to gain a
complete and thorough understanding of the concepts of democracy and pluralism, as well
as different customs, traditions, faiths and values” (Portera 2008: 38).
ÌQ DFHHDúL RUGLQH GH LGHL FRQVWDWăP Fă HVWH QHFHVDUă FRQFHSWXDOL]DUHD HGXFDĠLHL
inter- úL PXOWLFXOWXUDOH úL UHIOHFWDUHD FRQFHSĠLLORU ILQDOH vQ GRFXPHQWHOH GH SROLWLFă
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 22

3. Multilingvism úLSOXULOLQJYLVP

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curriculumului disciplinelor studiate din SHUVSHFWLYD HGXFDĠLHL LQWHUFXOWXUDOH /D QLYHO GH
FXQRDúWHUH HVWH IRUPXODWă LGHHD SURSDJăULL UHVSHFWXOXL IDĠă GH OLPED URPkQă úL WRWRGDWă
H[SORUDUHD YDOHQĠHORU HL FRPXQLFDWLYH GH FHUFHWDUH Studentul medicinist modern va
UHPDUFD QRLOH RSRUWXQLWăĠL SH FDUH OH RIHUă FXQRDúWHUHD OLPELL URPkQH SHQWUX XWLOL]DUHD
adeFYDWăDWHUPLQRORJLHL medicale – DFWLYLWDWHGLGDFWLFăFHSUHVXSXQHDSOLFDUHDHOHPHQWHORU
FRPSDUDWLYH úL D LQWHUIHUHQĠHORU OLQJYLVWLFH SHQWUX REĠLQHUHD FRPSHWHQĠHORU cognitive în
domeniul terminologiei medicale.
3ULPDHWDSă DSURLHFWăULLFXUULFXODUHúLXOWHULRUDSURLHFWăULLGLVFXUVXULORUGLGDFWLFH
HVWH VWDELOLUHD XQXL FOLPDW HGXFDĠLRQDO IDYRUDELO SHQWUX UHDOL]DUHD XQXL ELOLQJYLVP UHDO úL
DUPRQLRV(ODERUDUHDVWUDWHJLLORUGHYDORULILFDUHDLQWHUIHUHQĠHORU ce contribuie la realizarea
bilingvismului este urPDWă GH extinderea strategiilor didactice la valorificarea rolului
LQWHUIHUHQĠHORU plurilingvistice. Asemenea algoritmi contribuie la formarea unei culturi a
FRPSUHKHQVLXQLL úL LQWHUFRPSUHKHQVLXQLL OD QLYHO GH ELOLQJYLVP úL SOXULOLQJYLVP &DGUXO
European CRPXQ GH 5HIHULQĠă SHQWUX /LPEL GHILQHúWH SOXULOLQJYLVPXO vQ UDSRUW FX
PXOWLOLQJYLVPXOvQIHOXOXUPăWRU ÄÌQXOWLPLLDQLFRQFHSWXOGHSOXULOLQJYLVPDFăSăWDWRPDL
PDUH LPSRUWDQĠă vQ DERUGDUHD DGRSWDWă GH &RQVLOLXO (XURSHL vQ PDWHULH GH vQYăĠDUH a
limbilor.” 1
„Plurilingvism” VH GHRVHEHúWH GH „multilingvism”, care vQVHDPQă FXQRDúWHUHD XQXL
DQXPLW QXPăU GH OLPEL VDX FRH[LVWHQĠD GLYHUVHORU limbi într-R VRFLHWDWH GDWă
Multilingvismul poate fi realizat, SXU úL VLPSOX SULQ GLYHUVLILFDUHD RIHUWHL GH OLPEL vQWU-o
úFRDOăGDWăVDX într-un sistem educativ dat, prin încurajarea elevilor de a studia mai multe
OLPEL VWUăLQH VDX SULQ UHGXFHUHD UROXOXL GRPLQDQW DO OLPELL HQJOH]H în comunicarea
LQWHUQDĠLRQDOă 'LQFROR GH DFHDVWD DERUGDUHD SOXULOLQJYă pune accentul pe faptXO Fă SH
PăVXUă FH H[SHULHQĠD OLQJYLVWLFă D XQXL LQGLYLG vQ FRQWH[WXO VăX FXOWXUDO VH H[WLQGH GH OD
OLPEDXWLOL]DWăvQVkQXOIDPLOLHLODOLPEDGHFRPXQLFDUHDXQXLJUXSVRFLDOLDUDSRLDDOWRU
JUXSXULVRFLDOHLQGLIHUHQWGHIDSWXOFăDFHDVWăH[WLQGHUHDUe loc prin intermediul sistemului
úFRODUGHvQYăĠDUHVDXSULQH[SHULHQĠDGLUHFWă el / HDQXFODVHD]ăDFHVWHOLPELúLFXOWXULvQ
compartimente separate, dar vúL GH]YROWă PDL GHJUDEă R FRPSHWHQĠă FRPXQLFDWLYă OD
structurarea FăUHLD FRQWULEXLH WRW IHOXO GH FXQRúWLQĠH úL RULFH H[SHULHQĠă OLQJYLVWLFă
0HQHJDOH   ÌQ FRPSHWHQĠD FRPXQLFDWLYă GH DFHDVWă QDWXUă, OLPELOH VH DIOă vQ
FRUHODĠLH úLLQWHUDFĠLXQH
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elemente fundamentale în procesul de realizare D XQHL HGXFDĠLL LQWHU- úL SOXULFXOWXUDOH /D
nivel european, astfel de concluzii, formulate de Piotr Wahl în articolul “A Sinoptic
Juxtaposition of Cognate Languages – European Integration through Multilingualism”, nu
UHSUH]LQWăRH[FHSĠLH“...multilingualism should be supported and promoted, and it can be
carried out through a special language policy and by teaching foreign languages.” (Wahl
2012: 3).
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úLFLUFXPVWDQĠHOHGHLQVWUXLUHH[WUDúFRODUăYDORULILFă SRWHQĠLDOXOúLH[SHULHQĠDDFXPXODWăGH
utilizator pentru aplicarea FRPSHWHQĠHORUREĠLQXWHvQFDGUul practic. Valorile umane se vor
reflecta vQ FRQĠLQXWXO úL DFWLYLWăĠLOH UHDOL]DWH GH XWLOL]DWRU úL YRU GHYHQL SDUWH LQWHJUDQWă

1 &DGUXO(XURSHDQ&RPXQGH5HIHULQĠăSHQWUX/LPELvQYăĠDUHSUHGDUHHYDOXDUH, 2003: 40.

 23

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de diferite etnii vor stabili, de comun acord, etapele de realizare a discursului didactic prin:
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H[SHULHQĠD DFXPXODWă GH XWLOL]DWRU úL GH D VWDELOL QRL QLYHOXUL GH FRPSHWHQĠă vQ Drta
FRPXQLFăULL din perspectiva multiculturalismului.
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9 *XĠX SUH]LQWă XQHOH DUHDOH WHPDWLFH FDUH SRW IL GH]EăWXWH GLQ SHUVSHFWLYD FRQFHSĠLHL
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discriminarea, heterofobia (studiu de caz). Respectarea normei legislative. Dinamica
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 24

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interviului.
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tematice, cronologice, VSDĠLDOHVWRFDUHDGDWHORUFRQIRUPFULWHULLORUGHXWLOL]DUHHODERUDUHD
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multiculturale.

4. Proiectul instituĠional

În perioada 2007- vQ FDGUXO 8QLYHUVLWăĠLL GH 6WDW GH 0HGLFLQă úL Farmacie „N.
7HVWHPLĠDQX´ V-a efectuat un experiment pedagogic referitor OD HGXFDĠLD LQWHUFXOWXUDOă ÌQ
cadrul experimentului au luat parte  GH VWXGHQĠL PHGLFLQLúWL úL  FDGUH GLGDFWLFH
5H]XOWDWHOH FKHVWLRQăULL VWXGHQĠLORU PROGRYHQL GLQ JUXSXO $ DX IRVW VHPQLILFDWLYH
demonstrând FăGLQWUHHLDXFRQVLGHUDWFăLQWHUFXOWXUDOLWDWHDUHSUH]LQWă FRODERUDUHDúL
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rezultatele oferite de UHVSRQGHQĠLLVWXGHQĠL FXUH]XOWDWHOHFKHVWLRQăULLFDGUHORUGLGDFWLFHDP
ajuns la o FRQFOX]LH UHOHYDQWă 'RDU  GLQWUH FDGUHOH GLGDFWLFH FRQVLGHUă Fă LQFOXG în
cadrul orelor de curs componenta dH HGXFDĠLH LQWHUFXOWXUDOă vQ SRILGD IDSWXOXL Fă 
GLQWUHFDGUHOHGLGDFWLFHDGDSWHD]ăFXUVXOSUHGDW vQIXQFĠLHGHGLYHUVLWDWHDHWQLFăFXOWXUDOăD
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LQWHUFXOWXUDOăÌQPRGILUHVFDSDUH vQWUHEDUHDUHIHULWRDUHODVXUVDGHLQIRUPDUHDVWXGHQĠLORU
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8Q URO HVHQĠLDO vQ DFHVW VHQV vO MRDFă UHDOLWDWHD VRFLDOă H[LVWHQWă IDPLOLLOH PL[WH
PRELOLWDWHD SRSXODĠLHL WHKQRORJLLOH LQIRUPDĠLRQDOH úL FDGUXO HGXFDĠLRQDO LQVWLWXĠLRQDOL]DW
care are XQUROPXOWPDLPDUHGHFkWFHOFRQúWLHQWL]DW(GXFDĠLDFRQWLQXăUROXO transversal al
FRPSHWHQĠHORUúLH[SHULHQĠHOHDQWHULRDUHOH-au fost de folos utilizatorilor pentru a-úLFUHDR
viziune de ansamblu despre fenomenul de interculturalitate.
&RQVWDWăP Fă HGXFDĠLD LQWHUFXOWXUDOă WUHEXLH Vă UHSUH]LQWH R FRPSRQHQWă D
curricumului, iar cadrele didactice – Vă EHQHILFLH]HGHFXUVXULGHLQIRUPDUHúLSHUIHFĠLRQDUH
suplimentare. Din punctul dH YHGHUH DO DERUGăULL PRWLYDĠLRQDOH  GLQWUH UHVSRQGHQĠL
FRQVLGHUă LPSRUWDQWă SRVHGDUHD FRPSHWHQĠHORU PXOWLFXOWXUDOH SHQWUX integrarea socio-
SURIHVLRQDOă'HDOWIHOGLQWUHUHVSRQGHQĠL DXFRQVLGHUDWIRDUWHLPSRUWDQWăFXQRDúWHUHD
FXOWXULL úL LVWRULHL HWQLLORU FRQORFXLWRDUH $FHVWH GLIHUHQĠH H[SOLFă UROXO IDFWRULORU
PRWLYDĠLRQDOL H[WULQVHFLúLLQWULQVHFLODIRUPDUHDSHUVRQDOLWăĠLLVWXGHQWXOXLPHGLFLQLVW
ReIHULWRUODvQĠHOHJHUHDQRĠLXQLLGHLQWHUFXOWXUDOLWDWHGLQWUHUHSUH]HQWDQĠLL grupului B,
FRQVWLWXLW GLQ VWXGHQĠLL PROGRYHQL DOROLQJYL  GLQ UHVSRQGHQĠL DX UăVSXQV DGHFYDW
'LQWUH VWXGHQĠLL LQWHUQDĠLRQDOL FDUH DX FRQVWLWXLW JUXSXO &  úL-au format o opinie
proprie despre interculturalitate. S-D UHPDUFDW R GLVSRQLELOLWDWH GH  OD VWXGHQĠLL
LQWHUQDĠLRQDOL GHDFXQRDúWHFXOWXUDúLLVWRULDVWDWXOXLvQFDUHvúLIDFVWXGLLOH Aceste rezultate
sunt semnificative pentru elaborarea strategiilor de HGXFDĠLHLnter- úLPXOWLFXOWXUDOă
 25

8Q DVSHFW HVHQĠLDO vQ SURFHVXO GH VWXGLHUH D XQHL OLPEL VWUăLQH HVWH IRUPDUHD
FRPSHWHQĠHORU GH PHGLHUH 2IHULUHD GH LQIRUPDĠLL XQHL WHUĠH persoane, în limba pe care
XWLOL]DWRUXORVWXGLD]ăUHIOHFWăQLYHOXOGH UHFHSWDUHúLSURGXFHUHDXQXLWH[WvQIRUPăVFULVă
VDX RUDOă 6XUVHOH VLWRJUDILFH ELEOLRJUDILFH RSRUWXQLWăĠLOH GH FUHúWHUH SURIHVLRQDOă SRW
FRQVWLWXLUHDOHPRWLYHSHQWUXvQYăĠDUHDXQHLOLPELVWUăLQHúLLPSOHPHQWDUHD la nivel practic a
FRPSHWHQĠHORUSOXULOLQJYLVWLFHúLPXOWLFulturale. (Bennett 1999: 320)
8WLOL]DWRULORU OL VH SRW SURSXQH DFWLYLWăĠL GLGDFWLFH UHDOL]DWH vQ WDQGHP SHQWUX
LQVWUXLUHDLQWHUFXOWXUDOăúLvQJUXSXOGHOXFUXSHQWUXHIHFWXDUHDDFWLYLWăĠLORUFHIDYRUL]HD]ă
vQYăĠDUHDPXOWLFXOWXUDOă6XQWFXQRVFXWHVWUDWHJLLOHGHUHDOL]DUHDSURLHFWHORUFHDXWDQJHQĠH
FXFXOWXUDĠăULORUGLQFDUHSURYLQSDUWLFLSDQĠLL'HH[HPSOXSURLHFWXOÄ3UH]HQĠDFXOWXUDOăúL
LVWRULFă D OXL 'LPLWULH &DQWHPLU vQ FXOWXUD 5XVLHL úL 7XUFLHL´ SRDWH IL UHDOL]DW GH VWXGHQĠL
moldoveni alolingvi úLVWXGHQĠLGHRULJLQHWXUFă
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UHDOL]DW vQ WDQGHP GH VWXGHQĠLL PROGRYHQL úL FHL JHUPDQL Proiectele propuse vor fi
FRQFHSXWH úL UHDOL]DWH GH FăWUH XWLOL]DWRUL SURIHVRUXOXL revenindu-L UROXO GH FRQVLOLHU úL
IDFLOLWDWRU$VWIHOGHDFWLYLWăĠL SUDFWLFHFRQWULEXLHODFXQRDúWHUHDvQĠHOHJHUHDúLUHVSHFWDUHD
UHFLSURFăDSDWULPRQLXOXLFXOWXUDODOSDUWLFLSDQĠLORU([SHULHQĠD&/,/SRDWHILDSOLFDWăúLFD
SURLHFWLQVWLWXĠLRQDOXQHOHGLVFLSOLQHvQYăĠkQGX-VHvQOLPEDSHFDUHRVWXGLD]ăXWLOL]DWRUXO
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vQYăĠDUHDXQHLOLPELVWUăLQHFXUHDOLWDWHDVRFLDOăYRUILXUPăWRDUHOH
'LYHUVLWDWHDDERUGăULORULQWHUFXOWXUDOLWăĠLLYDLQGLFDDVXSUDIDSWXOXLFăQXH[LVWăR
XQLWDWHVHPDQWLFăFLPDLGHJUDEăXQSROLVHPDQWLVPERJDWúLRGLQDPLFăDHYROXĠLLORUGHWLS
conotativ.
2. Raporturile denotativ-FRQRWDWLYH UHIOHFWDWH GH FRQFHSWHOH SOXULOLQJYLVP úL
interculturalism UHOHYă YDORUL DQWLQRPLFH FDUH UHSUH]LQWă GH H[HPSOX GLQDPLFD / statica,
procesualitatea / UH]XOWDWXO FULVWDOL]DUHDIOXLGLWDWHD VHQ]XDOLWDWHDGLYHUJHQĠD YHUWLFDOD
IRUPăULL / RUL]RQWDODvQYăĠăULLFRQWH[WXDOL]DUHDVSDĠLR-WHPSRUDOă globalizarea, cauzalitatea
/ FRQGLĠLRQDOLWDWHDH[SUHVLYLWăĠLL
3. 0LúFDUHD LQWHUFXOWXUDOă FXUULFXOXPXO LQWHUFXOWXUDO SURFHVXO GH HGXFDĠLH
LQWHUFXOWXUDOă úL DQJDMDPHQWXO LQWHUFXOWXUDO DX GUHSW IXQGDPHQW FRQFHSWXDO XUPăWRDUHOH
principii: caracterul comprehensiv-integrator; aERUGDUHD PXOWLVHFWRULDOă GH SURPRYDUH D
LQWHUFXOWXUDOLWăĠLL VWLOXO DXWRQRP GH vQYăĠDUH UHVSHFWDUHD XQXL DQXPLW VLVWHP GH YDORUL
DERUGDUHD HGXFDĠLHL LQWHUFXOWXUDOH GLQ SHUVSHFWLYD SHUFHSHULL VXFFHVXOXL SHUVRQDO DO
utilizatorului.
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HGXFDĠLHLLQWHUFXOWXUDOHFRQVWLWXLWGLQSDWUXFRPSRQHQWHIXQGDPHQWDOHRELHFWLYHOHJHQHUDOH
ale proiectului; redimensionarea curriculumului pe discipline în baza cross-curriculumului;
ansamblul GHDFWLYLWăĠLH[WUDFXUULFXODUHIRUPDUHDFRQWLQXăDFDGUHORUGLGDFWLFHXQLYHUVLWDUH
GLQSHUVSHFWLYHOHLQWHUFXOWXUDOLWăĠLL

5. Concluzii

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utilizator, deoarece ele VXQW H[SUHVLD XQHL DUPRQL]ăUL SHUIHFWH FX VSLULWXO WLPSXOXL úL
FRUHVSXQG vQ WRWDOLWDWH FX VWUDWHJLD GH DVLJXUDUH D XQXL vQYăĠăPkQW GH FDOLWDWH 3URLHFWXO
instituĠional s-a axat pe implicarea principiilor úi valorilor HGXFDĠLHL LQWHUFXOWXUDOH
promovînd toleranĠa, respectul úi înĠelegerea.
3HQWUX UHDOL]DUHD FX VXFFHV D XQXL DVWIHO GH SURLHFW HVWH QHFHVDU FD HGXFDĠLD
 26

LQWHUFXOWXUDOă Vă ILH LQWHJUDWă FXUULFXPXOXL vQ VFRSXO VLQFURQL]ăULL RELHFWLYHORU úi

ILQDOLWăĠilor. Ponderea valorilor interculturale la realizarea proietului instituĠLRQDOHVWHFHUWă
întrucît ele susĠin medierea relaĠiilor interculturale, contribuind enorm la integrarea
educaĠiei interculturale în UHDOLWDWHDVRFLDOă
Proiectul instituĠional prevede elaborarea strategiilor de HGXFDĠLH LQWHU- úL
mXOWLFXOWXUDOă SHQWUX IDFLOLWDUHD GLDORJXOXL LQWHU- úi multicultural. Or, acest dialog susĠine
cooperarea úi reciprocitatea.
2ULFH SURLHFW LQVWLWXĠLRQDO GH HGXFDĠLH LQWHUFXOWXUDOă WUHEXLH VD ILH VXVĠinut de un
discurs pedagogic multicultural care se va baza SHPDWHULDOHFHFRQĠLQLQWHUIHUHQĠHFXOWXUDOH
&DGUHOHGLGDFWLFHWUHEXLHVăSURPRYH]HYDORULOHinterculturale prin configurarea úi ajustarea
FXUULFXPXOXL OD UHDOLWăĠile existente, susĠinînd în mod activ principiile de acceptare úi
respectare a diversităĠii pentru medierea raporturilor socio-culturale.
O importanĠă GHRVHELWă OD UHDOL]DUHD pURLHFWXOXL LQVWLWXĠLRQDO GH HGXFDĠLH
interculturalăVHYDDFRUGDVWUXFWXUăULLFRQFHSWXDOHDSURLHFWXOXLúi principiilor de cooperare
între subiecĠii implicaĠi în proiect. Se va Ġine cont de elaborarea decalogului de colaborare,
exprimarea principiilor de cooperare úL D YDORULORU RQWRORJLFH FDUH YRU VWD OD ED]D
îndeplinirii sarcinilor din proiectul comun.
Implementarea pURLHFWXOXLLQVWLWXĠLRQDOGHHGXFDĠLHLQWHUFXOWXUDOăOD Universitatea de
0HGLFLQă úL )DUPDFLH Ä1LFRODH 7HVWHPLĠDQX´ este o dovDGă GH YDOLGDUH D LPSRUWDQĠHL
HGXFDĠLHL LQWHUFXOWXUDOH. Succesul proiectului s-D GDWRUDW LPSOLFăULL DFWLYH D FDGUHORU
didactice, redimensionăULL FXUULFXOXPXOXL XQLYHUVLWDU úL YDORULILFării DFWLYLWăĠLlor
extracurriculare$FHVWHDGLQXUPăDXFRQWULEXLWODIRUPDUHDFRPSHWHQĠHORULQWHUFXOWXUDOHOD
VWXGHQĠL, precum úi la deschiderea VWXGHQĠLlor faĠăGHLQWHUFXOWXUDOLVP
O prioritate, îQQRLOHFRQGLĠLLGHLQWHJUDUHHXURSHDQă úLGHLQWHUDFĠLXQe a culturilor de
la QLYHOXULOH QDĠLRQDO úL LQWHUQDĠLRQDO este formarea cadrelor didactice din perspectiva
LQWHUFXOWXUDOLWăĠLL úi promovarea HGXFDĠLHi interculturale în mediul multietnic.

Surse:

&DGUXO (XURSHDQ &RPXQ GH 5HIHULQĠă SHQWUX /LPEL vQYăĠDre, predare, evaluare, 2003/
&RPLWHWXO'LUHFWRUSHQWUX(GXFDĠLHÄ6WXGLHUHDOLPELORUúLFHWăĠHQLDHXURSHDQă´)(-
37LSRJU&HQWUDOă&KLúLQăX
UNESCO Guidelines on Interultural Education, Paris, France.

ReferinĠe:

Beacco, Jean-Claude, Byram, Michael, Cavalli, Marisa, Coste Daniel, Egli Cuenat Mirjam,
Goullier Francis, Panthier Johanna, Guida per sviluppo e l’attuazione di curricoli
per una educazione plurilingue e interculturale, 2011, (Language Policy Division),
material al Consiliului Europei, Universitatea de studii din Milano.
Bennett, Christine, 1999, Comprehensive Multicultural Education: Theory and Practice,
Boston, Allyn and Bacon.
Chiriac Argentina, Lupu L., Mincu E., 2008, „La conceptualisation de l’education
interculturelle dans l’enseignement superieur”, Archives of the Balkan Medical
8QLRQ&KLúLQăX, vol. 2, nr. 3.
Cozma, Teodor, 2001, O nouăSURYRFDUHSHQWUXHGXFDĠie: Interculturaliatatea, Bucureúti,
Editura Polirom.
 27

&XFRú, Constantin, 2000, (GXFDĠLD 'LPHQVLXQL FXOWXUDOH úL LQWHUFXOWXUDOH, Bucureúti,

Polirom.
Dasen, Pierre, 1999, „)XQGDPHQWHOH úWLLQĠLILFH DOH unei pedagogii intreculturale”, în
(GXFDĠLD LQWHUFXOWXUDOă([SHULHQĠHSROLWLFLúLVWUDWHJLL, Bucureúti, Polirom.
Geert, Hofstede, 1996, Managementul structurilor multiculturale: software-ul gandirii,
Bucureúti, Editura Economică
Hadârcă Maria, 2004, „&RPSHWHQĠD LQWHUFXOWXUDOă XQ SXQFW GH SOHFDUH VSUH integrarea
QDĠLRQDOă úLHXURSHDQă´vQ(GXFDĠLDLQWHUFXOWXUDOă în Republica Moldova&KLúLQăX,
Editura Arc.
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Menegale, Marcella, “Dall’autonomia nell’apprendimento delle lingue straniere allo
sviluppo della competenza plurilingue. Una ricerca nella scuola secondaria”, 2010,
SXEOLFDWăvQFDGUXO Scuola di dottorato in scienze dell linguaggio, della cognizione,
della formazione, Universitatea Ca Focarsi, 9HQHĠLD
Nedelcu, Anca, 2008, Fundamentele educaĠiei interculturale. Diversitate, minorităĠi,
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education, New York, Longman.
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Ouellet Fernand, 1991, L’education interculturelle, essai sur le contenu de la formation des
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Aspects”, publicat în Intercultural Education, vol. 19, nr. 6, 481-491.
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LQWHUFXOWXUDOăúLVROLGDUă´, în (GXFDĠLDLQWHUFXOWXUDOă([SHULHQĠHSROLWLFLúLVWUDWHJLL,
Bucureúti, Polirom.
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through Multilingualism”, PIXEL, ICT for languageslearning, Venice.
 28

Language Worldview in Bulgarian Verb Formation

Zlatina Dimova
Trakia University, Bulgaria

Language worldview in Bulgarian verb formation gives a comprehensive and

distinct idea of Bulgarian language and cognitive universe.
The most frequently used verbs in Bulgarian reveal an image of Bulgarians as
responsible people whose existence gains its meaning through Word. Word as an
abiding over time and space, creative entity, is this fulfilment of the nation due to
which we build our relations of compassion and commitment within the nation, with
other nations and in the world.

Keywords: frequency corpora, language worldview, onomaseology, verb formation,

word-formation.

1. Outlines of the research

The uniqueness of the specific for a nation system of thinking is mirrored and encoded in
the national language. The authentic cognitive picture stored in language sustains the
integrity of the nation. Cognitive linguistics explores this mental coordinate system through
its categorial apparatus. A special place in it is reserved to language worldview. Language
worldview is the formed in the minds of people, based on their shared ethnogenesis,
language-bound system of knowledge about the world. This knowledge with its
characteristic structure gives a clue about the nature of the constituent parts of identity and
uncover the mode of their functioning to form the distinctions in the perception and fate of
nations.
Generally, considering language worldview, researchers focus their attention on
words, phrases, sentences and their underlying meanings. But it is the way in which these
language units are structured and function, the essence and meaning of this model that
brings stability and life to all the minute and great meanings extracted from the bits of
language expression.
The object of this study is Bulgarian verb formation with a broader accent on the
sustainable encoding of meanings and implications into the system of Bulgarian verbs and
verb formation.
The aims of this research are: to investigate and interpret the leading principles,
system and structure, encoded in our verb formation and thus to extract the inherent in it
language worldview.
A starting point in this investigation puts the corpus of the most frequent Bulgarian
verbs created by Bulgarian Academy of Sciences. These verbs reflect the most important
aspects in the activities of Bulgarians and draw a comprehensive picture of both the agents
and the activity.
 29

2. The horizons of contrast

Word-formation can be performed in two general ways: morphological and non-

morphological. Morphological word-formation is generated through roots, affixation,
connecting vowels, etc., whereas non-morphological word-formation is based on
morphosyntactic principles and in it grammatical shift and semantic change merge resulting
in the transformation of one part of speech into another.
Morphological word-formation is less popular among English verbs. A possible
explanation to this phenomenon is the move of English in the direction of pragmatic,
objective and unified structures. A curious fact supporting this statement is that 31 % of the
verbs from the corpus of the 100 most frequent English verbs are formed by conversion, i.e.
they have one and the same form as a verb and a noun.
The majority of verbs from the list of the most frequent English verbs are practically
verb-bases (verbs-roots) which in their schematic, appropriate for cognitive research
infinitive form lack information about person, number and tense. Only 4 out 100 verbs are
formed morphologically. These verbs locate the action in space and time through the use of
prefixes denoting near, to, forward, under. The rest 31% verbs undergoing conversion + 65
% verbs not undergoing conversion situate the expressed by them action within an
objective, unbound by coordinates reality. These prevailing in number verbs are
desemantized in terms of information regarding the way an action is carried out in time and
space. So, they can be extracted out of these dimensions and distilled to pure sense, lacking
any connection with subjects, objects or time.
Considering research in cognitive linguistics, we can easily distinguish the school of
Slavistics from that of German Studies. As Pavol Stekauer remarks: in Slavistics, the
approach is predominantly structural-semantic, whereas German Studies are pragmatic
(Stekauer 2005). The cognitive impulses of these two schools flow in two different
directions. The first one is predominantly concerned with the deep, real or hidden meaning
of the investigated while the second one is chasing after applied knowledge that can
practically work in any situation. These two different mental pre-dispositions generate two
different models of study on word-formation: the onomasioligical and the semasiological
(ibidem 2005).

3. The language worldview in the corpus of the most frequent 100 Bulgarian verbs

The information about tense, person and number is inherent in the form of the 100 most
frequent Bulgarian verbs and is transmitted through the use of endings fixed to the root and
being both conceptually and functionally its peers. The semantic division of center and
periphery typical for the English verb-formation system with its widespread use of auxiliary
verbs having the bare function of serving and linking the lexical verb with time and space is
close to being minimalistic in Bulgarian verb-formation. In Bulgarian, the action is
invariably set into a context and there is always a certain agent, responsible for its course
and results. Furthermore, 59% of the most frequent Bulgarian verbs of any style use
prefixation, thus assuring detailed information about the course, setting and agents of an
action (ɋɬɨɹɧɨɜ  The onomasiological categories exhausted in Bulgarian word-
formation are that of existence abiding over time and space with the onomasiological marks
of doer (person), singularity (number) and time (tense). Bulgarian existence is invariably
personal and responsible.
In Bulgarian universe, it is clear who takes care of the most important for Bulgarians
 30

onomasiological category – that of survival. At the same time, survival is considered as a

peculiar, devoid of any conditionality and abstractness process. Its fulfillment is only
possible through the act of “revealing your deep inner self”, “becoming an active agent of
one’s own existence” which is in fact the meaning of WKH YHUE ɹɜɹɜɚɦ 7KLV UHDOL]DWLRQ
begins and becomes true again through the act of “wording it out”. To make it real, to give
life to the act of being, existing, Bulgarians need and use the magical power of the word.
This paradigm building, with its fundamentals in Word, most naturally sets “I have to”
ɬɪɹɛɜɚDVKLJKHULQ%XOJDULDQYDOXHV\VWHPKLHUDUFK\WKDQ³,KDYH´ɢɦɚɦ7KHDERYH-
mentioned onomasiological categories in Bulgarian are detail-specific in terms of time,
place and agent of the action. WiWK WKH H[FHSWLRQ RI WKH IRXUWK IUHTXHQW YHUE ³ɡɚɹɜɹ³
EHDULQJWKHLQIRUPDWLRQDERXWWKHDFWLRQ¶VLQLWLDWLRQGXHWRWKHSUHIL[µɡɚ-‘(ibidem), all the
other onomasiological marks are simple. The elaboration in the onomaseological mark of
“coming out”, of fulfillment, adds more clarity and depth in the perception of the moment
this revival into life begins and what kind of steps the nation should take to make it true. It
passes through carrying out all the duties posed in front of us as a nation. It’s only after our
“must” ɬɪɹɛɜɚWKDWZHUHDFKWKHWZRHTXDOO\SRVVLEOHPRGHVRIH[LVWHQFH³WRKDYH´RU
“not to have” ɢɦɚɦɧɹɦɚɦ
Since linguistics outlines essential information by means of binary oppositions, we
extract out of the English frequency corpus the onomasiological category that stands out as
a definition of the English modes of existence and it is ‘to have’ as the basis for freedom
“to do”, “talk” “go” and “take”.
Verb formation through affixation which is typical of Bulgarian gives profound
knowledge of the dynamic Bulgarian world in terms of its completeness, singularity and the
GHJUHHLQZKLFKLWHQFRPSDVVHVWKHREMHFWRIWKHDFWLRQɡɚɩɨɱɧɚɨɪɝɚɧɢɡɢɪɚɦɫɪɟɳɧɚ
(ibidem).
Judging by the ten most frequent lexical verbs in any style as listed in the BAS
corpus of verbs, Bulgarian vision of the world is expressed predominantly through the
vernacular and literary style.
All ten most frequent in colloquial-artistic style verbs are being used in the other
styles with the largest amount of shared words in literary, scientific and journalistic style.
The number of shared verbs and verb forms in the literary, scientific and journalistic style is
4. The colloquial-artistic, leading in frequency of use style, is presented equally well in both
the artistic and scientific thinking of Bulgarians. The language of the media has the same
relative weight. The popular scientific style (3 shared verbs) and the administrative style (2
shared verbs) are used less, with the weakest level of popularity reserved for the
administrative style. These facts reflect the present tendency of predomination for the
artistic-vernacular style and for the move towards imagery, art and the confessional –
colloquial. Such a state of existence is normal for a society with a spiritual pre-desposition
to “work not through institutional operations, but rather in the inner world of the soul,
IHHOLQJVDQGHYHU\GD\H[SHULHQFH´ɉɟɬɪɨɜɚ2QWKHRWKHUKDQGWKHREVHUYHGLQWKH
corpus symmetry of uses throughout the three language styles display the equilateral
interest of Bulgarians to the various in type and structure knowledge that these most
informative styles convey.
Popular scientific thinking is quite unusual for Bulgarians because of the low level
of desacralization and rationalization formed by Bulgarian Orthodox worldview.
The study of the most frequent verbs in any style of our language groups a number
of topical and semantic fields in the synopsis of actions and states with vital importance to
Bulgarians. These verbs are the first 100 in a frequency-of-use statistics from a corpus of
342, 642 words.
 31

$ OHDGHU LQ WKLV VWDWLVWLFV LV WKH YHUE ɛɴɞɚ ³EH” (1320 times). After the frequency-
predicative picture of the world, the most important for Bulgarians act is that of being and
fulfillment, the existential will and might to exist. It is in direct correlation with the inner
power and the possibilities of realization, represented by the verb ɦɨɝɚ – “an” /925 times/. In
comparison, the language worldview delineated by the frequency of concepts in English verbs
depicts the English speaker as someone being himself, here “be” is in the first place too, if he
“has” which is the necessary condition for him to “do” whatever has to be done. “To say” is in
the fifth important place in both languages. A Bulgarian “is” if he “continues to be” in the
times to come, if he “can b”’ and “states” it. Not only do “have-don’t have” mean less to
Bulgarians, but they are realized as a natural opposition and an absolutely real and realistic
model of existence. On the other hand, the second frequent and significant English verb
“have” is the only possible version of existence to the English speaker. For the English “to
say” is to immediately set the direction of progress enabling “taking”, “seeing” and
“coming”. He would like to “watch” and “use”. Then, he would “find”, “give” and “tell”.
He works if he is kindly advised to and if he feels a deep, inner, moral impulse to do so.
Meanwhile, the Bulgarian expects to “meet”, “start’ and “carry out” his action ready
to “announce”, “discuss” and “approve” of it. Evidently, the events for the Bulgarian do not
follow a preset schedule or a matrix of control, they are unlocked spontaneously and are
vitally interrelated. The subject-subjective commitment is further developed through the
obligation to work things out on your own, but to inform the others and discuss it with them
thus transforming one’s actions into an approved both by him and by the others reality. This
coordination and regard to the others can be identified in the 17th frequent verb ɩɪɢɡɨɜɚ
(“invoke”). It is at this point, with this verb that the will and the ego grows into “having”,
“achieving”, “accusing” and takes the form of a contract in which you “give” in order to
“participate” and “add”. Traces of subject-objective volition could also be discovered in the
17th IUHTXHQW DQG  WLPHV OHVV XVHG WKDQ WKH ILUVW IUHTXHQW YHUE ɩɪɢɡɨɜɚ <HW WKLV
objectivity is in accordance with the will of the object and comes out of the act of “calling”,
“addressing” the object thus preserving elements of the subject-subjective relations and
keeping the shared, fulfilled together with the other participants action. The closer
investigation of even a quarter of the 100 most frequent verbs in these two languages
suffices to make a comprehensive and representative excerpt of the cognitive and value
universe reflected in Bulgarian and English.

6. Conclusion

After the language worldview, revealed in verb formation and the conceptosphere of the
most frequent verbs in Bulgarian, my nation realizes itself through what it is and what it
will be. Our survival as a nation is in direct connection with the creative power of the word.
A moral duty to humanity is posed before us and the degree to which it is accomplished
corresponds to Bulgarians’ access or denial of well-being. Bulgarians are an integral part of
the system and structure of the world and they exist in unity with the other nations in the
subjective and objective relations of people now and in the times to come. The arrangement
and realization of verb forms in language, their frequency and the picture formed by their
presence in language outlines the image of Bulgarian mentality. The internal arrangement
of verbs and meanings that comes out of language depicts the integrity of the Bulgarian and
the world, encoded in the morphological word-formation and the frequency consistency of
Bulgarian verbs.
 32

Sources:

http://englishgenie.com/vocabulary/the-top-100-most-common-verbs/
http://dcl.bas.bg/frequency.html#top
http://dcl.bas.bg/interesting_bg.html

References:

ɉɟɬɪɨɜɚȿÄȻɴɥɝɚɪɢɬɟɢɟɜɪɨɩɟɢɡɚɰɢɹɬɚ³ɇɚɰɢɨɧɚɥɧɨɛɚɥɤɚɧɫɤɨɟɜɪɨɩɟɣɫɤɨ
ɤɨɧɜɟɪɝɟɧɬɨɫɬɢɞɢɜɟɪɝɟɧɬɧɨɫɬɂɄ„ɂɎɂ-ȻȺɇ”.
ɋɬɨɹɧɨɜɋ ÄɈɛɪɚɡɭɜɚɧɟɧɚɝɥɚɝɨɥɢ³Ƚɪɚɦɚɬɢɤɚɧɚɛɴɥɝɚɪɫɤɢɹɤɧɢɠɨɜɟɧɟɡɢɤ.
ɋɨɮɢɹɇɚɭɤɚɢɢɡɤɭɫɬɜɨ
Stekauer, P., Lieber, R. 2005. “Onomasiological approach to word-formation”, Handbook
of Word-Formation. Springer 64, 208-210.
 33

'LVFXUVXULOH HXURSHQH DOH ÄDXWHQWLFLWăĠii” din anii 1900-

&ăWUHXQQRXFDGUXFRQFHSWXDO1

ùWHIDQ)LULFă
Universitatea din Bucureúti

A couple of decades before and after WW1, “authenticity” enjoys an unprecedented

vogue in the public and private discourses on identity, in several European cultures.
This multilayered concept, which dates back from Rousseau or Kierkegaard, informs
discourses on a wide range of ideological orientations, from Fascism to Anarchism,
Anarcho-Syndicalism, Christian Socialism, or Communism, while being the core
tenet of various literary trends exploring in-depth psychology, from the Proustian or
Joycean to the Surrealist fiction. Here, we aim to piece together a set of theoretical
tools to draw a comparative map of the European discourses on “authenticity”,
which mushroomed in the same timespan, in various corners of the continent (such
as Spain, France, Germany, Italy, or Romania). The conceptual developments put
forward by Roger Griffin or Itamar Even-Zohar could provide a useful framework to
revisit the network of the 20th century European discourses on identity, from a
comparative perspective.

Keywords: authenticity, comparative literature, cultural studies, identity, polysystem

theory.

1. Introducere

ÌQFăGHODVIkUúLWXOVHFROXOXL;,;FKHVWLXQHDLGHQWLWăĠii, cu numeroasele ei faĠete, vQFHSHVă

preocupe mai mulĠL LQWHOHFWXDOL HXURSHQL LDU PRGD ÄDXWHQWLFLWăĠLL´ SăWUXQGH vQ WRDWH
sectoarele vieĠii social-cultuUDOHvQSUHDMPD0DUHOXL5ă]ERL'LQWUHVXUVHOHGHLQVSLUDĠie nu
trebuie omiúL +HQUL %HUJVRQ FX DO VăX IXQGDPHQWDO Eseu asupra datelor imediate ale
conútiinĠei, VDX 6LJPXQG )UHXG FDUH H[SORUD SHQWUX vQWkLD RDUă OLPEDMXO VXEOLPLQDO
simbolic plasat în centrul fiinĠHL vQWHPHLQG QRXD GLVFLSOLQă D SVLKDQDOL]HL 'DU LQWHUHVXO
FUHVFXWSHQWUXLGHQWLWDWHWUHEXLHLQFOXVvQSDUDGLJPDSRVWURPDQWLFăvQWLQVFDGUXFRQFHSWXDO
din care s-au nutrit individualismul filosofic úi social-politic cu toate ramurile lor, ducând la
naúterea unor miúFăUL VHPQLILFDWLYH GH HPDQFLSDUH 5ăGăFLQLOH ÄDXWHQWLFLWăĠii” din epoca
PRGHUQăILLQGGXSăFXPDGHPRQVWUDW7ULOOLQJ7ULOOLQJGHRSRWULYăSVLKRORJLFH
úLSROLWLFHFHOHPDLLPSUREDELOHSHQWUXVHQVLELOLWDWHDFRQWHPSRUDQăvQcruciúăULVHPDQWLFH
au loc adeseori, trecerile dintr-R ]RQă vQWU-alta a spectrului socio-FXOWXUDO IăFkQGX-se cu o

1$FHDVWăOXFUDUHDIRVWUHDOL]DWăvQFDGUXOSURLHFWXOXLÄ&XOWXUDURPkQăúLPRGHOHFXOWXUDOHHXURSHQH
FHUFHWDUH VLQFURQL]DUH GXUDELOLWDWH´ FRILQDQĠDW GH 8QLXQHD (XURSHDQă úL *XYHUQXO 5RPkQLHL GLQ
)RQGXO6RFLDO(XURSHDQSULQ3URJUDPXO2SHUDĠLRQDO6HFWRULDO'H]YROWDUHD5HVXUVHORU8PDQH-
FRQWUDFWXOGHILQDQĠDUHQU POSDRU/159/1.5/S/136077.
 34

rapiditate care a atras úi posibilitatea unor derapaje periculoase. „Sinceritatea”,

„autenticitatea” úLFHOHODOWHFRQFHSWHvQUXGLWHPLJUHD]ăFu o uúurinĠăGHVFXPSăQLWRDUHvQWUH
sferele psihologiei, literaturii, epistemologiei, ontologiei, sociologiei úi politicii, uneori în
eseurile aceloraúL DXWRUL &KHVWLXQHD UHVSRQVDELOLWăĠii etico-politice a acestora nu poate fi
RFROLWă GH XQ FHUFHWăWRU DO GLVFXUVXULORU HXURSHQH DOH ÄDXWHQWLFLWăĠLL´ GH SkQă OD 6DUWUH Vă
zicem. În orice caz, aúD FXP SULQWUH SURPRWRULL ÄDXWHQWLFLWăĠLL´ VH QXPăUă GHVWXL
simpatizanĠL DL GUHSWHL H[WUHPH DOăWXUL GH HL XQHRUL IăFkQG SDUWH GLQ DFHOHDúi grupuri
intelectuale, se vor JăVL DQDUKLúti, anarho-sindicaliúti, comuniúti, socialist-creútini sau
liberali de toate nuanĠele, de la stânga la dreapta spectrului politic.

'LILFXOWăĠLOHXQHLDERUGăULWHRUHWLFH

'DWăILLQGYDVWLWDWHDÄWDEORXOXL´DVWIHODOFăWXLWSULQDOăWXUDUHDXQXLQXPăULPSUHVLRQDQWGH
figuri úL GLVFXUVXUL HXURSHQH ÄWHKQLFD´ IRORVLWă GH FHUFHWăWRU YD SXWHD IL FRPSDUDWă QX FX
FHDDFODVLFHLÄIUHVFH´WLQ]kQGFăWUHFRPSOHWLWXGLQHFLPDLFXUkQGFXXQDÄSRLQWLOOLVWă´GH
MX[WDSXQHUHDXQRUHOHPHQWHSHUVRQDOLWăĠiWH[WHJUXSăULOLWHUDUHúi miúFăULVRFLDOHDFăURU
interacĠLXQH DU SXWHD FUHD XQ HIHFW GH ÄDWPRVIHUă´ GH ÄHSRFă´ 'LVFXUVXULOH LGHRORJLFH
SODVDWHvQGLYHUVHSXQFWHGHSHÄSkQ]ă´vúLUăVSXQGvQSHUPDQHQĠăQHUHVSHFWkQGJUDQLĠele
spaĠiale úi dispunându-sH GH RELFHL vQ GRXă WLSXUL GH UHODĠLL GH VLPLOLWXGLQH vQWUH GRXă
„colĠXUL´UHODWLYvQGHSăUWDWHDOHÄWDEORXOXL´SULQDQXPLWHUHSHWLĠii sau variaĠii laitmotivice,
sau de contrast, între porĠiuni învecinate, dar punctate în „culori complementare”, care se
potenĠHD]ă UHFLSURF $OWHUQDQĠa similaritate-GLVLPLODULWDWH YD IL UHFRJQRVFLELOă QX GRDU vQ
spaĠiul intra-, ci úLvQFHOLQWHUFXOWXUDO3HGHDOWăSDUWHDQ[LHWDWHDSULQFLSDOăJHQHUDWăGHXQ
demers comparativist care nu poate viza exhaustivitatea este leJDWăGHGLVWULEXĠia „spaĠiilor
goale”: oare nu cumva printre elementele absente din „peisaj” s-a strecurat vreunul care ar
fi putut modifica radical semnificaĠLD vQWUHJXOXL"1HDYkQG XQUăVSXQVVLJXUWRWXúLHFHUWă
existenĠa unei circumstanĠe atenuante: date fiind proporĠLLOH DQVDPEOXOXL R VLQWH]ă IăUă
„spaĠLLJRDOH´DUILLPSRVLELOăDVWIHOvQFkWULVFXOLQFRPSOHWLWXGLQLLWUHEXLHDVXPDWFDUHJXOă
a jocului.
0HWDIRUDÄSLFWXUDOă´GH]YROWDWăSkQăDLFLQXHGHFkWXQMRFGHOLPEDMSULQWUHDWkWHD
altele posibilHSULQFLSDOXOHLQHDMXQVILLQGDFHODFăUHFXUJHODXQPHFDQLVPGHUHSUH]HQWDUH
(mimetic) suficient de tocit atât în teoria cât úLvQLVWRULDOLWHUDUăQXGHXOWLPăRUă'DUXQXO
GLQWUH DYDQWDMHOH VDOH FHUWH HVWH VXJHVWLD Fă vQ LPDJLQHD FRQWLQHQWDOă REĠinuWă SULQ
concatenarea mai multor discursuri, limitele naĠLRQDOHWUHEXLHVăVHHVWRPSH]HvQIDYRDUHD
unei supracoerenĠHÄPRWLYLFH´GHDQVDPEOX/LWHUDWXUDHXURSHDQăDÄDXWHQWLFLWăĠii” pune la
vQFHUFDUH GRXă GLQWUH LGHLOH UH]LVWHQWH vQ FULWLFD OLWHUDUă D VHFolului XX. În primul rând,
reprezentarea „literaturii naĠionale” ca circuit „organic” úi relativ închis în cadrul unui
anumit teritoriu, definit mai ales printr-RXQLWDWHOLQJYLVWLFăvQWUHSăUĠLOHFăUXLDV-ar stabili
relaĠLL GH WLS FDX]ă-efect apte a explLFD R DQXPLWă ÄHYROXĠie” prin „trepte” de dezvoltare
ÄLQWHUQă´ÌQDOGRLOHDUkQGLSRWH]DOLWHUDWXULLFDVSDĠiu „autonom” faĠăGHFHOHODOWHGRPHQLL
FXOWXUDOHLPDJLQDWăFDÄOLPEDM´DXWRUHIOH[LYvQWUHĠLQkQGPLQLPHOHJăWXULFXGLIHULWHOHWLSXUL
de contexte 2U vQ UHDOLWDWH GLVFXUVXULOH ÄDXWHQWLFLWăĠLL´ WUHF FX GH]LQYROWXUă IURQWLHUHOH
dintre „literaturile naĠionale” úL FRPXWă FX IUHQH]LH vQWUH SODQXULOH FXOWXUDOH – literar,
SVLKRORJLF RQWRORJLF UHOLJLRV HWQRORJLF SROLWLF HWF (VWH VXILFLHQW Vă QH JkQGim la
ÄDXWHQWLFLWDWHD´WHRUHWL]DWăGH(OLDGHvQDUWLFROHOHVWXGLLOHúi romanele lui din anii ’20-’30
pentru a proba tranziĠiile spectaculoase între etajele semantice, sub influenĠa unor André
Gide, Nikolai Berdiaev sau Martin Heidegger, cunoscuĠi direct sau prin intermediari români
(cum ar fi Nae Ionescu úi alĠii).
 35

Ä$XWHQWLFLWDWHD´IRUPHD]ăXQVSDĠLXDOGHVFKLGHULLÄSHRUL]RQWDOă´úLÄSHYHUWLFDOă´
(inter)cultural úL LQWHUGLVFLSOLQDU FX WRDWH ULVFXULOH FH GHFXUJ GLQ DFHDVWă FRQILJXUDĠie
FRQFHSWXDOă1HUăPkQH VăSURSXQHPvQFHOHFH XUPHD]ăGRXăSRVLELOH PRGHOHWHRUHWLFH
pe care cercetarea literaturii trans-HXURSHQH D ÄDXWHQWLFLWăĠii” din primele decenii ale
secolului XX le-ar putea folosi.

3. „Autenticitatea” úi modelul reĠelei

Unul este cel propuVGH5RJHU*ULIILQvQFHUFHWăULOHVDOHGHVSUHUHODĠia dintre modernism úi

H[WUHPD GUHDSWă vQ DVFHQVLXQH GXSă  ÌQ YROXPXO GLQ  Modernism and Fascism.
The Sense of a Beginning under Mussolini and Hitler, istoricul úi politologul britanic
WUDVHD]ă OHJăWXULOH ÄSXWHUQLF PHGLDWH´ GLQWUH PRGHUQLVPXO DUWLVWLF VDX ÄHSLIDQLF´ FXP vO
numeúte el), modernismul programatic úLIDVFLVPSHQWUXDDMXQJHODLPDJLQHDLQVSLUDWăGLQ
Deleuze-*XDWWDUL D XQXL IDVFLVP ÄPXOWLFDX]DO´ PDL GHJUDEă ÄUL]RPLF´ GHFkW ÄDUERUHDO”
(Griffin 2010: 359- ,GHHD HVWH UHOXDWă FX XQ SOXV GH H[SUHVLYLWDWH vQWU-un articol din
2010 dedicat contribuĠLLORU WHRUHWLFH DOH OXL (PLOLR *HQWLOH 3RUQLQG GH OD FHUFHWăWRUXO
italian, Griffin foloseúte metafora unei „reĠHOH´ GH ÄFOXVWHUH´ VWUăEăWkQd „spaĠiul
conceptual” întins între modernism úLIDVFLVP9L]LXQHDVDWLSLFSRVWVWUXFWXUDOLVWăODVăvQ
XUPă UHSUH]HQWDUHD WUDGLĠLRQDOă D DUWLVWLFXOXL úi politicului ca domenii izolate, oferind în
VFKLPE PRGHOXO XQHL LQWHUFRQHFWLYLWăĠi multiple, realizate pe mai multe paliere semiotice,
ĠLQkQGFRQWFăÄVSDĠiul” avut în discuĠie este multidimensional. Printr-un „zoom-in”, orice
„stea” devine nodul mai multor conexiuni în cadrul unei „miniconstelaĠii”, astfel încât
distincĠia centru-periferie devine inoperanWă*ULIILQ-295). Ne putem imagina úi
ÄDXWHQWLFLWDWHD´ FD SDUWH GLQ DFHDVWă ÄUHĠea” pan-HXURSHDQă HD vQVăúi o „sub-reĠea”
survolând graniĠe geografice úL FXOWXUDOH /HJăWXULOH FX H[WUHPD GUHDSWă VXQW SRVLELOH
(exemplul clasic: Heidegger), prin intermedierea unor noduri mai dense sau mai rarefiate,
fapt predictibil úi teoretic prin parĠLDOD VXSUDSXQHUH VHPDQWLFă GLQWUH ÄDXWHQWLFLWDWH´ úi
ÄUHvQQRLUH´ÄPLWXOUHvQQRLULL´VDXDOÄSDOLQJHQH]HL´ILLQGGHILQLWRULXGXSă*ULIILQSHQWUX
miezul ideologic al „fascismului generic” – Griffin 2007: 8). Dar la fel de plauzibile
conceptual sunt úi conexiunile cu zonele de stânga sau de centru ale eúichierului politic, aúa
FXPVHYHULILFăvQFD]XULOHOXL0RXQLHU8QDPXQRúi ale altora. Apoi, descentrarea „reĠelei”
VH UHIOHFWă úL vQ IDSWXO Fă UROXULOH GH ÄGRQRUL´ úL ÄDFFHSWRUL´ VH LQYHUVHD]ă DGHVHRUL vQWUH
culturi (Gide, influenĠat de Nietzsche sau Max Stirner, influenĠHD]ăODUkQGXOOXLÄJHQHUDĠia
WkQăUă´ JHUPDQă GH OD VIkUúitul anilor ’20 – Mann 1999: 11-51). ÎnVă FHO PDL LPSRUWDQW
VLVWHPXO UHWLFXODU SURSXV GH 5RJHU *ULIILQ QH DMXWă Vă YL]XDOL]ăP LQWHUSHQHWUDELOLWDWHD
GLVFXUVXULORU VRFLDO FXOWXUDO DUWLVWLF SROLWLF SULQ OHJăWXULOH FDUH VH SRW LQVWLWXL vQWUH
„clusterele” aparĠinând unor etaje discursive diferite, în termenii autorului, între
modernismul „epifanic”, „programatic” úi „politic”.
Una dintre concluzii ar fi aceasta: autenticismul nu poate fi nici condamnat, dar nici
H[RQHUDW ÄvQ EORF´ GH UHVSRQVDELOLWăĠi, deschiderile lui predispunându-l la anumite
SDUWL]DQDWH LGHRORJLFH GDU IăUă D vL DQXOD DFFHVXO OD DOWH RSĠiuni disponibile în cadrul
„reĠelei”.
 36

4. „Autenticitatea” úi teoria polisistemelor

ÌQ ILQH WHRULD SROLVLVWHPHORU DUWLFXODWă GH ,WDPDU (YHQ-=RKDU SRDWH RIHUL R DOWă RVDWXUă
WHRUHWLFă FHUFHWăULL GLVFXUVXULORU ÄDXWHQWLFLWăĠii”. Pornind de la ùFRDOD IRUPDOLVWă UXVă
FRPSDUDWLYLVWXOLVUDHOLDQSURSXQHRYL]LXQHVLVWHPLFăDVXSUDFXOWXULLOLWHUDWXUDGHSLOGăQX
VHSRDWHFRQFHSHL]RODWGHFXOWXUăSULYLWăFDXQDQVDPEOXVRFLR-semiotic multistratificat úi
GLQDPLFVWUXFWXUDWVDXWHULWRULDOL]DWvQXUPDH[HUFLWăULLSHUPDQHQWHDXQRUUHODĠii de putere,
în centru / centri úi periferie / periferii. Un asemenea cadru teoretic general este dintru
vQFHSXW SULHOQLF GLVHFăULL ]RQHORU VHPDQWLFH DOH ÄDXWHQWLFLWăĠii” (concept direct legat de
SUREOHPDWLFDLGHQWLWăĠii, prin excelenĠăLQWHUGLVFLSOLQDUă2UvQFULWLFDURPkQHDVFăWHQGLQĠa
JHQHUDOăDIRVWFXUDUHH[FHSĠii, dintre care studiul interdisciplinar, dar haotic al lui Adrian
Marino (1973: 160-177), UHVWUkQJHUHDFRPHQWDULLORUODVIHUDQRELOăDHVWHWLFXOXLúLvQFăPDL
puĠLQDOLWHUDUXOXLÄ$XWHQWLFLWDWHD´LQWHUEHOLFăVHKUăQHúWHGLPSRWULYăGLQWU-un hinterland
puternic marcat de valori etico-religioase úi social-SROLWLFHRULFHWHQWDWLYăGHHVFDPRWDre a
acestor conexiuni soldându-se cu versiuni trunchiate úL GHYLWDOL]DWH DOH FRQFHSWXOXL ÌQVă
SDUWHD FHD PDL IHUWLOă GLQ RSHUD OXL (YHQ-Zohar, pentru studiul comparativ al
ÄDXWHQWLFLWăĠii”, este capitolul dedicat interferenĠHL GLQWUH SROLVLVWHPH 'XSă VWabilirea
„contactului”, se poate realiza „transferul” dinspre „cultura-VXUVă´ vQVSUH ÄFXOWXUD-ĠLQWă´
ConĠinuturile importate se pot converti în „modele generative” în cadrul „culturii-ĠLQWă´vQ
PăVXUD vQ FDUH GHYLQ FRPSRQHQWH DFWLYH vQ vPERJăĠirea „repertoriului” domestic (Even-
=RKDUGHSăúind faza mimetismului.
„Transportul” discursului autenticist pe teritoriul european, cu infinite (úi
infinitezimale) variaĠii locale, poate exemplifica relaĠiile inter-sistemice teoretizate de
Even-Zohar. PunĠile ideologice dintre „tinerele generaĠii” europene 1 LOXVWUHD]ă R GDWă vQ
plus, falimentul viziunii culturii ca sistem închis úi autosuficient, strict delimitat pe criterii
naĠional-OLQJYLVWLFH'LPSRWULYăvQFRPHUĠul cu bunurile simbolice, graniĠele sunt relative
úi mobile, astfel încât în anumite cazuri relaĠiile inter-sistemice se dovedesc mai puternice
decât cele intra-sistemice. În ceea ce priveúWHUăVSkQGLUHDGLVFXUVXOXLÄDXWHQWLFLWăĠii”, un rol
esenĠial l-au jucat autorii plasaĠi în zona de interferenĠăGLQWUHFXOWXUL(FD]XOLQWHOHFWXDOLORU
emigranĠi ruúi, stabiliĠi în FranĠa, în ElveĠLD vQ *HUPDQLD vQFă SXUWăWRUL DL YDORULORU GH
ÄDFDVă´ YHULWDELOL DPEDVDGRUL DL OLWHUDWXULL úL ILORVRILHL WUDQVIURQWDOLHUH D LGHQWLWăĠii,
LQWHUPHGLDULSăWUXQúi în medii academice în mod tradiĠional închise úi monolingve. Kojève
úi Koyré contribuie la traducerea úL LQWHUSUHWDUHD OXL +HLGHJJHU vQ IUDQFH]ă ùestov îl
introduce pe Dostoievski în bibliografia obligatorie a adepĠLORUÄVLQFHULWăĠii” úLSURPRYHD]ă
fenomenoORJLD KXVVHUOLDQă vQ FHUFXULOH SDUL]LHQH %HUGLDHY UHDOL]HD]ă FRQH[LXQHD GLQWUH
creútinismul ortodox úLWHPHOHLGHQWLWăĠii.
Teoria interferenĠHL GLQWUH SROLVLVWHPH SRDWH DUXQFD R OXPLQă QRXă DVXSUD
interacĠiunilor multiple dintre discursurile autenticiste din perioada 1900-1930. Poate numai
XQDGLQWUHÄOHJLOH´IRUPXODWHGH(YHQ=RKDUDUPHULWDUHH[DPLQDWăFXFLUFXPVSHFĠie: aceea
FRQIRUP FăUHLD WUDQVIHUXO SRDWH IL GRDU XQLODWHUDO vQ FHOH PDL PXOWH FD]XUL (YHQ-Zohar
2010: 58).
Sorin Alexandrescu propunea, într-un studiu despre relaĠLD LQWHUWH[WXDOă VSHFLDOă
dintre Ortega y Gasset úL(OLDGHRWLSRORJLHPDLHODVWLFăDDFHVWRUUDSRUWXULSRUQLQGGHOD
distincĠia dintre efectele de „ecou” úi de „rezonanĠă´$OH[DQGUHVFX-272).

13HQWUX VLPLOLWXGLQLOH GLQWUH ÄWLQHUHOH JHQHUDĠLL´ DSăUXWH DSUR[LPDtiv simultan în preajma Primului
5ă]ERL0RQGLDOvQ)UDQĠD*HUPDQLD$QJOLD,WDOLD6SDQLDYH]L:RKO
 37

5. Concluzii

ReĠeaua GLVFXUVXULORUGHGLFDWHÄDXWHQWLFLWăĠii” – sclipitoare sau cenuúii, limpezi sau prolixe,

inovatoare sau redundante, logice sau contradictorii, originale sau epigonice – va dovedi
QHFHVLWDWHDFRQVWUXLULLXQXLPRGHOLQWHJUDWLYFDUHVăWUDQVFHDQGăDúadar, cHOHGRXăWLSXULGH
OLPLWăUL GHVSUH FDUH DP YRUELW FRPSDUWLPHQWDUHD JHRJUDILF-FXOWXUDOă ÄSH RUL]RQWDOă´ úi
VWUDWLILFDUHD GLVFLSOLQDUă ÄSH YHUWLFDOă´ $VWIHO FRPSDUkQG GLIHULWHOH RFXUHQĠe ale
GLVFXUVXOXL VH YRU GLVWLQJH PDL PXOWH VHQVXUL DOH ÄDXWHQWLFLWăĠii”, ilustrate abundent în
literatura epocii: narativ (discursul la persoana I, monologul interior, fluxul conútiinĠei etc.),
retoric (raportul autor-FLWLWRU SRUQLQG GH OD VWUDWHJLLOH LGHQWLILFăULL HWLF WHQVLXQHD GLQWUH
sinele real úi ideal), religios OHJăWXUDVLQH - Dumnezeu), social-politic (raportarea la etnic,
naĠional, tradiĠLRQDO (OH YRU DSăUHD VLQJXUH VDX vPSUHXQă vQWUHSăWUXQVH VDX GHPDUFDWH
limpede, în funcĠie de intenĠiile autorilor luaĠi în considerare. Cei care contribuie la
realizarea acestor valenĠe sunt intelectuali de facturi úLGHPăULPLGLIHULWHHXURSHQL3LHUUH-
Quint, Berdiaev, Mounier, Unamuno, Lagarde, Péguy, Heidegger, Poulaille, ùestov etc.)
sau români (Camil Petrescu, Mircea Eliade, Anton Holban, Mihail Sebastian, Camil
BaltazDU 3HWUX &RPDUQHVFX 0LUFHD 9XOFăQHVFX (XJHQ ,RQHVFX 0LKDLO ,ORYLFL 3HWUX
Manoliu, Paul Sterian, Paul Costin-Deleanu, Horia Groza, Ion I. Cantacuzino, Emil Cioran,
Constantin Noica etc.).
3ULYLWă GLQVSUH 5RPkQLD SDQRUDPD HXURSHDQă D GLVFXUVXULORU ÄDXWHQWLFLWăĠii” are úi
rolul de a sugera „sincronizarea” autorilor noútri cu un fenomen mai vast decât cel pe care
l-DXUPăULWGHRELFHLFULWLFDOLWHUDUăPRGHUQLVWă
Ideea influenĠHL H[FOXVLYH D OXL *LGH UHLWHUDWă vQ LVWRULLOH OLWHUDUH PRGHUQLVWH VH
YăGHúWHLQVXILFLHQWă'LQFRORGHDVHPăQăULH[LVWăúi diferenĠe semnificative între pretinsul
„maestru” francez úLÄLPLWDWRULL´URPkQL'HSLOGăDQWLLQGLYLGXDOLVPXOWRWPDLDSăVDWGXSă
1930, al lui Camil Petrescu sau Mircea Eliade nu poate veni dinspre autorul lui
L’immoraliste sau Corydon $SRL DPELL URPDQFLHUL URPkQL HYDGHD]ă WRW PDL GHV GLQ
OLWHUDWXUă SULPXO VSUH IHQRPHQRORJLH DO GRLOHD VSUH PLWRORJLH PXOWLODWHUDOLWDWHD ORU
apropiindu-i de alĠi intelectuali europeni care au devenit modele ale „tinerelor generaĠii”.
„SubstanĠialismul” úi „monadele” apar úi la Ortega, „asceza” úi „virilitatea” la Papini etc.
Mai este interesant úLFăvQWRDWăDFHDVWăSHULRDGăDUDUHRULDSDUHQXPHOHOXL*LGHvQ
FRQWH[WHIDYRUDELOHIăUăUH]HUYHVDXGHOLPLWăULvQSXEOLFLVWLFDVDXHVHLVWLFDORUFRQVLVWHQWă
„Autenticitatea” (sau „substanĠLDOLVPXO´WHUPHQXOODFDUHDUHYHQLW&DPLO3HWUHVFXGXSăFH
i s-D SăUXW Fă R DQXPLWă YRJă O-ar fi compromis pe primul) este úi la noi un construct
multidimensional, pluridisciplinar, ireductibil la câmpul literar. Sursele alternative din care
VH YD IL LQVSLUDW HO DU SXWHD IL ORFDOL]DWH SH DFHDVWă ÄKDUWă´ HXURSHDQă UHFRQVWUXLWă FX
ajutorul instrumentelor conceptuale ale comparativisticii de azi.

ReferinĠe:

Alexandrescu, Sorin, 2006, Mircea Eliade, dinspre Portugalia, Bucureúti, Editura

Humanitas.
Even-Zohar, Itamar, 2010, Papers in Culture Research, Tel Aviv, Tel Aviv University.
Griffin, Roger, 2010, “Cloister or Clusters? The Implications of Emilio Gentile’s
Ecumenical Theory of Political Religion for the Study of Extremism”, în Iordachi,
Constantin (ed.), Comparative Fascist Studies. New Perspectives, New York,
Routledge, 290-297.
Griffin, Roger, 2007, Modernism and Fascism. The Sense of a Beginning under Mussolini
 38

and Hitler, New York, Palgrave Macmillan.

Mann, Klaus, 1999, André Gide et la crise de la pensée moderne, Traduit de l’allemand par
Michel-François Demet, Paris, Bernard Grasset.
Marino, Adrian, 1973, DicĠionar de idei literare, vol. I, Bucureúti, Editura Eminescu.
Trilling, Lionel, 1972, Sincerity And Authenticity, Cambridge, Massachussets, Harvard
University Press.
Wohl, Robert, 1979, The Generation of 1914, Cambridge, Massachusetts, Harvard
University Press.
 39

Complexul identitar úi experimentul scenic la Tadeuzs

Kantor úi Eugène Ionesco

Gabriela Mihalache
Universitatea din Bucureúti

The consciousness of a post-war East-European identity trauma and the interest to

express it within the theatrical space are only two features drawing closer Kantor
and Ionesco, two creators who also share the calling for ideological nonconformism
and avant-garde experiment. In 1961, the influential Polish scenographer and theatre
director Tadeusz Kantor creates the set and costumes for the first Polish mise en
scène of the Rhinoceros. He takes advantage of the opportunity to reenact some of
his own long-term obsessions: representing memory, mixing between art and
autobiography, everyday life and politics – all of which are major themes of the late
20th century “new theatre”, nurtured in the “postdramatic” era. Starting from
Kantor’s scenography to Ionesco’s Rhinoceros, this paper gives an insight into the
ways in which identity (de)construction is represented by switching and interplaying
semiotic languages, in a performance typical of today’s dominant paradigm of the
“postdramatic” theatre.

Keywords: cultural studies, identity, postdramatic stage, scenography, surrealism.

1. Introducere

Câteva lucruri îi apropie úi câteva îi despart pe cei doi creatori de teatru neo-avagardiúti,
situaĠi, în maniere destul de diferite, pe aceeaúL OXQJLPH GH XQGă D IHQRPHQXOXL
postdramatic. Nu doar condiĠia est-HXURSHDQXOXLFDUHWUăLHúWHFUL]DLGHQWLWDUăJHQHUDWăGHFHO
de-al doilea Uă]ERL PRQGLDO úL GHVFRSHUă vQ WHDWUX XQ PRG GH H[SUHVLH D DFHVWHL GXEOH
DOLHQăUL LQGLYLGXDOH úi naĠionale) îi va determina pe cei doi artiúti, debutanĠi în preajma
DQLORU ¶ Vă UH]RQH]H OD DFHHDúi sensibilitate úL Vă FRQWXUH]H PLúFăUL WHDWUDOH GH PDUH
DQYHUJXUăSHOLQLDDFHVWHL QRLGLPHQVLXQLDUWLVWLFHFLúLVWUXFWXUDORULQFRPRGăúLWHULELOă
care-L YD SODVD SH WRW SDUFXUVXO FDULHUHL GH SDUWHD DYDQJDUGHL vQ YHFLQăWDWHD SURWHVWXOXL
ideologic úi artistic. Polonezul Tadeusz Kantor, pictor, dramaturg, scenograf, úi, în fine,
UHJL]RU HVWH vQ PRG HYLGHQW XQ DUWLVW DO LPDJLQLL ÌQ SLFWXUă SUDFWLFă QRQILJXUDWLYXO vQ
WHDWUX ULGLFă OD UDQJ GH DFWRU RELHFWXO FHO PDL DGHVHD UHFXSHUDW GLQ UHDOLWDWHD Uă]ERLXOXL
PDWHULD SHULVDELOă OLSVLWă GH FRQĠinut estetic DPEDODMXO ÄRELHFWXO VăUDF´ FXP vO YD QXPL
într-unul dintre manifestele sale.
S-DU SXWHD VSXQH Fă WHPD FHQWUDOă vQ WRDWH DFHVWH IRUPH GH H[SUHVLH HVWH PRDUWHD
HVFRUWDWăGHPHPRULDDIHFWLYăDLGHQWLWăĠLL$WURFLWăĠLOHUă]ERLXOXL úi profunda disperare în
faĠD KRORFDXVWXOXL vO GHWHUPLQă Vă UHJkQGHDVFă DOăWXUL GH PXOĠi alĠi creatori ai vremii
(Ionesco fiind unul dintre ei), funcĠia artei úi natura iluziei scenice, în direcĠLDUHFXSHUăULL
UHDOLWăĠii contemporane, cu gravitatea úi abisalitatea sa, în actul scenic. Ca úi Ionesco,
 40

.DQWRULQWHULRUL]HD]ăVSLULWXOWkU]LXDOVXSUDUHDOLVPXOXLSHQWUXD-l nega úi a-l recupera apoi

în creaĠLDVDVXERQRXăIRUPăÌQA 'RXăVSUH]HFHD/HFĠie de la Milano, sub titlul Înainte
de sfârúitul secolului XX DFHVWD SUH]LQWă YL]LXQHD SHUVRQDOă DVXSUD VXSUDUHDOLVPXOXL úi a
moúWHQLULLDUWLVWLFHOăVDWHGHHOvQFXOWXUDSRVWEHOLFă

“I belong to a generation that witnessed genocide

and terrorist attacks on art and culture.
I do not desire to save the world with my art.(…)
I want to SAVE MYSELF;
Not selfish, on my own,
But together with a belief in
THE VALUE OF AN INDIVIDUAL. (…)
THE EXPERIENCES OF THE TWENTIETH CENTURY HAVE
TAUGHT US THAT
LIFE DOES NOT RECOGNIZE RATIONAL
ARGUMENTS.
By so saying, we are more irrational than
Irrational surrealism.
And this is the first revision” (Kantor 1993: 249, 263).

ÌQVă FD úL vQ FD]XO OXL (XJqQH ,RQHVFR OHJăWXUD OXL .DQWRU FX IHQRPHQXO DUWLVWLF
suprarealist, ca úLDSURSLHUHDGHWHDWUXQXYLQGLQVSUHOLWHUDWXUăFLGLQVSUHSLFWXUăVXUVDFHD
PDLSUROLILFăDFUHDWLYLWăĠLLVDOHGLQFDUHVHKUăQHVFYL]LXQLOH scenice de mai târziu, cele pe
care adesea critica le-a catalogat drept „absurdiste”.
&ăOăWRULD GH VWXGLL OD 3DULV GLQ DQLL - vQFXUDMHD]ă JXVWXO OXL SHQWUX
H[SHULPHQWXOH[WUHPSHSkQ]ăúLSHVFHQă7DGHXV].DQWRUGHYLQHDGHSWXOSLFWXULLIUDQFH]H
informaleLDUHOHPHQWXOGHPD[LPăLQRYDĠLHDSDUHDWXQFLFkQGYDvQFHUFDVăWUDQVSXQăDFHVW
stil în spaĠiul scenic. Rezultatul este aúa-numitul „teatru informal”, teoretizat de Kantor în
1961 printr-XQPDQLIHVWGXSăRVHULHGHH[SHULPHQWHSUDFWLFDWHODFRPSDQLD&Uicot 2, cea
SHFDUHRIRQGDVHFDVFHQăGHH[WUHPăDYDQJDUGăGDUúi de rezistenĠăSROLWLFăDOăWXULGH
Maria Jarema, în 1955. Cel mai cunoscut exeget al creaĠiei lui Tadeusz Kantor descria acest
nou tip de experiment scenic ca pe o „contrazicere a tuturor convenĠiilor, prin respingerea
SURFHVHORUSVLKRORJLFHDVWăULORUúi a situaĠiilor úLSULQOăVDUHDORUIăUăUH]ROYăUL´.RELDOND
FDSHXQPRGGHDGLVHFDWH[WXDOLWDWHDSLHVHLSHQWUXDVFRDWHODLYHDOăPDWHULD
vie. În spectacolul demonstrativ al „teatrului informal”, cu piesa La conac GXSă
DYDQJDUGLVWXO LQWHUEHOLF 6WDQLVáDZ ,JQDF\ :LHWNLHZLF] – pictor úi dramaturg polonez
FXQRVFXWSHQWUXQRQFRPIRUPLVPXOVăX–, publicul vedea în rolul principal un dulap deschis,
în care soĠul úi doi amanĠi ai soĠiei moarte atârnaĠi pe umeraúe de haine, citeau jurnalele
IHPHLL LXELWH WUHFkQG SULQ VWăUL GLQ FH vQ FH PDL FRQWUDGLFWRULL 5HFXQRDútem aici nu doar
atmosfera piesei ionesciene Amédée ou Comment s’en débarrasser, dar úi tirania pe care
spaĠiul úi formele FRUSXULORURH[HUFLWăDVXSUDMRFXOXLVFHQLFXQFDGDYUXVHFXODUFDUHFUHúte
la nesfârúit, ameninĠând spaĠiul de joc, în Amédée, o avalanúă GH RELHFWH FDUH-úL GLVSXWă
vizibilitatea cu personajul, în Nouveau Locataire XQ RP QHYRLW Vă WUDQVSRUWH SH WRDWă
durata piesei, trei valize, în L’Homme aux valises etc.).
Ä7HDWUXO LQIRUPDO´ HVWH GRDU R YHULJă SULPD GLQWU-un lanĠ OXQJ GH FăXWăUL úi
WUDQVIRUPăULWHDWUDOHúi conceptuale, pe care Tadeusz Kantor le va practica de-a lungul celor
SDWUX GHFHQLL GH FDULHUă ÌQ vQVHULHUH VH YRU DGăXJD vQ WLPS WRDWH FX LPSDFW GH PD[LPă
inovaĠie, „teatrul zero”, happening-ul, „teatrul imposibil” úL vQ FHOH GLQ XUPă ÄWHDWUXO
morĠii”.
 41

$ILQLWăĠi ideologice. Rhinocéros, spaĠiu al experimentelor postdramatice

ÌQ DFHDVWă SULPă SHULRDGă D ÄWHDWUXOXL LQIRUPDO´  DUWLVWXO SRORQH] SDUWLFLSă OD
realizarea decorului úi a costumelor pentru piesa Rhinocéros, de Eugène Ionesco, o
producĠie a „Teatr Dramatyczny” din Varúovia. CoincidenĠă VDX QX vQ DFHHDúL SHULRDGă
Ionesco se aSURSLH GH VHQVLELOLWDWHD SRORQH]ă VXE LPSUHVLD OHFWXULL OXL -DQ .RWW úi a
YROXPXOXLVăXShakespeare, contemporanul nostru (1961), care-i va inspira nu doar piesa
Macbett, ci úLRSURIXQGăUHIOHFĠie asupra contextului politic contemporan. Dramaturgul va
evoca acest moment în interviul fluviu acordat lui Claude Bonnefoy (Ionesco 1999: 147).
Kantor înĠHOHJHFă Rhinocéros este un spectacol despre nazism úi despre caracterul
deformator al ideologiilor. Costumele úL GHFRUXO SH FDUH OH SURSXQH DX R HYLGHQWă
dimeQVLXQHSLFWXUDOăVXSUDUHDOLVWăSULQDOXQJLUHDIRUPHORUSULQWUăVăWXULOHDQLPDOLFHXQHOH
dintre ele amintind chiar de personaje celebre ale teatrului lui Breton úi Aragon, precum
Mad Souri din Le Trésor des Jésuites, dar úi o tuúăSRVWGUDPDWLFăSULQPDWHULDOLWDWHDGHQVă
SHFDUHRLPSULPăVFHQHLSULQPRGXOVăXGHDFRQFHQWUDvQLPDJLQLVWDUHDFRQIOLFWXDOăDVWIHO
încât acĠLXQHD GUDPDWLFă DFWRUXO FXYkQWXO UăPkQ Vă VH H[SULPH SULQ IRUĠa lucrurilor, în
plan secund, sau cel puĠin în acelaúi plan al compoziĠiei scenice.
Rhinocéros DFHDVWă SLHVă D FRQIUXQWăULORU LGHRORJLFH QăVFXWă VXE LPSUHVLD D GRXă
evenimente semnificative din viaĠa dramaturgului Ionesco – tinereĠea bucureúWHDQă úi
descoperirea, la Paris, a miúFăULLSHUVRQDOLVWH– devine un mediu generos de experimentare a
XQHL QRL IRUPH GH H[SUHVLH WHDWUDOă GRPLQDWH GH PDWHULH úi de imagine. Despre modul în
care Kantor obiúnuieúWH Vă-úL FRQVWUXLDVFă VFHQD DWkW FD GHFRUDWRU FkW úi ca regizor,
teoreticianul fenomenul scenic postdramatic va afirma:

“The visual artist Kantor (…) manifests an intention found in many postdramatic
forms: to valorize the objects and materials of the scenic action in general. Wood,
iron, cloth, books, garments and curious objects gain a remarkable tactile quality
and intensity. (…) The vulnerable human players become part of the whole structure
of the stage, the demage objects being their companions. This is also an effect
enabled by the postdramatic gesture” (Lehmann 2006: 72-73).

În Rhinocéros .DQWRU DGXFH vQ VFHQă FkWHYD VFDXQH FDUH IDF FRUS FRPXQ FX
personajele, dar úi un fetiú al avangardei interbelice, la care obiúQXLDVăUHFXUJăDGHVHDvQ
perioada debutului, reinvestindu-l simbolic – umbrela. Scenograful vorbeúte chiar despre un
„spaĠiu umEUHOLF´SURLHFWDWvQGHFRUXOVăXHWHURFOLWGLQWU-un vetust peisaj suprarealist.

“An umbrella in itself is a particularly metaphoric Emballages; it is helplessness,

defencelessness, disinterestedness, hope, ridiculousness. (…)
I was collecting umbrellas; I was obsessed by umbrellas. Umbrellas informed my
surrealistic landscapes. Their construction was instrumental in the creation of my
concept of umbrellic space” (Kantor 1993: 82).
 42

SFHQăGLQVSHFWDFROXO Rhinocéros, de Eugène Ionesco, producĠie a Teatr Dramatyczny

din Varúovia, scenografie Tadeusz Kantor, 1961.

Acelaúi obiect de colecĠLHOHDJăYL]LXQHDNDQWRULDQăGHDYDQJDUGDSRVWEHOLFăSULQFRQRWDĠii

noi. În Rhinocéros HD GHYLQH SXUWăWRDUHD PHVDMXOXL SROLWLF DO SLHVHL FHD FDUH GHFRGHD]ă
aspiraĠLDOXQDWLFăDSHUVRQDMHORUúi semnificaĠia cornului de rinocer. Nici scaunele nu sunt
aici ionesciene – QLFLROHJăWXUăFX´OHVFKDLVHVYLGHV´FDUHSUROLIHUDXvQSLHVDGLQ– ci
kantoriene; au toate alura unei materii nefuncĠionale, recuperate pentru a se adapta viului, úi
o dispoziĠie care aminteúte de creaĠiile lui Marcel Duchamp sau ale lui Friedrich Kiesler.
6XQW FX DOWH FXYLQWH DFHOH RELHFWH GHVHPDQWL]DWH FDUH DOFăWXLHVF vQ PRG FXUHQW SHLVDMXO
kantorian din piese precum Întoarcerea lui Odiseu sau &ODVDPRDUWă úi pe care scenograful
OH LPDJLQHD]ă FD ILLQG DQLVWRULFH ÌQ PRG HYLGHQW .DQWRU UHJăVHúte în Rhinocéros, ca, de
DOWIHOvQvQWUHDJDVLPEROLVWLFăLRQHVFLDQăGHSkQăDWXQFLFkWHYDGLQWUHSURSULLOHVDOHREVHVLL
Imagini fantasmatice din amintire – aici cea a rinocerului – úi pronunĠata dimensiune
DXWRELRJUDILFă OD .DQWRU YD FXOPLQD vQ SLHVHOH WkU]LL FX SUH]HQĠa sa în reprezentaĠie,
GLULMkQGSDUWLWXUDVFHQLFăOHDJăYL]LXQLOHFHORUGRLFUHDWRUL(OHIDFSDUWHGHDOWIHOGLQWUH
temele mari ale sfârúitului de secol úL LPSOLFLW DOH ÄQRXOXL WHDWUX´ ÌQVă DFHDVWă SLHVă
GHILQLWLYDWăGH,RQHVFRvQúLUHSUH]HQWDWăVLPXOWDQOD6FKDXVSLHOKDXVGLQ'VVHOGRUIúi
Odeon-7KpkWUHGLQ3DULVFHDFDUHDYHDVăVHEXFXUHDSRLODVFXUWWLPSGHUHJLDOXL Orson
Welles úi de interpretarea lui Laurence Olivier într-o montare a Royal Court Theatre, are o
HYLGHQWă SUHGLVSR]LĠLH FDPHOHRQLFă $úa cum remarca autorul, impactul úi semnificaĠia ei
sunt diferite în Germania, în Polonia sau în Statele Unite, aúadar, în funcĠie de orizontul de
aúWHSWDUH DO PHGLXOXL vQ FDUH H SXVă vQ VFHQă DVSHFWXO úi mesajul acestei piese e altul.
&RQYLQJăWRDUHvQDFHVWVHQVHVWHSULPDVDUHSUH]HQWDĠLHSHRVFHQăURPkQHDVFăvQvQ
regia lui Lucian Giurchescu, când piesa va fi reFHSWDWăFDRSDUDEROăDQWLFRPXQLVWă
 43

SFHQăGLQSLHVDRinocerii de Eugène Ionesco, producĠie a Teatrului de Comedie Bucureúti,

regia Lucian Giurchescu, scenografia Dan NemĠeanu, 10 aprilie 1964.

'XSăSUHPLHUDDEVROXWăGLQ'VVHOGRUISUHVDGHVSHFLDOLWDWHDSUHFLDFăDFHVWWH[WD
fost gândit pentru a fi jucat în Germania. Rosette Lamont merge chiar mai departe cu
LQWHUSUHWDUHD vQ FKHLH SROLWLFă WUDGXFkQG FRQIUXQWDUHD GLQWUH -HDQ úi Bérenger ca pe un
dialog între Est úi Vest, în care cultul raĠionalismului desprins din tradiĠia lui Descartes este
GHPLVWLILFDWGHRSRWULYăFXFHl al idolatriei cvasireligioase (Lamont 1996: 137-148).

&ăWUHXQWHDWUXSRVWGUDPDWLF

Este de remarcat cât de departe este acum Ionesco de spiritul Sclipirilor úi de

suprarealitatea fabulei din primele sale texte, dar úL GH WUDQVIRUPăULOH FDULFDWH GLQ Le
tableau&KLDUGDFăDQDOLúWLSUHFXP(PPDQXHO-DFTXDUWDSUHFLDXFăDQJDMDPHQWXOSROLWLFSH
care Ionesco îl anunĠăSULQ Rhinocéros este departe de fi formulat în linia realismului, cu
DFHDVWă SLHVă GUDPDWXUJXO VH vQGHSăUWHD]ă SRDWH FHO PDL HYLGHQW GH DYDQJDUGD VFHQLFă
SHQWUX D FUHD XQ VSHFWDFRO FX WH]ă úi cu valoare de manifest, în linia umanismului clasic.
5LQRFHULL VăL VXQW UH]XOWDWXO XQHL PHWDPRUIR]H DOHJRULFH LDU SLHVD R H[Hmplificare, în
esenĠa ei moralizatoare, a consecinĠelor fanatismului úi isteriei colective. Kantor preia în
scenografia sa, din tot acest construct ionescian, momentul metamorfozei sub puterea
adulaĠiei. Decorul minimal úi costumele imaginate de el surprinGWUDQVIRUPDUHDDOHJRULFăvQ
SOLQSURFHV3UHRFXSDWvQFăGHDFXPGHDQDWRPLDGHJUXSHOSURLHFWHD]ăDúDFXPDPYă]XW
vQLPDJLQHRVFHQRJUDILHSHYHUWLFDOăGHSăúind cu mult ca impact vizual decorul creat, de
SLOGăGHVFHQRJUDIXOILGHODOOXL,RQHVFR-acques Noël, din reprezentaĠLDSDUL]LDQă
 44

Decor-schiĠăSHQWUXRhinocéros, de Eugène Ionesco, regia Jean Louis Barrault, scenografie

Jaques Noël, l’Odéon-Théâtre de France, 20 ianuarie 1960).

.DQWRU UHDOL]HD]ă XQ GHFRU XQLF SHQWUX WRDWH FHOH WUHL DFWH, plasând în centrul
reprezentaĠiei ideea de aspiraĠie iraĠLRQDOăúLRDUEăvQ IDĠa unei forĠe incontrolabile, redate
DLFLSULQFRUQXOGHULQRFHUFDUHFRERDUăDPHQLQĠăWRUVSUHVFHQă
$VWă]LHOHPHQWHOHGHGHFRUúi vestimentaĠie create de Tadeusz Kantor sunt expuse
FDRELHFWHGHDUWăready-made. (Murawska-Muthesius 2010: 4)
ÌQWkOQLUHD DWkW GH VSHFWDFXORDVă GLQWUH FHL GRL DUWLúti dramatici în spaĠiul piesei
Rhinocéros HVWH UH]XOWDWXO XQRU QXPHURDVH DILQLWăĠL GH VWUXFWXUă úi de preferinĠe artistice.
Tema amintirii, ca úLFHDDFRSLOăULHLFăOăWRULDvQVSDĠiul morĠii úi revendicarea acestei zone
FD WHULWRULX DO SURSULHL LGHQWLWăĠi sunt doar câteva date comune ale creaĠiei lor. În Clasa
PRDUWă (1975) sau Wielopole, Wielopole  FHO GLQ XUPă FRQFHSXW LQWHJUDO – text,
scenografie, regie – de Tadeusz Kantor, acesta reconstruieúte spaĠLXOFRSLOăULHLSHSULQFLSLXO
negativelor fotografice, din fragmente de memorie, trecute prin filtrul unui lung úir de
experienĠe, culminând cu cea a morĠLLÄ&DPHUDFRSLOăULHL´VSDĠiul pe care artistul începe
DFXPVă-l recreeze pas cu pas, va deveni toposul tuturor spectacolelor sale. În prezentarea
acestor piese, Monique Borie pomenea, parafrazându-l pe Kantor, de „un teatru al strigoilor
FDUH©vQFHSVăWUăLDVFăGLQQRXª©vQFHSRD GRXăYLDĠăªGDUFDUHDXXLWDWWRWXOGLQFHDGH
dinainte, nemaifiind în prezent decât posesori ai «câtorva crâmpeie de amintiri tragice úi
GH]QăGăMGXLWHª%RULH$SURDSHWRDWHWH[WHOHOXL,RQHVFRGDUvQVSHFLDOFHOHFDUH
vor marca finalul carierei dramaturgului, L’Homme aux valises (1975) sau Voyages chez les
morts (1980), sunt, în fond, urmarea aceluiaúi imperativ de refacere a biografiei proprii,
prin interogarea trecutului. 1LFLPDQLHUDQXGLIHUăVHPQLILFDWLYFăFL,RQHVFRFDúi Kantor,
recurge la o incursiune în „infern” pentru a-úi recupera identitatea úi memoria. Figurile
SDWHUQDOH DOăWXUL GH FHOH DOH XQRU GLVSăUXĠL SHUVRQDMXO $OH[DQGUH FDUH vO vQWUXSHD]ă SH
$UWKXU$GDPRYXQSULHWHQSLHUGXWGLQPRWLYHGHLGHRORJLHSROLWLFăúLOLWHUDUă DSDUHvQGRXă
dintre piesele lui Ionesco, asemenea multor altora din tinereĠea scriitorului), simboluri ale
 45

DXWRULWăĠii (preoĠLMXGHFăWRULYDPHúLSXUWkQGGHRSRWULYăRVHPQLILFDĠLHPLWRORJLFăúi una

SROLWLFă SUHRĠLL OXL .DQWRU SRDUWă VYDVWLFL FăOXJăUii din piesele lui Ionesco sunt agenĠi ai
terorii). 7RWGLQDFHVWPHGLXVSHFWUDODPkQGRLDGXFvQVFHQăPDULRQHWHIDQWRPHDUKHWLSXUL
DOHWUHFHULLDOăWXULGHWLSRORJLLUHFXSHUDWHGLQLVWRULDUHFHQWăUDELQLVROGDĠi, la Kantor; un
personaj episodic de marHvQVHPQăWDWHvQSLHVHOHOXL,RQHVFR– rabinul Schaëffer, cel care,
în La Soif et la Faim îúi pune micuĠii enoriaúL Vă FkQWH vQ ORF GH SVDOPL Manifestul
Partidului Comunist, WUDGXV vQ HEUDLFă LDU vQ L’Homme aux valises WUDYHUVHD]ă VFHQD vQ
SRVWXUăGHUHge úi mire), motiv pentru care ambii au fost discutaĠLGHFULWLFăvQUHODĠie atât cu
universul canonizat al tragediei antice, cât úi cu cel „decanonizat” al fenomenului
SRVWGUDPDWLF ,DU SLHVHOH ORU VH FRQVWUXLHVF DVHPHQHD SăSXúilor Matrioúka, fiecare
interiorizând úi putând cu sine universul celor care o preced. Nu doar úirul eroilor Bérenger,
-HDQ0DGHOHLQHHWFGLQSLHVHOHOXL,RQHVFRYRUEHVFGHVSUHDFHDVWăvQVHULHUHGHLGHQWLWăĠi úi
DPLQWLUL 8OWLPXO WH[W FX YDORDUH WHVWDPHQWDUă Voyages chez les morts DGXQă vQ FHOH
RSWVSUH]HFH VFHQH RQLULFH FDUH vO FRPSXQ QHQXPăUDWH SHUVRQDMH FDUH SRSXOHD]ă SLHVHOH úi
jurnalele sale, într-R XOWLPă WHQWDWLYă GH LQWHURJDUH D WUHFXWXOXL ÌQ 6ă SLDUă DUWLútii,
spectacolul meta-teatral din 1985, dar mai ales în 1X Pă YRL vQWRDUFH QLFLRGDWă (1989),
Kantor va recurge la acelaúi procedeu úL YD SăúL SH VFHQă vQ FDOLWDWHD VD GH DXWRU WRWDO
printre personaje úi figuri ale vieĠLLOXLFăWUHRDOWIHOGHDXWRELRJUDILH

4. Concluzii

6SUHGHRVHELUHGH,RQHVFR.DQWRUvQVăQXFUHde în puterea revelatorie a viselor.

“I DO NOT BELIEVE IN THE POWER OF DREAMS,

Where, according to the surrealists, imagination is born.
I am sure that INCREASED PSYCHIC ACTIVITIES AND
THE INTENSITY OF THE THOUGHT PROCESS PRODUCE A
FREE NETWORK OF IMAGES, ASSOCIATIONS, ALLOWS US
TO MOVE AWAY FROM RATIONAL UTILITARIAN CONNECTIONS
BETWEEN REAL ELEMENTS” (Kantor 1993: 264).

&KLDU GDFă vQ FRQIHVLXQLOH VDOH WkU]LL VH YD GHFODUD DGHSWXO XQXL VXSUDUHDOLVP
UHYL]XLWWRDWHFăXWăULOHVDOHDUWLVWLFHúLELRJUDILFHVHUHDOL]HD]ăvQWHQVLXQHDVWăULLGHYHJKH
GLQ VFHQă VDX GLQ DIDUD HL $FHDVWD HVWH SRDWH FHD PDL LPSRUWDQWă GLIHUHQĠă GLntre cei doi
RDPHQLGHWHDWUXSRDWHFHDFDUHIDFHFDWUDVHHOHORUDUWLVWLFHVăQXVH PDLLQWHUVHFWH]H vQ
PRGFRQFUHWGXSăH[SHULHQĠDVFHQRJUDILFăGLQ
/LDQWXO FUHDW vQVă DFXP GH .DQWRU vQWUH YL]LXQLOH VXSUDUHDOLVPXOXL WkU]LX WHDWUXO
absurdului úi SLHVDDXWRELRJUDILFăHGHQDWXUăQXGRDUVăGHVFKLGăQRLGLUHFĠii de încadrare
úi interpretare a textelor lui Ionesco, ci úLVăDQXQĠHRLPSRUWDQWăVFKLPEDUHGHSDUDGLJPăvQ
YL]LXQHDVFHQLFăFRQWHPSRUDQă3ULQGH]LHUDUKL]DUHDGLVFXUVXOXLVFHQLFRELHFWXOvnlocuieúte
DGHVHD FXYkQWXO GHYHQLQG SULQFLSDOXO SXUWăWRU GH VHQV DO FRQIOLFWXOXLGLVFXUVXOXL VFHQLF
prin impunerea unei coeziuni ritualice în interiorul unei construcĠii fragmentare úi
eteroclite, ca úi prin datele autobiografice placate pe absurdul mecanism al piesei lui
Ionesco, Kantor se anunĠă D IL XQXO GLQWUH FHL PDL LPSRUWDQĠi precursori ai fenomenului
teatral postdramatic, care va marca ultimele decenii ale secolului XX. CâĠiva reprezentanĠi
consacraĠi ai acestui nou cod scenic vor recurge, în manifestele lor, la textele ionesciene.
Înainte de celebrul spectacol Dionysos 69, creatorul performance-ului, Richard Schechner,
UHJL]HD]ăWRWvQLa Leçon, imaginând-RFDSHXQULWXDODODFXSOăULL([SHULPHQWHD]ă
 46

apoi în marginea piesei Victimes du devoir, creând pe baza ei o serie de compoziĠii mitice.
(Schechner 1973: 31). Revenind la Rhinocéros IRDUWH UHOHYDQWă SHQWUX YL]LXQHD
SRVWGUDPDWLFă DVXSUD VSHFWDFROXOXL GH WHDWUX HVWH UHFHQWD PRQWDUH D UHJL]RUXOXL 5REHUW
Wilson, în care deconstrucĠia limbajuOXL VFHQLF HVWH VWLOL]DWă SkQă OD VHYHUD SHUIHFĠiune
DWLFă,DWăFDPHUDOXL-HDQDFW,,WDEORXODO,,-lea) úi întâlnirea celor doi protagoniúti:

SFHQăGLQVSHFWDFROXORhinocéros, regia úi concepĠia pentru decor úi lumini Robert Wilson,

Teatrul NaĠional „Marin Sorescu” Craiova, iunie 2014.

Simpla apariĠLH VWDWLFă D SHUVRQDMHORU vQ DFHVW GHFRU PLQLPDO GH R YHUWLFDOLWDWH
LQIOH[LELOăvQFRUSRUHD]ăVHPQLILFDĠLDSLHVHLUHGXVăHVHQĠăUHODĠia discipol-maestru, raĠiune-
empatie, yin-yang.

ReferinĠe:

Borie, Monique, 2007, Fantoma sau Îndoiala teatrului, traducere de Ileana Littera,
Bucureúti, Editura Unitext.
Ionesco, Eugène, 1999, Între viaĠă úi vis. Convorbiri cu Claude Bonnefoy, traducere de
Simona Cioculescu, Bucureúti, Editura Humanitas.
Kantor, Tadeusz, 1993, Essays and Manifestos, 1944-1990, University of California Press.
Kobialka, Michal, 1993, A Journey Through Other Spaces, University of California Press.
Lamont, Rosette C., 1996, Ionesco’s Imperatives. The Politics of Culture, The University of
Michigan Press, Ann Arbor.
Lehmann, Hans-Thies, 2006, Postdramatic Theatre, translated by Karen Jürs-Munby,
London and New-York, Routledege.
Murawska-Muthesius, 2010, Kantor was here, London, Black Dog Publishing.
Schrechner, Richard, 1973, „An Inquiry into Play Structure”, Lamont, Rosette C. (ed.),
Ionesco: A Collection of Critical Essays, Englewood Cliffs, N.J. Pretice Hall.
 47

Internetul – modelator al LGHQWLWăĠLLSRH]LHLDFWXDOHGLQ

China

Paula Pascaru
8QLYHUVLWDWHDGLQ%XFXUHúWL

Modern poetry in China in the last three decades experienced major transformations:
after a creational vacuum of nearly 40 years, poetry moved from empty
glorifications of Mao and the Communist Party to various audacious types of
poetical experiments under the influence of Western poetry. At least from time to
time, poetry separated itself from politics, shaping a new identity for itself,
profoundly marked by the rise of the Internet. Poetry gradually moved from the
official scene to the underground scene, from complete subordination to the
Communist Party and its socialist ideology to independent creation. It began
experimenting new techniques and themes, and moved from expressing an united,
communist perspective to expressing a subjective, individual perspective. All of this
determined a change in the status of poets, now forced to search their own identity
and to find recognition. At the end of the 90s, a decade characterized by excessive
consumption and feverish search for money, the 2000s come to help poetry once the
Internet gained in popularity. Many saw the Internet as the poetry's saviour, although
some claim it was its killer. I will try to shed some light on these two opposing
perspectives.

Keywords: blog, creativitivity, Internet, Chinese poetry, transformation.

1. Introducere

3RH]LDPRGHUQăvQ &KLQDvQ XOWLPXO VHFRODFXQRVFXWWUDVQIRUPăUL PDMRUHDWUHFXWGHOD

OLPED FODVLFă wenyan, ᩥゝ, OD OLPED FRORFYLDOă baihua, ⓑ宅, a intrat în contact cu
WHQGLQĠHOH SRHWLFH PDQLIHVWDWH vQ 9HVW úL -DSRQLD úL SRDWH FHO PDL LQWHUHVDQW D REĠLQXW
DXWRQRPLD GH SROLWLF FHO SXĠLQ vQ DQXPLWH SHULRDGH VDX D LQWUDW vQ faza de marginalitate
(Van Crevel 2008: 3).
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DQL VFKLPEăULOH PDMRUH GLQ VRFLHWDWH FKLQH]ă VFKLPEăUL FDUH YL]HD]ă LQIOXHQĠHD]ă vQ
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IUăPkQWăULúLOXSWHúLGDXQRLúLQRLIHĠHSoeziei chineze contemporane. Vom identifica apoi
SULQFLSDODXQHDOWăGHPRGHODUH DSRH]LHLFKLQH]HGLQDQLL,QWHUQHWXOúLWUDQVIRUPăULOH
SHFDUHOHDGXFHSRH]LHLSUHFXPúLWULQLWăĠLLSRHW-poezie-cititor.
 48

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Internetului

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înVXúL0DR=HGRQJDXH[LVWDWúLSRH]LLRULJLQDOHGHUHYROWăvPSRWULYDRSUHVLXQLLVLVWHPXOXL
PDRLVW'HúLSUH]HQWDX XQ PDUHULVFWRWXúLDFHVWHSRH]LLDXUHXúLWVăFLUFXOHvQVLVWHPGH
samizdat 3RH]LLOH FUHDWH úL GLIX]DWH vQ DFHVW IHO VH vQFDGUDX vQ DúD Qumita poezia de
subteran, dixia shige, ᆅୗ孿㫴/DILQHOH5HYROXĠLHL&XOWXUDOHORFXOSRH]LHLGHVXEWHUDQD
IRVW OXDW GH SRH]LD GH VXSUDIDĠă dishang shige, ᆅୖ孿㫴 $FHDVWă SRH]LH vúL GHVIăúXUD
DFWLYLWDWHDWRWvQPHGLXOQHRILFLDOGDUDIRVWWROHUDWăGH3DUWLG a aparut în paralel cu poezia
RILFLDOăúLúL-DGLYHUVLILFDWGLQFHvQFHPDLPXOWDFWLYLWDWHDSXEOLFăDQWRORJLLRUJDQL]HD]ă
FHUFXULOLWHUDUHPDQLIHVWăULSRHWLFR-teatrale sau poetico-muzicale. Anii’80 sunt anii fervorii
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 49

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FX HO VH FRQWXUHD]ă úL GH]EDWHUL DSULQVH OHJDWH GH LQIOXHQĠD SH FDUH R H[HUFLWă vQ SRH]LH
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SODWIRUPăGHPDQLIHVWDUHDSRH]LHLQHRILFLDOHILLQGPLMORFXOSULQFDUHVHSRWDILUPDFHOHPDL
QRLPDLH[SHULPHQWDWLYHIRUPHGHSRH]LHVFăSkQGGHFHOHPDLPXOWHRULGHRFKLXOYLJLOHQW
al Partidului. De altfeOúLVLQRORJXO0DJKLHOYDQ&UHYHOvLDFRUGăSRH]LHLQHRILFLDOHPHULWXO
GH D IL PHQĠLQXW DWPRVIHUD GH FUHDWLYLWDWH RULJLQDOă úL OLEHUă LQGLIHUHQW GH SODWIRUPD GH
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continuarHYRLvQFHUFDVăHQXPăUFkWHYDGLQWUDQVIRUPăULOHJHQHUDWHGH,QWHUQHWvQGRPHQLXO
poeziei.

3. Internetul – înger sau demon al poeziei chineze?

Internetul VFDSăPDLELQHFRQWUROXOXL3DUWLGXOXLGHFkWFHOHODOWHPLMORDFHGHH[SULPDUHSUHVD

VFULVăFăUĠLOH SXEOLFDWHUDGLRWYúLDVWIHOSHUPLWHPDLPXOWH[SHULPHQWDUHDILLQGSRVLELOă
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VXEQXPHOHGHSRH]LHDRULFăUXLWH[WFDUHHVWHLQWLWXODWGHDXWRUXOVăXGUHSWSRH]LH$FHDVWD
GXFHSHGHRSDUWHODH[WLQGHUHDDFHvQVHDPQăSRH]LDLDUSHGHDOWăSDUWHODGHVDFUDOL]DUHD
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vQWLQDWă &KLQH]LL VXQW R QDĠLH D SRH]LHL shiguo, 孿⚥, cea mai veche culegere de poezii,
Shijing, 孿乷 FRQĠLQkQG SRH]LL FDUH GDWHD]ă FKLDr din secolul al XI-lea î.e.n. Poezia, în
&KLQDDIRVWPDUFăDHGXFDĠLHLúLDSXWHULLvQWUXFkWHUDVXELHFWODH[DPHQHOHLPSHULDOHFHOH
vQ XUPD FăURUD VH KRWăUDX SR]LĠLLOH YLLWRULORU PDJLVWUDĠL 3RH]LD GDWRULWă FRPSOLFDWHORU
tehnici de creeare, era compXVăGRDUGHXQQXPăUPLFGHRDPHQLFXDGHYăUDWvQ]HVWUDĠLFX
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poeWLFH FDUH DX LPERJăĠLW SRH]LD GDU L-DX úL DGXV XQ VWDWXW FRQWURYHUVDW DX GXV úL OD
FRQIOLFWHFDUHSULYHVFGHILQLĠLDSRH]LHLDXUHHYDOXDWFHvQVHDPQăVăILLSRHWFHHSRH]LHGH
YDORDUH úL FH QX DUăWkQG Fă SRH]LD vQWU-un timp foate scurt s-a adaptat la WUDQIRUPăULOH
VRFLDOH HFRQRPLFH WHKQRORJLFH úL D SURILWDW GH DFHVWHD GH RELFHL vQWU-un sens pozitiv.
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SR]LĠLLOHvQXUPDFRQIOLFWXOXLGLQWUH-2000. Conflictul a adus beneficii poeziei chineze
care, asftel, a fost revigorDWăSULQH[SHULPHQWHGLQFHOHPDLGLYHUVH
,QWHUQHWXOGDWRULWăOLSVHLXQRUILOWUHODIHOGHULJXURDVHFDFHOHGLQSULQWVDXUDGLRúL
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în ochii lui Hong Zhu, este expresia xianchang, 䍘⛢, a prezentului, a dinamicii actuale, a
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prezent acum, aici (aici însemnând a fi activ, spre exemplu a fi activ în sSDĠLXO LQWHUQDXW
VSDĠLX FDUH HVWH IRDUWH YDVW QX HVWH XQ SXQFW GHOLPLWDW VSDĠLDO DWXQFL H[LúWL 3RHĠLL VSUH
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PDWHULDOHVXEVWDQĠLDOH&kWWLPSDLFLWLWRULúLlike-XULODSRH]LLOHSRVWDWHvQVHDPQăFăHúWLvQ
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has clearly always become the primary live scene for contemporary poets’ daily existence
and for the open circulation of contemporary poets.” (Inwood 2014: 21). Internetul este
DFXPSULQFLSDOXOVSDĠLXGHSXEOLFDUHGLIX]DUHúLFULWLFăDSRH]LHL5HFHSWDUHDúLFLUFXODUHD
poeziilor în era Internetului s-a schimbat, poeziile pot deveni virale la scXUWWLPSGXSăFHDX
fost postate de autori, fiind trasnmise de la un utilizator la altul prin bloguri, forumuri,
weibo YDULDQWD GH WZLWWHU GLQ &KLQD PDLO úL DOWH UHĠHOH GH VRFLDOL]DUH Click, share úL
forward VXQWIXQFĠLLOHFDUHSRSXODUL]HD]ăSRH]LLOHvQXOWLPLLDQLGHDMXQJVăILHFLWLWHúLGH
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LDvQUkVúLVăILHOXDWăvQUkVVăILHLPLWDWăEDWMRFRULWă
,QWHUQHWXO D VFKLPEDW UHODĠLD LHUKLFă SRHW – cititor, sus - jos. Li Jingze, editor la
Literatura Poporului a spus într-un interviu din 2010:

“Before the Internet, modern literature had been an elite activity; writers had to
undergo a highly specialized training to be successful. Magazines and publishing
houses were all very elite; their judgments ruled, and it was extremely tough for
writers to break through without their sponsorship. But the rise of the Internet gave
 51

any ordinary person power over production, writers can contact readers
independently. Before, everything was decided between literary magazines,
publishers and the critics. Now, it’s all about the relationship between readers, the
market and the Internet” (Lovell 2012: 10).

1RUPD DúDGDU ILLQG GDWă GH FLWLWRUL GH FkW GH PXOĠL GLQWUH HL DFFHVHD]ă R SRH]LH
DSăUXWăSHXQVLWHDGXVODSHUSHWXDUHDFUHDĠLLORUUDSide, extrem de colocviale.

“They want instant gratification. Poetic, metaphorical language seems ridiculous: a

waste of time… And the Internet has done terrible things to professional editing
standards: websites don’t care about the quality or discipline of the writing, as long
as their writers are producing their daily ten thousand words. Most readers are
educated by the values of the Internet” (ibidem: 11).

Paginile de Internet, mai ales din China, sunt invadate de reclame, link-uri pentru
jocuri, mare SDUWHGLQSDJLQL ILLQGDFRSHULWHGHDFHVWHPLFLIHUHVWUHDGLĠLRQDOHDVWIHOvQFkW
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texte mici, iar cele de pe weibo FRQĠLQGRDUGHFDUDFWHUH7ZLWWHU-XOúL)DFHERok-ul au
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versurile dintr-o poezie, pot fi considerate poezii?!

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1 Cineva a ajuns în Tennesse// IăUăvQGRLDOăSOăFLQWDFXFDUQHIăFXWăGHPLQHHVWHFHDPDLEXQă

din lume (Li Hua, traducere Paula Pascaru).
2 Doi oameni sunt în sânul familiei// IăUăvQGRLDOăSOăFLQWDFXFDUQHIăFXWăGHPDPDHVWHFHDPDL

EXQăGLQOXPH/L+XDWUDGXFHUH3DXOD3DVFDUX
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Pe blogul heruoguo.com, GXSă FH DX IRVW SRVWDWH FkWHYD GLQ FHOH PDL SRSXODUL]DWH
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imitând grafia din poezii VDOHVDXDXÄVSDUW´SURSR]LĠLLúLOH-au structurat precum versurile
unei poezii. Mai jos sunt câteva exemple în acest sens:

ࠓᡃ᫝孿Ṣ˫
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ஓ఍୰ᅜᏐ
ᜤ႐఼
఼఍෗孿Ḯ
⪋ୟ᫝᲍ⰼయ
స⪅:yygyjrh 2

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întocmai ca Li Hua”. Scriitor: yygyjrh (un alt mesaj postat de un internaut cDUHSOLFăODSRH]LLOHOXL/L
Hua; traducere Paula Pascaru).
 54

activiste împotriva guvernului erau frecvente. În China, de cele mai multe ori, Eul online nu
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adresele lor reale.
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DFHVWXLWLSGHSRH]LH7HPHOH3RH]LHL*XQRLVHUHJăVHVFvQOLFKLGHOHFRUSRUDOHGLQWUHFDUH
SULQFLSDOD WHPă H FRQVWLWXLWă GH PDWHULLOH IHFDOH &DFD HVWH Yă]XW FKLDU FD R PHWDIRUă D
SRH]LHLSHQWUXFă “poetry should idealy be free flowing, an honest reflection of the messy
realities of human life.” (Inwood 2014: 72):

ࠓ⏕άࠔ
స⪅㸸孕乫⮷䋒⣑ᶲ梆
孕乫⮷䋒⣑ᶲ梆 1

ࠓᒉ⣔ิࠔ
ࠓᅾ㝔⡁䘬慴朊˫
స⪅㸸ᚎḉォ
㝔⡁䘬慴朊㗗⋽ỵ
⋽ỵ䘬慴朊㗗㇧⫸
ᡣᏊⓗ㔛㠃᫝ᡣ斜
ᡣ斜䘬慴朊㗗Ṣ
ẗ୍୭ே㒔✸╔⾰᭹
⾰᭹ⓗ㔛㠃᫝⫟⓶
⫟⓶ⓗ㔛㠃᫝偈⫸
偈⫸䘬慴朊㗗⯶ 2

FoUXPXO SH FDUH VH PDQLIHVWD DFHVW JHQ GH SRH]LH D IRVW úWHUV vQ  IăUă QLFLXQ
avertisment, activitatea lor terminându-VH FD JUXS XQLW FDUH ĠLQHD GH R FRPXQLWDWH
cRPXQLWDWHD3RH]LHL*XQRLúLDXFRQWLQXDWLQGLYLGXDOSHEORJXULPLFUREORJXULweibo). De
aOWIHO DFWLYLWDWHD IRUXPXULORU vúL SLHUGH LQIOXHQĠD RGDWă FX DPSORDUHD OXDWă GH EORJXUL GLQ
 úL D weibo din 2009. Weibo H R SODWIRUPă PXOW PDL FRPRGă FDUH vĠL SHUPLWH FD SH

1 9LDĠD // DXWRU6ăvQYăĠăPSXUFHOXúLLVă]ERDUHSHFHUWUDGXFHUH3DXOD3DVFDUX

2Serii de caca / Înauntru zidurilor; autor: Xu Xiangchou: ÌQăXQWUX]LGXULORUHXQFRPSOH[ÌQăXQWUX
complexulXLHRFOăGLUHÌQăXQWUXFODGLULLHRFDPHUăÌQăXQWUXFDPHUHLVXQWQLúWHRDPHQLFiecare
RPSRDUWăKDLQHÌQăXQWUXKDLQHORUVXQWSkQWHFHÌQăXQWUXSkQWHFHORUVXQWPDĠHÌQăXQWUXPDĠHORUH
caca. (traducere Paula Pascaru).
 55

DFHHDúL SDJLQă GH ZHE Vă YL]XDOL]H]L úWLUL GHVSUH DFWLYLWDWHD OLWHUDUă UHFHQWă a tuturor
SULHWHQLORU GLQ OLVWă IăUă D PDL IL QHYRLW Vă DFFHVH]L ILHFDUH EORJ vQ SDUWH ÌQ  
GLQWUHXWLOL]DWRULLGH,QWHUQHWGLQ&KLQDGHĠLQHDX XQEORJSHOkQJăXQFRQWSHweibo. Poezia
online are ca punct central aprecierea poeziei moderne ca foUPă VRFLDOă $LFL VH SRDWH
UHPDUFD úL LQIOXHQĠD PHWDWH[WXOXL vQ FUHDUHD GH SRH]LH PHWDWH[WXO DúD FXP H GHILQLW GH
Maghiel van Crevel, drept textul scris de cititor despre poezie sau orice tip de text care are
GUHSWVXELHFWGHGLVFXĠLHSRH]LDUn exemplu îQDFHVWVHQVHVWHSRH]LDFUHDWăGH:X4LQJ
FD UăVSXQV OD UHDFĠLLOH LQWHUQDXĠLORU OD SRSXODUL]DUHD SRH]LHL VDOH 2Gă QRUXOXL DOE în
martie 2012.

ljሩⲭӁⲴ䎎㖾NJ
ཙкⲴⲭӁⵏⲭ୺
ⵏⲴˈᖸⲭᖸⲭ
䶎ᑨⲭ
䶎ᑨ䶎ᑨॱ࠶ⲭ
ᶱަⲭ
䍬ⲭ
ㆰⴤⲭ↫Ҷ
୺—— 1

ljᡁ⚛ҶNJ
ᡁ㔉ᡁྸᢃ⭥䈍੺䇹ྩ
ᴰ䘁ᡁ൘㖁к⚛Ҷ
ᱟੇ˛ᡁྸнՊк㖁ˈⵏⲴੇ˛
ⵏⲴˈᡁӢ⡡Ⲵྸྸ
ᡁ㔍ሩ⋑ᴹ僇֐
ᡁྸੜҶᖸ儈‫❦ˈޤ‬ਾ઒˛
❦ਾᡁቡн⚛ҶDŽᡁ䈤DŽ 2

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([WUHPH[WUHPH[WUDRUGLQDUGHDOE3HVWHPăVXUăGHDOE$OEGHQXVHPDLSRDWH3XUúLVLPSOXDOE
de mori. Ah – (traducere Paula Pascaru).
2 Sunt faimos / I-am daWPDPLLWHOHIRQúL i-am spus / În ultima vreme sunt faimos pe internet / Serios?

0DPDQXúWLHVăIRORVHDVFăLQWHUQHWXOVHULRV"6HULRVGUDJăPDPăDe data asta chiar nu te mint /

&kQGDDX]LWPDPDDIRVWIRDUWHIHULFLWăúLDSRL"$SRLQ-am mai fost faimos. Am spus.
 56

4. Concluzii

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VFăSDW SRH]LD GH LPSRWHQĠă úL Fă GDWRULWă DFHVWXLD úL-D UHGHVFRSHULW SRWHQĠD YLWDOLWDWHD,
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Fă GLPSRWULYă ,QWHUQHWXO HVWH UHVSRQVDELO GH HúHFXO SRH]LHL FKLQH]H SRH]LH FDUH VH
GHVDFUDOL]HD]ă VH vQGHSăUWHD]ă GH VWDWXWXO VăX GH JHQ GRPLQDQW úL LGHntitar în cultura
FKLQH]ă &HUW HVWH Fă GLQ  SRH]LLOH FDUH DSDU vQ SULQW WUHEXLH FD PDL vQWkL Vă IL IRVW
SXEOLFDWH vQ YDULDQWă RQOLQH DúDGDU LQWHUQHWXO vQJHU VDX GHPRQ D GHYHQLW SULQFLSDOD
SODWIRUPă GH ODQVDUH SHQWUX SRH]LD QRXă FKLQH]ă 3XEOLFDUHD în print este semnul
ORQJHYLWăĠLLvQFDULHUăúLDUHSXWDĠLHLDUHFXQRDúWHULLYDORULLGDUGLQFHvQFHPDLPXOĠLSRHĠL
QX PDL VXQW LQWHUHVDĠL GH DSDULĠLD vQ SULQW FL H VXILFLHQWă DSDUWHQHQĠD OD FRPXQLWăĠLOH GH
SRH]LHH[LVWHQĠDRQOLQHSXEOLFDUHDSRH]LLORUFDUHDVWIHOVXQWDFFHVLELOHXQXLQXPăU PXOW
PDLPDUHGHFLWLWRULGHFkWGDFăDUILSXEOLFDĠLvQSULQW

5HIHULQĠH

Hocks, Michael, 2005, „Virtual Chinese Literature: A comparative case study of online
poetry communities”, The China Quarterly, 183, 670-691.
http://eprints.soas.ac.uk/1279/1/VirtualChineseLiterature_Hockx.pdf
Hong, Zhu, 2010, „'H FH VSXQHP Fă LQWHUQHWXO D VFKLPEDW SRH]LD"´ EORJ SHUVRQDO
http://blog.sina.com.cn/s/blog_4a62bfcf0100nfwe.html?tj=1
Inwood, De Heather, 2014, Verse going viral. China’s New Media Scenes, University of
Washington Press, Seattle.
Jian, Xin, 2006, „Despre legenda Lihua ti”, blog personal
http://www.heroguo.com/2006/10/04/li-hua-ti.html
Lovell, Julia, 2012, „Finding a place: Mainland Chinese Fiction in 2000s”, The Journal of
Asian Studies, 71, 1, 7-32.
Van Crevel, Maghiel, 2008, Chinese Poetry in Times of Mind, Mayhem and Money, Brill,
Leiden.
<H<DQELQÄ,QIOXHQĠDLQWHUQHWXOXLDVXSUDSRH]LHL´
http://cq.cqnews.net/html/2011-06/21/content_6869818.htm
<X -LDQ  Ä,QIOXHQĠD LQWHUQHWXOXL vQ XOWLPLL ]HFH DQL DVXSUD poeziei chineze”, blog
InwZhang Jiayan.
http://blog.sina.com.cn/s/blog_52e556150101iwnp.html
*** http://blog.sina.com.cn/s/blog_13df09cd10102v8q3.html
*** http://baike.baidu.com/view/375255.htm.
 57

Vlachs and their Origin

Aleksandar Risteski
University of Craiova

In this article, we will briefly explain some theories and historical moments linked to
the Vlachs and their origin. Vlachs were deeply incorporated in all structures of the
Byzantine and Ottoman Empire. A significant number of Byzantine and Ottoman
Emperors had enormous respect for Vlachs, thanks to their wit, wisdom,
perseverance and courage. In different periods, Vlachs had different names like
Wallach, Ulahs. However, during the 10th century for the first time this separate
national community was named Vlachs, Wallachs or Ulahs. This first naming of the
Vlachs will be explained in more detail in this article.

Keywords: Byzantine Empire, Ottoman Empire, Vlachs, Wallachs.

1. Introduction: Vlachs in the Roman Empire

In this article, we will briefly explain some theories and historical moments linked to the
Vlachs and their origin. In different periods, the Vlachs had different names, like Wallach,
Ulahs. However, during the 10th century, for the first time, this separate national
community was mentioned as Vlachs, Wallachs or Ulahs. This first naming of the Vlachs
will be explained in more details in this article.
When we discuss the term Vlach we should take into account its “hetero-
orientation”. People who belong to this nation and other nations have their own
autochthonous ancient origin. They lived in mountain areas, and the language they spoke
had striking similarities with the other languages derived from Latin; the explanation
resides in the fact that during their entire life they served as officers and soldiers in the
Roman Empire, in Greece and the Balkans. Endogamy was a very important practice for
these people. It actually means that the Vlachs were creating wedlock only between the
members of the Vlachs: “Thanks to this tradition Vlachs were able to maintain their
autochthonous ancient origin” (Merdzos 2010: 13).
The Vlachs referred to themselves as Armanj or citizens of the eastern Roman
Empire, which for several centuries was named Romania. Even in the last 1200 years, many
Greeks were defending themselves as Romeii. In Greek, the term Armanj or Aromanii
means “proud fighters”. It seems this is the real name for the Vlachs since the moment of
their coming into existence. During the Roman Empire, the name Romeos represented the
political title of honor. This title ensured equal rights and equal participation in the
structures of the power for all citizens of the Roman Empire. It’s impossible to talk about
strong national origin during the Roman Empire or the Eastern Roman Empire. For this
reason, all the Greeks living in the Roman Empire or the Eastern Roman Empire called
themselves Romeii and were proud of it. This was available for the Vlachs as well. The
Vlachs were the most militant soldiers and officers of the Roman Empire. For this reason,
 58

the Vlachs used to refer to themselves as Armanj or Aromanii. However, during the Roman
Empire “on the Balkans, south of the rivers Sava and the Danube, the Vlachs represented
the only linguistic unity and structure” (Stefanoski 2005: 24).

2. Theories about the origin of the Vlachs

During the last millennium, a great number of theories were developed about the Vlachs,
about their origin, and about the place where they came from, many of them contradictory:
“According to some dominant thesis, the Vlachs are Celts, Illyrians or descendants of the
old Romans” (Merdzos 2010: 14). However, since the middle of the 19th century the
political tendency added three theories about the Vlachs and their origin. According to
some of these theories, the Vlachs are Romanians, a separate nation, or Italians. Despite all
these contradictories, there are some facts which are strongly connected about Vlachs and
their origin. Even today, hundreds of Swedes living in the mountain areas speak and write a
particular language similar to the Vlachian language. This language is officially recognized
in Sweden. Many Vlachs understand a lot of Spanish, Portuguese, Italian or Romanian. For
example, in Vlachian language such words as albu, lisoru, nicu means “white”, “easy” and
“small” (Caragiu-Mariotseanu, Saramandu 2007: 214). It’s quite obvious that all three
words are very similar to Romanian words alb, usor and mic. Other examples of this
similarity are limba, scriitorlji, scriarea, meaning “language”, “writers”, and “writing”
(Mihanj-Steryu 1998:.6). As we could observe, these Vlachian words are very similar or
almost the same in Romanian “limba”, “scriitori” and “scrierea”. Even nowadays the name
for Italy in Polish is Wloshy – that is Wallachia or Walachia (Merdzos 2010: 15). In Greece,
the Vlachs were between the most important Greek heroes, prime-ministers. Well known
writer, politician, academic and scientist Nikolaos I. Merdzos (2010: 15) wrote that from
Macedonia and Thessaly the Vlachs arrived in Bulgaria and Romania.

3. Historical moments

In order to understand the origin of the Vlachs and when the first term Vlach was used for
the first time, it’s necessary to mention Plutarch and other important names from the
worldwide history. Plutarch and many other historians conducted research about well-
known Greeks and Romans, and they found out some facts about the Vlachs: their origin
and the moment when the term Vlach was first mentioned. As it’s already known, Plutarch
(50-120 A.D.) wrote 100 years after the Romans had established their domination over the
Balkans and Greece. Dio Cassius (163-235 A.D), in his treaty, The Roman Empire,
suggests that emperor Antonin created three legions and the members of these legions were
from Macedonia, Epirus etc. They belonged to the 5th, 6th, and 7th legion. Five in Vlachian
language is tsintzi, and this is the reason why the Vlachs were called Tsintsari by the
Serbs (Popovic 1937: 1), that is, “members of the fifth legion”. Immediately after these
legions were formed, in 212, Roman emperor Caracalla gave all of them equal rights to
the Roman citizens.
During the 5th century, emperor Arkady sent Prisk as a Consul in the central camp of
Attila, in present-day Hungary, in order to redeem the prisoners from the Huns. During his
mission, Prisk observed that all prisoners were speaking Latin because all those who lived
in the Balkans were able to speak Latin with the exception of the men who lived near the
coast. This fact is confirmed one century later by J. Lidus, who introduced the Greek
 59

language in the administration and legislation during the reign of Emperor Justinian. Before
this, Latin was the only language used among Romans. However, J. Lidus underlines the
importance of the spoken form of Latin. This means that Vlachs and their descendants were
using Latin as their own language, but never in its written form. Actually this oral form of
Latin was later known as Wallachia or Vlach. For this reason, nowadays the Vlachs are able
to understand many essential words of Latin origin from different languages like Spanish,
Romanian, Portuguese etc. Justinian, Theophanes and historian Procopius observed many
Vlachian toponyms in the Greek manuscript in the imperial fortress. However, these
toponyms in Greek language are not so important because their meaning is strongly linked
with Vlachian. For example, in Vlachian language Saptecazas means “seven houses” or
Burgualtu means “high castle.”

4. First appearance of the term Vlach

Despite their continuous existence, these brave soldiers and officers are not mentioned like
Vlachs until the 10th century. Why? The answer to this question is very simple. The
Vlachians or Wallachians were deeply integrated in all Roman structures of power and
military organizations but until the 10th century the term Vlach or Wallach didn’t exist. All
people of Latin origin were named as Volcae by Germans. Another name for all those who
had Latin origin used by Germans is Welsch. These two terms used by the Germans
actually represent people speaking a Latin-derived language like the Celts. From these two
terms originate the names of the Walloons and the Welsh, who were Celts. The Slavs who
were passing through German territories changed these two terms used by the Germans into
another term known as Wlaschi. Actually this term was used by the Slavs for all people
with Latin origin. In other words, this means that all who had Latin origin were named
Vlachs by the Slavs. This name was brought by the Slavs when they started settling in the
Balkan Peninsula, and serving the emperor. Later, at the end of the 10th century, when
Greek started its domination on the community already known as Romeii, they started
calling their fighters of Latin origin and their families as Vlachs. Actually the term Vlach
appears officially, for the first time, in the tenth century.
After the first appearance of the term Vlachs, this people continued to be loyal to the
Empire they were living in. The Vlachs, inhabitants of mountain regions, were skillful
soldiers, keeping and protecting the gorges and royal roads. The Vlachs successfully
controlled the well-known Pisoderi. At the end of the 10th century, Posideri was the main
bridge for economic cooperation between Florina, Prespa, Struga, Korcha and Kastoria.
Struga is located in today’s Macedonia. Struga has its own settlement known like Gorna
and Dolna Belitsa. Actually the name of this settlement is strongly connected with the
Vlachs who gave the name of this settlement: “The name of this settlement comes from the
name of the former settlement Beala located in Epirus, today’s Greece.” (Dunovski 1998:
16). This former settlement was located near to Ioannina, Epirus, in today’s Greece. From
Ioannina came the majority of the Vlachs who were living in Gorna and Dolna Belitsa. The
Vlachs were the main initiators for economic collaboration in this region. Later, the Valchs
are mentioned by Anna Komnene (1083-1148). Her father, tsar Alexei Komnenos, gave
important rights to the Vlachs because of their capability to keep and protect the gorges and
royal roads. However, because of the high taxes, sometimes the Vlachs weren’t obedient to
this tsar.
 60

5. Vlachs and their increasing power

After 1204, the power of the Vlachs increased significantly. At the time, Thessaly was
named Great Vlachia or Megalovlahia (Nikolova, Mihailova 2012: 130) and Aetolia
Acarnania was named Small Wallachia or “Vlahia Njica a Epirlui” (ibidem). This region,
known as “small Wallachia”, existed until the 15th century, when the Ottoman Empire
established its control in that region. The Ottomans changed its name into Kucuk Ulah.
Kucuk in Turkish language means “small”. Thanks to this change, a new term to designate
the Vlachs appeared in Greek, the Cutsovlasi. Thanks to their great military capabilities, the
Vlachs had great autonomy and very often they were the main opponents to the central
methods of the Empire and the high taxes. Many times, the Ottomans sent different
Armenian military leaders in order to defeat Vlachs but all these attempts were without
success.
At the time when Constantinople fell under Ottoman domination, Sultan Suleiman,
in order to avoid any confrontation with Vlachs, gave them great rights and autonomy. The
Vlachs had the right to wear weapons and the taxes for them were significantly smaller.
During 1520 and 1560s, Sultan Suleiman’s main preoccupation was to conquer the Austrian
capital and establish his power in this part of Europe. In order to keep his back safe and to
ensure the safety of all transport lines, Sultan Suleiman decided to set the Vlachs as the
main keepers and protectors of all transport lines. It seems that Suleiman made a smart
decision because the Vlachs managed to export many goods from the Ottoman Empire to
other regions and at the same time to avoid paying customs or, if they were paying, these
customs duties were significantly smaller: “From the first appearance of the Vlachs in
Austrian lands, customs authorities constantly complained on them.” (Popovic 1937: 104).

6. Conclusion

As we argued, the Vlachs are a people who were able to resist in front of all conquerors, a
people who were able to face boldly with any trouble during the centuries. This people
managed to keep their language, tradition, skills in difficult moments and to survive on the
eternal hearths. On the other hand, the Vlachs were deeply incorporated in all structures of
the Byzantine and Ottoman Empire; a significant number of Byzantine and Ottoman
Emperors had enormous respect for the Vlachs, thanks to their wit, wisdom, perseverance
and courage. They also actively participated in all rebellions and uprisings against the
Ottoman Empire in Macedonia, Greece, and Moldavia as well. Participating in all these
rebellions, the Vlachs showed very clearly that they are able to show respect to different
cultures, traditions, nations and peoples. It seems that the main task of the Vlachs has been
to maintain their language, origin, economy and existence to their eternal hearths,
respecting people who they are living with and being loyal to all countries which they are
living in.

References:

&DUDJLX 0DULRĠHDnu, Matilda, Saramandu, Nicolae, 2007. Vlachian textbook. Bucharest:

Romanian Academy Publishing House.
Dunovski, Vangel, 1998, Toponymy of the Vlachian villages Gorna and Dolna Belitsa.
Struga: Association of citizens MBELA.
 61

Merdzos Nikolaos, 2010, Aromani – Vlahi. Thessaloniki: Male Fraternity “Filoptohos”.

Mihanj Vangea-Steryu, 1998, “Beautiful Thoughts”, Skopje: Vlachian League from
Macedonia.
Nikolova, Maria, Mihailova, Iana, 2012, Armaneashti Zburam. Skopje: St. Clement
Ohridski.
Popovic, Dusan, J. 1937, About the Tsintsars. Belgrade: Kulina Bana.
Stefanoski, Branislav, 2005, Short History for the Origin of Macedonian Vlachs.
Tetovo: Casa Gramosta.
*** “Vlachs – Forgotten people”:
http://www.makedonija.com/dcforum/DCForumID28/1200.html
62
 63

Partea a II-a

&RPXQLFDUHOLWHUDUă
64
 65

Discursul ironic din perspectiva pUDJPDWLFă

DFRPXQLFăULL

Poliana Banu
Universitatea din Craiova

Linguistic pragmatics gives a major attention to the discourse as a manifestation

form of speaking and also focuses on the interpretation of the sentences that
elaborate it. Using as a support Grice’s “Logic and Conversation”, we shall try to
discover the way in which respecting the Cooperative Principle in communication
will produce efficient verbal exchanges. In the implicatures class that break the
conversational principles, there is also inserted the irony, because the ironical
discourse is used in false or doubtful sentences. By referring to Dan Lungu’s novel,
The Chicken’s Heaven, we shall observe in which way irony organizes the literal
discourse and produces different meanings regarding the interlocutors’ intentions.

Keywords: Cooperative Principle, implicature, ironical discourse, irony, literary

meaning.

1. Introducere

3UHRFXSDUHD SHQWUX GLVFXUV UHSUH]LQWă XQD GLQWUH SUREOHPHOH FHQWUDOH DOH SUDJPDWLFLL
îndeosebi în ceHDFHSULYHúWHIRUPDGHPDQLIHVWDUHDDFHVWXLDSUHFXPúLvQvQFHUFDUHDGHD
GHPRQVWUD Fă LQWHUSUHWDUHD XQXL GLVFXUV QX VH UHGXFH OD LQWHUSUHWDUHD HQXQĠXULORU FDUH vO
FRPSXQ 6H SXQH DFFHQW SH LGHHD Fă PDQLIHVWDUHD HQXQĠXOXL WUHEXLH DGDSWDWă OD FRQWH[WXO
siWXDĠLRQDO úL Fă WRDWă DWHQĠLD FDGH DVXSUD IRUPHL GLVFXUVXOXL 5HERXO 0RHVFKOHU 
 2 'XFURW úL -0 6FKDHIIHU   SURSXQ GRXă PRGHOH GH SUDJPDWLFă SULPXO
PRGHOVWXGLD]ăVLWXDĠLDvQFDUHHVWHIRORVLWXQHQXQĠSUHFXPúLVWUXFWXUDOLQJYLVWLFăDIUD]HL
LDUDOGRLOHDVHRFXSăGHHIHFWHOHYRUELULLDVXSUDLQWHUORFXWRULORUvQWU-RVLWXDĠLHGDWă$VWIHO
YRP DQDOL]D GLVFXUVXO OD QLYHOXO VWUXFWXULL VDOH úL DO SULQFLSLLORU FRQYHUVDĠLRQDOH GDU úL OD
QLYHOXOvQĠHOHJHULLDFHHDFHVHWUDQVPLWHSULQLntermediul limbajului utilizat.
6FRSXODFHVWHLOXFUăULHVWHGHDGHPRQVWUDFăGLVFXUVXOGLQSHUVSHFWLYăSUDJPDWLFă
DUHGXEOăVHPQLILFDĠLHLDULURQLDHVWHPDLPXOWGHFkWXQPHWDORJLVP 1, constituind chiar un
mod de organizare a discursului.

1„3HQWUXDFRQVWDWDPHWDORJLVPXOWUHEXLHvQSOXVVăWHDVLJXULFăVHPQHOHQXGDXRGHVFULHUHILGHOăD

UHIHUHQWXOXL´*UXSXO—5HWRULFăJHQHUDOăS
 66

2. SemnifLFDĠLHOLQJYLVWLFăúLVHPQLILFDĠLHQRQQDWXUDOă

3HQWUXvQFHSXWFRQVLGHUFăDUILQHFHVDUVăFXQRDúWHP IDSWXOFăQRĠLXQHDGH ÄVHPQLILFDĠLH

QRQQDWXUDOă´SOHDFăGHODLGHHDFăORFXWRUXOSRUQHúWHvQWU-RGLVFXĠLHFXLQWHQĠLDGHDSURGXFH
un efect asupra interloFXWRUXOXL GH D WUDQVPLWH PDL PXOW GHFkW XQ VLPSOX PHVDM DO FăUXL
vQĠHOHV UHLHVH GLQ VHPQLILFDĠLD OLQJYLVWLFă D IUD]HL úL IRORVHúWH OLPEDMXO FD PHWRGă
FRQYHQĠLRQDOă vQ VFRSXO UHDOL]ăULL SURSULLORU LQWHQĠLL (VWH LPSRUWDQW Vă GHRVHELP
VHPQLILFDĠLDXQHLIUD]e – ceea ce spunem – GHVHPQLILFDĠLDSHFDUHLQWHUORFXWRUXORDWULEXLH
acelei fraze – FHHDFHWUDQVPLWHP$FHDVWDGLQXUPăUHSUH]LQWăFKLDULQWHQĠLDYRUELWRUXOXLGH
D SURGXFH XQ HIHFW DVXSUD SDUWHQHUXOXL GH FRQYHUVDĠLH SULQ vQVăúL UHFXQRDúWHUHD DFHVWHL
intHQĠLL GH FăWUH LQWHUORFXWRU *ULFH   úL DMXQJH Vă ILH LGHQWLILFDWă QXPDL DWXQFL
FkQGLQWHUORFXWRUXOUHFXQRDúWHLQWHQĠLLOHFRPXQLFDWLYHDOHORFXWRUXOXL*ULFH

Ä/LPEDMXOSHUPLWHVăVHH[SULPHRULFHúLHVWHvQWU-RRDUHFDUHPăVXUă transparent în
SULYLQĠD PHVDMHORU SH FDUH OH YHKLFXOHD]ă IUD]HOH (O vúL HVWH GH DMXQV VLHúL LDU
LQWHUSUHWDUHDXQHLIUD]HFRQVWăvQGHFRGDUHDDFHVWHLDDGLFăvQvQWUHEXLQĠDUHDFRGXOXL
FRQVWLWXLW GH OLPED vQ FDUH VH H[SULPă IUD]D vQ VFRSXO UHFRQVWLWXLULL PHVDMXlui”
(Reboul, Moeschler 2001: 14).

ÌQFRPXQLFDUHH[LVWăQXPHURDVHvPSUHMXUăULvQFDUHXQHLIUD]HLVHDWULEXLHSHOkQJă
VHPQLILFDĠLDOLQJYLVWLFăúLRVHPQLILFDĠLDQRQQDWXUDOăFHWUHFHGLQFRORGHOLPEDMXOIRORVLW
9RUELWRULLWLQGVăvúLFRQVWUXLDVFăGLVFXUVXODVWIHOvQFkWVăWUDQVPLWăPDLPXOWGHFkWRVLPSOă
LQIRUPDĠLH Vă FRPXQLFH XQ JkQG R DWLWXGLQH XQ VHQWLPHQW (VWH R WHQGLQĠă JHQHUDOă
întrucât „s-DUSăUHDFăvQFRQYHUVDĠLDGH]LFX]LDSURDSHQLPHQLQXFRPXQLFăexact ceea ce
spune” (Negrea 2010: 3HQWUXDvQĠHOHJHFăLQWHUSUHWDUHDXQHL IUD]HGHSăúHúWHFX PXOW
VHPQLILFDĠLDFDUHLVHDFRUGăvQPRGQRUPDOHVWHQHFHVDUăGLVWLQFĠLDIRDUWHFODUăvQWUHIUD]ă
úLHQXQĠvQDFHVWFRQWH[W fraza HVWHIRUPDWăGLQFXYLQWHURVWLWHvQVLWXDĠLLGLIHULWHúLUăPâne
QHVFKLPEDWă vQ WRDWH DFHVWH VLWXDĠLL LDU HQXQĠXO este rezultatul rostirii acelei fraze, efectul
SURGXV FDUH YDULD]ă vQ IXQFĠLH GH VLWXDĠLH úL GH SDUWLFLSDQĠLL OD FRPXQLFDUH 'DFă ; úL <
URVWHVFXUPăWRDUHDIUD]ăÄ0kLQHYRLPHUJHODWHDWUX´vQvPSUHMXUăULGLIHULWHúLDQXPH;OD
vQFHSXWXO DQXOXL  úL < OD VIkUúLWXO DFHOXLDúL DQ HVWH DGHYăUDW Fă IRORVHVF DFHOHDúL
FXYLQWH GDU SURGXF GRXă HQXQĠXUL D FăURU LQWHUSUHWDUH QX HVWH QHDSăUDW DFHHDúL ED FKLDU
SRDWHILGLIHULWăvQWUXFkWDXIRVWURVWLWHvQRFD]LLGLIHULWHLDUUH]XOWDWXOHIHFWXOVHPRGLILFă
ĠLQkQG VHDPD GH vPSUHMXUăUL úL GH LQWHUORFXWRUL 0HVDMXO WUDQVPLV SRDWH IL GHFRGDW ILH FX
DMXWRUXOPLMORDFHORUOLQJYLVWLFHILHvQIXQFĠLHGHFRQWH[WXOVLWXDĠLRQDOFDUHSHUPLWHFHDPDL
EXQă LQWHUSUHWDUH D HQXQĠXOXL ÄFHHD FH H LURQLF vQWU-XQ WH[W QX UHLHVH GHFkW vQ IXQFĠLH GH
context” (Allemann 1978: 309).

3. Teorii pragmatice ale ironiei

*ULFHúLFRPSRUWDPHQWXOFRQYHUVDĠLRQDO

În articolul “Logic and Conversation” GLQvQFDUHDERUGHD]ăQRĠLXQHDGHVHPQLILFDĠLH

QRQQDWXUDOăúLLQWHUSUHWDUHDIUD]HORUFDUHDOFăWXLHVFXQGLVFXUV3DXO*ULFHDGXFHvQGLVFXĠLH
SHQWUX SULPD GDWă GRXă FRQFHSWH LPSRUWDQWH ÄSULQFLSLXO FRRSHUăULL´ úL ÄLPSOLFDWXUD
FRQYHUVDĠLRQDOă´
,QWHUSUHWDUHD XQXL HQXQĠ QX SUHVXSXQH vQWRWGHDXQD GRDU HYLGHQĠLHUHD VHPQLILFDĠLHL
OLWHUDOHDDFHVWXLDFLúLDVHPQLILFDĠLHLLURQLFH$VWIHOGLIHUHQĠDGLQWUHFHHDFHVHVSXQHúL
 67

FHHDFHVHWUDQVPLWHVDXVHvQĠHOHJHHVWHFXQRVFXWăVXEGHQXPLUHDGHLPSOLFDWXUă. Locutorul
spune ceva cu scopul GHDWUDQVPLWHDOWFHYD(VWHXQSURFHVLQWHQĠLRQDWFDUHWUHEXLHVHVL]DW
GH FăWUH LQWHUORFXWRU ÌQ FD] FRQWUDU HúHFXO DFWXOXL GH FRPXQLFDUH HVWH DVLJXUDW ÌQ PXOWH
ocazii, implicaturile unei fraze nu pot fi intuite, îndeosebi din lipsa unui fond comun de
FXQRúWLQĠHDOYRUELWRULORUFDUHDSDUHvQXUPDVHOHFWăULLGHFăWUHORFXWRUDXQXLSDUWHQHUGH
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3ULQFLSLXO&RRSHUDWLYHQXQĠDWGH*ULFHWUHEXLHUHVSHFWDWSHQWUXDvQOHVQLSURFHVXOGH
FRPXQLFDUHúL pentru a-LDVLJXUDHILFLHQĠDÌQYHGHUHDH[HPSOLILFăULLDFHVWXLSULQFLSLX3DXO
*ULFH SURSXQH SDWUX PD[LPH FDUH XWRSLF YRUELQG QX WUHEXLH vQFăOFDWH GH LQWHUORFXWRUL
PD[LPDFDQWLWăĠLLPD[LPDFDOLWăĠLLPD[LPDGHUHODĠLHúLPD[LPDGHPRGGHPDQLHUă
MaxLPHOH LPSXVH GH 3ULQFLSLXO &RRSHUDWLY IRUPXODW GH *ULFH QX QXPDL Fă WUHEXLH
UHVSHFWDWHGDUHOHUHSUH]LQWăúLDúWHSWăULFXSULYLUHODQRUPHOLQJYLVWLFHúLGHFRPSRUWDPHQW
SH FDUH LQWHUORFXWRULL OH DX XQLL IDĠă GH FHLODOĠL $WXQFL FkQG SULQ vQFăOFDUHD XQHLa dintre
PD[LPHOH FRQYHUVDĠLRQDOH YRUELWRUXO QHJOLMHD]ă SULQFLSLXO FDUH DU WUHEXL Vă VWHD OD ED]D
unui dialog eficient, vorbim despre exploatarea acestora, iar în viziunea lui Grice,
LPSOLFDWXULOH FRQYHUVDĠLRQDOH FRUHVSXQG WRFPDL XQRU DVHPHQHD H[SORDWăUL În acest caz,
LQWHUORFXWRUXO QX PDL SRDWH GHVFRSHUL VHPQLILFDĠLD QRQQDWXUDOă LPSOLFDWXUD HQXQĠXOXL LDU
YRUELWRUXO HVWH REOLJDW Vă JăVHDVFă DUJXPHQWH SHQWUX D H[SOLFD QHUHVSHFWDUHD UHJXOLORU
VWDELOLWHúLSHQWUXDIDFHFXQRVFXWăVHPQLILFDĠLDQRQQDWXUDOăLPSOLFLWăùLQXGHSXĠLQHRUL
ODQLYHOFRQYHUVDĠLRQDODSDUHDFHVWIHQRPHQ*ULFHDILUPăFXFHUWLWXGLQHÄ$SDUWLFLSDQWLQ
a talk exchange may fail to fulfill a maxim in various ways” (Grice 1975: 49).
Mergând mai departe în încercarea de a demonstra relDĠLD GLQWUH LPSOLFDWXUL úL
PD[LPHOH FRQYHUVDĠLRQDOH 3DXO *ULFH RIHUă FkWHYD H[HPSOH GH VLWXDĠLL GH FRPXQLFDUH FX
UHIHULUHODXWLOL]DUHDLURQLHLDOăWXULGHPHWDIRUăOLWRWăúLKLSHUEROăvQFDUHPD[LPDFDOLWăĠLL
HVWHvQFăOFDWăSULQIRORVLUHDXQRUHQXQĠXULIDOVHVDXDXQRUHQXQĠXULSHQWUXDOFăURUFRQĠLQXW
QXH[LVWăVXILFLHQWHGRYH]LFDUHVăGHPRQVWUH]HFăHVWHDGHYăUDW,URQLDHVWHGHFLGLIHUHQĠD
GLQWUH VHQVXO OLWHUDO DO IUD]HL úL VHQVXO LQWHQĠLRQDO DO HQXQĠXOXL PDL FRQFUHW R LPSOLFDWXUă
FDUHYLROHD]ăPD[LPDVLQFHULWăĠLLvQVFKLPEXULOHYHUEDOH6HED]HD]ăSHRLQDGHFYDUHvQWUH
MXGHFDWăúLH[SUHVLHúLLDvQUkVUHDOLWDWHDVSXQkQGH[DFWFRQWUDULXODFHHDFHJkQGHúWL
3HQWUX D GHVFULH LURQLD YHUEDOă *ULFH LQWURGXFH QRĠLXQHD ÄD VH IDFH Fă VSXQH´ vQ
VWUkQVă OHJăWXUăFXVLPXODUHDFDUHQXPRGLILFăvQVăFRQĠLQXWXOVDXVHPQLILFDĠLDOLQJYLVWLFăD
IUD]HLFLPRGXOvQFDUHDFHDVWDHVWHIRORVLWă1XIUD]DHVWHVLPXODWăFLDWLWXGLQHDLPSOLFDĠLD
úLHIHFWHOHURVWLULLVDOH
*ULFH VXVĠLQH Fă LURQLD GHYLQH XQ WLS GH LPSOLFDWXUă FDUH QX UHVSHFWă PD[LPD
VLQFHULWăĠLLDWXQFLFkQGVHIRORVHúWHGHSUHIăFăWRULHÄWREHLURQLFDOLVDPRQJRWKHUWKLQJVWR
pretend (s.n.) (as etymology suggests), and while one wants the pretence to be recognized
as such, to annonce it would spoil the effect” (Grice 1978: 54).

-RKQ6HDUOHúLWHRULDDFWHORUGHYRUELUH

În continuarea modelului propus de Grice, Searle descrie ironia drept un act indirect de
YRUELUH H[SOLFkQG Fă XQ YRUELWRU DILUPă FHYD GDU LQWHQĠLRQHD]ă Vă FRPXQLFH FX WRWXO
DOWFHYD úL Fă vQ DVHPHQHD VLWXDĠLL SRVLELOLWDWHD LQWHUORFXWRUXOXL GH D DYHD DFFHV OD
VHPQLILFDĠLLOH FULSWDWH HVWH OHJDWă GH FDSDFLWDWHD DFHVWXLD GH D SURGXFH LQIHUHQĠH 1. Orice
SURFHVORJLFSOHDFăGHODLGHHDFăGDFăSUHPLVHOH VXQWDGHYăUDWHDWXQFLúLFoncluziile pe
FDUHOHYDHQXQĠDYRUILDGHYăUDWH

1,QIHUHQĠDHVWHGHILQLWăFDXQSURFHVORJLFSULQFDUHSRUQLQGGHODpremise LQIRUPDĠLLFDUHQHVXQt
cunoscute), ajungem la concluzii LQIRUPDĠLLQRL5HERXO0RHVFKOHU
 68

ÌQYL]LXQHDOXL*ULFHvQVăLPSOLFDWXULOHQXVHED]HD]ăSHLQIHUHQĠHFLPDLGHJUDEă
SH IRUPDUHD GH LSRWH]H úL LQWHQĠLL úL SRW FUHD QHvQĠHOHJHUL FDUH YRU GXFH OD XQ HúHF DO
procesului de comunicare. De regXOă PRWLYXO QHvQĠHOHJHULL LPSOLFDWXULORU HVWH vQFăOFDUHD
XQHLDGLQWUHPD[LPHOHFRQYHUVDĠLRQDOHvQVSHFLDOFHDDFDOLWăĠLLùLFRQIRUPLQWHUSUHWăULLOXL
6HDUOH GDFă SUHPLVD HVWH XQD IDOVă DWXQFL úL FRQFOX]LD YD IL IDOVă Cu alte cuvinte,
VHPQLILFDĠLD SH FDUH R YD DWULEXL LQWHUORFXWRUXO HQXQĠXOXL GDW YD IL GHSDUWH GH LGHQWLILFDUHD
LQWHQĠLHL LQLĠLDOH D ORFXWRUXOXL vQWUXFkW ORFXWRUXO FRPXQLFă DOWFHYD GHFkW FHHD FH VSXQH ³,Q
hints, insinuations, irony and metaphor – to mention a few examples – the speaker’s utterance
meaning and the sentence meaning come apart in various ways” (Searle 1979: 30).

&ODUN *HUULJúLLURQLDFDVLPXODUH

În articolul din 1984, “On the Pretense Theory of Irony”, FHLGRLOLQJYLúWLDILUPăFăLURQLD

este doar un act de simularH GH QHVLQFHULWDWH YRLWă úL Fă ORFXWRULL WLQG Vă vúL FRQVWUXLDVFă
GLVFXUVXO LURQLF vQ IXQFĠLH GH FHL FăURUD OL VH DGUHVHD]ă VLPXOkQG XQ FRPSRUWDPHQW
OLQJYLVWLFED]DWSHQHDGHYăU
/RFXWRUXOÄSUHWLQGHFăHVWHXQLQGLYLGLPSUXGHQWQHLQIRUPDWFDUHVHDGUHVHD]ăXQXL
LQWHUORFXWRU QHFXQRVFăWRU´ &ODUN  *HUULJ   ,QWHUORFXWRUXO LGHQWLILFă DWLWXGLQHD
VLPXODWăDORFXWRUXOXLGDUQXHVWHGHUDQMDWFLLQWUăvQMRFXODFHVWXLDVHPQkQGXQIHOGHSDFW
social (Anolli, Infantino, Ciceri: 2001) prin care este de DFRUG Fă FHHD FH VH VSXQH QX VH
SRWULYHúWHvQWRFPDLFXFHHDFHVHWUDQVPLWH
În viziunea celor doi autori ai teoriei despre ironia ca simulare, discursul ironic este
DVHPHQHDXQHLSLHVHGHWHDWUXvQFDUHDFWRULLORFXWRUXOúLLQWHUORFXWRUXOMRDFăGXEOXrol. Pe
GHRSDUWHVXQWHLvQúLúLSHUVRQDMHGLQYLDĠDUHDOă3HGHDOWăSDUWHILHFDUHGLQWUHHLSUHWLQGH
FăHVWHDOWFLQHYDúLVLPXOHD]ăXQFRPSRUWDPHQWvQWHPHLDWSHvQFăOFDUHDPD[LPHLFDOLWăĠLL

*LRUDúLLURQLDFDQHJDĠLHLQGLUHFWă

În opinia lui *LRUD LURQLD HVWH ÄR IRUPă GH QHJDĠLH FDUH QX IRORVHúWH PăUFL H[SOLFLWH DOH
QHJDĠLHL´ *LRUD   &X DOWH FXYLQWH LURQLD HVWH R IRUPă GH QHJDĠLH LQGLUHFWă D
FăUHL LQWHUSUHWDUH ÄQX SUHVXSXQH DQXODUHD PHVDMXOXL LQGLUHFW QHJDW úL vQORFXLUHD VD FX Fel
implicat” (ibidem: 239). ÌQ DFHVW FD] DILUPDĠLD HVWH IRORVLWă SHQWUX D SURGXFH XQ GHFDODM
vQWUH FHHD FH HVWH GH VSXV FHHD FH VH LQWHQĠLRQHD]ă úL FHHD FH HVWH DúWHSWDW (QXQĠXULOH
LURQLFH QX H[SULPă QHDSăUDW RSXVXO D FHHD FH VH VSXQH 8UPăWRUXO H[HPSOX: „Ce zi
IUXPRDVă´IRORVLWGHORFXWRUvQWU-R]LSORLRDVăQXYUHDVăWUDQVPLWăvQPRGQHFHVDUFăR
DVWIHOGHYUHPHvOGHUDQMHD]ăFLSUHFL]HD]ăFă]LXDHVWHGHSDUWHGHDILDúDFXPúL-a dorit.
ÌQ DUJXPHQWDUHD WHRULHL IRUPXODWH *LRUD SOHDFă GH OD LGHHD Fă LQWHUORFXWRUXO QX
WUHEXLH Vă ILH H[SXV XQHL RELHFĠLL GLUHFWH úL Fă REVHUYDĠLD VH IDFH vQ PRG DOX]LY $FHDVWă
DWLWXGLQHQXPRGLILFăUHODĠLDGLQWUHLQWHUORFXWRULPDLDOHVFăHVWHHYLGHQWSHQWUXDVFXOWăWRU
FăSDUWHQHUXOGHFRQYHUVDĠLHQXHVWHLQWHUHVDWVăQHJHRVWDUHGHOXFUXULFLPDLFXUkQGVăR
HYLGHQĠLH]H

4. Discursul ironic în 5DLXOJăLQLORU)DOVURPDQGH]YRQXULúLPLVWHUH

,URQLD D IRVW DERUGDWă GLQ SHUVSHFWLYH WHRUHWLFH GLIHULWH úL L V-DX DWULEXLW YDOHQĠH PXOWLSOH
GHúLDUILSXWXWVXSUDYLHĠXLúLIăUăSUHDPXOWăWHRULHILLQGFăÄHVWHXQXOGLQWUHDFHOHOXFUXUL
FDUHVHSUDFWLFăQXVHWHRUHWL]HD]ă´(Buduca 1988: 18).
 69

9RP XUPăUL vQ FRQWLQXDUH FRQVWUXFĠLD GLVFXUVXOXL LURQLF vQ OXPLQD WHRULLORU
FRQYHUVDĠLRQDOH SH FDUH OH-am dezvoltat anterior, cu referire la romanul lui Dan Lungu -
5DLXO*ăLQLORU
'LQ SHUVSHFWLYă LVWRULFă V-D FRQVWDWDW Fă GLVFXUVXO LURQLF VH QDúWH FX SUHFăGHUH vQ
PRPHQWHOHGHFUL]ăVDXvQSHULRDGHOHILQDOHDOHXQXLUHJLPLVWRULFSROLWLFúLHVWHDVRFLDWăFX
VHQWLPHQWH GH GH]DPăJLUH GH SLHUGHUH D FUHGLQĠHL vQ DQXPLWH LGHDOXUL ÌQWU-un astfel de
FRQWH[WúL-DIăFXWDSDULĠLDúLURPDQXOOXL'DQ/XQJXFDUHSDUHDILRvQOăQĠXLUHGHSRYHVWLUL
GLQ YLDĠD GH ]L FX ]L SHWUHFXWH OD SHULIHULD XQXL RUDú PROGRYHQHVF OD VIkUúLWXO UHJLPXOXL
coPXQLVW úL vQ SHULRDGD SRVWGHFHPEULVWă SUH]HQWkQG FX XPRU DPLQWLULOH URPkQLORU GLQ
YUHPHDFDSLWDOLVPXOXL(VWH XQURPDQFDUHGHVFULHGUXPXO URPkQLORUvQWUHWUHFXWúL YLLWRU
GUXP UHSURGXV FX XPRU úL DPăUăFLXQH RJOLQGLQG UHDOLWDWHD vQ FDUH GH IDSW WUăLP WRĠL
1DUDĠLXQHD HVWH DODPELFDWă MR\FLDQă FX DPLQWLUL FDUH VH GHVIăúRDUă SH SDJLQL vQWUHJL úL
GHFODQúHD]ăjOD*DEULHOD$GDPHúWHDQXDOWHDPLQWLULIUDJPHQWHOHGHVSUHFRSLOăULHDOăWXUL
de cele fantastice, amintesc de Orbitorul OXL&ăUWăUHVFXFKLDUVWUuctura retro a capitolelor,
FXWLWOXULOXQJLúLH[SOLFDWLYHFDvQURPDQHOHOXL-XOHV9HUQHVHVXEVXPHD]ăDVXPDWHLLURQLL
(vai!) postmoderne (Sturza 2004).
3HUVRQDMXO SULQFLSDO HVWH R VWUDGă GH OD PDUJLQHD XQXL RUDú GLQ 0ROGRYD vQWU-o
SHULRDGăGHWUDQ]LĠLHGHODXQUHJLPSROLWLFODDOWXOFXORFXLWRULVLPSOLFDUHWUăLHVFRYLDĠă
EDQDOăúLvQGXLRúăWRDUH

Ä2VWUDGăúLRDPHQLLHLDFHVWDHXQLYHUVXOGLQ5DLXOJăLQLORU 2VWUDGăFX nume plat

ERWDQLFD6DOFkPLORUVXVFHSWLELOWRWXúLGHLUL]ăULOLULFHvQUHJLVWUXOGXOFHJăULLORUúLDO
GXLRúLHLSDWULDUKDOH6DXGHLURQLLSULQIRORVLUHD vQ UăVSăU D DFHOXLDúL UHJLVWUX´
(Iorgulescu, 3UHIDĠăla 5DLXOJăLQLORU, p. 5).

$XWRUXOÄQXXUPăUHúWHLQWURVSHFĠLDQXFOăGHúWHSHUVRQDMHFLSDUHDOHUHFHSĠLRQDFX
lejeritate din realitate” (Bogdan-$OH[DQGUX 6WăQHVFX  5RPDQXO QX SUH]LQWă QLFLXQ
conflict propriu-]LV úL QLFL SHUVRQDMH QHJDWLYH ,HV vQ HYLGHQWă WRWXúL FkWHYD ILJXUL
&RORQHOXO SURSULHWDUXO FHOHL PDL PDUL úL OX[RDVH FDVH GH SH VWUDGă – motiv al invidiei
celoUODOĠL0LWXSHUVRQDMVLPSDWLFvQWUHSULQ]ăWRUFDUHúL-a încercat norocul depunând banii
la jocuri; dom’ 3HWULFă SLFWRU UHQXPLW úL WăOPăFLWRU DO WXWXURU YRUEHORU GH SULQ FDUWLHU
+OHDQGD QHEXQD FDUH DOăWXUL GH DOăWXUL GH KDLWD GH FkLQL YDJDERQ]L XPEOD SH VWUDGă úL
YHVWHDVIkUúLWXOOXPLLEXFXUHúWHDQFD9HUDFDUHúL-DSULQVQDVXOFXXQFkUOLJGHUXIHFDVăQX
VLPWă PLURVXO GH JăLQDĠ &RVWHO 6SăWDUX úL VRĠLD VD $XURUD FDUH WULFRWHD]ă FKLDU úL FX
mâinile la spate; doamna Milica, cea care a avut onoarea Vă LQWUH vQ FDVD &RORQHOXOXL
domnul Relu Covalciuc, cel care s-DWUH]LWSHVWHQRDSWHFXJUăGLQDLQYDGDWăGHUkPH
/RFXLWRULL VWUă]LL 6DOFkPLORU VH EXFXUă GH HYHQLPHQWH SOăFXWH DPX]DQWH GDU VH
FRQIUXQWă úL FX VLWXDĠLL GLILFLOH FRPSOLFDWH FDUH PHUJ SkQă OD WUDJHGLH 'HúL 'DQ /XQJX
scrie într-XQUHJLVWUXLURQLFQXSRDWHDFRSHULSHUVSHFWLYDWUDJLFăDVRUĠLLSHUVRQDMHORUVDOHSH
FDUH OH FDUDFWHUL]HD]ă SULQ GLVFXUV RIHULQG vQ DFHVW IHO DXWHQWLFLWDWH XQRU LVWRULL GH YLDĠă
diferite prin amestecul de ironiH XPRU úL VLPSDWLH $LFL SH VWUDGD 6DOFkPLORU REVHUYăP
WRDWHWLSXULOHGHSHUVRQDMHFDUHH[LVWăúLvQUHDOLWDWH$FHDVWDSRDWHILvQVăúLPHGLXOQRVWUXGH
YLDĠăGHYHQLQGDVWIHOLVWRULDUHDOLWăĠLLURPkQHúWL
Paginile în care personajele iau parte la convHUVDĠLLVXQWGH-a dreptul impresionante.
ÌQFUkúPDÄ/DWUDFWRUXOúLIRQDW´XQGHEăUEDĠLLVWDXODXQSDKDUGHYRUEăúLXQXOGHĠXLFăvQ
DFHODúLWLPSVHĠHVGLDORJXULDPX]DQWHGDUXVWXUăWRDUHFXUHSOLFLGXUHvQĠHSăWRDUHGDUúL
pline de umor. Nu lipsesc QLFLLQWULJLOHvQWUHYHFLQLEkUIHOHVDXFXULR]LWăĠLOH'RP’ 3HWULFă
ÄUăVXFLVHvQWkPSODUHD0LOLFăLSHWRDWHIHĠHOHvQDúDIHOvQFkWELDWD0LOLFDDMXQVHVHGHUkVXO
FHORU GH OD PDVă´ /XQJX   (VWH PRPHQWXO vQ FDUH GLVFXUVXO VH UHDOL]HD]ă FD
 70

interacĠLXQHVRFLDOăLDUUkVXOúLLURQLDDXSXWHUHDGHDvQOăWXUDIUXVWUăULOHùLGDFăYRUELPGH
LQWHUDFĠLXQHDWXQFLYRUELPGHFHOSXĠLQGRXăSHUVRDQHDQJDMDWHvQFRQYHUVDĠLH'LVFXUVXOSH
care îl produce dom’ 3HWULFăLQGLYLGXOSRDWHILSULYLWFDRPDQLIHVWDUe a gândirii grupului,
de vreme ce cuvintele pe care le-D URVWLW GHVSUH GRDPQD 0LOLFD úL-DX JăVLW VHPQLILFDĠLD
QRQQDWXUDOăvQFRQúWLLQĠDFROHFWLYă
'DU Vă SULYLP vQWUHDJD VFHQă GH OD vQFHSXW 0LOLFD vQJULMRUDWă GH IHEUD FRSLOXOXL
IXJHJORQĠODFDVD&RORQHOXOXLFDVăGHDWHOHIRQOD6DOYDUH

ÌQVă ÄHOGRP’ 3HWULFă– QQHUDGHSăUHUHFă0LOLFDDUILSXWXWDSHOD- chiar ar fi

trebuit - ODWHOHIRQXO*HDPEDúLORUVDXDO6WHJDULORU>@úLFăQX HUDQHYRLHVăPHDUJă
PXVDLOD&RORQHOSHQWUXRWUHDEăSHFDUH ar fi putut-o rezolva mai simplu. De ce a
DOHV HD FDOHD PDL FRPSOLFDWă vQ GHIDYRDUHD FHOHL PDL VLPSOH" >@ )ăUă vQGRLDOă
dom’ PetULFă úWLD Fă *HDPEDúLL OD DFHD GDWă IXVHVHUă SOHFDĠL vQ VWDĠLXQH >@ Fă
6WHJDULL OD DFHD RUă HUDX GXúL vQ YL]LWă OD QDúLL GH FXQXQLH vQ FHOăODOW FDSăW DO
RUDúXOXL >@ Fă 0LOLFD OH-DU IL EăWXW GHJHDED FX SXPQXO vQ SRDUWă GDU DVWD QX
VFKLPEăFXQLPLFFHOSXĠLQpentru el, fondul problemei, de vreme ce Milica nici nu
le încercase poarta. În opinia sa, Milica s-a repeziWJORQĠFăWUe casa Colonelului, nu
atât de vQJULMRUDWăGHIHEUDFRSLOXOXLVDXPDLFRUHFWQXQXPDLGHDVWDFLúLvPSLQVă
GH FXULR]LWDWHD GH D YHGHD ©FDVWHOXOª SH GLQăXQWUX FD úL GLQ GRULQĠD GH D IL SULPD
care-LFDOFăSUDJXOSULOHMVăOHSRYHVWHDVFăORUSURúWLORUFHúLFXP´ibidem: 17).

Pentru dom’ 3HWULFăvQWkPSODUHDFX0LOLFDSDUHDILXúRUQHFODUăVDXFHOSXĠLQDúD

ODVăLPSUHVLDVăVHvQĠHOHDJăúLSULQvQWUHEăULUHWRULFHXUPăUHúWHVăLQGXFăúLSDUWHQHULORUVăL
GHGLDORJDFHHDúLVWDUHGHLQFHUWLWXGLQHDVWIHOvQFkWDFHúWLDVăQXPDLLDVHDPDODHYHQWXDOH
LPSOLFDĠLLVHPQLILFDĠLL DOH VLWXDĠLHL úL Vă-L GHD GUHSWDWH QXPDL OXL ùL FX VLJXUDQĠă DYHD
GUHSWDWHFă0LOLFDDMXQVHVHvQFDVD&RORQHOXOXLPDLPXOWÄvPSLQVăGHFXULR]LWDWH´
ÌQWUHEăULOH UHWRULFH DOH GRPQXOXL 3HWULFă QX vQFHWHD]ă ÄGDFă 0LOLFD HUD DWkW GH
VSHULDWăGHWHPSHUDWXUDOXL0DULXVGHFHDDOHVVăPHDUJăOD©FDVWHOªFDUHHPDLGHSDUWHúL
nu s-DRSULWPDLvQWkLOD*HDPEDúLVDXOD6WHJDULFDUH-i erau în drum?” (ibidem: 18). În mod
sigur, gândea dom’ 3HWULFăVăOHÄSRYHVWHDVFăGHVSUHFHHDFHQXYă]XVHSUHDELQHGHVSUH
OXFUXULFDUHSRDWHQXHUDXFKLDUDúDFXPúLOHDPLQWHDHDVDXSHFDUHFHPDLWXUD-vura, nu le
Yă]XVH´ibidem)ăUăDILRSHUVRDQăFXOWăGRP’ 3HWULFăSULQDUWDOimbajului ticluit cu
vQĠHOHSFLXQHvQFHDUFăVăGH]PLQWăWRDWHDILUPDĠLLOH0LOLFăLVăDUDWHFăWRWXOHVWHDOWIHOGHFkW
SDUHúLSHEXQăGUHSWDWHUHXúHúWH
$FHDVWăVFHQăDGXQăODRODOWăSULQFLSLLFDUHJXYHUQHD]ăRVLWXDĠLHGHFRPXQLFDUHVDX
PDLGHJUDEăvQFăOFDUHDDFHVWRUD'DFăDUILVăUHYHQLPOD3ULQFLSLXO&RRSHUDWLYSURSXVGH
*ULFH REVHUYăP IăUă PDUH JUHXWDWH vQFăOFDUHD PD[LPHL FDOLWăĠLL GH FăWUH XQXO GLQWUH
SDUWHQHULLGHFRQYHUVDĠLH– 0LOLFDIRORVLQGLQIRUPDĠLLIDOVHDPELJXHVDXGHVSUHFDUHQXúWLH
vQ PRG FHUW GH XQGH SURYLQ ,QLĠLDO vQ QHFXQRúWLQĠă GH FDX]ă LQWHUORFXWRULL 0LOLFăL FX
H[FHSĠLDGRPQXOXL3HWULFăDXOXDWGUHSWDGHYăUDWHVSXVHOHYHFLQHLORUvQVăGXSăGLVFXUVXO
FRQYLQJăWRU DO DFHVWXLD ÄFD OD úHGLQĠHOH GH GHPDVFDUH´ ibidem: 17), „ca prin farmec,
QXPăUXO YHFLQHORU FDUH UăPkQHDX IăUă ]DKăU YDQLOLQDW VDX XOHL D VFă]XW VLPĠLWRU >@ $
GHYHQLWDSURDSHSHVWHQRDSWHRYHFLQăRELúQXLWă´ibidem: 16). Motivele pentru care fusese
FăXWDWă SkQă DWXQFL DX GLVSăUXW RGDWă FX LQWHUHVXO YHFLQHORU pentru discursul ei care s-a
dovedit a fi unul fals, simulat.
3HQWUXDLHúLFLQVWLWăGLQWU-RVLWXDĠLHFDDFHDVWD0LOLFDvQFHDUFăXQGLDORJLPDJLQDU
cu dom’ 3HWULFăRFRQIUXQWDUHGLUHFWăXQGXHOSXEOLF
 71

ÄvQFDUHHDVă-LUăVSXQGăSDVFXSDVODILHFDUHYRUEăFKLDUUk]kQGGHHOúLVăvQFKHLH
cu ceva de genul: „Ei, dom’ 3HWULFăPDWDGDLVIDWXULPDWDFDUHQLFLQXúWLLFXPVH
IDFFRSLLL´IăFkQGDOX]LHODEXUOăFLDOXLVXVSHFWăVDX© Da, dom’ 3HWULFăGD’ GDFă
PLHvPLWUHEXLHXQODFăWODJXUăPDWDOHĠL-ar trebui vreo zece ªQXPDLDúDDUSXWHD
GHPRQVWUDFHORUODOĠLFăDUHSDUWHDHLGHGUHSWDWH´ibidem: 20).

7UHEXLH Vă UHĠLQHP ÄSDUWHD HL GH GUHSWDWH´ 0LOLFD VLQJXUă úL-D DVXPDW vQFăOFDUHD
SULQFLSLXOXLFRRSHUăULLvQFRPXQLFDUHDILUPkQGFăGUHSWDWHDQXeste în totalitate de partea sa.
$YkQGWRWXúLRFD]LDVăvQWUHĠLQăXQGLDORJDúDFXPúL-l imagina, public:

„dom’ 3HWULFăvLUăVSXQVHFXWRWXODOWIHOGHFkWvQGLDORJXULOHVDOHLPDJLQDUH în care

ea îi demonta punct cu punct cele spuse, dom’ 3HWULFă vL UHIX]ă GLQ FDSXO ORFXOXL
GLVFXĠLD SH DFHVW VXELHFW OXkQG-R FKLDU vQ GHUkGHUH ©(L 0LOLFR WRW JRJRúL GH OD
FDVWHO YUHL Vă QH YLQ]L" /DVă-ne cu asta, avem lucruri mai importante de vorbit, ia
XLWHFHDSăĠLW)ăQLFă*HDPEDúXFXIDWDª´ibidem: 21).

Pe strDGD 6DOFkPLORU DOW VXELHFW PDL LPSRUWDQW SRDWH OXDVH ORFXO vQOăQĠXLULORU
QDUDWLYH DOH 0LOLFăL GHVSUH IUXPXVHĠLOH GLQ FDVD &RORQHOXOXL 1X DúD vúL LPDJLQDVH HD
GH]QRGăPkQWXODFHVWHLvQWkPSOăUL6SHUDVăDMXQJăYHGHWDVWUă]LLGDWRULWăÄDFHVWHLLQFXUVLXQL
nHSUHYă]XWH´ FXP vL VSXQHD HD vQ XUPD FăUHLD ÄvQ FkWHYD RUH WRDWă VWUDGD D DIODW GHWDOLL
despre interiorul casei Colonelului” (ibidem  ,URQLD VRUĠLL IDFH vQVă FD 0LOLFD Vă ILH
HYLWDWăGHYHFLQLúLVăQXLVHPDLDFRUGHvQFUHGHUH
(VWHRVFHQăSUH]HQWDWăFXPXOWXPRUGHFăWUHDXWRUGDUúLFXLURQLHXúRUVDUFDVWLFă
XQVSDĠLXDOVHPQLILFDĠLLORUvQFDUHSHUVRQDMHOHVHGHVFRSHUăUHFLSURFGHYHQLQGSDUWHQHULDL
FRPXQLFăULLúLvQFDUHOLPEDMXOXWLOL]DWVHWUDQVIRUPăvQGLVFXUVÌQDFHDVWăVLWXDĠLHLURQia,
DúD FXP HVWH GHVFULVă vQ PRGHOXO SURSXV GH $QROOL ,QIDQWLQR úL &LFHUL   ³DV D
class of interactive episodes in which an ironic comment is generated as the best local
situation between comunicators given a certain contextual constraints and opportunities”,
HVWHIRORVLWăFDPRGGHRUJDQL]DUHDGLVFXUVXOXLOLWHUDUúLSRDWHILFRQVLGHUDWăRVWUDWHJLHGH
PHQĠLQHUHDUHODĠLLORULQWHUSHUVRQDOHUH]RQDELOHSULQDGDSWDUHDDFĠLXQLORULQWHUORFXWRULORUOD
VLWXDĠLD GH FRPXQLFDUH DVWIHO vQFkW DFHDVWD Vă ILH HILFLHQWă 3DUWHQHULL GH GLDORJ GLQ VFHQD
SUH]HQWDWăDXIRVWQHYRLĠLVăVHDGDSWH]HWXWXURULSRVWD]HORUSHFDUHLQWHUDFĠLXQHDYHUEDOăOH-
DSUHVXSXV$WLWXGLQHDVLPXODWăD0LOLFăLDDWUDVGXSăVLQHSkQăODXQPRPHQWGDWDFHHDúL
atitudine din partea vecinilor.
(VWH QHFHVDU Vă QH RSULP DWHQĠLD úL DVXSUD FRQWH[WXOXL VLWXDĠLRQDO vQ FDUH DUH ORF
schimbul verbal dintre interlocutori. Momentul în care dom’ 3HWULFăH[SXQHDUJXPHQWHvQ
GHIDYRDUHDFHORUVSXVHGH0LOLFDODFUkúPăODXQSDKDUGHĠXLFăDWXQFLFkQd mintea poate
QXPDLHVWHDúDGHOLPSHGHúLDWLWXGLQHDSHFDUHRDUH- ÄGHúLURVWHDFXYLQWHOHPROFRPVH
enerva repede – úL DWXQFL GHYHQHD FDUDJKLRV FăFL VXE RFKLL DVSUL GH PkQLH LHúHD R YRUEă
GRPRDOăWRWDOQHSRWULYLWăFXVWDUHDGHHQHUYDUHFXPVHvQWkPSOăvQILOPHOHSURVWGXEODWH´
(Lungu 2007: 17) - DXVWkUQLWVHPQLILFDĠLLGLYHUVHDOHGLVFXUVXOXL0LOLFăLúLDXSURGXVHIHFWH
QHDúWHSWDWHvQUkQGXOYHFLQLORU
6HPQLILFDĠLLOHPHVDMHORUFRPXQLFDWHGHDPEHOHSăUĠLQXDXIRVWFRUHFWLQWHUSUHWDWHGH
interlocutori. Numai un locutor competent ca dom’ 3HWULFă SXWHD Vă OH GHVFLIUH]H VHQVXO
DVFXQVVăREVHUYHPkQGULDYHFLQHLVDOHGHDYL]LWDFDVDFHDPDLUkYQLWăGHSHVWUDGăúLVă
RIHUHLQWHUSUHWDUHDFHDPDLDSURSLDWăGHUHDOLWDWHDYRUEHORUGRDPQHLÌQVFKLPE0LOica nu
a perceput LQLĠLDO DWLWXGLQHD LURQLFă UHYăUVDWă DVXSUD VD GH FăWUH YHFLQL úL FKLDU GDFă PDL
apoi, a sesizat-o, a negat VHPQLILFDĠLDGHVFRSHULWă– FHHDFHDGXVODDSDULĠLDFRQIOLFWXOXL
1X D DWLQV vQVă FHO GH-al treilea nivel propus de Anolli, InfaQWLQR úL &LFHUL  vQ
 72

decodarea unui mesaj – touché – FkQG VHQVXO LURQLF vúL DWLQJH VFRSXO LDU GHVWLQDWDUXO
UHFXQRDúWH úL ULSRVWHD]ă VDX VH DPX]ă 0LOLFD QX D DYXW FDSDFLWDWHD Vă GHVFRSHUH PHVDMXO
ironic al vecinilor de pe strada Salcâmilor, ceea ce îQVHDPQăFăGRP’ 3HWULFăúWLHFXP Vă
FRQVWUXLDVFă XQ GLVFXUV LURQLF GLILFLO GH VHVL]DW DúD FXP HVWH GHVFULV GH %HGD $OOHPDQQ
Ä,URQLD OLWHUDUă HVWH FX DWkW PDL LURQLFă FX FkW úWLH Vă UHQXQĠH PDL FRPSOHW OD VHPQDOHOH
LURQLHLIăUăD-úLDEDQGRQDWUDQVSDUHQĠa” (Allemann 1978: 390).

7. Concluzii

,URQLDVH PDQLIHVWăvQ PRGXULYHUEDOHúLQRQYHUEDOHGLIHULWHvQIXQFĠLHGHLQWHUORFXWRULGH

FDSDFLWDWHD DFHVWRUD GH SHUFHSHUH D VHPQLILFDĠLLORU QRQQDWXUDOH GDU úL GH FRQWH[WXO
VLWXDĠLRQDO vQ FDUH DUH ORF VFKLPEXO verbal. ,URQLD IDFH SDUWH GLQ FRQYHUVDĠLLOH QRDVWUH
FRWLGLHQHHVWHRFRPSRQHQWăGLQVWUXFWXUDSHUVRQDOLWăĠLLQRDVWUHúLQHGHILQHúWH
,URQLD vQ VHQV SR]LWLY UHGXFH WHQVLXQHD úL GUDPDWLVPXO OLPLWHD]ă H[SULPDUHD
HPRWLYăPHQĠLQHVDXUHVWDELOHúWHUHODĠLLOHVRFLDOHúLODVăLPSUHVLDXQHLIDOVHDJUHVLYLWăĠLÌQ
VFKLPEvQVHQVQHJDWLYHVWHRFRPXQLFDUHGXSOLFLWDUăFXVHQVRSDFQXUHVSHFWăFRQGLĠLDGH
DGHYăUJHQHUHD]ăLOX]LLDúWHSWăULPDULSURGXFHXQGH]DFRUGvQWUHVHPQLILFDĠLLOHXQXLPHVDM
care se rezROYă SULQ GHVFLIUDUHD DFHVWXLD IRORVHúWH HQXQĠXUL GLVLPXODWH úL UHSUH]LQWă R
VWUDWHJLHGHH[FOXGHUHSHQWUXFHLFDUHQXRvQĠHOHJ
5DLXO JăLQLORU VXVĠLQH DILUPDĠLLOH GH PDL VXV vQWUXFkW SHUVRQDMHOH DFĠLXQHD úL
discursul literar sunt construite într-un registru ironic, favorizat de nostalgia pentru
FRPXQLVP vQ FDUH WUăLHúWH DXWRUXO /XQJX DMXQJH Vă VFULH DSURDSH LPSHFDELO R SRYHVWH vQ
FDUHQXVHvQWkPSOăQLPLFQRWDELOúLvQFDUHSHUVRQDMHOHWUăLHVFUHVHPQDWHDPLQWLUHDHSRFLL
WUHFXWH 3HULRDGD FRPXQLVWă UăPkQH vQFă DWkW SHQWUX 'DQ /XQJX FkW úL SHQWUX PXOĠL DOĠL
SUR]DWRULRVXUVăQHVIkUúLWăGHLQVSLUDĠLH

Surse:

Lungu, Dan, 2007, 5DLXOJăLQLORU(GLĠLDD,,-D,DúL(GLWXUD3ROLURP

5HIHULQĠH

Allemann, Beda, 1978, „De l’ironie en tant que principe littéraire” în Poétique,
36/noiembrie: 309-390.
Anolli, Luigi: Infantino, Maria; Ciceri, Rita, 2001, „«You’re a Real Genius!»: Irony as a
Misscomunication Design”, în New Perspectives on misscomunication, IOS Press,
142-163.
Buduca, Ioan, 1988, 'XSă 6RFUDWH HVHXUL GHVSUH VSLULWXO LURQLF vQ OLWHUDWXUă %XFXUHúWL
(GLWXUD&DUWHD5RPkQHDVFă
Clark, Herbert H. & Richard J. Gerrig, 1984, “On the Pretense Theory of Irony” în Journal
of Experimental Psychology: General, 113(1): 121-126.
Giora, Rachel, 1995, “On Irony and Negation” în Cognitive Linguistics, 7: 239-264.
Grice, Herbert Paul, 1975, “Logic and Conversation”, în Communications, 30:57-72.
Grice, Herbert Paul, 1978, “Further Notes on Logic and Conversation”, în Syntax and
Semantics: Pragmatics, vol. 9, P. Cole (ed.), New York, Academic Press, 183-197.
Grupul μ, 1974, 5HWRULFăJHQHUDOă(GLWXUD8QLYHUV%XFXUHúWL
 73

,RUJXOHVFX 0LUFHD  3UHIDĠă OD URPDQXO 5DLXO JăLQLORU (GLĠLD D ,,-D ,DúL (GLWXUD
Polirom.
Negrea, Elena, 2010, 3UDJPDWLFDLURQLHL6WXGLXDVXSUDLURQLHLvQSUHVDVFULVăURPkQHDVFă,
%XFXUHúWL7ULWRQLF Publishing.
Reboul Anne, Moeschler Jacques, 2001, 3UDJPDWLFD D]L 2 QRXă úWLLQĠă D FRPXQLFăULL,
traducere de Liana Pop, Cluj, Editura Echinox.
Searle, John, 1979, “A Taxonomy of Illocutionary Acts”, în The Philosophy of Language,
HGLĠLDDWUHLD0DUWLQLFK, A.P. (ed.), Oxford University Press, p 141-167.
6WăQHVFX %RJGDQ-$OH[DQGUX  Ä=YRQXUL úL EkUIH vQ 3DUDGLV´ vQ /XFHDIăUXO, 27/14
iulie.
6WXU]D&ăWăOLQÄ1RVWDOJLLúLWUDQ]LĠLL´vQObservator Cultural, 230/iulie.
 74

De tristesse et mélancolie à ယࢀaware– les premières

traductions de poésie moderne française en japonais

Alina-Diana Bratosin
Université de Bucarest

This paper aims to mark out the difficulty of cultural translation. Considering the
records of the first intersection between France and Japan (19th century), this paper
addresses the issue of language insufficiency of one in the face of the different
concepts found in the other – the first French modern poetry translations in
Japanese. The early contact between both French and Japanese is the one this paper
is concerned with, with an emphasis on the translation of the negative emotions,
namely, sadness and melancholy. The paper identifies and discusses two main
obstacles resulting from the aforementioned translation; the conversion of human
feelings, and the conversion of aesthetic concepts.

Keywords: aware, melancholy, sadness, translation, Ueda Bin.

1. Introduction

Dans cet article, nous nous proposons de mettre en évidence un problème de traduction
culturelle, centré sur la traduction des émotions et des sentiments. Pour pouvoir analyser cet
aspect et pour tirer des conclusions par rapport au degré de traductibilité de ces catégories,
la manière de travail que nous adopterons est de comparer les traductions et les textes
originaires. Le fait historique que notre recherche a comme base est le premier contact entre
deux cultures très différentes, celle française et celle japonaise. Nous considérons que c’est
un bon exemple pour notre recherche, car le traducteur n’a pas eu le temps de s’habituer à
la tradition esthétique de la France. Nous avons, donc, à faire avec un cas de traduction
authentique, où le traducteur japonais, Ueda Bin, est mis dans la situation de transférer dans
« l’alphabet » de son propre pays un code culturel et esthétique totalement étrangers.
Notre analyse se limitera à un seul aspect, c’est-à-dire la traduction des sentiments et
des émotions négatives, comme la tristesse et la mélancolie. À la fin de notre travail, nous
voulons trouver une réponse à la question « quel est le niveau jusqu’auquel nous pouvons
considérer l’affect comme universel et où interviennent les différences de typologie
culturelle », notre hypothèse étant la suivante : les traductions, imparfaites d’émotions et de
sentiments, dans notre cas, ne sont pas causées par les différences d’émotions humaines,
mais par le manque d’unité des traditions esthétiques des espaces culturels respectifs et
aussi du lieu que l’affect occupe dans leur structure culturelle.
 75

2. La définition des termes

2.1 Tristesse

Dans le dictionnaire Robert (1989 : 2316), la tristesse est définie de la manière suivante :
« état affectif, provoqué par la douleur, calme et durable; envahissement de la conscience
par une douleur, une insatisfaction ou par un disconfort ». Un groupe de chercheurs,
Bonanno, Goorin, Ciofman (2008 : 797) définit la tristesse comme « une émotion de base,
un état passant qui puisse se prolonger de quelques secondes à quelques heures, provoquée
par une perte et suivie par la résignation ».
En japonais, les termes les plus fréquents, par lesquels nous indiquons le concept de
tristesse, sont ᝒࡋࡉ kanashisa et ᐢࡋࡉ sabishisa. Kanashisa est défini dans le
dictionnaire Nihongo Kokugo Daijiten (1982) par l’expression « avoir le coeur blessé à
cause de la mort / perte de quelqu’un, de la séparation, de l’anéantissement des désirs ou
des espoirs ». Par contre, sabishisa, a les caractéristiques suivantes : « absence,
découragement, manque d’espoir, accompagnés par un état de calme, de tranquillité ».
Les définitions qu’on a vues jusqu’à présent attestent le fait qu’entre les termes mis
en discution avant il n’y a pas de différences majeures, mais seulement des petites nuances,
ce qui nous amène à la conclusion suivante : la tristesse peut être considérée comme un état
affectif de base, commun comme sens, au moins dans les deux espaces culturels dont nous
nous occupons. Les émotions naturelles, de base, peuvent se superposer en totalité.

2.2. Mélancolie

Pendant longtemps, le terme mélancolie a été strictement lié au domaine médical. De la

théorie des humeurs d’Hippocrate, jusqu’à l’association de la mélancolie à la dépression, ou
même avec la folie, seulement des traits négatifs ont été attribués à ce terme (à l’exception
d’Aristote, qui considérait que la mélancolie était le trait des génies (Klibansky 2000 : 218).
Ce statut de la mélancolie change petit à petit, à partir du XVIII-ème siècle, quand,
conformément au dictionnaire Robert (1989), elle reçoit le sens d’« état de tristesse,
accompagnée par la rêverie ».
À l’époque du préromantisme, et puis du romantisme, la mélancolie est revalorisée.
Le terme reste dans le domaine médical, les spécialistes du XIX-ème siècle l’expliquaient
comme « tristesse profonde, dégoût de l’existence, aliénation », mais ce type de sentiment
arrive à être prédominant dans la lyrique française du XIX-ème siècle, en assistant ainsi à
un changement de paradigme, du naturel au culturel, à l’esthétique. L’état de mélancolie
peut être défini comme une tristesse douce, vague, accompagnée de la rêverie, qui fait
plaisir à celui qui la ressent.
En japonais, au moment où Ueda Bin, le traducteur de poésie française, réalise les
traductions, il y avait quelques termes déjà consacrés pour désigner la mélancolie, comme
៧㨚 \njXWVX ou 㨚⑓ XWVXE\ǀ, le premier ayant le sens d’« anxiété, manque de sécurité, un
état qui puisse mener au suicide », et le deuxième renvoie déjà à la maladie, à cause du
suffixe E\ǀ (Nihongo kokugo daijiten 1982).
Il y a, entre les deux espaces culturels, une petite différence par rapport à la
définition de la mélancolie. Celle du français a déjà, dans son sémantisme, les traits [+
poétique], [+ esthétique] qui dépassent la sphère du naturel. La différence s’accentuera,
parce que nous nous rendons compte que les japonais ont, dans leur vocabulaire, des termes
qui séparent l’humain de l’esthétique, le naturel du culturel.
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Pour équivaloir les émotions et les sentiments culturels, le traducteur dont nous nous
occupons fait appel à l’esthétique japonaise classique, car les termes existants à l’époque
n’avaient pas de connotations esthétiques. C’est ainsi qu’il équivaut beaucoup d’émotions
négatives par aware, un concept spécifique japonais, qui a des sens très variés et différents,
comme nous verrons tout de suite.

2.3. Aware

Aware, affirme Hisamatsu (1963), apparaît analysé, pour la première fois, dans la préface
de l’anthologie de poésie Kokinshnj, où Ki no Tsurayuki le définit comme un sentiment
ressenti devant ce qui impressionne fortement, grâce à la valeur artistique. Le deuxième
sens désigne le manque de force qui, de son point de vue, caractérisait les poèmes d’Ono no
Komachi. Dans le texte théorique d’Hisamatsu (1963), l’aspect pluraliste d’aware est mis
en évidence. Le concept peut faire référence aussi au pathos ou à la mélancolie, comme au
charme ou à l’affection. L’utilisation d’aware désigne les impressions fortes devant les
choses infimes. Mais cela, nous osons le dire, n’exclut pas du tout la possibilité
d’expression des émotions à la suite des événements d’importance majeure, par le terme
aware. Ceux-ci ne sont pas nécessairement positifs, et comme exemple, nous pouvons nous
arrêter sur l’affirmation de Norma Field (1987 : 299), qui dit qu’aware comprend la
profondeur de l’amour « interdit et inévitable ». Un autre trait d’aware et, probablement, le
plus important est l’harmonie, l’équilibre qui s’établit entre les mots et les sentiments, entre
forme et contenu, entre raison et émotion (Hisamatsu 1963 : 16).
Au XVIII-ème siècle, celui qui écrit une étude consacrée à ce concept, est Motoori
Norinaga, celui qui le définit comme « entrée en contact du cœur-esprit avec la réalité
extérieure; avoir la capacité d’être ému par une variété de sentiments, de la joie à la
tristesse, en attirant l’attention qu’il y a une tendance de confondre aware avec la tristesse,
ce qui est une erreur, car pas seulement la tristesse, mais tout ce qui représente des
sentiments intensifs est aware » (Motoori 2011 : 216).
En synthétisant les définitions du concept, nous pouvons affirmer qu’aware est un
concept esthétique qui peut être défini par un état d’émotion qui peut être provoqué par
l’entrée en contact avec l’objet esthétique. Cet état peut être, aussi bien la tristesse, que la
joie, l’élégance, le raffinement, le pathos ou la mélancolie. Aware prédomine dans la
culture japonaise classique (VIII-ème–XII-ème siècle) mais à travers les siècles, son sens
initial ou originaire ne s’est pas perdu, mais il s’est enrichi.

3. La place de l’affect dans les deux espaces culturels

3.1. L’affect – une catégorie culturelle ?

Le sujet de la qualité des émotions et des sentiments comme catégorie culturelle a été
discuté aussi bien par les linguistes, que par les anthropologues, et leurs points de vue
suivent deux directions. Une partie considère que les émotions sont une catégorie culturelle,
que la manière dont nous sentons est déterminée par la culture dans laquelle nous avons été
élevés, et l’autre direction soutient le fait que les émotions sont universelles et que la
culture d’où nous provenos ne change pas la manière dont nous sentons, s’il s’agit des
émotions de base, comme la tristesse, la joie, la colère (Lutz 1986).
Notre point de vue par rapport aux directions est le suivant: l’affect ne représente
pas seulement une catégorie culturelle, mais une qui puisse être définitoire pour la
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typologie d’une culture. Mais, en regardant tout cela d’une perspective psychologique, les
facteurs qui produisent les émotions, et aussi la manière dont l’individu est affecté, peuvent
occuper dans une certaine culture, une place différente, en fonction de la structure culturelle
et de l’évolution du concept dans la culture respective, mais aussi du niveau que l’affect
occupe dans l’étage supérieur de la vie, celui esthétique ou spirituel.

3.2. L’affect dans la structure culturelle occidentale

Pour mettre l’accent sur la principale différence en ce qui concerne la typologie des cultures
à l’aide des émotions et des sentiments, la théorie que nous voulons mettre en évidence est
celle de Thomas Kasulis (2002). Le philosophe fait une taxinomie des cultures, en les
groupant dans deux catégories : intégristes et intimistes. Celles intégristes, comme
l’occidentale, sont caractérisées par le dualisme. Les dichotomies raison/affect; corps/esprit,
etc. mettent en évidence le fait que l’affect est une catégorie indépendante, en antithèse
avec la raison. En synthétisant les traits des cultures intégristes, Kasulis (ibidem) affirme
que pour celles-ci les sentiments et les émotions représentent un obstacle pour connaître la
vérité. La même idée est soutenue par Lutz (1986), qui considère cette caractéristique
définitoire pour la manière de penser des occidentaux. C’est ainsi que pendant longtemps,
dans la culture occidentale, les sentiments et les émotions ont été connotés négativement,
parce qu’ils étaient responsables de mener les gens vers des erreurs de jugement ou vers des
actions irrationnelles. En plus, l’affect détermine des actions manquant d’intentionnalité
pour lesquelles l’individu ne peut pas être responsable. Tout le caractère négatif s’intensifie
à cause du fait que les émotions excessives sont considérées une caractéristique de la
faiblesse, mais aussi de la féminité.

3.3. L’affect dans la structure culturelle japonaise

Dans les cultures du type intimiste, comme celle japonaise, l’affect n’est pas une catégorie
autonome, mais il fait partie de la capacité de l’individu de connaître. L’accent est mis ici,
dans la même mesure, sur l’intellect, mais aussi sur l’expérience ou sur la sensibilité. Le
sujet et l’objet épistémologiques se superposent, et la connaissance résulte de
l’identification de ces deux concepts. Au fait, nous pouvons oser affirmer que l’importance
que les japonais accordent à l’affect, dans le processus de la connaissance est vraiment plus
grande que celle accordée à l’intellect ou à l’expérience. Hajime Nakamura (1971 : 531)
affirme que les japonais ont la tendance « d’être intuitifs, et les formes d’expression du
japonais sont orientées beaucoup plus vers l’émotion et la sensibilité que vers la logique ».
ᚰkokoro, le cœur-esprit, est la partie responsable de la capacité de penser, mais aussi de
sentir. Et l’intuition, que Nakamura considère comme l’un des traits représentatifs de la
manière de penser des japonais, atteste le fait que la sensibilité occupe une place plus
importante que l’intellect.

4. Le texte originaire et la traduction. Équivalence et modification de sens

Dans ce chapitre, nous analyserons la manière dont Ueda Bin équivaut la tristesse et la
mélancolie de la lyrique française. Par rapport aux auteurs, le traducteur choisit une
manière différente d’exprimer en japonais les images artistiques qui comprennent les
émotions ou les sentiments esthétiques. Nous retrouvons, par exemple, chez Baudelaire,
l’équivalence de la mélancolie avec aware, qui transmet des émotions très intensives. Pour
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d’autres poètes, il n’y a pas un chargement d’émotions si fort, et les termes sont équivalus
en utilisant les émotions, les sentiments naturels.
Ueda Bin émet un jugement de valeur, car il n’y a que cinq poètes français, ou
d’expression française (Charles Baudelaire, Leconte de Lisle, Jean Moréas, Émile Verhaern
et Henri de Régnier), pour lesquels il considère approprié le terme aware. Pour les autres, le
plus souvent, ce sont les termes sabishisa ou kanashisa qui sont utilisés.
Avant de commencer l’analyse proprement dite, il est nécessaire de faire une courte
introduction sur la manière dont Ueda Bin réalise les traductions. Jean Toyama (1989 : 65)
considère qu’Ueda Bin ne s’éloigne pas du tout de la poétique traditionnelle, même s’il
traduit de la poésie moderne, car il met sur les structures déjà connues, des éléments
nouveaux, d’origine occidentale. Le but du traducteur est d’essayer d’obtenir pour les
lecteurs, le même état mental du poète. Pour cela, il fait appel aux symboles pour avoir le
même effet que celui du texte originaire. Nakaji Yoshikazu (2000), ajoute deux autres
caractéristiques des traductions d’Ueda Bin, c’est-à-dire le raffinement du langage et la
transposition des images poétiques occidentales sur la structure de l’imaginaire japonais.
On doit aussi mentionner que le volume de traductions d’Ueda Bin est paru en 1907,
et ses choix linguistiques sont déterminés par le fait qu’à l’époque il n’y avait pas de termes
consacrés pour exprimer les images poétiques les plus proches du texte originaire.

4.1. Charles Baudelaire

Par rapport à Baudelaire, Ueda Bin écrivait que la tristesse retrouvée dans ses poèmes est
d’un niveau supérieur, qui renvoie aux vieux poèmes d’amour. Il y a, donc, une justification
pour le choix des termes à forte connotation esthétique par lesquels Ueda Bin équivaut les
sentiments des poésies de Baudelaire.
Pour exemplifier, nous porterons l’attention sur un vers d’Harmonie du soir:

Valse mélancolique et langoureux vertige

࣡ࣝࢶ ࡢ ⯙ ࡢ ယࢀ ࡉ ࡼࠊ ⑂ࢀ ೏ࡳ ࡓࡿ

valse part. danse part. aware suf. part. fatiguer perdre aux.perf.
╆ᬥ ࡼ
vertige part.
(trad.) L’aware de la danse et le vertige langoureux

La poésie, en soi, est un peu atypique pour la lyrique de Baudelaire, car son
atmosphère n’est pas du tout pesante, mais, par contre, la mélancolie est légère, même
agréable. Elle induit un état de rêverie, de légèreté. Dans ce contexte apparaît aware, qui
amplifie le degré esthétique, en changeant le sens originaire. Nous pourrions dire même que
les deux vers sont dans un rapport d’opposition, car l’atmosphère légère ne se retrouve pas
dans le texte en japonais. Le seul trait sémantique commun est l’émotion esthétique, la
transformation de la mélancolie, comme état strictement humain, dans un état qui
transcende le quotidien, en arrivant dans la sphère des émotions supérieures.
Dans un autre vers de ce poème apparaît aussi le mot triste, qui n’est pas, cette fois-
ci, connoté esthétiquement :
Le ciel est triste et beau comme un grand reposoir
⚄㍿ ࡢ ྎ ࢆ ࡉ࡞ࡀࡽ ࡢ 㞼 ᝒࡳ
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mikoshi part. plate-forme part. comme part nouage

être triste
࡚ Ⰿࡔࡕ ࡠ
part. être charmant aux. perf.
(trad.) Les nuages sont tristes et charmants comme la plate-forme du mikoshi.

L’opposition esthétique – neutre est mieux illustrée dans un autre poème, La cloche
fêlée, où les vers suivants sont ainsi équivalus
Il est amer et doux, pendant les nuits d’hiver
ᝒࡋࡃ ࡶ ࡲࡓ ࠶ࡣࢀ࡞ࡾࠊ ෤
triste part. aussi aware hiver
ࡢ ኪ ࡢ ᆅ∄ ࡢ ୗ ࡟
part. nuit part. cheminée part. sous part.

D’écouter, près du feu qui palpite et qui fume

⇞࠼࠶ࡀࡾࠊ⇞࠼ ┗ࡁ ࡟ ࡓࡿ ᰘ ࡢ

brûler s’élever brûler réduire aux.perf. aux.perf. bois

part.
ⅆ ࡟ ⪥ ഴࡅ࡚
feu part. oreille pencher

(trad.) C’est triste et aware de rester pendant les nuits d’hiver

L’oreille penchée au feu qui s’élève et qui brule lentement

Les vers ci-dessus représentent très bien la différence entre les sentiments naturels et
les sentiments culturels. La manière dont Ueda Bin reconstruit le texte de Baudelaire met
dans une relation de complémentarité aware et la tristesse, de la même façon que dans le
texte originaire il y a l’opposition amer–doux. Cela nous fait interpréter dans deux manières
son choix. La première est une relation claire de complémentarité qui apparaît entre les
sentiments humains et ceux esthétiques, où la tristesse est élevée dans la sphère supérieure,
étant en rapport avec aware. Puis, il est possible d’interpréter l’opposition entre les
sentiments agréables non-catégorisés (doux), qui créent un tableau proche de celui
originaire, mais qui ne s’y superpose pas parfaitement, car aware est un concept à impact
beaucoup trop fort pour être synonyme du mot doux. C’est vrai que, parmi les premières
utilisations de ce terme il y avait celle qui renvoyait aux poèmes d’Ono no Komachi,
caractérisée par la douceur, la féminité, mais les poèmes de Baudelaire ne font pas partie du
même paradigme esthétique. Par contre, la tonalité est grave, il n’y a rien de la légèreté
mélancolique qui caractérisait les vers d’Harmonie de soir.
Dans ce poème aussi, aware a encore deux occurrences, les deux intensifiant la
gravité de la tonalité du texte, ainsi que l’impact émotionnel exercé sur le lecteur.

Il arrive souvent que sa voix affaiblie

ࡼ࠾ࢃࡈ࠼
ぬ᮰࡞࠸ࠊ 㡢 ࡟ ࡇࡑ ࡓ࡚ࢀࠊ ;ᙅ⫆ EA

࡯ࡑࡡ
ࡢ ;⣽㡢 EA
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vague son part. part. élever voix affaiblie part. son affabli

ࡶ ယࢀ
part. aware
(trad) Le son s’élève indistinctement, le son de sa voix affaiblie est aware.

Dans ce vers, la présence d’aware confère, de nouveau, une tonalité très forte, où le
son connaît un développement dichotomique, formé de la faiblesse et de l’émotion ressentie
à la suite de celle-ci. Dans le texte japonais, il y a déjà trois termes qui renvoient au sens du
mot affaiblie:ぬ᮰࡞࠸obotsukanai, ᙅ⫆yowagoe et ⣽㡢hosone. Aware renforce l’idée
d’émotion esthétique, et sa présence attire sur soi-même toute l’attention du lecteur.
Le terme apparaît encore une fois, dans la troisième strophe. Ici, tout devient
d’autant plus intéressant, car aware ne surprend pas le sens d’un mot, mais celui d’une
image entière.

Semble le râle épais d’un blessé qu’on oublie

Au bord d’un lac de sang, sous un grand tas de morts
Et qui meurt, sans bouger, dans d’ immenses efforts

ယࢀ࡞ࡿ ⮫⤊ ࡢ ⫆ ࡣࠊ ⾑ ࡢ Ἴ ࡢ
aware dernière souffle part. voix part. sang part. vague part.
† ࡢ ᓊ
lac part. bord de mer

ᑠ ᒣ ࡞ ࡍᒈ ࡢ ୗ ࡟ࠊ㌟ື
tas faire cadavre part. sous part. mouvement

࡞ ࡽ࡛ Ṛ ࡍ ࡿࠊ
ne pas être mourir

Რ ࡚ ࡽ ࢀ ࡋ ㈇ യࡢ ර ࡢ ᜥ ⤯ ࡺࡿ
jeter aux.pasif aux. passé blessure part. soldat part. souffle finir
ࡋࢇࡂࢇ
⤊ ࡢ ;࿦ྫྷ EA ࠿ ࠋ
fin part. gémissement part.
(trad.) Aware est le dernier souffle sur le bord d’un lac de sang
D’un corps sous un tas de cadavres
Le gémissement fini d’un soldat blessé et abandonné

Dans ces vers, aware est compris comme le spleen Baudelairien Mis exactement au
débout de la phrase, il met en évidence l’image forte qui le suivra. L’image sombre,
morbide, pour laquelle aware est utilisé n’a rien à faire avec la mélancolie légère de
l’Harmonie du soir. La tristesse est pesante, les images visuelles ont un impact fort, êtant
mises en évidence par la dureté, par les scènes extrêmes illustrant la mort, le tragique, la
souffrance. Mais l’utilisation d’aware dans des contextes si différents comme intensité,
montre le fait que c’est difficile à catégoriser. Nous avons rencontré, dans la traduction des
poèmes de Baudelaire, des vers où il représentait la mélancolie, le plaisir de la tristesse
(amer et doux) et aussi le spleen. Les contextes d’une intensité si différente rendent presque
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impossible l’équivalence avec la tristesse ou la mélancolie européennes car les traits

sémantiques superposables sont insignifiants. L’idée d’émotion esthétique est présente
dans tous les segments, mais de notre point de vue, le sens le plus proche d’aware est
celui du spleen, car c’est le seul caractérisable par un état de mélancolie et de tristesse
profonde, où l’état n’est pas une conséquence des événements personnels, mais du monde
extérieur. Un état profond, provoqué par des images fortes, qui émettent, à leur tour, une
émotion intensive.

4.2. Leconte de Lisle

Le deuxième poète avec lequel Ueda Bin associe le concept aware, mais pas d’une
manière si prégnante, comme au cas de Baudelaire, est Leconte de Lisle. Le terme apparaît
une seule fois, dans la traduction de Midi, mais le syntagme où l’on retrouve atteste la
difficulté d’être encadré dans une certaine catégorie esthétique, et aussi la diversité des
émotions qu’il comprend dans son sémantisme.

Homme, si, le coeur plein de joie ou d’amertume

ே ࡼࠊ ∞ ࡢ ᚰ୰ ࢆࠊ ႐ ᛣ ယ ᵹ
homme part. tu part. coeur part joie colère aware plaisir

࡟ ஠ࡉ ࢀ ࡚ࠊ
part. déranger aux. passif part.
(trad.) Homme, le coeur troublé de joie, de colère, d’aware ou de plaisir

Dans ce fragment, il y a deux possibilités d’interprétation de l’utilisation d’aware.

La première est l’approche de l’esthétique du côté humain, étant un des états qui caractérise
l’hommne. Il s’agit ici d’une situation inverse, par rapport à la majorité des cas, où les
sentiments, les émotions négatives étaient élevées au statut d’émotions esthétiques. La
deuxième interprétation est celle de l’utilisation d’aware comme intensificateur, car les
termes du texte originaire sont équivalus par des mots neutres, le sens n’ayant pas de
connotations esthétiques. Les deux mots, joie et amertume, sont très bien équivalus par
aware, l’atmosphère du texte devient grave et se concentre ici, dans ce vers.

5. Conclusions

Dans cet article, nous avons essayé de suivre jusqu’à quel point l’affect peut être considéré
une catégorie universelle. La première conclusion sur laquelle nous voulons nous arrêter est
que l’universalité des sentiments ne peut pas exister que dans la sphère qui ne dépasse pas
l’humanité. Parce qu’une fois que l’on s’arrête sur le côté esthétique, les différences de
structure culturelle commencent à se montrer. C’est pourquoi on a mis en évidence la place
que l’affect occupe dans la structure culturelle de l’Occident et du Japon. À l’Occident
rationnel, l’affect peut être connoté négativement, car il y a l’idée qu’il peut troubler le
jugement clair. Par contre, au Japon, les sentiments et les émotions sont placés sur la même
place que l’intellect. Comme nous avons déjà vu, l’intuition est considérée comme la plus
importante caractéristique de la manière de penser des japonais, ce qui atteste la place
importante occupée par l’affect dans la culture japonaise.
Revenant aux émotions esthétiques, il faut préciser que l’incompatibilité de la
traduction est due à la différence de l’évolution de l’affect en France et au Japon. Les
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termes exprimant de diverses émotions esthétiques sont différemment connotés, par rapport
à l’étape de développement de la littérature et de l’esthétique. Donc, nous pouvons affirmer
que la principale caractéristique des émotions et des sentiments esthétiques de la culture
européenne est la nécessité de se rapporter toujours au contexte. Les émotions deviennent
supérieures si elles se retrouvent dans le contexte poétique. En ce qui concerne le Japon, la
différence entre naturel et culturel est marquée plus évidemment, parce qu’il y a des termes
consacrés pour les sentiments et les émotions esthétiques, comme aware. Un tel terme
comprend une quantité impressionnante d’émotion supérieure, que sa simple présence attire
l’attention des lecteurs, en devenant l’essence, le noyau de l’expression littéraire. Un vers
contenant aware intensifie les sentiments exprimés et met en évidence tout simplement
l’idée d’émotion. Ici intervient le deuxième problème dans l’équivalence des sentiments ou
des émotions, car aware a un sens très large, comprenant les émotions les plus diverses, de
la tristesse la plus profonde à la joie la plus impétueuse. Il est parfois associé aux émotions
négatives, car elles troublent plus fortement que celles positives, et sa profondeur peut être
mieux sentie. À cause de ces inadéquations de substrat culturel, la traduction des sentiments
négatifs de la culture occidentale par aware est appropriée à moitié.
De toutes les émotions négatives, le plus proche du sens du terme aware semble être
le spleen baudelairien, parce qu’il a une forte connotation esthétique, plus détachée de la
sphère de l’humain. Les autres termes, comme sabishisa ou kanashisa, peuvent être utilisés
pour traduire les sentiments strictement humains.
Ueda Bin veut produire le même effet sur le lecteur que celui du texte originaire, et
il le réussit, mais la traduction ne peut pas être exacte, à cause des différences de structure
et d’histoire esthétique.

Sources :

Baudelaire, Charles, 1987, Le spleen de Paris, Paris, Flammarion.

Bin, Ueda, 1998, =HQ\DNXVKLVKnj (඲ヂリ㞟), Tokyo, Iwanami shoten.
Lisle, Leconte de, 1929, Œuvres, Paris, A. Lamerre.

Références :

Bonnano, George, Goorin, Laura, Ciofman, Karin, 2008, “Sadness and Grief”, in Lewis,
Haviland-Janes, Jannette, Barrett, Lisa Feldman (eds.), The Handbook of Emotions,
New York, Guilford Press, 789-811.
Field, Norma, 1987, The Splendor of Longing in the Tale of Genji, Princeton, Princeton
University Press.
Hisamatsu, Sen’ichi, 1963, The Vocabulary of Japanese Aesthetics, Centre for East Asian
Cultural Studies, 12-21.
Kasulis, Thomas, 2002, Intimacy or Integrity, Honolulu, University of Hawaii Press.
Kindaichi Kyosuke, Nishio Minon et al., 1982, Nihon kokugo daijiten
(᪥ᮏㄒᅜㄒ኱㎡඾), Tokyo, Shogakukan.
Klibanski, Raymond, Panofsky, Erwin, Saxl, Fritz, 2002, 6DWXUQúLPHODQFROLD, traducere de
Miruna Tataru-Cazaban, Bogdan Tataru-&D]DEDQúL$GHOD9DHWLVWL,DúL3ROLURP
Lutz, Catherine, 1986, “Emotion, Thought and Estrangement : Emotion as a Cultural
Category”, Cultural Anthropology, 1 (3): 289-309.
 83

Motoori, Norinaga, 2011, “Mono no aware”, in Heising, James, Kasulis, Thomas, Maraldo,
John (eds.), Japanese Philosophy. A Sourcebook, Honolulu, University of Hawaii
Press, 472-493.
Nakaji, Yoshikazu, 2000, « Aspiration et invention : les poètes japonais et la France » in
Cahiers de l’Association Internationale des Etudes Françaises, 53/2001 : 37-46.
http://www.persee.fr/web/revues/home/prescript/article/caief_0571-
5865_2001_num_53_1_1407
Nakamura, Hajime, 1971, Ways of Thinking of Eastern Peoples, Honolulu, University of
Hawaii Press.
Robert, Paul, 1989, Le Grand Robert de la langue française, Paris, Le Robert.
Toyama, Jean, 1989, “Intertextuality and the Problem of Translation: A Study of Two
Translations of Paul Verlaine’s Chanson d’automne”, in Moore, Cornelia Niekus,
Moody, Raymond (eds.), Comparative Literature. East and West, Honolulu,
University of Hawaii Press, 65-70.
 84

'HL[LVvQSRH]LDURPkQHDVFăSRVWPRGHUQă

Beatrice Diana Burcea

Universitatea din Craiova

My contribution deals with the phenomenon of deixis as a major pragmatic aspect of

communication. It starts with a review of the theoretical positions – definition,
typology – representative for the main topic, and it outlines a few of the implications
of the deictic projection on the postmodern poetic text. I have further identified the
deictic marks of enunciation (such as the dialogism of the enunciative voices, the
reported discourse) as forms of discursive subjectivity in the work of contemporary
Romanian poet Daniel 3LúFX.

Keywords: deixis, discourse, enunciation, pragmatics, voice.

1. Introducere

7HRULDVXELHFWLYLWăĠLLOLPEDMXOXLHODERUDWăGH(PLOH%HQYHQLVWHDJHQHUDWDERUGăULDQDOLWLFH
variate – Catherine Kerbrat-Orecchioni (1980), Jean Cervoni (1987), Mieke Bal (1997) etc.
6WXGLLOHFRQVDFUDWHGH%HQYHQLVWHVXELHFWLYLWăĠLLOLPEDMXOXLSURQXPHORUSHUVRQDOHUHODĠLHL
GLQWUH SURQXPHOH SHUVRQDOH úL SHUVRDQD YHUEXOXL LQVWLWXLULL FDWHJRULHL ÄWHPSRUDOLWăĠLL´ vQ
OLPEDM DX UHOLHIDW QDWXUD HJRFHQWULFă D OLPELORU QDWXrale. Raportarea la deicticul de
SHUVRDQăeu úLODPRPHQWXOURVWLULLDFHVWXLDHVWHRFRQGLĠLHsine qua non DHQXQĠăULL
Fenomenul deixis 1-XOXLHYLGHQĠLD]ăUHODĠLDGLQWUHOLPEăúLFRQWH[W&DWHJRULDdeixis-
14F

XOXL D IRVW UHYHQGLFDWă GHRSRWULYă GH VHPDQWLFă úL GH SUDJPDWLFă ,QFOXGHUHD vQ VIHUD
VHPDQWLFLL HVWH PRWLYDWă SULQ WHQGLQĠD DFHVWHL GLVFLSOLQH GH D LQFOXGH WRDWH DVSHFWHOH
FRQYHQĠLRQDOH DOH vQĠHOHVXOXL ,QFOXGHUHD vQ VIHUD SUDJPDWLFLL HVWH PRWLYDWă GH UHIHULQĠD
GLUHFWă OD UHODĠLD GLQWUH VWUXFWXUD OLPELL úL FRQWH[WXO XWLOL]ăULL 8QLL FHUFHWăWRUL /HYLQVRQ
 RSWHD]ă SHQWUX VLWXDUHD GHL[LV-XOXL SH OLQLD GH GHPDUFDĠLH GLQWUH VHPDQWLFă úL
SUDJPDWLFă'LQFRORGHDFHVWHFRQWURYHUVH

„the important point, wherever the pragmatics / semantics boundary is drawn, is that
deixis concerns the encoding of many different aspects of the circumstances
surrounding the utterance, within the utterance itself. Natural language utterances
are thus ‘anchored’ directly to aspects of the context” (Levinson 1983: 55).

5HIHULQĠD HVWH R SUREOHPă FDUH L-D SURFXSDW GHRSRWULYă SH ILORVRIL úL SH OLQJYLúWL
)LORVRILLDXIRVWSUHRFXSDĠLGHPRGXOvQFDUHVHIDFHRUHIHULQĠăFRUHFWăODRSHUVRDQăVDXOD
XQRELHFWOLQJYLúWLLvQVFKLPEDXIRVWSUHRFXSDĠLGHPRGXOvQFDUHRSHUVRDQăSRDWH stabili

1gr. deixis ÄDFĠLXQHDGHDDUăWDDUăWDUHRVWHQWDĠLHLQGLFLXGRYDGă´deictic, adjectiv (Lyons 1995);

deixis, substantiv (Dubois et al. 1973).
 85

UHIHULQĠHDeixis-XOFDDVSHFWHVHQĠLDODORUJDQL]ăULLSUDJPDWLFHDGLVFXUVXOXLDDWUDVDWHQĠLD
DVXSUD GDWHORU FRQFUHWH DOH VLWXDĠLHL GH FRPXQLFDUH FDUH GHWHUPLQă UHIHULQĠD XQRU
componente dintr-XQ HQXQĠ ÌQ OXFUăULOH GH VSHFLDOLWDWH D IRVW DFFHSWDWă LGHHD RUJDQL]ăULL
egocentrice a deixis-ului (Lyons 1995; Levinson 1983; Benveniste 1966).
ÌQ VWXGLXO GH IDĠă QH SURSXQHP R GXEOă DERUGDUH – WHRUHWLFă úL DSOLFDWLYă – a
IHQRPHQXOXL HYLGHQĠLLQG PăUFLOH úL IXQFĠLLOH deixis-XOXL FDUH GDX VHDPă GH LQVWituirea
vocilor lirice.

2. Paradigme teoretice

S-DREVHUYDWFăLQWHUSUHWăULOHILORVRILFHSVLKRORJLFHOLQJYLVWLFHQXDXHSXL]DWFRPSOH[LWDWHD
úL YDULHWDWHD HxSUHVLLORU GHLFWLFH IUHFYHQWH vQ OLPELOH QDWXUDOH /XFUăUL LPSRUWDQWH vQ
GRPHQLX DSDUĠLQkQG XQor autori precum: Buhler (1934), Frei (1944), Fillmore (1966),
Lyons (1968), Benveniste (1966, 1974) etc., au deschis noi perspective în abordarea
categoriei deixis-ului (Kerbrat-Orecchioni 1980; Kleiber 1986; Maingueneau 2005).
Referitor la bazele definiULL DFHVWHL FDWHJRULL YDVWH *HRUJHV .OHLEHU REVHUYD Fă
GHLFWLFHOHDXVWDWODRULJLQHDDGRXăHYROXĠLLLPSRUWDQWHvQOLQJYLVWLFă

„[…] l’abrogation du dogme saussurien langue-discours, avec le cap mis sur les
terres de l’énonciation, et l’avènement de la pragmatique par l’élargissement de la
sémantique vériconditionnelle aux phrases hébergeant les déictiques” (1986: 4).

2ULHQWăULOH WHRUHWLFH DX YL]DW GRXă PDUL GLUHFĠLL GH FHUFHWDUH FHD DPHULFDQă –
IXQGDPHQWDWă SH VWXGLXO OXL - %DU-+LOOHO  úL FHD FRQWLQHQWDOă – IXQGDPHQWDWă SH
VWXGLLOH OXL %HQYHQLVWH  *kQGLUHD DPHULFDQă HVWH PDUFDWă GH GLVWLQFĠLLOH
IXQGDPHQWDOH RSHUDWH GH &6 3HLUFH vQWUH WLS  RFXUHQĠă úL VLPERO  LQGH[ 'LVRFLHULOH
PHQĠLRQDWH L-au inspirat lui J. Bar-Hillel definirea deicticelor drept „expresii indexice”,
PRWLYDWăSULQIDSWXOFăDFHVWHDSUHVXSXQRÄDVRFLHUHH[LVWHQĠLDOă´DXQXLVHPQFXUHDOLWDWHD
UHSUH]HQWDWă6HPQXOHVWHFRQVLGHUDWFDÄRFXUHQĠăúLQXFDWLS´,RQHVFX-5X[ăQGRLX
*kQGLUHDHXURSHDQăHVWHPDUFDWăGH WH]DOXL%HQYHQLVWHFRQIRUPFăUHLDOLPEDMXORIHUă
VHPQHÄJRDOH´QRQUHIHUHQĠLDOHvQUDSRUWFXUHDOLWDWHD

Ä/LPEDMXO D UH]ROYDW DFHDVWă SUREOHPă SULQ FUHDUHD XQXL DQVDPEOX GH VHPQH
JRDOH! IăUă UHIHUHQW vQ UHDOLWDWH! RULFkQG OD vQGHPkQă úL FDUH GHYLQ <pline> de
vQGDWă FH XQ ORFXWRU úL OH DVXPă vQ ILHFDUH LQVWDQĠă D GLVFXUVXOXL VăX´ %HQYHQLVWH
2000: 242).

)XQFĠLDDFHVWRUIRUPHSURQRPLQDOHVHUHIOHFWăvQFDGUXOFRPXQLFăULLLQWHUVXELHFWLYH
1HDYkQG UHIHULQĠă FRQFUHWă VXQW DEVROYLWH GH FRQGLĠLD GH DGHYăU $FHVWH IRUPH SHUPLW
conversia limbajului în discurs. Semnul unic eu este mobil, fiind asumat de fiecare locutor
vQH[HUFLĠLXOOLPEDMXOXL
ÌQ FHUFHWăULOH UHFHQWH GLQ VSDĠLXO IUDQFH] GHLFWLFHOH VXQW GHVHPQDWH FD XQLWăĠL
OLQJYLVWLFHDFăURUIXQFĠLRQDUHsemantico-UHIHUHQĠLDOăLPSXQHLPSOLFDUHDDQXPLWRUHOHPHQWH
FRQVWLWXWLYH DOH VLWXDĠLHL GH FRPXQLFDUH DFWDQĠLL HQXQĠăULL úL VLWXDĠLD VSDĠLR-WHPSRUDOă D
locutorului (Kerbrat-2UHFFKLRQL'LQDFHDVWăSHUVSHFWLYăGHILQLĠLDOXL-HVSHUVHQ 1 15 F

pentru deictLFH HVWH FRQVLGHUDWă LQDFFHSWDELOă ÌQWU-R VLWXDĠLH GH FRPXQLFDUH YDULD]ă

1ÄRFODVăGHFXYLQWHDOFăURUVHQVYDULD]ăvQIXQFĠLHGHVLWXDĠLH´-HVSHUVHQ-124).
 86

UHIHUHQWXO XQHL XQLWăĠL GHLFWLFH úL QX VHQVXO DFHVWXLD $ILUPDĠLD OXL %HQYHQLVWH FRQIRUP
FăUHLDSURQXPHOHQXHVWHGHFkWRIRUPăYLGăvQDIDUDGLVFXUVXOXLSURSULX-zis), este respinVă
1LFL IRUPXODUHD OXL 3 5LFRHXU   SRWULYLW FăUHLD SURQXPHOH SHUVRQDOH VXQW vQ
H[FOXVLYLWDWH ÄDVHPLFH´ QX HVWH DFFHSWDWă &RQVLGHUkQGX-OH HVHQĠLDO IXQFĠLH GH GLVFXUV
5LFRHXUFRQIXQGăVHQVXOFXUHIHUHQWXOÄ/HSURQRPVSHUVRQQHOVVRQWHQUpDOLWé, avant toute
actualisation discursive, sémantisés (ainsi peuvent-ils être traduits dans les dictionnaires
bilingues)” (Kerbrat-Orecchioni 1980: 37).
3UREOHPDFRQWURYHUVDWăDGHLFWLFHORUFDIRUPHYLGHGHVHQVHVWHUHOXDWăSROHPLFGH
Kleiber (1986: 8-10). $VWIHO DILUPDĠLD OXL %HQYHQLVWH 1 UDGLFDOL]DWă GH 3DXO 5LFRHXU 2,
16F 17F

H[SOLFDWăSULQGLIHUHQĠDÄGHQRWDWLYă´GLQWUHXQLWăĠLOH[LFDOHVWDQGDUGúLGHLFWLFHQXLVHSDUH
HGLILFDWRDUHGHRDUHFHHVWHGRDURGLIHUHQĠăGHJUDGúLQXRRSR]LĠLHWUDQúDQWă'HDVHPHQHD
FKLDUGDFăQXDXVHQVGHLFWLFHOHQXSRWILXWLOL]DWHRULFXPGHSLOGăXQXOvQORFXOFHOXLODOW
Kleiber are rezerve asupra tezei referitoare la sensul non-descriptiv al deicticelor,
FRQIRUPFăUHLDDFHVWHDDXXQVHQVGDUQXDXWUăVăWXULGHQRWDWLYH(VWHYDORUL]DWăSDUĠLDOWH]D
OXL %HQYHQLVWH UHIHULWRDUH OD GHLFWLFH FD IRUPH YLGH 'DFă QXPHOH vQ X]DM VH UHIHUă OD R
QRĠLXQH FRQVWDQW RELHFWLYă vQ VFKLPE ÄMH´ QX FRQVWLWXLH R FODVă GH ÄUHIHULQĠă´ .HUEUDW-
Orecchioni subliniase, în termenii lui Lyons 3 Fă XQLWăĠLOH QRQ-deictice au un denotatum
18F

UHODWLYVWDELOvQWLPSFHXQLWăĠLOHGHLFWLFHFKLDUGDFăSULPHVFvQGLVFXUVXQUHIHUHQWVSHFLILF
WRWXúL QX SRVHGă vQ OLPEă denotatum VSHFLILF   ÌQ UHSOLFă .OHLEHU VXVĠLQH Fă
GHLFWLFHOHDXWUăVăWXULGHVFULSWLYHGHPRQWkQGWHRULDIUDQFH]ăDVXSUDVHQVXOXLDGHVFULSWLYDO
acestora:

„[...] les gestes et autres indications ostensives et localisantes ne sont pas capable à
eux seuls d’assurer, comme les philosophes et logiciens l’ont bien compris (cf. W. v.
O. Quine), l’identification référentielle. La partie descriptive que comportent les
déictiques fournit, non pas l’identification particulière du référent visé, mais joue le
role d’un filtre: elle élimine tel ou tel type de référents possible de la situation
d’énonciation” (Kleiber 1986: 9).

Dincolo de controversele inerente unui fenomen atât de complex, deixis-ul deĠLQHXQ

ORF SULYLOHJLDW vQ RUJDQL]DUHD SUDJPDWLFă D GLVFXUVXOXL 'HLFWLFHOH FRQVLGHUDWH XQLWăĠL DOH
OLPELLúLDOHGLVFXUVXOXLIDFSRVLELOăDFWLYLWDWHDGLVFXUVLYăSURSULX-]LVă

3. Tipologia deixis-ului

3URFHGkQG OD R LQWHUSUHWDUH GHVFULSWLYă /HYLQVRQ (1983: 62) distinge trei categorii
WUDGLĠLRQDOHDOHdeixis-XOXLSHUVRDQDORFXOúLWLPSXO&ODVLILFDUHDFRQILJXUHD]ăUROXOGHĠLQXW
GHSDUWLFLSDQĠLLODDFWXOYRUELULLHPLĠăWRUUHFHSWRUORFDĠLDvQFDUHVHDIOăDFHúWLDúLWLPSXO
URVWLULL 5HODĠLRQkQG DFHVWH REVHUYDĠLL FX FHUFHWăULOH HIHFWXDWH GH /\RQV   úL
)LOOPRUH/HYLQVRQDFFHSWăvQFăGRXăFDWHJRULLGHL[LV-XOGLVFXUVLYWH[WXDOúL
deixis-XO VRFLDO $FHDVWă FODVLILFDUH FRQILJXUHD]ă UHIHULUHD OD VHJPHQWXO GH GLVFXUV vQ FDUH
estH SODVDW HQXQĠXO vQ FDX]ă UHVSHFWLY UHIHULUHD OD GLVWLQFĠLLOH VRFLDOH úL OD UHODĠLD GLQWUH
SDUWLFLSDQĠLLODDFWXOYRUELULL'HSHQGHQĠDGHVLWXDĠLDGHFRPXQLFDUHHYLGHQĠLD]ăFDUDFWHUXO

1 „Hors du discours effectif, le pronom n’est qu’une forme vide, qui ne peut être attachée ni a un
concept ni a un objet” (1974: 68).
2 „les pronoms personnels sont proprement asémique” (1975: 98).
3 /\RQVIDFHGLVWLQFĠLHvQWUHdenotatum vQOLPEăúLreferent (în discurs).
 87

arbitrar al sistemelor deictice în limbile naturale.

ÌQVSDĠLXOIUDQFH], Kerbrat-2UHFFKLRQLRSXQHDFHVWRUFRQVLGHUDĠLLXQSXQFWGHYHGHUH
WUDQúDQWDFFHSWDQGGRDUFDWHJRULLOHWUDGLĠLRQDOHDOHdeixis-ului:

„[…] nous n’admettons que trois catégories – personnelle, temporelle et spatialle –

de fonctionnement déictiques, dans la mesure où les unité qu’ils investissent ont la
triple propriété de fournir des informations indispensables [...], fondamentales [...], et
rudimentaires à la fois [...]” (Kerbrat-Orecchioni 1980: 69).

Dicutând proprietatea deicticelor de a furniza simultan astfel de informaĠLL.HUEUDW-

2UHFFKLRQLYL]HD]ăFDUDFWHULVWLFDWH[WHORUGHDILÄDQFRUDWH´GHLFWLFFDUDFWHULVWLFDDQXPLWRU
GHLFWLFH vQ GHVFHQGHQĠD OXL %HQYHQLVWH GH D VH FRQVWLWXL vQ VXELHFW DO HQXQĠăULL úL GH D
VWUXFWXUD VSDĠLXO HQXQĠăULL SUHFXP úL FDUDFWHULVWLFD GHLFWLFHORU GH D LGHQWLILFD DQXPLĠL
FRQVWLWXHQĠLDLFDGUXOXLHQXQĠLDWLY7LSRORJLDWULSDUWLWăSURSXVăQXHVWHVWUăLQăGHSXQFWXOGH
YHGHUHDOOXL'LHWHU:XQGHUOLFKFDUHREVHUYDVHFăYDORDUHDGHDGHYăUDHQXQĠXULORUGHSLQGH
de cine, unde, când au fost exprimate:

„[...] la description linguistique d’une phrase, qui peut être utilisée pour affirmer des
faits, doit fournir tous les éléments qui entrent dans la formulation des conditions de
vérité: la personne, le temps et le lieu de l’énonciation” (1972: 37).

În spaĠLXO URPkQHVF OXFUăUL GH UHIHULQĠă vQ GRPHQLX DGXF vQ DWHQĠLH GLFKRWRPLD
gramaticalizare propriu-]LVă VDX ÄWDUH´ deixis-XO SHUVRQDO úL WHPSRUDO úL JUDPDWLFDOL]DUH
ÄVODEă´GHL[LVVSDĠLDOGLVFXUVLYúLVRFLDO*RUăVFX5HIHULUHDODSULPHOHGRXă
FRRUGRQDWH SHUVRQDOă úL WHPSRUDOă HVWH REOLJDWRULH UHDOL]kQGX-se prin codificare
PRUIRORJLFă VLQWDFWLFă úL  VDX OH[LFDOă &HOHODOWH FRUGRQDWH VSDĠLDOă GLVFXUVLYă VRFLDOă
SUHVXSXQRUHIHULUHRSĠLRQDOăGLVSXQkQGGRDUGHRFRGLILFDUHOH[LFDOă
([LVWăPDLPXOWHFULWHULLGHFODVLILFDUHDGHL[LV-XOXL*UDPDWLFD$FDGHPLHLFODVLILFă
deixis-XO vQ WUHL PDUL FDWHJRULL vQ IXQFĠLH GH PRGXO vQ FDUH VH UHDOL]HD]ă HYRFDUHD
HOHPHQWHORU GH FRQWH[W FRPXQLFDWLY GH FăWUH H[SUHVLLOH GHLFWLFH VLPEROLFH RVWHQVLYH /
JHVWXDOHPL[WHvQIXQFĠLHGHUROXOvQDQFRUDUHDGHLFWLFăDHQXQĠXOXLH[SUHVLLUHIHUHQĠLDOH
LQWULQVHFGHLFWLFHH[SUHVLLGHLFWLFHUHODĠLRQDOHH[SUHVLLFXDQFRUDMGHLFWLFLQWULQVHFH[SUHVLL
DOH ÄDFRUGXOXL´ GHLFWLF vQ IXQFĠLH GH WLSXO GH LQIRUPDĠLH FRGLILFDWă deixis-ul personal,
deixis-XO VSDĠLDOdeixis-ul temporal, deixis-ul discursiv (textual), deixis-ul social, deixis-ul
„descriptiv” (II 2005: 635-&HUFHWăULOHDFWXDOHVXQWPDLQXDQĠDWH'HSLOGăFDWHJRULD
deixis-ului descriptiv nu repreziQWă R FRRUGRQDWă GH UHIHULQĠă ILLQG GRDU R ÄFODVă GH
LQIRUPDĠLLFRQWH[WXDOHFRGLILFDWăGHLFWLFúLQHVXEVXPDWăFHORUODOWHFDWHJRULL´ibidem: 645).
ÌQIXQFĠLHGHSHUVSHFWLYDDQDOL]HLVXQWVHPQDODWHVXSUDSXQHULvQFDGUXOFODVLILFăULL$VWIHO
deixis-ul perVRQDO úL FHO VRFLDO VXQW FRQVLGHUDWH IRUPH DOH deixis-ului propriu-zis, fiind
cuprinse în categoria deixis-ului de rol (Ionescu-5X[ăQGRLX
ÌQ DFWXO FRQFUHW DO FRPXQLFăULL V-D REVHUYDW vQVă R UHODWLYL]DUH D VSHFLDOL]ăULL
deicticelor, unele deveQLQGSROLIXQFĠLRQDOH

4. Deixis-XOSHUVRDQHLúLYRFLOHOLULFH

5HIHULWRUODDFWXOvQVXúLDOHQXQĠăULL(PLOH%HQYHQLVWHDREVHUYDW FRQGLĠLLOHGHUHDOL]DUHD
DFHVWXLDSUH]HQĠDORFXWRUXOXLDFR-ORFXWRUXOXL úLUHIHULQĠD ÌQHQXQĠDUHOLPEDH[SULPă XQ
anumit raport cu lumea. Consensul pragmatic face din fiecare locutor un co-locutor.
 88

5HIHULQĠDHVWHYă]XWăFDSDUWHLQWHJUDQWăDHQXQĠăULL
$SDUDWXO IRUPDO QHFHVDU HQXQĠăULL FXSULQGH GXSă %HQYHQLVWH LQGLFLL GH SHUVRDQă
indicii de desemnare úLWLPSXULOHYHUEale (1970:14-15). Raportul eu – tu nu se produce decât
vQ úL SULQ HQXQĠDUH 5HIHULWRU OD LQGLFLL GH SHUVRDQă WHUPHQXO eu vO GHVHPQHD]ă SH FHO FDUH
SURGXFH HQXQĠDUHD 7HUPHQXO tu vO GHVHPQHD]ă SH FHO FDUH HVWH SUH]HQW vQ HQXQĠDUH FD
alocutor. Indicii de desemnare DSDU FD R FODVă GH indivizi lingvistici, de forme care trimit
întotdeauna H[FOXVLYODÄLQGLYL]L´ILHFăHVWHYRUEDGHSHUVRDQHGHPRPHQWHGHORFXULVSUH
deosebire de termenii nominali care trimit întotdeauna exclusiv la concepte. În ceea ce
priYHúWH WLPSXULOH YHUEDOH %HQYHQLVWH FRQILJXUHD]ă WUHL IRUPH GH ÄvQĠHOHJHUH´ D WLPSXOXL
WLPSXO IL]LF WLPSXO FURQLF úL WLPSXO OLQJYLVWLF  ,,  5HODĠLD GLQWUH LQGLFDWRU GH
SHUVRDQăGHWLPSGHORFGHRELHFWHWFúLprezenta LQVWDQĠăGHGLVFXUVHVWHIXQGDPHQWDOă
2PLVăDFHDVWăUHODĠLHOLPEDYDX]LWDGHDOĠLWHUPHQLFDUHQXVHYRUPDLUHIHULODLQVWDQĠDGH
GLVFXUVFLODRELHFWHÄUHDOH´ODWLPSXULúLORFXUL ÄLVWRULFH´DUăWkQGGLIHUHQĠDGHVXEVWDQĠă
GLQWUHFHOHGRXăSODQXUL2EVHUYDĠLDOXL%HQYHQLVWHVHHOXFLGHD]ăvQVXEOLQLHUHDFă
ÄDFHVWHIRUPHSURQRPLQDOH!QXWULPLWODUHDOLWDWH!úLQLFLODSR]LĠLLRELHFWLYH!vQ VSDĠLXVDX
WLPSFLODHQXQĠDUHDGHILHFDUHGDWăXQLFăvQFDUHVXQWFXSULQVH´%HQYHQLVWH,
'HUHPDUFDWIDSWXOFăindicatorii eu úLtu QXSRWH[LVWDFDVHPQHYLUWXDOHH[LVWăGRDU
SULQ DFWXDOL]DUH vQ LQVWDQĠD GLVFXUVLYă 1 1X HVWH QHJOLMDWă QLFL VLWXDĠLD SHUVRDQHL D WUHLD ÌQ
19F

DQDOL]D OXL %HQYHQLVWH PHPEUXO QHPDUFDW DO FRUHODĠLHL GH SHUVRDQă HVWH UHVSRQVDELO GH
realizaUHD SUHGLFDĠLHL XQXL SURFHV GHVFKLV VSUH RULFLQH VDX VSUH RULFH H[FHSWkQG SURSULD
LQVWDQĠă &RQWH[WXO QX H[FOXGH UHIHULQĠD RELHFWLYă $VWIHO QRQ-SHUVRDQD VH FDUDFWHUL]HD]ă
SULQOLEHUWDWHDGHDVHFRPELQDFXRULFHUHIHULQĠăGHRELHFWSULQFDSDFLWDWHDGHa comporta
XQ QXPăU ULGLFDW GH YDULDQWH SURQRPLQDOH VDX GHPRQVWUDWLYH SULQ SURSULHWDWHD GH D QX IL
FRPSDWLELOă FX SDUDGLJPD WHUPHQLORU UHIHUHQĠLDOL úL SULQ UH]HUYD GH D QX IL QLFLRGDWă
UHIOH[LYăSHQWUXLQVWDQĠDGLVFXUVLYă
ÌQFHUFHWăULOHXOWHULRDUHVWXGLXOXQLWăĠLORUOLQJYLVWLFHQXPLWHJHQHULFÄGHLFWLFH´VDX
„shifters” 2 D FăURU IXQFĠLRQDUH VHPDQWLFR-UHIHUHQĠLDOă LPSOLFă DSRUWXO HOHPHQWHORU
20 F

FRQVWLWXWLYH DOH VLWXDĠLHL GH FRPXQLFDUH .HUEUDW-2UHFFKLRQL   D DWUDV GXSă VLQH
FRQVLGHUDĠLLDVXSUDSHUVRanei:

Ä>«@ vQ WLPS FH SHUVRDQHOH vQWkL úL D GRXD VXQW PHPEUL SR]LWLYL DL FDWHJRULHL GH
SHUVRDQăSURQXPHOHGHSHUVRDQDDWUHLDHVWHHVHQĠLDOPHQWHRQRĠLXQHQHJDWLYăVSUH
GHRVHELUHGHSHUVRDQHOHvQWkLúLDGRXDSHUVRDQDDWUHLDQXVHUHIHUăvQPRGQHFHVar,
ODSDUWLFLSDQĠLLGLQFRQWH[WXOVLWXDĠLRQDODOHQXQĠXOXL´/\RQV

/LQJYLVWLFD HQXQĠăULL úL-D DVXPDW vQ VSLULWXO WH]HORU OXL %HQYHQLVWH IDSWXO Fă FHO
FDUH URVWHúWH XQ GLVFXUV SUREHD]ă VLPXOWDQ WUHL UROXUL: GH VXELHFW YRUELWRU SUH]HQĠă vQ
lXPHGHORFXWRUHQXQĠLDWRUFHQWUXOGHLFWLFDOHQXQĠăULLGHORFXWRUDXWRUUHVSRQVDELO
de actele ilocutorii) (Maingueneau 2008: 167). Studiile lui O. Ducrot, marcate de tezele
OXL %HQYHQLVWH YL]kQG HQXQĠDUHD úL SROLIRQLD DX vQWăULW LGHHD Fă ORFXWRrul nu este o
QRĠLXQHXQLYRFă
&HUFHWDUHD OXL -DFRE / 0H\ DVXSUD WH[WXOXL QDUDWLY DGXFH R FRQWULEXĠLH PDMRUă vQ
vQĠHOHJHUHDSURFHVXOXLGHIXQFĠLRQDUHDGHLFWLFHORUvQQDUDĠLXQHúLSULQH[WHQVLHvQSRH]LH

1 %HQYHQLVWH D DFFHQWXDW Fă ÄIRUPD YHUEDOă! HVWH VROLGDUă FX LQVWDQĠD GLVFXUVLYă LQGLYLGXDOă SULQ
IDSWXOFăDFHDVWDVHDFWXDOL]HD]ăQHDSăUDWvQDFWXOGLVFXUVXOXLúLîn raport cu el. Ea nu poate comporta
RIRUPăYLUWXDOăúLRELHFWLYă!´,
2 Termenul a fost folosit de R. Jakobson. Echivalente terminologice: „index” (Peirce), „indexical

expression” (Bar-Hillel), „egocentric particulars” (B. Russel), „token-reflexive word” (Reichenbach).

 89

Astfel, pronumele personale au rolul de a stabilLRSHUVSHFWLYăXQpunct de vedere:

“For the first persons, it is the speaker’s (or that of the speaking ‘voice’ in the
narration), for the second person, it is that of the person who is spoken to, the
‘addressee’ (of the direct speech or of the current narrative ‘voice’)” (Mey 1999: 45).

$QDOL]D PHFDQLVPXOXL HQXQĠLDWLY vQ SRH]LH HVWH PDL GLILFLOă GHRDUHFH HVWH JUHX GH
GLVRFLDWHXOHQXQĠăULL 1 de „autoreprezentarea lui ca persona în interiorul <lumii posibile> a
21F

HQXQĠXOXL´ &KHODUX-0XUăUXú   ÌQ FKHLD RIHULWă GH DFHDVWă LQWHUSUHWDUH VXELHFWXO
FDUH HQXQĠă HVWH VXE DVSHFW OLQJYLVWLF VXELHFWXO FDUH VH HQXQĠă $VWIHO vQWUH ÄVXELHFWXO
OLULF´úLVXELHFWXOFDUHVHHQXQĠăVHLQWHUSXQHXQVXELHFWDOHQXQĠăULLHQXQĠDWH (ibidem: 27).
&RQFOX]LD FHUFHWăWRDUHL HVWH Fă PăUFLOH JUDPDWLFDOH DOH SHUVRDQHORU DX XQ URO HVHQĠLDO vQ
SRH]LHGHRDUHFHVXQWSXUWăWRDUHDOHÄYRFLORUOLULFH´6HDWUDJHvQVăDWHQĠLDDVXSUDIDSWXOXL
FăvQHQXQĠDUHDOLULFăYDORULOHVHPDQWLFHúLSRVLELOLWăĠLOHGLVWULEXĠLRQDOHDOHSURQXPHORr pot
VXIHUL PRGLILFăUL VXEVWDQĠLDOH 'H SLOGă vQ WH[WXO SRHWLF tu, el, ea pot exprima „persoana
VXELHFWLYă´(8
1XDQĠDUHDDQDOL]HLUHODĠLHLGLQWUHSHUVRDQăúLYRFHDFRQGXVODLQWHUSUHWăULYDULDWHÌQ
DFHVW VHQV VH DFFHQWXHD]ă ÄLQWURSDWL]DUHD OXL HX! WX! úL HO!”, mai întâi, în „persoana
DXFWRULDOă´úLDSRLvQÄSHUVRDQDLPDJLQDUă´,QGULHúÌQHQXQĠDUHDSRHWLFăVXVĠLQH
FHUFHWăWRDUHD VXELHFĠLL LQYHQWDĠL SRW vQGHSOLQL IXQFĠLD GH eu, tu, el GDU LPSRUWDQW HVWH Fă
ÄXQXO úL DFHODúL VXELHFW LQYHQWDW >@ FRQĠLQH vQ VLQH >@ VWUXFWXUD WULSDUWLWă D SURQXPHOXL
personal” (ibidem  3XQFWXO GH YHGHUH PHQĠLRQDW VH DSURSLH GH FRQFHSĠLLOH ILORVRILFH úL
antropologice, prin extrapolarea structurii semantice a sistemului pronumelui personal.
În studiuO GH IDĠă DULD GH LQYHVWLJDĠLH HVWH UHVWUkQVă YL]kQG FkWHYD DVSHFWH DOH
PHFDQLVPHORUSURLHFĠLHLGHLFWLFHWH[WXDOH

3URLHFĠLDGHLFWLFăvQSRH]LDRSW]HFLVWă

ÌQ WHRULD HQXQĠăULL (PLOH %HQYHQLVWH D IRVW SULPXO OLQJYLVW FDUH D RSHUDW GLVWLQFĠLD vQWUH
„ORFXWRU´ úL ÄHQXQĠLDWRU´ $FHDVWă GHOLPLWDUH V-D UăVIUkQW DVXSUD FHUFHWăULORU XOWHULRDUH
Catherine Kerbrat-2UHFFKLRQL GH SLOGă GLVWLQJkQG vQWUH ÄVXELHFWXO H[WUDWH[WXDO´ úL
„subiectul intratextual”.
/LWHUDWXUD RSHUHD]ă vQ YL]LXQHD OXL 5RPDQ -DNREVRQ R GHGXEODUH D LQVWDQĠHORU
HQXQĠLDWLYHIDSWFHSHUPLWH PRGLILFDUHDIXQFĠLHLQRUPDOHDGHL[LV-ului. Astfel,
REVHUYă FHUFHWăWRULL GHL[LV-XO GLVFXUVXOXL ILFĠLRQDO DFFHQWXHD]ă SODQXO VLPEROLF vQ
detrimentul celui gestual. În discursul liric, deixis-XO SHUVRQDO SH FDUH vO YL]ăP SUH]LQWă
DQXPLWH SDUWLFXODULWăĠL FRPSDUDWLY FX OLPED FRPXQă $úD FXP REVHUYă *pUDUG *HQHWWH
ÄHQXQĠăWRUXOSUHVXSXVDOXQXLWH[WOLWHUDU´QXHVWHQLFLRGDWăRSHUVRDQăUHDOăvQSRH]LDOLULFă
fiind de fapt „un eu indeterminat” (1994: 98).
ÌQ SRH]LD SRVWPRGHUQă HVWH UHHYDOXDWă VXELHFWLYLWDWHD GHLFWLFă 6XELHFWXO XPDQ
devine un centru provizoriu al lumii. Interesul constant pentru „producerea efectelor
VXELHFWLYLWăĠLL´6ELVDSHQWUXÄPkQDFDUHVFULH´0DYURGLQVHGLVWDQĠHD]ăQHW
GHRULHQWDUHDPHWRGRORJLFăDVWUXFWXUDOLVPXOXLvQVSLULWXOFăUHLD5RODQG%DUWKHVSURFODPDVH
„moartea autorului”. Subiectul unitar din poetica post-VWUXFWXUDOLVWăHVWHVXEPLQDW'HL[LV-ul
úL HWKRV-XO DQWUHQHD]ă vQ DFHVW VHQV R vQWUHDJă UHFX]LWă SRHWLFă ÌQ SRH]LD RSW]HFLVWă
SDUDGLJPDSURQRPLQDOăYDULDWăFRQIHUăÄYRFLL´OLULFHRQRWăGLVWLQFWă

1„subiectul liric”, în terminologia Oanei Chelaru-0XUăUXú

 90

5HHYDOXDUHDXQRUHOHPHQWHGHUHFX]LWăSRHWLFăRSW]HFLVWăGLQSHUVSHFWLYDSURLHFĠLHL
GHLFWLFH HVWH VHPQLILFDWLYă vQ PăVXUD vQ FDUH VH FRQILJXUHD]ă R PHWDPRUIR]ă D
VXELHFWLYLWăĠLL SRHWLFH 3UHIHULQĠD SHQWUX UHGDUHD XQRU FRQYHUVDĠLL UHDOH VDX LPDJLQDUH VH
VSULMLQăGHSLOGăvQSRHPXOJoc 1 DOOXL'DQLHO3LúFXSHVXEVXPDUHDYRFLORUXQHLLQVWDQĠH
2F

locutoare. Deixis-ul persoanei ne apare într-RGXEOăLSRVWD]ăH[SUHVLHDFRQYHQĠLHLMRFXOXL

HQXQĠLDWLYúLH[SUHVLHDSRHWLFLLRSW]HFLúWLORUÄUHDOLúWL´
ÌQ FHHD FH SULYHúWH FRQYHQĠLD MRFXOXL HQXQĠLDWLY SRH]LD H[SHULPHQWHD]ă GLYHUVH
SURLHFĠLL GHLFWLFH 6H úWLH Fă SHQWUX %HQYHQLVWH eu HVWH SHUVRDQD VXELHFWLYă tu este
persoana non-VXELHFWLYă, iar el este non-persoana3ULPDVHFYHQĠăSULQDUWLILFLXOVXELHFWLY
non-VXELHFWLYDOWHUQHD]ăUHIHULQĠDSUR[LPDOă cu cea GLVWDOăPDUFDWăSULQFLUFXPORFXĠLH 2: 23F

„Dragul meu,
3HQWUXDFkWDRDUă
6ă-ĠLSRYHVWHVFFHV-a petrecut într-RVHDUă"
8QDGHYăUDWMRFGHFăUĠL
&XEURDúWHúLEăOĠL´
3LúFXJoc, 1980: 288-289).

5HPLQLVFHQĠDHSLFăDSVLKR-QDUDĠLXQLLHVWHVXEPLQDWăGHVWUDWHJLLSROLIRQLFH$FHDVWă
VHFYHQĠăLQWHUPHGLDUăPDUFKHD]ăFUHúWHUHDGLVWDQĠHLHQXQĠLDWLYH

„PrietenXOVRUHLPHOH0DLVWDXGRXăPLQXWH
Eu: Nu-ĠLYRLVSXQHÄGX-te”...
$XWUHFXWFHOHGRXăPLQXWH
úLWRĠLWUHL– HXVRUDúLHO– DPLHúLWvQFXUWH
DPDMXQVODSRDUWă
úLDPvQFHSXWÄV-RIDFODWă´´
(ibidem: 289).

$OWHUQDQĠD SHUVRDQHORU SURQRPLQDOH (X (O (D IDFLOLWHD]ă VXFFHVLXQHD UHSOLFLORU

)RUPHOHSURQRPLQDOHHPIDWLFHDVLJXUăSHUPDQHQĠDUHIHUHQĠLDOăGDUFUHHD]ăGLVFRQWLQXLWDWH
WH[WXDOă 0DQHD-Manoliu 1993: 220). Prin deicticele-flectiv +REMLOă    VH
HFKLOLEUHD]ăSDUĠLDOVLWXDĠLD

„Eu (lui): Te salut,

dar mi-HIULFăGHVFXW
úLPDLDOHVGHVăUXW
El: Nu de sabie?
Eu: Nu, am o corabie...
7RWHX%LQHvĠLVWUkQJPkQD
PXOĠXPHVFFăPL-DLDGXV6ăSWăPkQD
(Nu mi-o adusese,
pe unde fusese?)
>@VRUHLPHOHùLQXVWDPXOW
DúDvPEUăFDWăFXPHúWL
RVăUăFHúWL

1 Poem inclus în $QWRORJLDSRH]LHLJHQHUDĠLHL 0XúLQD-292).

2 În termenii lui Mey (1999).
 91

ùLSOHF
vQQLFLXQFD]VăPă-nec.
ùLSOHF
vQQLFLXQFD]VăYă-ntrec.
>@(D6RPQXúRU
(X6RPQXúRUXúRU
PkLQHGDFăQXPRU
ĠL-oi cânta ceva de dor, de dor...
úLYă]kQGFăHDWDFH
i-DPOăVDWSHWRĠLvQSDFH..)”
(ibidem: 280-292)

6H PHQĠLQH LOX]LD FRLQFLGHQĠHL GLQWUH WLPSXO HQXQĠăULL úL WLPSXO ÄOXPLL SRVLELOH´
UHSUH]HQWDWHvQHQXQĠ6XEDVSHFWHQXQĠLDWLYSRH]LDHVWHFHQWUDWăDVXSUDHXOXLFKLDUGDFăVH
LQVLQXHD]ă PăUFL DOH SURLHFĠLHL GHLFWLFH $FHVWH YDULDĠLXQL GH YRFH DVFXQG SHUVSHFWLYH
artificiale.
7H[WXO YDORUL]HD]ă XQ SURFHGHX WLSLF RSW]HFLúWLORU ÄUHDOLúWL´ 3DUSDOă $IDQD 
GUDPDWL]kQG LQWHUDFĠLXQHD YRFLORU (X (O (D Ä3URFHV GLDOHFWLF´ 1, vocalizarea a marcat
24F

SRH]LD RSW]HFLúWLORU SULQ ÄvQDOWD ILGHOLWDWH IDĠă GH UHIHUHQW GH OXPHD UHDOă´ &ăUWăUHVFX vQ
&UăFLXQ,QVHUĠLDFRQYHUVDĠLRQDOăDQWUHQHD]ăYRFLUHGDWHvQWU-un „simulacru” de
GLVFXUV FLWDW 2EVHUYăP XQ FD] DWLSLF SULQ DEVHQĠD VXERUGRQăULL D YHUEHORU GLFHQGL D
semnelor grafice:

ÄÌQUHDOLWDWHvQGLVFXUVXOGLUHFWUDSRUWRUXOVHSUH]LQWăFDÄORFXWRU´SHQWUXHQXQĠDUHD
X a spus úL GHOHDJă UHVSRQVDELOLWDWHD VSXVHORU UDSRUWDWH XQXL DOW ÄORFXWRU FHO GLQ
discursul direct. Este o SXQHUHvQVFHQă, o modalitate de a prezenta un citatvQVăVXE
QLFLR IRUPă QX SUH]LQWă R JDUDQĠLH D RELHFWLYLWăĠLL >@ ÌQ GLVFXUVXO GLUHFW FLWDWXO
SUHVXSXQH FD UDSRUWRUXO Vă GLVRFLH]H FHOH GRXă VLWXDĠLL GH HQXQĠDUH FHD GLQ FDUH
FLWHD]ă úL FHD FLWDWă &LWDWXO IDFH Vă FRH[LVWH GRXă GRPHQLL HQXQĠLDWLYH DXtonome:
ILHFDUHvúLSăVWUHD]ă(8/78-XOUHSHUHOHGHLFWLFHSURSULLOHPăUFLGHVXELHFWLYLWDWH
ÌQ VFULV JKLOLPHOHOH VDX OLQLXĠD GH XQLUH GHOLPLWHD]ă GRXă GRPHQLL HQXQĠLDWLYH´
(Maingueneau 2008: 205-206).

$EVHQĠDPăUFLORUWLSLFHDOHGLVFXUVXOXLUDSRUWDWúLDPHVWHFXOGHYRFLFRQFXUHQWH– El
SULHWHQXOVXURULLWDWDIUDWHOH(DPDPDVRUDQXvPSLHGLFăORFXWRUXOVăSăVWUH]HGLVWDQĠD
HQXQĠLDWLYă&LWLWRUXOHVWHGLUHFĠLRQDWVSUHYRFHDHXOXLHQXQĠăULLSULQGLGDVFDOLLGHDGUHVDUH
GLVRQDQĠH

„Eu (lui): Te salut.

[...]
'XSăFH-LGăGXVHRĠLJDUăOXLWDWD
LQWHUYLQHúLIUDWHOHPHXFDUHvQFăQXIăFXVHDUPDWD´
(ibidem: 291).

Discursul cvasi-GLUHFW DO ORFXWRUXOXL vQWUHĠLQH DPHVWHFXO GH YRFL FRQFXUHQWH

VXSUDOLFLWkQGvQILQDODúWHSWăULOHOHFWRUXOXLSULQDEDQGRQDUHDVFHQHLHQXQĠăULL
,QWHUHVXO FRQVWDQW SHQWUX HQXQĠDUHD SRHWLFă GHWHUPLQă LPSOLFDĠLL OD QLYHOXO

1 În termenii lui Mey.

 92

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efecte polifonice.

6. Concluzii

Deixis-ul, situat pHOLQLDGHGHPDUFDĠLHvQWUHVHPDQWLFăúLSUDJPDWLFăDJHQHUDWGRXăGLUHFĠLL

GHDQYHUJXUăvQHYROXĠLDOLQJYLVWLFăLQIOXHQĠDWHGH3HLUFHUHVSHFWLY%HQYHQLVWH([SUHVLHD
LQWHUVXELHFWLYLWăĠLL GHLFWLFHOH DX XQ URO PDMRU vQ LQVWLWXLUHD YRFLORU OLULFH SULQ implicarea
HOHPHQWHORU FRQVWLWXWLYH DOH VLWXDĠLHL GH FRPXQLFDUH DFWDQĠLL HQXQĠăULL úL VLWXDĠLD VSDĠLR-
WHPSRUDOăDORFXWRUXOXL
7LSRORJLDDFHVWRUXQLWăĠLOLQJYLVWLFHHVWHQXDQĠDWăLPSXQkQGX-VHúDVHPDULFDWHJRULL
GHL[LV SHUVRQDO VSDĠLDO WHPSRUDO GLVFXUVLY WH[WXDO VRFLDO ÄGHVFULSWLY´ ÌQ IXQFĠLH GH
SHUVSHFWLYD DQDOL]HL VH FRQVWDWă VXSUDSXQHUL vQ FDGUXO FODVLILFăULL ÌQ FDGUXO HQXQĠăULL
UHODĠLDGLQWUHLQGLFDWRUGHSHUVRDQăGHWLPSGHORFGHRELHFWúLLQVWDQĠDDFWXDOăGHGLVFXUV
este fundamentDOă
ÌQ VIHUD OLWHUDWXULL PăUFLOH JUDPDWLFDOH DOH SHUVRDQHL DX XQ URO IXQGDPHQWDO ILLQG
SXUWăWRDUH DOH YRFLORU OLULFH 3URLHFĠLD GHLFWLFă SUHVXSXQH XQ HIRUW PDL PDUH vQ GHFRGDUH
GHRDUHFHSURQXPHOHSRWH[SULPDúLYDORULVHPDQWLFHVXSOLPHQWDUHÌQSRH]LDSRVWPRGHUQă
UHHYDOXDUHDVXELHFWLYLWăĠLLGHLFWLFHDFRQIHULWYRFLLOLULFHRQRWăGLVWLQFWă$QDOL]DvQWUHSULQVă
D DFFHQWXDW SH GH R SDUWH FRQYHQĠLD MRFXOXL HQXQĠLDWLY úL SH GH DOWă SDUWH DVSHFWH DOH
SRHWLFLL RSW]HFLúWLORU ÄUHDOLúWL´ $VWIHO YRFLOH OLULFH GLQ FRQYHUVDĠLD LPDJLQDUă DX IRVW
VXEVXPDWH LQVWDQĠHL ORFXWRDUH SURLHFĠLD GHLFWLFă UHDOL]kQG R PHWDPRUIR]ă D VXELHFWLYLWăĠLL
poetice.

Surse:

0XúLQD$OH[DQGUX$QWRORJLDSRH]LHLJHQHUDĠLHL(GLĠLDD,,-a. %UDúRY$XOD

5HIHULQĠH

Benveniste, Emile, [1966] 2000, 3UREOHPHGHOLQJYLVWLFăJHQHUDOă. Vol. I., II. Traducere de

/XFLD0DJGDOHQD'XPLWUX%XFXUHúWL7HRUD
Benveniste, Emile, 1970, „L’appareil formel de l’enonciation”. Langages, 17: 12-18
http://www.persee.fr/web/revues/home/prescript/article/lgge. Accesat 10.05.2014.
&ăUWăUHVFX 0LUFHD  Ä5HDOLVPXO SRH]LHL WLQHUH´ 5RPkQLD OLWHUDUă  vQ &UăFLXQ
Gheorghe. 1999. &RPSHWLĠLD FRQWLQXă *HQHUDĠLD ¶ vQ texte teoretice 3LWHúWL
Paralela 45.
Chelaru-0XUăUXú2DQD 1LFKLWD6WăQHVFX– VXELHFWLYLWDWHDOLULFă3RHWLFDHQXQĠăULL.
%XFXUHúWL8QLYHUV
Dubois, Jean et al., 1973, Dictionnaire de linguistique. Paris: Larousse.
Genette, Gérard, 1994, IntroducHUHvQDUKLWH[W)LFĠLXQHúLGLFĠLXQH. Traducere de Ion Pop.
%XFXUHúWL8QLYHUV
*RUăVFX$GULDQDÄ'HL[LV´Gramatica limbii române FRRUG9DOHULD*XĠX5RPDOR
,,%XFXUHúWL(GLWXUD$FDGHPLHL5RPkQH
+REMLOă $QJHOLFD  Microsistemul deicticHORU vQ OLPED URPkQă YRUELWă QHOLWHUDUă
DFWXDOă,DúL&DVD(GLWRULDOă'HPLXUJ
 93

Ionescu-5X[ăQGRLX /LOLDQD  &RQYHUVDĠLD 6WUXFWXUL úL VWUDWHJLL HGLĠLD D ,,-a

UHYă]XWă%XFXUHúWL$//
,QGULHú$OH[DQGUDPolifonia persoanei7LPLúRDUD)DFOD.
-DNREVRQ 5RPDQ  Ä/LQJYLVWLFă úL SRHWLFă´ 3UREOHPH GH VWLOLVWLFă 2ULHQWăUL
moderne7UDGXFHUHGH0LKDL1DVWD%XFXUHúWL(GLWXUDùWLLQĠLILFă
Kerbrat-Orecchioni, Catherine, 1980, „L’énonciation de la subjectivité dans le langage”.
Paris: Armand Colin.
Kleiber, Georges, 1986, „Déictiques, embrayeurs, token-réflexives, symboles indexicaux
etc.: comment les définir?”. L’Information Grammaticale. 30: 3-32.
http://www.persee.fr./web/revues/home/prescript/article/igram. Accesat 16.04.2015.
Levinson, C. Stephen, 1983, Pragmatics. Cambridge: University Press.
Lyons, John. 1995. ,QWURGXFHUHvQOLQJYLVWLFDWHRUHWLFă. Traducere de Alexandra Cornilescu
úL,RDQDùWHIăQHVFX%XFXUHúWL(GLWXUDùWLLQĠLILFă
Maingueneau, Dominique, 2008, /LQJYLVWLFăSHQWUXWH[WXOOLWHUDU. Traducere de Ioana-Crina
&RURLúL1LFROHWD/RUHGDQD0RURúDQ,DúL Institutul European.
Manoliu-Manea, Maria, 1993, *UDPDWLFăSUDJPDVHPDQWLFăúLGLVFXUV%XFXUHúWL/LWHUD
Mavrodin, Irina, 1994, 0kQDFDUHVFULH6SUHRSRHWLFăDKD]DUGXOXL%XFXUHúWL(PLQHVFX
Mey, L. Jacob, 1999, When Voices Clash. A Study in Literary Pragmatics. Berlin; New
York: Mouton de Gruyter.
3DUSDOă$IDQD(PLOLD3RH]LDVHPLRWLFă3URPRĠLD¶. Craiova: Sitech.
Sbisà, Marina, 1983, « Acte de langage et acte d’énonciation ». Langages, 18: 99-107.
http://www.persee.fr/web/revues/home/prescript/article/lgge. Accesat 25.08.2014.
Ricoeur, Paul, 1975, La Métaphore vive. Paris: Seuil. [1984]. Metafora vie. Traducere de
Irina 0DYURGLQ%XFXUHúWLUnivers.
Wunderlich, Dieter, 1972, „Pragmatique, situation d’énonciation et deixis”. Langages. 26:
34-58. http://www.persee.fr/web/revues/home/prescript/article/lgge.
Accesat la 16.04.2015.
 94

Oralitatea - aspecte dialogice în romanul 'LPLQHDĠă

SLHUGXWăGH*DEULHOD$GDPHúWHDQX

Catrinescu Irina Elena

Universitatea din Oradea

We will analyze the novel’s orality in one of the two levels of the narrative, namely
WKH FKDUDFWHU 7KH VSHHFK LQ TXHVWLRQ LV WKDW RI WKH FKDUDFWHU 9LFD 'HOFă as it
presents numerous marks of orality style. We show that not the orality of the story
itself defines the meaning of the skaz, but the perception of it as someone else’s
speech. This perception of the “foreign” speech is not feasible through a
reproduction of its peculiarities, but through a stylistic structure which makes
evident the distance between it and the author’s style. The orality style is a form of
interaction of the two languages, the reflection of one to another, while skaz is just a
concrete form of it. Analysing Vica’s narrative speech through the dialogic poetics,
we will disclose the content of dialogic speech and the artistic image of the
character. This image is the result of the interaction of character expression through
the word and the dialogic background created by author’s word (even when it does
not explicitly manifest itself in text).

Keywords: aesthetic perspective, bivoc word, dialogue, orality, skaz.

1. Introducere

ÌQ OXFUDUHD GH IDĠă QH SURSXQHP Vă GHPRQVWUăP H[LVWHQĠD XQRU UHODĠLL GLDORJLFH YL]DWH GH
DXWRU SULQ LQWURGXFHUHD RUDOLWăĠLL vQ SODQXO SHUVRQDMHORU Discursul vizat este cel al
SHUVRQDMXOXL 9LFD 'HOFă GLQ URPDQXO 'LPLQHDĠă SLHUGXWă GH *DEULHOD $GDPHúWHDQX,
vQWUXFkWUHJăVLPvQGLVFXUVXODFHVWXLSHUVRQDMQXPHURDVHPăUFLDOHRUDOLWăĠLLSHFDUHOHYRP
SUH]HQWD DWkW GLQ SHUVSHFWLYD HVWHWLFLL GLDORJLFH D OXL 0 %DKWLQ FkW úL GLQWU-R SHUVSHFWLYă
VRFLROLQJYLVWLFă úL GLVFXUVLYă 'HVFULHUHD SURILOXOXL VRFLR-lingvistic al personajului are în
YHGHUHIXQFĠLLOHvQGHSOLQLWHVLPEROLFH XQLILFDWRDUHVHSDUDWRDUHGHSUHVWLJLXGHUDSRUWDUH
OD QRUPă 'H DVHPHQHD vQ FDGUXO DQDOL]HL GLVFXUVXOXL YRP GLVWLQJH GLVIXQFĠLL SUHFXP
inadecvarea la contextul comunicativ, alegerea HURQDWăDUHJLVWUXOXLVWLOLVWLFIDPLOLDULWDWHD
$FHDVWă UDGLRJUDILHUH´ VRFLR-OLQJYLVWLFă HVWH UHOHYDQWă SHQWUX R VWUDWLILFDUH VRFLDOă
UDSRUWDWăODGRXăSHULRDGHDOHLVWRULHLVRFLHWăĠLLURPkQHúWLHSRFDLQWHUEHOLFăúLOXPHDQRXă
GHGXSăUă]ERL'LQSHUspectiva poeticii dialogice a lui M. Bahtin, analiza va avea în vedere
FRQĠLQXWXOGLDORJLFDOLPDJLQLLDUWLVWLFHDYRUELULLSHUVRQDMXOXLLPDJLQHDILLQGRUH]XOWDQWăD
LQWHUDFĠLXQLL GLQWUH DXWRH[SULPDUHD SHUVRQDMXOXL SULQ FXYkQWXO SURSULX úL IXQGDOXO
dialoJL]DQW FUHDW GH FXYkQWXO DXFWRULDO $WLWXGLQHD DXWRUXOXL IDĠă GH FXYkQWXO SHUVRQDMXOXL
HVWH R FRPSRQHQWă LQGLVSHQVDELOă D LPDJLQLL DUWLVWLFH D YRUELULL OXL FKLDU úL DWXQFL FkQG
FXYkQWXO DXFWRULDO QX VH UHJăVHúWH H[SOLFLW vQ WH[W 'LQ DFHDVWă SHUVSHFWLYă fenomenul
 95

VWLWOLVWLFDORUDOLWăĠLLGHILQLWSULQWHUPHQXOskaz în anii ’GHIRUPDOLúWLLUXúLQX PDLHVWH

SHUFHSXWSXUVHQ]RULDOQXPDLHVWHSURGXVXOXQHLUHSURGXFHULFkWPDLH[DFWHDPDWHULDOLWăĠLL
VRQRUHDYRUELULLRUDOH3HUFHSĠLDGHFăWUHFLWLWRUDIRUPHLHVWHWLFHWUHEXLHVăUHSURGXFăDFWXO
GHFUHDUHDRELHFWXOXLHVWHWLF SULQGHSăúLUHDLPDQHQWăD PDWHULDOXOXL$ YHGHDVDXDDX]L
FHYDSXUúLVLPSOXQXvQVHDPQăDSHUFHSHIRUPDDUWLVLWLFăWUHEXLHVăIDFHPGLQFHHDFHH
Yă]XWDX]LWSURQXQĠDWH[SUHVLDDWLWXGLQLLQRDVWUHD[LRORJLFHWUHEXLHVăLQWULFDFUHDWRUvQFH
H Yă]XW DX]LW SURQXQĠDW úL SULQ DFHDVWD Vă GHSăúHúWL PDWHULDOLWDWHD GHWHUPLQDUHD
H[WUDHVWHWLFăDIRUPHLUHDOLWDWHDHL´%DKWLQ

2. Preliminarii teoretice

Din perspectivD HVWHWLFLL GLDORJLFH D OXL 0 %DKWLQ RUDOLWDWHD QX SRDWH IL GHILQLWă GHFkW vQ
contextul conceptelor sale cuvânt-YRFHFXYkQWSURSULXFXYkQWVWUăLQFXYkQWELYRFDXWRU
dialog, cronotop. (cf. Bahtin 1982: 113-156). În anii ’ IRUPDOLúWLL UXúL , 7vQHDnov, V.
Sklovski, V. Vinogradov, B. Eihenbaum lansau termenul rusesc skaz pentru a defini stilul
RUDOLWăĠLL %DKWLQ UHGHILQHúWH WHUPHQXO SRUQLQG GH OD GHILQLĠLD GDWă GH (LKHQEDXP
adaptându-l viziunii sale poetice asupra literaturii. Astfel, esteticianul rXVFRPHQWHD]ă(O
FRQVLGHUăFăVND]XODUHGUHSWFDUDFWHULVWLFăH[FOXVLYăIDSWXOFăVHED]HD]ăSHIRUPDRUDOăGH
povestire SH OLPEDMXO YRUELW úL SH SDUWLFXODULWăĠLOH GH OLPEă FRUHVSXQ]ăWRDUH DFHVWXLD
LQWRQDĠLD RUDOă FRQVWUXFĠLD VLQWDFWLFă VSHFLILFă H[SULPăULL RUDOH OH[LFXO FRUHVSXQ]ăWRU
HWF90(LKHQEDXPLJQRUăFXGHVăYkUúLUHIDSWXOFăvQPDMRULWDWHDFD]XULORUVND]XOVH
ED]HD]ăvQSULPXOUkQG pe vorbirea altcuiva úLDELDGXSăDFHHDFDRFRQVHFLQĠăSHOLPEDMXO
YRUELW´$úDGDUYL]LXQLLPRQRORJLFHSURSXVHGH%(LKHQEDXPFDUDFWHULVWLFă
formalismului (lingvistic, sociologic, psihologic, logic), asupra termenului skaz Bahtin îi
RSXQHRYL]LXQHGLDORJLFăGHVSUHRPGHVSUHFRPXQLFDUHDH[LVWHQĠLDOăúLFUHDĠLDYHUEDOă
Pentru Bahtin, skD]XO QX HVWH GRDU XQ SURFHGHX FRPSR]LĠLRQDO VWLOLVWLF FL DUHúL R
GLPHQVLXQHVRFLDOăvQVFULVăvQPLúFDUHDGHPRFUDWL]ăULLOLWHUDWXULLvQWHQGLQĠDGHD-OOăVDSH
RPXOGLQSRSRUVăVHH[SULPHLDUYRFHDOXLVWUăLQăVăVHGLVRFLH]HGHOLPEDMXOOLWHUDWXUL]Dt
DODXWRUXOXL1RLYHGHPFăvQPDMRULWDWHDFD]XULORUVND]XOHVWHLQWURGXVPDLFXVHDPăGH
GUDJXOYRFLLVWUăLQHRYRFHGHWHUPLQDWăVXEUDSRUWVRFLDOFDUHDGXFHFXHDRVHULHGHSXQFWH
GH YHGHUH úL GH DSUHFLHUL QHFHVDUH DXWRUXOXL (VWH LQWURGXV GH IDSt, un povestitor, iar
povestitorul – XQRPIăUăOHJăWXUăFXOXPHDOLWHUHORUSURYHQLQGvQPDMRULWDWHDFD]XULORUGLQ
SăWXULOH VRFLDOH GH MRV GLQ SRSRU OXFUXO FHO PDL LPSRUWDQW SHQWUX DXWRU – aduce cu el
limbajul vorbit” (Bahtin, 1970: 266-267). Citatul rHOHYăIDSWXOFăVWLOXORUDOLWăĠLLVHGHILQHúWH
FDIRUPăGHLQWHUDFĠLXQHDGRXăOLPEDMHFHODODXWRUXOXLúLFHOVWUăLQDOSHUVRQDMXOXL$FHVWH
GRXă OLPEDMH VH UHIOHFWă XQXO vQ DOWXO 1X RUDOLWDWHD SURSULX-]LVă D SRYHVWLULL GHILQHúWH
skazul, ci perceperea HLFDYRUELUHDDOWFXLYD$FHVWPRGGHDSHUFHSHYRUELUHDVWUăLQăQXVH
UHDOL]HD]ă SULQ UHSURGXFHUHD SDUWLFXODULWăĠLORU HL OLQJYLVLWFH IRQHWLFH VWLOLVWLFH FL SULQWU-o
VWUXFWXUăHVWHWLFăIHQRPHQOLWHUDUFRPSOH[FDUHVăVFRDWăvQHYLGHQĠăGLVWDQĠDGLQWUH stilul
DFHVWHLDúLFHODODXWRUXOXL
7RWRGDWă DQDOL]kQG PRGXO GH UHSUH]HQWDUH DUWLVWLFă D UDSRUWXULORU GLQWUH cuvântul
propriu úLcuvântul VWUăLQ vQFRQWH[WXOHYROXĠLHLLVWRULFHDURPDQXOXL%DKWLQLGHQWLILFăWUHL
tipuri de cuvânt 1:

1 Prezentarea conceptelor teoUHWLFH HVWH SUHOXDWă GLQ 6WLOXO RUDOLWăĠLL vQ LQWHUSUHWDUHD GLDORJLFă D OXL

Bahtin, de Anatol Gavrilov în )LORORJLD PRGHUQă UHDOL]ăUL úL SHUVSHFWLYH vQ FRQWH[W HXURSHDQ,
&KLúLQăXSS-246.
 96

a) Cuvântul auctorial
(VWH FXYkQWXO GLUHFW DO DXWRUXOXL GHVSUH RELHFW FDUH QX FXQRDúWH VDX QX UHFXQRDúWH vQFă
H[LVWHQĠD FXYkQWXOXL VWUăLQ GHVSUH RELHFW 'LQ SXQFW GH YHGHUH VWLOLVWLF XQ WH[W vQ FDUH
SUHGRPLQăFXYkQWXODXFWRULDOHVWHRPRJHQ'HH[HPSOXSHUVRQDMXOURPDQXOXL antic nu este
LQGLYLGXDOL]DWQXDUHXQOLPEDMSURSULX$WkWDXWRUXOFkWúLSHUVRQDMXODXXQOLPEDMUHWRULF
b) Cuvântul obiectual
(VWH FXYkQWXO VWUăLQ FDUH D GHYHQLW RELHFWXO ILJXUăULL DUWLVWLFH DO FXYkQWXOXL DXFWRULDO (VWH
cuvântul întruchipat al personaMXOXL FDUDFWHUL]DW SULQ YRUELUHD OXL 5HODĠLD GLQWUH FXYkQWXO
GLUHFWDODXWRUXOXLúLRELHFWXOVăXHVWHGXEODWăGHRUHODĠLHvQWUHFXYLQWH$FHDVWDGLQXUPăQX
HVWHRUHODĠLHOLQJYLVWLFăVDXORJLFăFLRUHODĠLHGLQWUHFXYkQWXOSURSULXILJXUDQWSODVWLFL]Dnt
úL FXYkQWXO VWUăLQ ÌQ WH[W YRU DSăUHD ]RQH DOH FXYkQWXOXL DXWRUXOXL úL ]RQH DOH FXYkQWXOXL
SHUVRQDMXOXL 6H SURGXFH DVWIHO R GLIHUHQĠLHUH VWLOLVWLFă LDU FXYkQWXO URPDQHVF VH
vPERJăĠHúWH FX QRL YDOHQĠH DUWLVWLFH ÌQVă úL FXYkQWXO RELHFWXDO HVWH FRQVLderat a fi tot
PRQRORJLFHOILLQGRIRUPăPRQRORJLFăDYRUELULLLQGLUHFWHDDXWRUXOXL3HUVRQDMXOQXHVWH
un subiect-SHUVRQDOLWDWH GHRDUHFH FXYkQWXO OXL QX DUH R YDORDUH VHPDQWLFă SOHQDUă
PDQLIHVWkQGGRDUVWUXFWXUDVDWLSRORJLFăVDXFDUDFWHUHRORJLFăQXH[SULPăRDOWăFRQúWLLQĠă
GHVLQHFXDOWVHQV0RQRORJLVPXOVHGHILQHúWHWRFPDLSULQDFHDVWăQHJDUHDH[LVWHQĠHLXQHL
DOWH FRQúWLLQĠH HJDOH vQ GUHSWXUL D XQXL tu FX YDORDUH SOHQDUă Altul este doar obiectul
FRQúWLLQĠHLDXWRUXOXLúLQXRDOWăFRQúWLLQĠă
c) Cuvântul bivoc/difon
&XYkQWXODXWRULWDUDODXWRUXOXLGHYLQHXQVLPSOXFXYkQWvQWUHFXYLQWH$XWRUXOvúLVFKLPEă
DWLWXGLQHD FUHDWRDUH IDĠă GH HURXO UHSUH]HQWDW $FHVWD YD IL FRQFHSXW FD VXELHFW-
personalitate, ca un alt eu, FD R FRQúWLLQĠă GLVWLQFWă (Uoul devine voce – idee – SR]LĠLH
D[LRORJLFă– H[LVWHQĠăLQGLYLGXDOăRELHFWLYă– SRHWLFă([SUHVLDDUWLVWLFăSOHQDUăDUHODĠLHL
dialogice dintre autor – erou – FLWLWRU VH UHJăVHúWH vQ IRUPXOD URPDQXOXL SROLIRQLF
$FHDVWăVWUXFWXUăGLDORJLFăQXWUHEXLHvQĠHOHDVăúLGHILQLWăGRDUvQSODQXOUHODĠLLORUGLQWUH
VHPQLILFDĠLLOHRELHFWXDOHDOHFXYvQWXOXLFHOHGHODQLYHOXOFkPSXOXLVHPDQWLF(DWUHEXLH
Yă]XWăFDRFRQIUXQWDUHvQWUHGRXăVHQVXUL-HYDOXăULLQWHUSUHWăULD[LRORJLFHDOHVHPQLILFDĠLHL
RELHFWXOXLFRPXQLFăUii.
$úDGDU SHQWUX %DKWLQ VND]XO WH[WXO OLWHUDU GHILQLW SULQ RUDOLWDWH – ca o calitate
SDUWLFXODUă D VWLOXOXL DSDUĠLQH IHQRPHQHORU DUWLVWLFH DOH YRUELULL FDUH DX GUHSW WUăVăWXUă
FRPXQăGXEODRULHQWDUHDFXYkQWXOXLGXSăRELHFWXOYRUELULLúLGXSăFXYkQWul altuiaGXSă
vorbirea celuilalt´6ND]XOQXHVWHXQSURFHGHXGHRDUHFHFDRULFDUHDOWăIRUPă
VWLOLVWLFăDQDUDĠLXQLLSRDWHDYHDXQFRQĠLQXWGLIHULWvQ IXQFĠLHGHFDUDFWHUXOUHODĠLHLGLQWUH
FXYkQWXOSURSULXúLFXYkQWXOVWUăLQSHFDUHRH[SULPăvQFRQWH[WXOFRQFUHWÌQWUHWLSXULOHGH
FXYkQW úL YDULHWăĠLOH ORU QX H[LVWă JUDQLĠH WUDQúDQWH vQ VHQVXO Fă SRW DSăUHD PXWDĠLL
IXQFĠLRQDOH6ND]XOSRDWHDYHDXQHRULGRDURVLQJXUăRULHQWDUH– GXSăRELHFW” (1970: 257).

$FWXDOL]ăULDOHcuvântul bivoc vQGLVFXUVXO9LFăL'HOFă

În romanul 'LPLQHDĠăSLHUGXWăDXWRDUHDRSHUHD]ăRVWUDWLILFDUHLQWHUQăDOLPELLvQGLDOHFWH
VRFLDOH OLPEDMXO 9LFăL PDQLHUH GH JUXS OLPEDMXO HWLFKHWHL OLPEDM GH JHQ OLPEDMXO
femeilor – OLPEDMXO EăUEDĠLORU OLPEDMH DOH JHQHUDĠLLORU LGLROHFWHOH 9LFăL - un idiolect al
personajului - copil sau al personajului - DGXOW MDUJRDQH SURIHVLRQDOH WULEXODĠLLOH
intelectual-SROLWLFH DOH SURIHVRUXOXL 0LURQHVFX REĠLQkQG XQ SOXULOLQJYLVP VRFLDO R
SOXULYRFLWDWH LQGLYLGXDOă 'LVFXUVXO DXWRUXOXL úL DO QDUDWRULORU FD úL JHQXULOH LQWHUFDODWH úL
limbajul persoanjelor – WRDWH GHYLQ XQLWăĠL FRPSR]LĠLRQDOH SULQ FDUH SOXULOLQJYLVPXO
SăWUXQGHvQURPDQ'LQDFHDVWăSHUVSHFWLYăFXYkQWXOFDSăWăRIXQFĠLHVRFLDOăHVWHSULYLWúL
 97

vQĠHOHVFDIHQRPHQVRFLDO$FHDVWăVWUDWLILFDUHDOLPEDMXOXLQXVHUHDOL]HD]ăGRDUODQLYHOXO
YRFDEXODUXOXL FL LPSOLFă úL IRUPH DOH RULHQWăULL LQWHQĠLRQDOH úL DOH LQWHUSUHWăULL ,QWHQĠLD
GLVFXUVXOXL VH UHIHUă OD RULHQWDUHD OXL DVXSUD RELHFWXOXL YRUELULL 3ULQ SOXULOLQJvism,
GLDOHFWLFD RELHFWXOXL VH vPSOHWHúWH FX GLDORJXO VRFLDO GLQ MXUXO OXL $VWIHO QX GLDORJXO vQ
VLQHFDIRUPăFRPSR]LĠLRQDOăDVWUXFWXULLYRUELULLGăGLPHQVLXQHDXQXLSOXULOLQJYLVPVRFLDO
FL GLDORJL]DUHD LQWHULRDUă D GLVFXUVXOXL 1 (care se poate realizD vQ UHSOLFă VDX vQ HQXQĠ
monologic) – GHILQLWă FD DWLWXGLQH IDĠă GH GLVFXUVXO VWUăLQ´ $FHVW QRX DVSHFW DO
GLDORJL]ăULL LQWHULRDUH D GLVFXUVXOXL VH GHRVHEHúWH GH FHO GHWHUPLQDW GH vQWkOQLUHD FX
cuvântul « VWUăLQ ª vQ RELHFWXO vQVXúL DLFL QX RELHFWXO VHUYHúWH GUHSW DUHQă D vQWkOQLULL FL
orizonWXOVXELHFWLYDODVFXOWăWRUXOXL” (Bahtin, 1982: 137).
'LQDFHDVWăSHUVSHFWLYăVRFLROLQJYLVWLFăOLPEDMXO 9LFăLUHSUH]HQWDQWDOUHJLVWUXOXL
VWLOLVWLF DO RUDOLWăĠLL vQ URPDQ GHYLQH H[SUHVLD DUWLVLWLFă D XQXL GLVFXUV HYLGHQĠLDW vQ SODQ
ideologic. Locutorul devine un ,,ideolog”, cuvintele sale sunt ,,ideologeme.” 2 9LFDWUăLHúWH
úL DFĠLRQHD]ă vQ SURSULXO VăX XQLYHUV LGHRORJLF DUH FRQFHSĠLD VD GHVSUH OXPH FRQFHSĠLH
H[SULPDWăSULQDFĠLXQHúLSULQFXYkQW'HDOWIHOunii dintre criticii literari contemporani i-au
UHFXQRVFXWSHUVRQDMXOXLvQGLVFXĠLHDFHVWVWDWXWFRPSOH[vQFDGUXOURPDQXOXLGHSHUVRQDM–
voce – SR]LĠLHD[LRORJLFă– SRHWLFă
Într-XQ DPSOX VWXGLX FRQVDFUDW URPDQXOXL URPkQHVF FRQWHPSRUDQ ,RQ 6LPXĠ
remarca – analizând romanul 'LPLQHDĠăSLHUGXWă - IDSWXOFăSULQXPRUXOHOHPHQWDULWDWHD
úLFRUR]LYLWDWHDOLPEDMXOXLHL9LFD'HOFăSXQHRUDPăFULWLFăúLLURQLFăURPDQXOXLEXUJKH]
VDX DOEXPXOXL vQFRUSRUDW vQWUH FRSHUĠLOH YLHĠLL vQ FRPXQLVP  'LVFXUVXO SOebeian,
vQFăUFDWGHPHGLRFULWDWHDYLHĠLLFRWLGLHQHvQFDGUHD]ăWRDWăHYRFDUHDFXWHQGLQĠHLGHDOLVWHGH
RPDJLHUH D OXPLL EXQH GH SH OD  úL FHYD vQWU-R UDPă LURQLFă´   - 208). A
DILUPD Fă GLVFXUVXO 9LFăL SXQH R UDPă FULWLFă úL LURQLFă URPDQXOXL EXUJKH]´ vQVHDPQă D
VXEOLQLDH[LVWHQĠDúLvQWkOQLUHDDXQRUSXQFWHGHYHGHUHFHOSXĠLQGRXăDVXSUDOXPLLSXQFWH
de vedere care pot fi atât ale autorului ,,abstract” 3FkWúLDOHSHUVRQDMXOXL– narator delegat
de acesta în universul diegetic). Prin uPRUXOSURGXVGHOLPEDMXO9LFăLSULQGLVFXUVXOLURQLF
DODFHVWHLDDXWRDUHDFUHHD]ăIRUPHDOHLQWURGXFHULLSOXULOLQJYLVPXOXL 4 în roman, ridicându-
OH OD VWDWXWXO GH IHQRPHQH ELYRFDOH úL ELOLQJYH $VWIHO FULWLFXO RUăGHDQ PXWă DFFHQWXO
analizei de pe imagineD 9LFăL – ca om în sine – (aspect avut în vedere de majoriatea
DQDOL]HORUFULWLFLORUFRQWHPSRUDQLvQSULYLQĠDSHUVRQDMXOXLSHimaginea limbajului acesteia.
3ULQDFHDVWăUDPăLURQLFă´HVWHUHOHYDWUROXOFRQWH[WXOXLFDUHvQFDGUHD]ăGLVFXUVXO9LFăLvQ

1 'DU GLDORJL]DUHD LQWHULRDUă SRDWH Vă GHYLQă R DDVHPHQHD FUHDWRDUH GH IRUPă QXPDL DFROR XQGH
GLYHUJHQĠHOH úL FRQWUDGLFĠLLOH LQGLYLGXDOH VXQW IHUWLOL]DWH GH SOXULQJYLVPXO VRFLDO vQ FDUH HFRXULOH
GLDORJLFH«SăWUXQGvQVWUDWXULOHOXLDGkQFLGLDORJL]kQGOLPEDMXOvQVXúLFRQFHSĠLDOLQJYLVWLFăGHVSUH
lume (« XQGH GLDORJXO YRFLORU VH QDúWH QHPLMORFLW GLQ GLDORJXO VRFLDO DO OLPEDMHORU «´ %DKWLQ
1982: 140).
2
,,Un limbaj special constituie întotdeauna, în roman, un punct de vedere special asupra lumii, punct
GH YHGHUH FDUH SUHWLQGH R VHPQLILFDĠLH VRFLDOă Tocmai ca ideologem, discursul devine obiectul
UHSUH]HQWăULL vQ URPDQ GH DFHHD URPDQXO QX HVWH H[SXV SHULFROXOXL GH D GHYHQL XQ MRF YHUEDO IăUă
obiect” ( ibidem: 194).
3 ,GHRORJLDRSHUHLOLWHUDUHHVWHDFHHDDDXWRUXOXLDEVWUDFW,DUVHQWLQĠHOHQXVXQWSURQXQĠDWHGHDXWRU

FLGHFăWUHQDUDWRU´/LQWYHOW
4 3OXULOLQJYLVPXO LQWURGXV vQ URPDQ QX HVWH DOWFHYD GHFkW GLVFXUVXO DOWXLD vQ OLPEDMXO DOWXLD úL

VHUYHúWHH[SULPăULLUHIUDFWDWHDLQWHQĠLLORUDXWRUXOXL$FHVWGLVFXUVHVWHXQGLVFXUVVSHFLDObivocal. El
VHUYHúWH VLPXOWDQ GRL ORFXWRUL úL H[SULPă FRQFRPLWHQW GRXă LQWHQĠLL GLIHULWH LQWHQĠLD GLUHFWă D
SHUVRQDMXOXL YRUELWRU úL FHD UHIUDFWDWă D DXWRUXOXL 8Q DVHPHQHD GLVFXUV FRQĠLQH GRXă YRFL GRXă
VHQVXUL GRXă H[SUHVLL 7RWRGDWă FHOH GRXă YRFL VXQW FRUHODWH GLDORJLF  ÌQ HOH VH DIOă XQ GLDORJ
SRWHQĠLDOFDUHQXHVWHGHIăúXUDW´%DKWLQ
 98

creaUHD LPDJLQLL OLPEDMXOXL VăX 'LVFXUVXO SOHEHLDQ´ DO SHUVRQDMXOXL HVWH XQ OLPEDM FDUH
HYRFăVDXWULPLWHODXQDOWOLPEDMHOQHPDLILLQGGRDUXQPRGGHUHSUH]HQWDUHFLúLLPDJLQHD
unui orizont social, un limbaj orientat ,,în afara sa” 1 prin latura sa inteQĠLRQDOăGHDVWUDWLILFD
OLPEDMXOOLWHUDUGDUúLGHDLQWUDvQSROHPLFăFXXQDOWWLSGHGLVFXUVLGHRORJLFOLWHUDU'XSă
%DKWLQ SURFHGHHOH FUHăULL LPDJLQLL OLPEDMXOXL VXQW KLEULGL]DUHD FRUHODĠLD GLDORJLFă D
limbajelor, dialogurile pure” (Bahtin 1982:  'LQ DFHDVWă SHUVSHFWLYă LGHQWLILFăP vQ
URPDQRKLEULGL]DUHSXQFWXOGHYHGHUHDOOLPEDMXOXLúLDOFRQúWLLQĠHORUOLQJYLVWLFHvQWUXSDWvQ
DFHVWDUHSUH]HQWkQGDPHVWHFXODGRXăVDXPDLPXOWHOLPEDMHVRFLDOHFRQúWLLQĠHOLQJYLVWLFH
VHSDUDWHGHHSRFăGHVtatutul social.
7RWRGDWă JORVkQG vQ MXUXO HIHFWXOXL EXUOHVF´ DO OLPEDMXOXL 9LFăL DSUHFLDW GH
$OH[DQGUX *HRUJH FD ILLQG FăXWDW´ GH DXWRDUH úL VXSUDOLFLWDW´ ,RQ 6LPXĠ VXEOLQLD]ă
GLDOHFWLFD IRUĠHORU FHQWULSHWH úL FHQWULIXJH DOH OLPEDMXOXL URPDQXOXL 2 Astfel, criticul face
XUPăWRDUHD DILUPDĠLH ÌQ FHQWUXO LUDGLDQW DO URPDQXOXL VH DIOă SURIHVRUXO 0LURQHVFX úL
OLPEDMXOVăXLQWHOHFWXDOVXSHULRUGHLQWHUSUHWDUHDOXPLLSROLWLFHúLPRUDOHEXUJKH]HFăUHLD
vLDSDUĠLQH9LFDDUHUROXOGHDGHVFKLGHXúDVSUHDFHDVWăOXPHúLGHDRvQFKLGHDSRLODORF
vQILQDOXOURPDQXOXLFXXQHIHFWEXUOHVF´EHQHILFFXRIXQFĠLHGHDSURSLHUHúLGLVWDQĠDUH
9LFD 'HOFă úL ùWHIDQ 0LURQHVFX VXQW FHOH GRXă WRQDOLWăĠL VDX UHJLVWUH stilistice opuse ale
romanului” (2008: 208). ÌQ FHHD FH QH SULYHúWH QX FRQVLGHUăP vQWkPSOăWRDUH SODVDUHD GH
FăWUH FULWLFXO RUăGHDQ vQ FHQWUXO URPDQXOXL D OLPEDMXOXL SURIHVRUXOXL 0LURQHVFX FXP GH
DVHPHQHDQXFRQVLGHUăPvQWkPSOăWRDUHQLFLLGHQWLILFDUHDGHFăWUHDFHVWDDXQHLSRODULWăĠL´
stilistLFH JHQHUDWH GH FHOH GRXă SHUVRQDMH 5HJLVWUXO VWLOLVWLF DO SURIHVRUXOXL HYRFă R
FHQWUDOL]DUHDOLPEDMXOXLRSXVăSOXULOLQJYLVPXOXLILLQGH[SUHVLDOLPEDMXOXLFRPXQXQLF´ 3.
Când vorbim despre limbajul unic al personajului, nu avem în vedere doar un sistem de
VLPEROXULOLQJYLVWLFHVDXGHFDWHJRULLJUDPDWLFDOHFLúLXQOLPEDMLGHRORJLFFHUHIOHFWăXQ
PRGXQLILFDWRUGHDSHUFHSHUHDOLWDWHD6XEOLQLHPH[LVWHQĠDXQXLOLPEDMOHJDWLQGLVROXELOGH
SURFHVHDOHFHQWUDOL]ăULLVRFLDOHSROLWLFHFXOWXUDOHIDPLOLDOH$FHDVWăLGHHQLVHSDUHIRDUWH
ELQH FRQWXUDWă vQWU-XQ FRPHQWDULX IăFXW GH 'DQLHO &ULVWHD (QDFKH GHVSUH SHUVRQDM
*UHRLXO!! 0LURQHVFX SURIHVRUXO VHULRV LGHDOLVW úL WHRUHWL]DQW FDXWă OD QHVIkUúLW
armonizarea binelui occidental cu cel românesc, a biQHOXL3DWULHLFXFHOIDPLOLDOúLDELQHOXL
Familiei cu cel personal.” (în 'LPLQHDĠă SLHUGXWă 2014, 'RVDU GH SUHVă S  ÌQVă
IRUĠHOHFHQWULSHWHDOHOLPEDMXOXLQXSRWDFĠLRQDGHFkWvQPHGLXOXQXLSOXULOLQJYLVPHIHFWLYDO
IRUĠHOHORU FHQWULIXJH FDUH DQWUHQHD]ă SURFHVXO GH GHVFHQWUDOL]DUH úL VHSDUDUH 'LQ DFHDVWă
SHUVSHFWLYă OLPEDMXO FRUR]LY´ DO 9LFăL QH DSDUH FD XQ SOXULOLQJYLVP GLDORJL]DW RULHQWDW
polemic – vQRSR]LĠLHFXOLPEDMXORILFLDODOSURIHVRUXOXL0LURQHVFX3XWHPYRUELúLvQFD]XO
persoanjulXLIHPLQLQDQDOL]DWGHXQOLPEDMLGHRORJLF7HQGLQĠHGHVFHQWUDOL]DWRDUHDOH9LFăL
SRWILLGHQWLILFDWHQXGRDUODQLYHOXOXQXLX]QHQRUPDWDOOLPELLFLúLODDFHODDOXQHLWHQGLQĠH
GH VHSDUDUH GH FHLODOĠL 3ULQ MXGHFDUHD úL HWLFKHWDUHD SHUPDQHQWă D FHORUODlte personaje –
VRĠXOOLJKLRDQDEăWUkQă´S WDWăOROWHDQDSXFăWRU´SFXPQDWDWLFăLWă´S

1 'LVFXUVXOWUăLHúWHvQDIDUDVDvQWU-RRULHQWDUHDFWLYăVSUHRELHFW´idem, ibidem: 148).

2 )LHFDUHHQXQĠFRQFUHWDOVXELHFWXOXLYRUELULLFRQVWLWXLHSXQFWXOGHDOăWXUDUHDWkWDOIRUĠHORUFHQWULSHWH
FkW úL DO FHORU FHQWULIXJH 3URFHVHOH GH FHQWUDOL]DUH úL GHVFHQWUDOL]DUH GH XQLILFDUH úL GH VHSDUDUH VH
LQWHUVHFWHD]ăvQDFHVWHQXQĠ«)LHFDUHHQXQĠHVWHLPSOLFDWvQOLPEDMXOXQLF´vQIRUĠHOHúLWHQGLQĠHOH
FHQWULSHWH úL vQ DFHODúL WLPS vQ SOXULOLQJYLVPXO VRFLDO úL LVWRULF vQ IRUĠHOH FHQWULIXJH
stratificatoare)” (Bahtin 1982: 126).
3 /LPEDMXOFRPXQXQLFHVWHXQVLVWHPGHQRUPHOLQJYLVWLFHIRUĠHFUHDWRDUHDOHYLHĠLLOLPEDMXOXL

FDUH GHSăúHVF SOXULOLQJYLVPXO FDUH XQLILFă úL FHQWUDOL]HD]ă JkQGLUHD OLWHUDU-LGHRORJLFă FDUH FUHHD]ă
vQOăXQWUXO OLPELL QDĠLRQDOH SOXULOLQJYH QXFOHXO OLQJYLVWLF GXU úL VWDELO DO OLPEDMXOXL OLWHUDU RILFLDO
UHFXQRVFXWVDXFDUHDSăUăGHMDDFHVWOLPEDMGHMD IRUPDWGHSUHVLXQHDFUHVFkQGăDSOXULOLQJYLVPXOXL´
(ibidem: 124).
 99

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PDGDP,RDQLXS*HOXFRSLOvQGUăFLW´SVWULFDWD´GHPDGDP&ULVWLGHYRSVLWă
FDRSDSDUXGă´SGHUEHGHLL´p. FDUHDXXPSOXW%XFXUHúWLXO3HWUXĠDVFURDIDFDUH
s-a urcat în copac” (p. 355) - 9LFDVHL]ROHD]ă´GHDFHVWHDHYRFkQGRYL]LXQHIUDJPHQWDUă
asupra lumii.
În rândul FULWLFLORU FDUH GHPRQWHD]ă FOLúHHOH SULYLQG OLPEDMXO FRORFYLDO DO 9LFăL
'HOFăVHvQVFULHúL'DQLHO&ULVWHD(QDFKH'HIDSWFULWLFXOHVWHFHOFDUHDWUDJHDWHQĠLDDVXSUD
dimensiunii sociale a limbajului personajului feminin - vQ VHQVXO XQHL GHPRFUDWL]ăUL D
OLWHUDWXULLFRQFUHWL]DWă vQvQYHVWLUHDFX YRFHDRPXOXLGLQ SRSRURYRFHGLIHULWăGHYRFHD
OLWHUDUă´ D DXWRUXOXL ÌQ RSLQLD VD PDKDODJLVPXO 9LFăL QX VH YUHD R UHSOLFă SROHPLFă OD
DFHDVWă WLSRORJLH FDUDJLDOLDQă DúD FXP VXVĠLQHD GH SLOGă 9DOHULX &ULVtea), ci ,,prin miza
SXVă GH URPDQFLHUă SH 9LFD 'HOFă V-D GRULW úL V-D UHXúLW UăVWXUQDUHD XQHL SUHMXGHFăĠL
SHUVLVWHQWH UHIHULWRDUH OD DGkQFLUHD XQRU SHUVRQDMH PRGHVWH VRFLDO ÌQ SUR]D QRDVWUă
standard, acestea sunt conturate fie schematic, complet neconvLQJăWRU SUH-modern sau
realist-socialist, într-RFRPSR]LĠLHFDOLEUDWăúLHWDMDWăSHLQWHOHFWXDOXOFRPSOH[úLVXSHULRU$
IDFH GHFL SUR]ă SVLKRORJLFă DQDOL]ă QX GRDU FUHDĠLH FX R ELDWă IHPHLH FH YRUEHúWH vQ
GH]DFRUGXUL úL QX DMXQJH évidemment, la treaptD VSHFXODĠLXQLL LQWHOHFWXDOH LDWă vQ RSLQLD
PHD SDULXO *DEULHOHL $GDPHúWHDQX´ ibidem:  $úDGDU modernitatea romanului
'LPLQHDĠăSLHUGXWă QXVHUHIOHFWăGRDUvQSODQXO QDUDWLYDOVWUDWHJLLORUGLVFXUVLYHFLúLvQ
planul estetic, prin emanciparea SHUVRQDMXOXL PRGHVW VRFLDO´ FăUXLD L VH UHIX]D H[LVWHQĠD
LGHRORJLFă D[LRORJLFă SVLKRORJLFă 6H FURQRWRSLFL]HD]ă DVWIHO OLPEDMXO 9LFăL vQ VHVQXO
LQWHJUăULLOXLvQWU-XQFURQRWRSDORUDúXOXLFHSHUPLWHGLYHUVHUHSUH]HQWăULVRFLDOHDOHRPXOXL
$OăWXUL de personajele complexe, rafinate, problematizante, intelectuale pot fi aduse pe
VFHQD URPDQXOXL PRGHUQ SHUVRQDMH FH HYRFă SHULIHULD VRFLDOă HFRQRPLFă úL LQWHOHFWXDOă
SHUVRQDMH HOHPHQWDUH SUDJPDWLFH FX R SVLKRORJLH UXGLPHQWDUă 9RFLOH DFHVWRU SHUVRQDMH
FRH[LVWăVLPXOWDQvQURPDQDUPRQL]kQGX-se dialogic.

4. Concluzii

ÌQFRQFOX]LHGLQSXQFWGHYHGHUHHVWHWLFRUDOLWDWHDQXPDLHVWHSULYLWăGRDUFDXQIHQRPHQ
OLQJYLVWLF FX SDUWLFXODULWăĠL VHPDQWLFH VWLOLVWLFH SUDJPDWLFH VLQWDFWLFH FL FD R PRGDOLWate
GHDLQWURGXFHvQOLPEDMXOURPDQXOXLXQSOXULOLQJYLVPHVHQĠLDODOOLPEDMXOXLUHDO2UDOLWDWHD
SHUPLWHDWkWRPRGDOLWDWHGHGLYHUVLILFDUHVRFLROLQJYLVWLFă DOLPEDMHORUGLQURPDQFkWúLR
LQWHUSUHWDUH GLDORJLFă D OLPEDMXOXL DUWLVWLF (VHQĠD DFHVWXL IHQRPHQ QX FRQVWă vQ OLPEDMXO
YRUELWFLvQSURIXQ]LPHDFXFDUHvúLJăVHúWHH[SUHVLDDUWLVWLFăvQYRUELUHDQDUDWRUXOXL$VWIHO
FXYkQWXO FDSăWă VWDWXW ELYRFDO HVWH SULYLW FD GLVFXUVXO altuia în limbajul altuia $FHDVWă
SHUFHSĠLHDYRUELULLVWUăLQHQXVHSRDWH realiza printr-RUHSURGXFHUHDSDUWLFXODULWăĠLORUHLFL
printr-RVWUXFWXUăVWLOLVWLFăPHQLWăVăIDFăHYLGHQWăGLVWDQĠDUHDHLGHVWLOXODXWRUXOXL$VWIHO
RUDOLWDWHD GHYLQH R IRUPă GH LQWHUDFĠLXQH D GRXă OLPEDMH GH UHIOHFWDUH D XQXLD vQ DOWXO
cuvântul căSăWkQGVWDWXWELYRFDO $FHVWXOWLPFRQFHSWGHFXYkQWELYRFSUHVXSXQHROHFWXUă
vQUHJLPPXWGHRDUHFHHOQXSRDWHILUHSURGXVSULQURVWLUHDOXLRUDOăúLDUSULYLOHJLDRYRFH
vQGHWULPHQWXOYRFLLDXWRUXOXLFDUHHVWHRYRFHUHGXVăÌQIRUPHOHVWLOLVWLFHale cuvântului-
ELYRFOăXQWULFGLDORJL]DWFkQGFHOHGRXăYRFLVHFRQIUXQWăvQDFHODúLFXYkQWLGHQWLFGRDU
din punct de vedere lingvistic) cea de-D GRXD YRFH UHGXVă vúL JăVHúWH H[SUHVLH GRDU SULQ
VFKLPEăULGHDFFHQWD[LRORJLFGHLQWRQDĠLH
$úDGDU SHUVSHFWLYD HVWHWLFă DVXSUD IHQRPHQXOXL RUDOLWăĠLL PXWă DFFHQWXO GH SH
FRQFHSĠLDIRQHWLFăDVXSUDFXYkQWXOXLSHFHDVHPDQWLFăDDFHVWXLD$QDOL]DDFHVWXLDQXPDL
HVWHFHQWUDWăSHHOHPQWHOHOXLIL]LFHFLSHGLDORJL]DUHDOăXQWULFăFDUHSHUPLWHFXYkQWXOXLVă
 100

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sa despre lume.

Surse:

$GDPHúWHDQX*DEULHOD'LPLQHDĠăSLHUGXWă%XFXUHúWL3ROLURP-493.
*DEULHOD$GDPHúWHDQX'LPLQHDĠăSLHUGXWă %XFXUHúWL&DUWHD5RPkQHDVFă

5HIHULQĠH

Adam, J. M., Revaz, Fr.,1999, Analiza povestirii,DúL,QVWLWXWXO(XURSHDQ

Les textes: types et prototypes. Récit, description, argumentation, explication et
dialogue, Paris, Nathan.
Bahtin, Mihail, 1982, Probleme de literaWXUă úL HVWHWLFă. Traducere de Nicolae Iliescu,
%XFXUHúWL(GLWXUD8QLYHUV
Bahtin, Mihail, 1970, Problemele poeticii lui Dostoievski ÌQ URPkQHúWH GH 6 5HFHYVNL
%XFXUHúWL(GLWXUD8QLYHUV
&RúHULX(XJHQLX,QWURGXFHUHvQOLQJYLVWLFă, Cluj-Napoca, Editura Echinox.
Coteanu, Ion, 1973, 6WLOLVWLFDIXQFĠLRQDOăDOLPELLURPkQH %XFXUHúWL(GLWXUD $FDGHDPLHL
Republicii Socialiste România.
%LGX 9UăQFHDQX $QJHOD &ăOăUDúX &ULVWLQD ,RQHVFX-5X[ăQGRLX /LOLDQD 0DQFDú
0LKDHOD3DQă'LQGHOHJDQ*DEULHOD001, 'LFĠLRQDUGHúWLLQĠHDOHOLPELL, %XFXUHúWL
Editura Nemira.
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YRO,7LPLúRDUD([FHOVLRU$UW
*DYULORY$QDWRO6WLOXORUDOLWăĠLLvQLQWHUSUHWDUHDGLDORJLFăDOXL%DKWLQvQFilologia
PRGHUQăUHDOL]ăULúLSHUVSHFWLYHvQFRQWH[WHXURSHDQ&KLúLQăX 239-246.
Ionescu-5X[ăQGRLX /  &RQYHUVDĠLD VWUXFWXUL úL VWUDWHJLL 6XJHVWLL SHQWUX R
SUDJPDWLFăDURPkQHLYRUELWH%XFXUHúWL(GLWXUD$OO(GXFDĠLRQDO
Ionescu-5X[ăQGRLX /  /LPEDM úL FRPXQLFDUH (OHPHQWH GH SUDJPDWLFă OLQJYLVWLFă,
%XFXUHúWL(GLWXUD$OO(GXFDĠLRQDO
Lintvelt, Jaap, 1994, 3XQFWXO GH YHGHUH ÌQFHUFDUH GH WLSRORJLH QDUDWLYă. Traducere de
$QJHOD0DUWLQ%XFXUHúWL(GLWXUD8QLYHUV
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(QFLFORSHGLFă
Manu, Margareta Magda, 2003, (OHPHQWHGHSUDJPDOLQJYLVLWFăDURPkQHLYRUELWHUHJLRQDO
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din Oradea.
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anilor ’80

(PLQD&ăSăOQăúDQ
8QLYHUVLWDWHDGH9HVWGLQ7LPLúRDUD

The aim of this paper is to demonstrate that Marin Sorescu wrote in postmodernist
style. We base our study on the three novels he wrote. Each of the novels is
approached by the means of three important postmodernist elements: fragmentary,
playful narrative and hybridity. If such an analysis is possible, we question the fact
that he was labeled as a modernist writer. Moreover, we would like to highlight the
fact that he was unique, always changing formulas and experimenting, keeping
though old frames and discourses, the result being a beautiful, playful narrative.

Keywords: fragmentary, hybridity, Postmodernism, prose, unconventional formulas.

1. Introducere

/XFUDUHD QRDVWUă SRUQHúWH GH OD SUHPLVD Fă vQFDGUDUHD OXL 0DULQ 6RUHVFX vQ PRGHUQLVPXO
URPkQHVF HVWH GLVFXWDELOă GHRDUHFH WH[WHOH VDOH vQ SUR]ă SRW IL DQDOL]DWH vQ FRQtextul
SDUDGLJPHLSRVWPRGHUQH'LQPRPHQWFHPRGHUQLWDWHDSUR]HLVDOHSRDWHILSXVăVXEVHPQXO
vQWUHEăULL SURSXQHP VSUH SUREOHPDWL]DUH UHHYDOXDUHD vQFDGUăULL VFULLWRUXOXL vQWU-un singur
FXUHQWOLWHUDUúLDQXPHvQPRGHUQLVP
1H SURSXQHP Vă GLVFXWăP GHVSUe cele trei romane ala scriitorului, fiecare fiind
DQDOL]DWGLQSHUVSHFWLYDXQHLWUăVăWXULIXQGDPHQWDOHDSRVWPRGHUQLVPXOXLOLWHUDU

1.1. Vocea criticii

ÌQRSLQLDFULWLFLORU*HRUJH&ăOLQHVFX0DULQ0LQFX'XPLWUX0LFX0LUFHD=DFLX$O3LUX
Nicolae MDQROHVFX VFULLWRUXO HVWH Yă]XW FD XQ LQRYDWRU DGHSW DO IRUPXOHORU
QHFRQYHQĠLRQDOH SURPRWRU DO KLEULGXOXL OLWHUDU DXWRU GH YHUVXUL FH VH vQVFULX vQWU-R QRXă
RUGLQHIRUPDOă LURQLFúLUHWLFHQWODUHJXOLFXWDOHQWGHDSULYLOXPHDDOWIHO3RUQLQGGHOD
aFHVWH RSLQLL vQFHUFăP Vă SURSXQHP R QRXă GLUHFĠLH GH UHFHSWDUH D OXL 0DULQ 6RUHVFX
DQDOL]kQG GDFă URPDQHOH VDOH VXQW SRVWPRGHUQH úL GDFă 0DULQ 6RUHVFX HVWH DSURSLDW GH
JHQHUDĠLD ¶ SHULRDGă vQ FDUH SULQFLSLLOH SRVWPRGHUQLVPXOXL LDX IRUPD XQRU SDJLQL GH
OLWHUDWXUă
8QD GLQWUH DILUPDĠLLOH FDUH DU VXVĠLQH Fă 0DULQ 6RUHVFX HVWH JUHX GH SODVDW HVWH
XUPăWRDUHDÄ2FRQVWUXFĠLHFULWLFăVHYUHDFHYDVWDELOILQLWXUPHD]ăORJLFDSUHYă]ăWRDUHúL
ordonatoare a gândirii. Marin Sorescu este un autor extrem de mobil úLGHUXWDQWXUPHD]ă
logica viului, care coincide totdeauna cu a imprevizibilului” (Andreescu 1983: 19). Aceasta
PRWLYHD]ăIDSWXOFăOXFUDUHDQRDVWUăSRUQHúWHGHODSUHPLVDFăvQFDGUDUHDOXL0DULQ6RUHVFX
SULQWUHVFULLWRULLPRGHUQLSRDWHILGH]EăWXWă0DULn Sorescu este dificil de prins, de izolat în
 102

FDSFDQD FXYLQWHORU VSLULWXO VăX ILLQG ÄQHDVHPăQăWRU vQ FRQFUHWL]ăULOH VDOH´ ibidem: 21).
ÌQVXúL0DULQ6RUHVFXYRUELQGGHVSUHVLQHúLGHVSUHPRGXOSURSULXGHDVFULHvúLUHFXQRDúWH
QHJDĠLD SHQWUX IRUPH IL[H Ä1X QX YUHDX QHDSăUDW Vă VFULX vQ VWLOXO PHX 1X FDXW Vă Pă-
închid într-RIRUPXOăILHHDúL©VRUHVFLDQăª0L-DPúLVFKLPEDW-o de câteva ori.” 1
0DULQ 0LQFX LQWURGXFH DOWH VLQWDJPH FDUH UHGDX LGHHD RULJLQDOLWăĠLL DXWRUXOXL úL D
VSLULWXOXLVăXQRYDWRUÄSRHWXOvúLFURLHúWHXQVWLOstilul sorescian [subl. aut.]. Acest stil
SUHVXSXQHGLQFRORGHWLSDUHOHIRUPDOHRYL]LXQH>«@DVXSUDH[LVWHQĠHL6WLOXOVRUHVFLDQH
XQPRGLURQLFGHDYHGHDOXPHDGDUúLRFDOHGHFRUHFWDUHDHL´0LQFX
Tot în FULWLFDOLWHUDUă0DULQ6RUHVFXHVWHvQIăĠLúDWFDXQVFULLWRUFDUHÄVFRDWHSRH]LD
GLQSUHMXGHFăĠLOHFDVWHOXOXLSULQFLDUúLRFRERDUăvQVWUDGăRULvQWU-un mediu de familiaritate
EDQDOă´=DFLX

2. 7UHLGLQĠLGLQIDĠă– model literar al fragmentarismului

3ULPXO URPDQ DVXSUD FăUXLD QH RSULP HVWH 7UHL GLQĠL GLQ IDWă 1H SURSXQHP Vă XUPăULP
modul în care este concretizat fenomenul numit fragmentarism – element care compune
WLSDUXO SRVWPRGHUQ &LWLQG URPDQXO YHGHP Fă 0DULQ 6RUHVFX ÄvQFHDUFă Vă Faracterizeze
YLDĠDDúDFXPRvQĠHOHJHIăUăRORJLFăHYLGHQWăIăUăSXWLQĠDGHDILVXSXVăUDĠLXQLL
$GHVHDURPDQXOHGHILQLWFDDYkQGRÄDFĠLXQHFRPSOH[ăGDUXQLWDUă´,RQLFă=DFK
>ID@$FHDVWăFKHVWLXQHWHRUHWLFăHVWHDEDQGRQDWăvQWH[WHOHSRVtmoderne în favoarea
IUDJPHQWăULLVXELHFWXOXL5RPDQXOYă]XWFDvQWUHJGHYLQHHOLSWLFSDUDGR[DOLDUHOHPHQWHOH
DOFăWXLWRDUH– fragmentele – devin autonome.
Romanul 7UHLGLQĠLGLQIDWă a fost catalogat ca fiind nu îndeajuns de închegat epic
(Vezi ChirLOă   &LWLWRUXOXL L VH SRDWH FUHD DFHDVWă LPSUHVLH vQWUXFkW URPDQXO vúL
SURLHFWHD]ă DFĠLXQHD SH PDL PXOWH SODQXUL OD QLYHOXO SRYHVWLULL OXFUXULOH GHVIăúXUkQG-se
ILUHVF SODQXULOH ILLQG vQVă ÄSXĠLQ vQFkOFLWH´ ibidem) $OWHUQDQĠD SODQXULORU úL D vocilor,
SUHFXPúLIUDJPHQWDULVPXOVXQWFDUDFWHULVWLFLDOHSDUDGLJPHLSRVWPRGHUQHGDUúLHOHPHQWH
vizibile în romanul lui Marin Sorescu.
5HIDFHUHD FRQH[LXQLORU vL UHYLQH FLWLWRUXOXL Ä&LWLWRUXO GHYLQH >@ XQ DGHYăUDW
SHUVRQDMDOWH[WXOXL´&ăUWăUHVFX [1999]Ä$XWRUXOGLQSURPRĠLD¶ 2 a ales, se pare,
FDOHDDPELĠLHLPD[LPH(ODIăFXWGLQFLWLWRUSHUVRQDMXOSULQFLSDODORSHUHLVDOH´1HGHOFLX
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1 (http://www.pruteanu.ro/205dialog-TOT.htm).
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3. Viziunea viziunii – dincolo de modelul teoretic al ordinii narative

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1 Vezi http://www.jurnalul.ro/stire-biblioteca-pentru-toti/trei-dinti-din-fata-sub-lupa-cenzurii-5074-
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de ordine este impuritatea >VXEODXW@(VWHLPSHULXOKLEUL]LORU´&ăUWăUHVFX>@-102).
'HILQLW FD VWLO ÄSOXUDOLVW´ 3DUSDOă $IDQD >@  SRVWPRdernismul face demersuri ca
DUWD vQDOWă Vă VFKLPEH vQăOĠLPLOH SHQWUX D vQFKHLD ÄGXELRDVH PH]DOLDQĠH FX GRPHQLLOH
marginale ale culturii de consum, paraliteraturii, kitsch-XOXL´&ăUWăUHVFX>@

1 Vezi DEX, s.v. popouXQGHVHDUDWăFăDFHVWDHVWHXQFXYkQWDSDUĠLQkQGUHJLVWUXOXLIDPLOLDU

2 Vezi DEX, s.v. KRĠÄ)DP2PúWUHQJDUúLUet”. În sintagma vPEUăFDWKRĠ, cuvântul subliniat este
apropiat ca sens de determinantul úPHFKHUHúWH.
3 Vezi DEX, s.v. WUHDQĠă úLVY]GUHDQĠă: „Fig. )DP2PGHQLPLFOHSăGăWXUăVHFăWXUă´
4 Cf. VăĠLQ– IRUPDOLWHUDUă– vezi DOOM , s.v. ĠLQH.
2
5 „FiJ3RSúLIDP&HHDFHDWUDJHvQFkQWăVDXVHGXFHvQIăSWXUDVDXIHOXOGHDILDOFXLYDIDUPHF

/RFDGMúLDGYCu lipici = vQFkQWăWRUDWUăJăWRUIHUPHFăWRUVHGXFăWRU´– DEX, s.v. lipici.

 107

Prin neizolarea limbajului colocvial, prin includereD QXDQĠHORU WHULWRULDOH vQ

ĠHVăWXUD WH[WXDOă VH SRDWH VSXQH Fă ÄSRVWPRGHUQLVPXO QX H HOLWLVW úL GLILFLO H ROLJDUKLF úL
WROHUDQW´%ăGăUăXÄ6-DUă]JkQGLWIHFLRDUD6DQFKL 1 HúWLWXIDWăPDUHFXPVXQWHX
DFLGFORUKLGULFvQYăĠDVHGHFXUkQGGHVSUHacidul clorhidric)... Te-DLvQWLQVFXWRĠLFKLULDúLL
úL-DFXPDPăJăVLVHúLSHPLQH´-DSLĠD: 832);

ÄùLPDLDIOăQDVRDORFăQLFLQXPăJkQGHVFODWLQHvQPLQXWHOHDVWHD$PHXODFLQH
Pă JkQGL +L-KL H[LVWă DWkWD PXLHUHW 2... minunat. Minunate femei mai are patria
QRDVWUă5RPkQLD5HSXEOLFăGHOD'HFHPEULH– anul trecut (enervat) 3. [...] Dar e
GH]DVWUXRV6ăSLFHXWRFPDLSHVWHH[FHSĠLHSHVWHIHPHLDQHIHPHLH"'DUSDUFăăúWLD
din centru sunt mai breji? Ne-RU IL ]LFkQG QRXă PkUODQL 4 GDU úL HL VXQW QLúWH
LPSRWHQĠL0DLELQHFLREDQLúLFXYkQăGHFkWVFRSLĠLL 5 ăúWLD'LQPXLHULQHLVSUăYLWH
ca tine se nasc ei – GHVXQWDúDGHDVFKLPRGLL 6” (-DSLĠD: 835);

„Fir-DUDLGUDFXOXLGHOLEHUDOLvQFHSXIHPHLDDPăUkWăRQRXăUDIDOă)LU-ar ai dracului
GHĠăUăQLúWL)LU-ar ai dracului de legionari! Fir-DUDLGUDFXOXLGHFX]LúWL,D]LPăFH
partide mai sunt?...” (ibidem: 851).

7ULYLDOXO HVWH VHFXQGDU vQVă FkQG VH vQWUH]ăUHúWH ILORQXO LVWRULF úL SVLKRORJLF
([LJHQĠHOH VWLOXOXL vQDOW VXEVWLWXLH FRERUkUHD vQ FRPXQ 7HUPHQLL DSDUĠLQkQG UHJLVWUXOXL
IDPLOLDUVDXOLPELLSRSXODUHVXQWRFROLĠLFDRSDUWLFXODULWDWHDOLPEDMXOXLILOR]RILFSRDWHIL
REVHUYDWăSUHGLOHFĠLDSHQWUXWHUPHQLLDEVWUDFĠLúLSHQWUXQHRORJLVPH „scepticismul acesta...
HRDOWăUDFLOă 7 a mentDOLWăĠLLQRDVWUH1HvPSLHGLFăVăSURJUHVăP´-DSLĠD: 798);

Ä5RPkQLDDUHODRUDDFWXDOăRSRSXODĠLHvPEăWUkQLWăIRUPDWăGLQSHQVLRQDULFDUH
FRQVXPă úL QX PDL SURGXF 1LFL QHSRĠL QX PDL vQJULMHVF – Vă OH IDFă FLRUDSL
PăQXúL – Vă-L GXFă GH PkQă SHQWUX Fă JHQHUDĠLD WkQăUă QX SURFUHHD]ă ,QVWLQFWXO
QDĠLHL QX PDL IXQFĠLRQHD]ă 6DWXO QHDRú VH YD XQL FX RUDúXO FRVPRSROLW úL YD GD
QLúWHVWkUSLWXULGHPDKDOD´-836);

Ä8QRUDúFKHDPăGXSăHODOWXOúLGDFăWHSXLSHXPEODWQXPDLDLKRGLQă/XPHDH
la IHO GH PDUH úL GDFă VWDL DLFL vQ VDWXO WăX úL GDFă vQFHUFL Vă-i vezi marginile”
(ibidem: 874-875).

3ROLWLFXO DSDUH OD VXSUDIDĠD GLPHQVLXQLL WH[WXDOH SULQ FkWHYD HOHPHQWH FH ĠLQ GH
OLPEDMXO VSHFLDOL]DW DO XQHL HSRFL Ä6RDUHOH EDGH 6ă YRWDĠL VRDUHOH´ 22); „Jos hidra

1 Ä$GY)DP9RUEăVăILHDúDVăFUH]LFXPV-ar zice” – DEX, s.v.

2
ÄÌQYúLSRSD]LGHSU/DVJFXVHQVFROHFWLY0XOĠLPHJUXSGHIHPHLPXLHULPH´– DEX, s.v.;
YH]LúLVYmuiere – termen neliterar, integrat limbii populare.
3 ([SOLFDĠLD SDUDQWHWLFă WULPLWH VSUH discursul teatral, ce are ca particXODULWDWH LQVHUĠLD XQRULQGLFDĠLL

SULYLQG YRUELUHD VDX JHVWLFD $FHVW DVSHFW vQWăUHúWH FHOH DILUPDWH DQWHULRU URPDQXO -DSLĠD poate fi
LQWHJUDWVFULHULORUSRVWPRGHUQHDUJXPHQWXOILLQGDPHVWHFXOGHFRGXULOLQJYLVWLFHúLGHJHQXULOLWHUDUH
4 „(Depr.) Om pURVW FUHVFXW >VLF@ JURVRODQ QHFLRSOLW EăGăUDQ ĠRSkUODQ´ – DEX, s.v.; utilizarea

WHUPHQLORU SHLRUDWLYL UHSUH]LQWă R SDUWLFXODULWDWH D OLPEDMXOXL IDPLOLDU – vezi în acest sens Mihaela
Popescu, op. cit., p. 133.
5 „3RS&DVWUDWMXJăQLW´– ibidem, s.v.
6 Ä)DP 3HUVRDQă IRDUWH XUkWă SULQ VOăELFLXQH H[DJHUDWă VWDWXUă PLFă HWF´ – ibidem, s.v.

aschimodie.
7 Termen livresc, cu sensul „FXVXUPHWHDKQăGHIHFW´– www.dexonline.ro, s.v.
 108

URúLH´$FHHDúLLPDJLQHRUHJăVLPvQPupa RussaODSÄIDĠDGHFXFXWHQFXLDOD

Fă]XWăSHFDUHvQFăVHPDLSXWHDFLWL©9RWDĠLVRDUHOHª´
3UHĠLR]LWDWHDGLVFXUVXOXLILOR]RILFFRPSOHWHD]ăSX]]OH-ul stilistic:

Ä'DFă WH JkQGHúWL PDL SURIXQG YH]L Fă QX GDL GH QLFLR UDĠLXQH &KLDU YHUEXO a
gândi DUHIRUPăUHIOH[LYă– DWHJkQGLvQVHQVXOăVWD7HJkQGHúWLODFHYDvQIRQG
OD WLQH ( R LQWXLĠLH JHQHURDVă D OLPELL URPkQH R VXJHVWLH Fă WUHEXLH Vă JăVHúWL
rezolvarea în tine. Tot univeUVXOHvQWLQHúLJkQGLQGX-OYH]LFăQXDUHQLFLXQVHQV
DúDFXPvQĠHOHJHPQRLOXFUXULOHFXELDWDQRDVWUăPLQWH2PXOQXHXQDQLPDOFDUH
VăSăWUXQGă PLVWHUXO3XĠLQ PDLHYROXDWGHFkWXUDQJXWDQXO úLQLFLDVWD QXHVLJXU
[...] $úDHOXPHD– GHúLQX-LUDĠLRQDOăFXPVSXQHDPHJUR]DYă>@)ăUăPHPRULH
WHQDúWLIăUăPHPRULHSOHFL´ 1 (957).

5. Concluzii

$UăWkQG Fă 0DULQ 6RUHVFX HVWH DXWRUXO FDUH GHVFULH IUDJPHQWDU R HSRFă FDUH LQLĠLD]ă XQ
GLDORJGHVSUHMRFXOILFĠLXQH-UHDOLWDWHFDUHHOXGLFúLLURQLFFDUHQXOLWHUDWXUL]HD]ăUHDOLWDWHD
FDUHGHSăúHúWHWHULWRULXOURPDQXOXLPRGHUQLVW– al obsedantului deceniu – pentru a contribui
la redefinirea noului OLWHUDU FDUH SUDFWLFă KLEULGL]DUHD JHQXULORU SXWHP FRQFOX]LRQD Fă
scriitorul Marin Sorescu este postmodern.
0DULQ 6RUHVFX GXFH SRVWPRGHUQLVPXO GLQFROR GH OLWHUDWXUă $úDGDU -RFXUL GH
FXYLQWH FRPELQDĠLL VXELHFWLYH GH VWUXFWXUL OH[LFDOH úL JUDPDWLFDOH SRW IL LGHQWLILFDWH úL vQ
SDJLQLOH GH FULWLFă OLWHUDUă VHPQDWH GH 0DULQ 6RUHVFX Ä PăUWXULVHVF EXFXULD FRSLOăURDVă
vQFHUFDWăGHFkWHRULvOFLWHVFSH%RUJHV3DUFăDúILXQFRSLOúLPLV-DUúRSWLODXUHFKH– FăFL
GDFă%RUJHVVFULHFXRFKLLvQFKLúLSRDWHFăWRWDúDWUHEXLHVă-OFLWLPúLQRL´6RUHVFX
&ULWLFXOOLWHUDUQXHVWHXQDXWRUWUDGLĠLRQDOcare-úLVWăSkQHúWHRSHUDFLXQDXWRUFDUH
VWDELOHúWHXQGLDORJFXSURSULXOWH[WSHQWUXFDXOWHULRUVăLVHVXERUGRQH]HÄ5HFLWLQGX-mi
IUD]DYăGFă-LFDPOXQJă6ă-LILHGHELQH$OWFHYDPăIUăPkQWăSHPLQHDFXP´ibidem:
 (VWH FKLDU XQ QHRELúQXit critic literar, care-úL vQFKHLH WH[WXO úWLLQĠLILF FX XQ epilog
(Vezi ibidem: 258) – GHILQLW FD ILLQG SDUWHD ILQDOă D XQRU OXFUăUL OLWHUDUH úL FDUH QX VH
VXERUGRQHD]ăULJRULLUHGDFWăULLXQXLDVWIHOGHWH[WÄ&LRUDQvúLLPDJLQDXQGHYD©XQPLVWLFFH
l-ar întrece pe Dumnezeu»” (ibidem  &ULWLFXO OLWHUDU 0DULQ 6RUHVFX vúL SUHFL]HD]ă
sursa: undeva, ignorând datele bibliografice.

5HIHULQĠH

Andreescu, Mihaela, 1983, Marin Sorescu. Instantaneu critic%XFXUHúWL(GLWXUD$OEDWURV

Arion, George, „Marin Sorescu: Viziunea vizuinii”, în )ODFăUD, nr. 16, 23 aprilie 1982, în
Marin Sorescu, 2006, 2SHUH9,5RPDQH3UR]ăVFXUWăHGLĠLHvQJULMLWăGH0LKDHOD
Constantinescu-3RGRFHD SUHIDĠă GH (XJHQ 6LPLRQ %XFXUHúWL (GLWXUD 8QLYHUV
Enciclopedic, Repere critice, p. 1222.
%ăGăUăX*HRUJH 2007, Postmodernismul românesc>,DúL@(GLWXUD,QVWLWXWXO(XURSHDQ
Buzera, Ion, [2000], Reinventarea lecturii, [Craiova], [Editura AIUS].
&ăUWăUHVFX0LUFHD [1999], Postmodernismul românesc%XFXUHúWL(GLWXUD+XPDQLWDV

16LPHWULDUHDOL]DWăSULQrepetarea sintagmei IăUăPHPRULH WULPLWHVSUHIRUPDODSLGDUăVHQWHQĠLRDVăD

unei maxime.
 109

CKLULOă*HRUJH 2001, ÌQWUHLURQLFúLLPDJLQDUMonografie – Marin Sorescu>%XFXUHúWL@

Editura Viitorul Românesc.
http://www.jurnalul.ro/stire-biblioteca-pentru-toti/trei-dinti-din-fata-sub-lupa-cenzurii-
507479.html.
http://www.pruteanu.ro/205dialog-TOT.htm..
,RQLFă =DFK 1DRPL [f.a.], &RQFHSWH RSHUDĠLRQDOH SHQWUX OLWHUDWXUD URPkQă HGLĠLD D ,,-a
UHYă]XWăúLDGăXJLWă>%UDúRY@(GLWXUD$XOD
Iorgulescu, Mircea, 1978, Scriitori tineri contemporani%XFXUHúWL(GLWXUD(PLQHVFX
Lintvelt, Japp, 1994, 3XQFWXO GH YHGHUH ÌQFHUFDUH GH WLSRORJLH QDUDWLYă, Partea întâi.
,QVWDQĠHOHWH[WXOui narativ literar, Editura Univers.
8QJKHDQX0Ä0DULQ6RUHVFX7UHLGLQĠLGLQIDĠă´vQ/XFHDIăUXO, nr. 23, 4 iunie 1977, p.
2, în Marin Sorescu, 2006, 2SHUH 9, 5RPDQH 3UR]ă VFXUWă HGLĠLH vQJULMLWă GH
Mihaela Constantinescu-3RGRFHD SUHIDĠă GH (XJHQ 6LPLRQ %XFXUHúWL (GLWXUD
Univers Enciclopedic, Repere critice, p. 1213.
Mincu, Marin, 2000, 3RHWLFLWDWHURPkQHDVFăSRVWEHOLFă&RQVWDQĠD(GLWXUD3RQWLFD
Nedelciu, Mircea, Ä8Q QRX SHUVRQDM SULQFLSDO´ vQ *KHRUJKH &UăFLXQ >@ &RPSHWLĠLD
continuă*HQHUDĠLD¶vQWH[WHWHRUHWLFH>3LWHúWL@(GLWXUD3DUDOHOD&ROHFĠLD
Seria Antologii.
3DUSDOă$IDQD(PLOLD>@ ,QWURGXFHUHvQVWLOLVWLFă>3LWHúWL@(GLWXUD3DUDOHOD
3ăXQHVFX Adrian, 2007, *HQHUDĠLD¶1LFKLWD6WăQHVFX0DULQ6RUescu, Ioan Alexandru
WH]ăGHGRFWRUDW>IO@(GLWXUD3ăXQHVFX)XQGDĠLD,XELUHD)XQGDĠLD&RQVWDQWLQ.
3RS ,RQ Ä5HOD[DUHD FDQRQLFă SRVWPRGHUQă´ vQ &DQRQ úL FDQRQL]DUH, 2003, sub
vQJULMLUHDOXL0DULQ0LQFX>&RQVWDQĠD@(GLWXUD3RQWLFD
Rachieru, Adrian Dinu, 2000, (OLWLVP úL SRVWPRGHUQLVP 3RVWPRGHUQLVPXO URPkQHVF úL
FLUFXODĠLDHOLWHORU>&KLúLQăX@(GLWXUD*DUXGD-Art.
Sorescu, Marin, [f.a.], Scrânteala vremii (GLĠLH vQJULMLWă GH 0LKDHOD &RQVWDQWLQHVFX
3RGRFHD úL 9LUJLQLD 6RUHVFX >IO@ )XQGDĠLD Ä0DULQ 6RUHVFX´ >(GLWXUD 8QLYHUV
Enciclopedic].
Sorescu, Marin, 1985, 8úRUFXSLDQXOSHVFăUL&URQLFLOLWHUDUH>%XFXUHúWL@(GLWXUD&DUWHD
5RPkQHDVFă
ùWHIăQHVFX $OH[ [2005], Istoria literaturii române contemporane (1941-2000),
>%XFXUHúWL@(GLWXUD0DúLQDGH6FULV
ùWHIăQHVFX$OH[ Ä0DULQ6RUHVFX7UHLGLQĠLGLQIDĠă´vQ)ODFăUD, nr. 24, 16 iunie 1977, p.
8, în Marin Sorescu, 2006, 2SHUH 9, 5RPDQH 3UR]ă VFXUWă HGLĠLH vQJULMLWă GH
Mihaela Constantinescu-3RGRFHD SUHIDĠă GH (XJHQ 6LPLRQ %XFXUHúWL (GLWXUD
Univers Enciclopedic, Repere critice, p. 1214.
ğHSRVX 5DGX *  ÄÌQWUH X] úL DEX]´ vQ Astra, nr. 4, aprilie 1983, p. 10, în Marin
Sorescu, 2SHUH 9, 5RPDQH 3UR]ă VFXUWă HGLĠLH vQJULMLWă GH 0LKDHOD
Constantinescu-3RGRFHD SUHIDĠă GH (XJHQ 6LPLRQ %XFXUHúWL (GLWXUD 8QLYHUV
Enciclopedic, Repere critice, p. 1227-1228.
Zaciu, Mircea (coord.), 1978, Scriitori români %XFXUHúWL (GLWXUD ùWLLQĠLILFă úL
(QFLFORSHGLFă.
 110

(URWLVPúLVH[XDOLWDWHvQILFĠLXQHDFăUWăUHVFLDQă

Silvia-Maria Comanac (Munteanu)

8QLYHUVLWDWHDÄùWHIDQFHO0DUH´6XFHDYD

This study DQDO\]HV WKH ZD\ LQ ZKLFK WKH GUHDPV LQ 0LUFHD &ăUWăUHVFX¶V ZRUNV
highlight many fantasies and sexual desires, all of them leading the reader to one
conclusion: the erotic theme is omnipresent. Such fantasies may be considered a
bridge between the abyssal substrate and art, creating a link between dream and
reality. His works differ from everything that has been writen in our literature,
especially regarding erotic fiction. Descriptive passages about sexuality shock
linguistically and thematically. Eros seems to be viewed as a way of (self)-
knowledge, capable of revealing hidden inner spaces where the human being keeps
pathos, sensations, emotions, obsessions, fears or impulses. In this fictional world,
seen as a possible universe, love craves the state of truth, because the characters are
always looking for the power of the androgynous being.

Keywords: dream, Eros, fantasy, obsession, sexuality.

1. Introducere

/XFUDUHD QRDVWUă YL]HD]ă PRGXO vQ FDUH HVWH DERUGDW HURWLVPXO vQ ILFĠLXQHD OXL 0LUFHD
&ăUWăUHVFXFHUHXúHúWHVă-LYDORULILFHHVWHWLFWRDWHQXDQĠHOHúLGHYLDĠLLOHXWLOL]kQGXQOLPEDM
FDUHúRFKHD]ăOHFWRUXOODSULPDvQWkOQLUHFXWH[WXO&RQúWLHQWGHHIHFWXOHSDWDQWDOSDVDMHlor
GHGLFDWHVH[XDOLWăĠLLDXWRUXOúL-DDVXPDWULVFXOGHDILSURPRWRUXOOLWHUDWXULLHURWLFHúLODQRL
FăFLYUHPHDWDEXXULORUVH[XDOHDWUHFXWGHPXOW3HQWUXD-LvQĠHOHJHPDLELQHSR]LĠLDúLVHQVXO
scriiturii sale, reamintim ceea ce afirma Maiorescu despre moralitatea artei: „arta a avut
vQWRWGHDXQD R vQDOWă PLVLXQH PRUDOă úL RUFH DGHYăUDWă RSHUă DUWLVWLFă R vQGHSOLQHúWH´
(Maiorescu 2008: 110). 3ULQ XUPDUH WH[WHOH FăUWăUHVFLHQH QX WUHEXLH vQĠHOHVH FD OLWHUDWXUă
SRUQRJUDILFăFXXQOLPEDMREVFHQPHQLWHD FRQWUDULDSHFLWLWRUXOUDILQDWVHULRVúLDGHSWDO
IUXPRVXOXLÌQVXúLVFULLWRUXOH[SOLFăGLIHUHQĠDúLOHJăWXUDFDX]DOăGLQWUHHURWLVPVH[XDOLWDWH
úL REVFHQLWDWH SULYLQGX-OH GLQ SHUVSHFWLYă FXOWXUDOă úL LQWHJUkQGX-le firesc în normalitatea
XQHL FLYLOL]DĠLL úL LPSOLFLW D OLWHUDWXULL Ä(URWLVPXO HVWH LQYHUVXO REVFHQLWăĠLL &X FkW R
VRFLHWDWHHPDLREVFHQăvQOLPEDMFXDWkWHPDLSULPLWLYăvQVH[XDOLWDWH(URWLVPXOĠLQHGH
FXOWXUă FD RULFH DOW IDSW GH YLDĠă VRFLDOă H XQ UDILQDPHQW QHFHVDU FD D PkQFD IRlosind
FXĠLWXO úL IXUFXOLĠD´ &ăUWăUHVFX   9RP DUăWD DVWIHO Fă HVHQĠD HURWLVPXOXL GLQ
SDJLQLOHVFULVHHVWHGHQDWXUăILFWLYăúLWUDQVSXQHvQDUWăHPRĠLLúLVHQWLPHQWHXPDQHFHVWDX
ODUăGăFLQDYLHĠLLQRDVWUH
Vom supune analizei un corpus de vise erotice selectate din romanele Travesti úL
Orbitor SHQWUX D HYLGHQĠLD Fă DFWLYLWDWHD IDQWDVPDWLFă SURGXFH VFHQDULL HURWLFH GLYHUVH vQ
FDUHSHUVRQDMHOHDSDUĠLQGHRSRWULYăWUHFXWXOXLúLSUH]HQWXOXLvQJUHXQkQGVDUFLQDOHFWRUXOXL
de a delimita visul de reaOLWDWH5HDOLWDWHDWH[WXDOăSXQHvQOXPLQăHOLEHUDUHDLQVWLQFWXDOăD
 111

ILLQĠHORU XPDQH FRQVWUkQVH GH FLYLOL]DĠLH GHVFULLQG IHQRPHQH VH[XDOH UHSUREDELOH FKLDU vQ
VRFLHWDWHDDFWXDOăSHFDUHOLEHUWDWHDúLOLEHUWLQDMXOSDUDRGHILQL

9DULHWăĠLHURWLFHvQ SUR]DOXL0LUFHD&ăUWăUHVFX

(VWHGHGRPHQLXOHYLGHQĠHLIDSWXOFăILFĠLXQHDHURWLFăGLQWH[WHOHFăUWăUHVFLHQHHVWHFXWRWXO
QRXă DFFHSWkQG FD WHUPHQ GH FRPSDUDĠLH VFULLWRUL FD 7KRPDV 3\QFKRQ VDX Henry Miller,
FăFLVFULLWXUDDXWRUXOXLSRVWPRGHUQVHLQWHUFRQHFWHD]ăSULQPLLGHILUHLQYL]LELOHFXYL]LXQHD
PLWLFăúWLLQĠLILFăILORVRILFăVDXILFĠLRQDOăGHVSUHDQGURJLQ(URVúL7KDQDWRVSRUQLQGGHOD
3ODWRQúLFRQWLQXkQGFX2YLGLX0LFKHO)RXFDXOW7KRPDV/DTXHXU6LJPXQG)UHXG&*
Jung, Julius Evola etc. DLQDFHVWXQJKL0LKDHOD8UVDVXEOLQLDFăÄOLWHUDWXUDURPkQăDDMXQV
Vă-úL WUăLDVFă UHYROXĠLD VH[XDOă WHPDWLF úL OLQJYLVWLF DELD vQ DQLL  vQWU-atât de
vQUăGăFLQDWăHVWHSXGRDUHDHLWHUPLQRORJLFăúLvQHJDOăPăVXUăvQWU-DWkWGHWLPLGHILFĠLXQLOH
corpului” (Ursa 2012: 203).
3VLKDQDOL]D D vQFHUFDW Vă GHPRQVWUH]H Fă VH[XDOLWDWHD DYHD XQ URO PDMRU vQ
GHFODQúDUHD GH]HFKLOLEUHORU SVLKLFH %XQ FXQRVFăWRU DO WHRULLORU SVLKDQDOLWLFH 0LUFHD
&ăUWăUHVFX SDUH D IL SDVWLúDW SDURGLDW úL LURQL]DW FRQFHSWHOH IUHXdiene în textele sale.
1HH[FOX]kQGDFHDVWăSRVLELOLWDWHQH-DPKD]DUGDWVăGHFRQVSLUăPĠHVăWXUDSVLKDQDOLWLFăGLQ
VHFYHQĠHOHHURWLFHLPDJLQDWHYLVDWHVDXWUăLWHGHSHUVRQDMHOHFHGDXYLDĠăILFĠLXQLLDPRURDVH
FăUWăUHVFLHQH

2.1. Sub semnul complexelor psihosexuale: Travesti

&KHLH GH vQFLIUDUH D PHVDMXOXL RSHUHL RULFH WLWOX vQGUXPă FLWLWRUXO VSUH R SRVLELOă
interpretare. Termenul Travesti face trimitere la travestism, definit ca o

Ä3HUYHUVLXQH VH[XDOă vQ FDUH VXELHFWXO SUHWLQGH Fă REĠLQH SOăFHUH VH[XDOă
vPEUăFkQGX-se cu hainele sexului opus. [...] Conform lui Fenichel (1954), travestitul
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 117

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4. Concluzii

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sexualitate, pentru a putea avea acces la propria-i inteligibilitate (deoarece el, sexul, este
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ACKNOWLEDGEMENT: „Lucrarea a beneficiat de suport financiar prin proiectul cu titlul

„SOCERT. 6RFLHWDWHDFXQRDúWHULLGLQDPLVPSULQFHUFHWDUH”, QXPăUGHLGHQWLILFDUHFRQWUDFW
326'586 3URLHFWXO HVWH FRILQDQĠDW GLQ )RQGXO 6RFLDO (XURSHDQ SULQ
Programul 2SHUDĠLRQDO 6HFWRULDO 'H]YROWDUHD 5HVXUVHORU 8PDQH - ,QYHVWHúWH vQ
Oameni!”

Surse:

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&ăUWăUHVFX0LUFHD3XUXULWkQăUvQIăúXUDWvQSL[HOL%XFXUHúWL+XPDQLtas, 2003.
&ăUWăUHVFX0LUFHD 1994, Travesti%XFXUHúWL+XPDQLWDV
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5HIHULQĠH

Bataille, Georges, 1998, Erotismul WUDGXFHUH GLQ OLPED IUDQFH]ă GH 'DQ 3HWUHVFX
%XFXUHúWL(GLWXUD1HPLUD
Benoit, Christine, 2008, 9LVH úL IDQWDVPH HURWLFH, traducere de 7RDGHU 6DXOHD %XFXUHúWL
Editura Minerva.
Culianu, Ioan Petru, 1994, (URV úL PDJLH vQ 5HQDúWHUH , traducere de Dan Petrescu,
SUHIDĠă GH 0LUFHD (OLDGH SRVWIDĠă GH 6RULQ $QWRKL WUDGXFHUHD WH[WHORU GLQ OLPED
ODWLQă$QD&RMDQúL,RQ$FVDQ%XFXUHúWL(ditura Nemira.
Evola, Julius, 2006, Metafizica sexului, Cu un eseu introductiv de Fausto Antonini,
WUDGXFHUHGH6RULQ0ăUFXOHVFXHGLĠLDDWUHLD%XFXUHúWL+XPDQLWDV
Foucault, Michel, 1995, ,VWRULD VH[XDOLWăĠLL WUDGXFHUH GH %HDWULFH 6WDQFLX úL $OH[DQGUX
2QHWH7LPLúRDUD(GLWXUDGH9HVW
Maiorescu, Titu, 2008, CriticeYRO,,%XFXUHúWL(GLWXUD0LQHUYD
Marcuse, Herbert, 1996, (URV úL FLYLOL]DĠLH 2 FHUFHWDUH ILORVRILFă DVXSUD OXL )UHXG
WUDGXFHUHGLQOLPEDHQJOH]ăGH&ăWăOLQDúL/RXLV8OULFK%XFXUHúti, Editura Trei.
Rycroft, Charles, 2013, 'LFĠLRQDU FULWLF GH SVLKDQDOL]ă WUDGXFHUH GLQ HQJOH]ă GH 6RILD
0DQXHOD1LFRODH%XFXUHúWL(GLWXUD7UHL
Sora, Simona, 2008, 5HJăVLUHD LQWLPLWăĠLL &RUSXO vQ SUR]D URPkQHDVFă LQWHUEHOLFă úL
SRVWGHFHPEULVWă, BucureúWL(GLWXUD&DUWHDURPkQHDVFă
Ursa, Mihaela, 2012, (URWLFRQ7UDWDWGHVSUHILFĠLXQHDDPRURDVă%XFXUHúWL(GLWXUD&DUWHD
URPkQHDVFă
 119

The Light and Darkness Metaphors and Similes in

Markus Zusak’s The Book Thief
Steliana-0ăGăOLQD'HDFRQX
“Titu Maiorescu” University, Bucharest

The present paper aims at giving a brief insight into Markus Zusak’s style in The
Book Thief by means of classifying the main figures of speech in his novel, namely
the metaphors and similes in connection with light and darkness. It also analyses the
metaphoric mechanism underlying the metaphors and makes the semantic analysis of
similes. At the same time, the paper attempts to explain the manner in which the
author uses the above mentioned figures of speech to create a concentrationary
universe. It is underlined the general tendency existing in the novel to express the
world by means of colours or non colours, black and white, light and darkness.
Shades of grey and black prevail, whereas light appears randomly and, when it does,
it is somehow limited, censored.

Keywords: concentrationary universe, light and darkness metaphors / similes,

semantic analysis.

1. Introduction

The Book Thief is a story about “a girl, an accordionist, some fanatical Germans, a Jewish
fist-fighter and quite a lot of thievery” (Zusak 2007: 15). History interferes brutally in the
life of people, children or grown-ups, who become victims of circumstances. It is 1939
Nazi Germany, Himmel Street: “a strip of world”, trapped “in a jar”, just like the entire
world. It is a story about the people who remain human in the hardest circumstances, people
who manage to give pieces of sky to their human fellows: “How do you give someone a
piece of sky” (ibidem: 330).
In such a world, light seemed to have been enclosed and people are not allowed to
have access to it. The only moments when they see it, it is not complete: there are pieces of
light, it is only a diffuse light. Too little light - “half stars” (ibidem: 331). Tones of grey.
Eclipsed sun. From time to time, there are only “rumours of sunshine” (ibidem: 478). So,
the people’s only chance seems to be the discovery of the light within themselves: kindness,
empathy, hope, love. Their only struggle is with themselves - not to yield to the dark side
within themselves. If this happens, remorse subjects them to painful, unbearable torments:
nightmares, night vigils. It is a story about people, irrespective of religion, country, time:
“They were French, they were Jews, and they were you” (ibidem: 358).
The light and darkness metaphors characterize a concentrationary world; there are
mostly horrible facts but, from time to time, good deeds also happen in the same way as day
comes after night, and the sky clears up, clouds sometimes giving way to light. In a similar
manner, light and darkness also characterize the ambivalent nature of mankind, which is
contradictory: “the same thing could be so ugly and so glorious, and its words so damning
and brilliant” (ibidem: 554).
 120

And, always, there is light as a promise, as a target that can be reached: “Above her,
the sky was completing its routine of darkening, but far away, over the mountain’s
shoulder, there was a dull trace of light” (ibidem: 125). There is a permanent movement of
the characters towards light, no matter how pale that light is. There is also an ascending
movement that crisscrosses the entire novel a desire to escape, to get away – the window
metaphor: “The window was opened wide, a square cool mouth, with occasional gusty
surges” (ibidem: 151).
Tones of grey and black are dominant. Whenever hope disappears, matter seems to
become heavier: “His movements were fragmented, and now that they were open, his eyes
were swampy and brown. Thick and heavy” (ibidem: 214). The true colour of light in a doom
world seems to be dark, or, at best, grey: “It was late afternoon, grey and gleaming, but it
was only dirty-coloured light that was permitted enterance into the room.” (ibidem: 214).
The only moment when light manifests itself fully is the moment when Liesel sees
Max among the Jews marching to a concentration camp:

“As he stood, Max looked first at the girl and then stared directly into the sky who
was wide and blue and magnificent. There were heavy beams – planks of sun -
falling randomly, wonderfully, onto the road. Clouds arched their backs to look
behind, as they started again to move on” (ibidem: 516).

In the novel, there are instances when the access to light causes pain, because people have
been too long separated from it and souls are in acute pain, are “skinny”: “There were
stars”, Max said. “They burned my eyes” (ibidem: 385); “The light punished their eyes”
(ibidem: 416).
Sometimes, the meaning of the entire world presented in Zusak’s novel is
questioned: is there any meaning in such a world? The presence of light and darkness
metaphors / similes and the almost absolute absence of colours also point to the above
mentioned question: “none of the main colours is allowed to be absent, because, otherwise,
the meaning of the entire whole disappears” (Hegel 1979: 89).
It is very interesting to notice the place held by stars in the novel. On the one hand,
there are the stars in the sky which can be seen rarely by the characters but still remain
there as a remembrance of the fact that there is something higher, maybe a deeper meaning
to everything that is taking place in the world and that people must keep on aspiring at
finding light, outside and inside themselves:

“Each night, Liesel would step outside, wipe the door and watch the sky. Usually it
was like spillage – cold and heavy, slippery and grey – but once in a while some
stars had the nerve to rise and glow, if only for a few minutes. On those nights, she
would stay a little longer and wait. ‘Hello stars’” (ibidem: 51).

On the other hand, there are the stars created by the Nazi as symbols of Jews. They
are drawn on the Jews’ houses: “The Star of David was painted on their doors. Those
houses were almost like lepers.” (ibidem: 57).
Step by step, Zusak turns the exterior world into a visual reality: “We could draw a
parallel between reality and a tapestry on a loom, whose motif becomes visible only in the
process of adding several hues / only as several hues are being added. These hues are the
writer’s words” (Read 1970: 125).
One can notice the amazing communicative power of an image which always leads to
the essence: “the value of an image depends on the span of its imaginary halo” (Bachelard
 121

1997: 5). The essence of the image is precisely “the operation by means of which a hidden /
concealed, unknown thing becomes visible by catching and moving it from the invisible
domain into a new place, which is unfamiliar to it” (Heidegger 1982: 179).
The dialogue between light and darkness / shadow becomes, in the end, silence: a
silence meant to make us all think deeply about the consequences of our deeds and about
the only really important goal of our lives: to remain human in any circumstance.
Paraphrasing the cry-poetry concept (Ionescu 1991: 48) we could say that Zusak’s prose is
a cry-novel: the cry of a sincerity that tears apart the silence.

2. The classification of the light and darkness metaphors

We are going to proceed by briefly classifying and analyzing the light and darkness
metaphors identified in the text. The clasifications of metaphors is based on the structure
suggested in 'LFĠLRQDUGHúWLLQĠHDOHOLPELL(2005: 307-310).

2.1. Grammatical analysis of metaphors

2.1.1. Verbal metaphors: “once in a while some stars had the nerve to rise and glow, if only
for a few minutes” (ibidem: 51); “Or till the stars were dragged down again, into the waters
of the German sky” (ibidem: 51); “In Liesel’s mind, the moon was sewn into the sky that
night” (ibidem: 63); “he paced around, gathering concentration under the darkness sky, with
the moon and the clouds watching tightly” (ibidem: 63); “the gun clipped a hole in the
night” (ibidem: 63); “Metallic eyes, melting” (ibidem: 69); “The yellow light was alive with
dust” (ibidem: 69); “The orange flames waved at the crowd as paper and print dissolved
inside them” (ibidem: 118); “The darkness stroked him” (ibidem: 193); “White light
lowered itself into a boxing ring and a crowd stood and murmured” (ibidem: 261); “The
shadows of clouds were buried amongst the dusky grass” (ibidem: 375); “night watched”
(ibidem: 380); “The light punished their eyes” (ibidem: 416); “The bombs came down and
soon the clouds would bake and the cold raindrops would turn to ash. Hot snowflakes
would shower to the ground” (ibidem: 502; “Clouds arched their backs to look behind, as
they started again to move on” (ibidem: 516).

2.1.2. Nominal metaphors

A [is (not)] B- metaphor of equivalence:

“Even Papa’s music was the colour of darkness” (ibidem: 106); “The horizon was the
colour of milk. Cold and fresh. Poured out, amongst the bodies” (ibidem: 183); “The fire
was nothing now but a funeral of smoke, dead and dying, simultaneously” (ibidem: 228);
“The light dimmed on – a red coin, floating in the corner” (ibidem: 275); “Papa’s lungs
were full of sky” (ibidem: 443); “The paleness (of the book) was almost scarred by the dark
lettering of the title” (ibidem: 466); “The sky was white but deteriorating fast. As always, it
was becoming an enormous dust sheet” (ibidem: 476); “What had happened was an ocean
sky, with the white-cap clouds” (ibidem: 396).

B of A – prepositional metaphors:

“Hans Hubermann (…) looked again at the picture, with a face of warm silver” (ibidem:
73); “Liesel was a girl made of darkness” (ibidem: 90); “Above her, the sky was completing
 122

its routine of darkening, but far away, over the mountain’s shoulder, there was a dull trace
of light” (ibidem: 125); “Despite a trace of sunshine in the distance, a gentle breeze rode
through the open window, coupled with rain that came in like sawdust” (ibidem: 256;
“Strings of mud clench his face” (ibidem: 277); “The light was changing in blocks of
shade” (ibidem: 297); “For me, the sky was the colour of Jews” (ibidem: 357); “the long
legs of daylight” (ibidem: 363); “Rudy (…) drew back from the splice of light that came
through the crack in the door” (ibidem: 415); “A ring of light circled his face” (ibidem:
460); “Perhaps a mile of light” (ibidem: 488); “hills with caps of red” (ibidem: 539).

B (for A) – implicit metaphors, in the structure of which only the metaphoric term is
present: “a single giant cloud come over the hills like a white monster. It climbed the
mountains. The sun was eclipsed, and in its place, a white beast with a grey heart watched
the town” (ibidem: 330)

2.1.3. Adjectival or adverbial metaphors, which are represented by the metaphoric epithet:
“His lemon, lamplit hair” (ibidem: 277); “coal-coloured clouds” (ibidem: 319); “black
hearts” (ibidem: 319; “silver eyes” (ibidem: 352); “The sky was white-horse grey” (ibidem:
442); “fuzzy grey light” (ibidem: 471); “Great obese clouds. Dark and plump” (ibidem: 84);
“moist light” (ibidem: 222); “coppery clouds” (ibidem: 257; “White light lowered itself into
a boxing ring and a crowd stood and murmured” (ibidem: 261); “The glittering anger was
thick and unnerving” (ibidem: 272).

2.2. Explicit and implicit metaphor

In point of preserving or not the metaphorizing term, there are two types of metaphors:
- in praesentia / explicit / coalescent metaphor, built on the pattern A is B (AB, BA gen, B
of A): all the above mentioned metaphors in the categories A [is (not)] B - metaphor of
equivalence; B of A – prepositional metaphors.
- in absentia / implicit metaphor, built on the pattern B instead of A: there has been
identified only one metaphor.

2.3. From a semantic point of view, metaphors bring together terms belonging to different
semantic fields: [Concrete] – [Abstract]; [Concrete] – [Concrete]; [Abstract] – [Concrete];
[Abstract] – [Abstract]. Most of the identified metaphors belong to [Abstract] – [Concrete]
category: “bars of light” (ibidem: 93); “trace of light” (ibidem: 125); “trace of sunshine”
(ibidem: 256); “blocks of shade” (ibidem: 297); “legs of daylight” (ibidem: 363), “the splice
of light (ibidem: 415), “the thread of moonlight”(ibidem: 434); “a ring of light” (ibidem:
460); “planks of sun” (ibidem: 516) etc. They all point to the fact that, in a concentrationary
world, even light is limited and, somehow, materialized, turned to matter. Light appears to
be incarcerated.

3. An analysis of the metaphoric mechanism

We proceed by showing the metaphoric mechanism 1 underlying the metaphors. Its

description proves the reasons leading to the association of the two terms. Using the words

1The description of the metaphoric mechanism is based on the one suggested in 5HWRULFăJHQHUDOă by
Group μ, 1974.
 123

in new associations, the writer, in a way, “re-creates them.” (TomaúHYVNL   A

PHWDSKRU ³IXQFWLRQV E\ PHDQV RI D GRXEOH V\QHFGRFKH´ 3DUSDOă $IDQD   7KH
association of the metaphoric terms looses almost completely its motivation, the écart (Le
Guern 1973: 66) surprising the reader. The poetical choice bewilders the readers’ “horizon
of expectations” (Jauss 1983: 43). However, it is not a “shocking metaphorism”, “a risky
metaphorism, that that sometimes risks to become empty” (Felea 1977: 158). The writer
only breaks down the limitations of the conventional language, gaining access to the
“interior sanctuary of reality” (Steiner 1983: 15). The “assembly of liberties” (Irimia 1986:
23), the “quantity of poetic expressivity” (Munteanu 1972: 137), “the poeticity stimuli”
0LKăLOăWKDWFDQEHIRXQGRQWKHOHYHORIVHQVRULDOFRGHVFDQEHHDVLO\QRWLFHG
reception, as a never-ending process, imaginative and intellective altogether, is loaded with
emotion depending on these.
We chose for exemplification a prepositional metaphor: “They each stood and
walked to the kitchen, and through the fog and frost of the window, they were able to see
the pink bars of light on the snowy banks of Himmel Street’s rooftops” (ibidem: 93). It is a
metaphor in praesentia, obtained by the omission-addition operation. The writing degree
zero is “rays”. The surprise element consists in replacing the noun “rays” with the noun
“bars.” The noun “rays” is made up of the following semes: [vertical] + [light] + [thin] +
[natural]. The seme [vertical] is preserved, whereas all the other semes are omitted (the
omission operation). Then, other semes are added to the seme [vertical] in order to form the
noun “bars” (the addition operation):
“rays” ĺ>YHUWLFDO@>OLJKW@>WKLQ@>QDWXUDO@
³EDUV´ĺ>YHUWLFDO@>PDWWHU@>PDQXIDWXUHG@
The association “bars of light” is based on the concentrationary nature of the
described world in which nothing seems to be entirely free, not even light.
Here is the metaphoric mechanism in the example “Even Papa’s music was the
colour of darkness” (ibidem: 106):
1. The reader can notice a violation of discourse logic;
2. The reader resorts to omission; he/she looks for the third term (I), the bridge
between the other two: Dĺ,ĺ$
VDGĺ,ĺFRORXURIGDUNQHVV
The comon seme of the two terms is [black]:
,ĺ>EODFN@
,WLVWKHFDVHRIFRQFHSWXDOPHWDSKRU6J6SȈ
(I) is a generalization synecdoche (Sg) of D and A is a particularized
synecdohe (Sp) of (I):
D …Sg… (I) …Sp… A
“sad” ĺ>IHHOLQJ@>JHQHUDOO\DVVRFLDWHGZLWKEODFNFRXORXU@
Sg is obtained by omitting the seme [feeling].
Sp is obtained by adding VHPHVWR>EODFN@$്>EODFN@>QDWXUDO@
[absence of light].

It is a metaphor in absentia, the context helps the reader to identify the term D. The
presence of this metaphor can be explained by the general tendency of the novel to express
the world by means of colour or non colour, black and white.
 124

4. The classification of the light and darkness similes

There have also been identified light and darkness similes. The associations are
unexpected, one being able to notice the richness and variety of natural elements to which
the writer resorts to. Thus, unique artistic images are created.
a) From the semantic point of view, similes can be analysed in point of the association of
the categories to which the terms of the comparison belong, namely [Abstract] and
[Concrete]:
>$@ĺ>&@³the sun is like a yellow hole” (ibidem: 259); “There is air like plastic, a horizon
like setting glue” (ibidem: 319).
>&@ĺ>$@-
>&@ĺ>&@-
>$@ĺ>$@³Dsun that had broken through like God sitting down after he’d eaten too much
for his
dinner” (ibidem: 260); “There are skies manufactured by people, punctured and leaking,
and there are soft, coal-coloured clouds, beating, like black hearts” (ibidem: 319).
b) From the syntactic point of view, similes can be simple or multiple. All the identified
light and darkness similes are simple.
c) At the same time, similes can be explicit or implicit (metaphorical). The explicit simile
requires the presence of a common characteristic in the text (X), which can be a word or a
sentence, whereas in the case of the implicit one, the common characteristic (X) is missing
from the text and the receiver of the message has to decipher it 1.
-Implicit similes: “the sun is like a yellow hole” (ibidem: 259): “The light was like a pillar”
(ibidem: 460); “There is air like plastic, a horizon like setting glue” (ibidem: 319); “a sun
that had broken through like God sitting down after he’d eaten too much for his dinner”
(ibidem: 260);
- Explicit similes: “There are skies manufactured by people, punctured and leaking, and
there are soft, coal-coloured clouds, beating, like black hearts” (ibidem: 319).

5. The semantic analysis of the light and darkness similes

We proceed by making the semantic analysis of the following similes:

- the sun is like a yellow hole (ibidem: 259). It is a comparison introduced by the
copulative conjunction “like”. This creates an analogy between two terms (“sun” and
“hole”) which has in common the seme [round]. Term A is “sun”, term B is “hole”,
therefore the categories [A]ĺ>&@DUHDVVRFLDWHG
- There is air like plastic, a horizon like setting glue (ibidem: 319); in this example, there
are two comparisons. The former is introduced by the copulative conjunction “like”. This
creates an analogy between two terms (“air”and “plastic”) which has in common the seme
[stifling]. Term A is “air”, term B is “plastic”, therefore the categories >$@ĺ>&@ DUH
associated. The latter is a comparison introduced by the copulative conjunction “like”. This
creates an analogy between two terms (“horizon”and “glue”) which has in common the
seme [constritive]. Term A is “horizon”, term B is “glue”, therefore the categories >$@ĺ>&@
are associated.
- The light was like a pillar (ibidem: 460); it is a comparison introduced by the copulative

1The semantic and grammatical analysis of similes is based on the structure suggested in 'LFĠLRQDU
GHùWLLQĠHDOHOLPELL (2005: 118-120).
 125

conjunction “like”. This creates an analogy between two terms (“light” and “pillar”) which
has in common the seme [vertical]. Term A is “light”, term B is “pillar”, therefore the
categories >$@ĺ>&@DUHDVVRFLDWHG

6. Conclusion

Towards the end of the present analysis, we can conclude that the identified metaphors are
mostly nominal, but the verbal metaphors are also present to a large extent. The nominal
metaphors are mostly prepositional metaphors (B of A) and metaphors of equivalence (A
[is (not)] B). Almost all identified metaphors are in praesentia (explicit / coalescent
metaphors). To a large extent, the identified metaphors belong to [Abstract] – [Concrete]
category.
In the case of the identified similes in connection to light and darkness, the
prevailing linking word is the copulative conjunction “like”. Most of the identified similes
in connection to light and darkness belong to [Abstract] – [Concrete] category; therefore, it
can be said that materializing similes prevail. The novel presents a world that seems to be
focused on the material, on the concrete. Immaterial elements, such as light and air, are
doomed to lower into matter. Mention should be made of the fact that all the identified light
and darkness similes are simple, whereas most of the identified light and darkness similes
are implicit.

Source:

Zusak, Markus, 2007, The Book Thief, Black Swan, Great Britain.

References:

Bachelard, Gaston, 1997, $HUXO úL YLVHOH, traducere de Angela Martin, Editura Univers,
%XFXUHúWL
Bidu-Vrânceanu, Angela, CriVWLQD&ăOăUDúX /LOLDQD,RQHVFX-5X[ăQGRLX0LKDHOD0DQFDú
*DEULHOD 3DQă 'LQGHOHJDQ  'LFĠLRQDU GH úWLLQĠH DOH OLPELL, Editura Nemira,
%XFXUHúWL
*UXSXO ȝ -DFTXHV 'XERLV )UDQFLV (GHOLQH -HDQ-Marie Klinkenberg, Philippe Minguet,
)UDQFRLV 3LUH úL +DGelin Trinon), 1974, 5HWRULFă JHQHUDOă WUDGXFHUH úL QRWH GH
$QWRQLD&RQVWDQWLQHVFXúL,OHDQD/LWWHUD(GLWXUD8QLYHUV%XFXUHúWL
Le Guern, Michel, 1973, Sémantique de la métaphore et de la métonymie, Larousse, Paris.
Felea, Victor, 1977, Aspecte ale poeziei de azi, Editura Dacia, Cluj-Napoca.
Heidegger, Martin, 1982, 2ULJLQHD RSHUHL GH DUWă WUDGXFHUH úL QRWH 7KRPDV .OHLQLQJHU
*DEULHO/LLFHDQX(GLWXUD8QLYHUV%XFXUHúWL
Hegel, Georg Wihelm Friedrich, 1979, 'HVSUHDUWăúLSRH]LH, vol. II, traducere Ion IDQRúL
(GLWXUD0LQHUYD%XFXUHúWL
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Irimia, Dumitru, 1986, 6WUXFWXUD VWLOLVWLFă D OLPELL URPkQH (GLWXUD ùWLLQĠLILFă úL
(QFLFORSHGLFă%XFXUHúWL
Jauss, Hans-Robert, 1983, ([SHULHQĠDHVWHWLFăúLKHUPHQHXWLFDOLWHUDUă, traducere de Andrei
Corbea, (GLWXUD8QLYHUV%XFXUHúWL
 126

0LKăLOă(FDWHULQD5HFHSWDUHDSRHWLFă(GLWXUD(PLQHVFX%XFXUHúWL
0XQWHDQXùWHIDQ6WLOúLH[SUHVLYLWDWHSRHWLFă(GLWXUDùWLLQĠLILFă%XFXUHúWL
PDUSDOă-Afana, Emilia, 1998, Poetica. O introducere, Editura Austrom, Craiova.
Read, Herbert, 1970, ,PDJLQHúLLGHH, traducere de Ion Herdan, (GLWXUD8QLYHUV%XFXUHúWL
Steiner, George, 1983, 'XSă%DEHO$VSHFWHDOHOLPELLúLWUDGXFHULL, traducere de Valentin
1HJRLĠăúLùWHIDQ$YăGDQHL (GLWXUD8QLYHUV%XFXUHúWL
7RPDúHYVNL %RULV  Teoria literaturii. Poetica, traducere de Leonida Teodorescu,
(GLWXUD8QLYHUV%XFXUHúWL
 127

Dialectica ILLQĠHL-de-aici cu ILLQĠHOH-de-acolo în proza

Simonei Popescu*

9LFWRULĠD(QFLFă
8QLYHUVLWDWHDGLQ%XFXUHúWL

0HPEHU RI WKH ³*URXS RI %UDúRY´ 6LPRQD 3RSHVFX LV D ZULWHU ZKRVH ERRNV DUH
nowadays increasingly popular. She is the author of the novel Exuvii, where she
reveals to us a totally new experience, that of the creature-exuvie, a term by which is
described the human being containing within itself all past beings (baby, child,
teenager, adult etc.). This paper aims to expose a new interpretation of the novel
Exuvii through a poetics of intimacy. We will show that when Simona Popescu
speaks about childhood, fear, death, fascination caused by books, she does nothing
else then to question identity. Identity is the sum of our spiritual evolution and it will
be described through its three dimensions (body, book, object of desire) and
correlated to the two instances of narration: the child and the young woman.

Keywords: childhood, cultural paranoia, identity, intimacy, reverie.

1. Romanul reveriilor eliberatoare

$VHPHQLYDVXOXLGHOXWSHFDUHRODUXOvOSUHOXFUHD]ăRre-QúLUSHQWUXD-LGDIRUPDSRWULYLWă–
IRUPăSHFDUHQXPDLHORFXQRDúWHFăFLV-a dezvoltat în el pe parcursul timpului, tot astfel
Exuvii FRQVHPQHD]ă HIRUWXO DUWLVWLF GH PDL ELQH GH  DQL SH FDUH DXWRDUHD O-a întreprins
pentru crearea acestuia în formD WLSăULWă vQ  Ä5RPDQXO´ HVWH ÄDO FRSLOăULHL´ úL ÄDO
DQLPHL´ 6RUD   PDL GHJUDEă GHFkW DO ÄWXWXURU YkUVWHORU´ %RU]D  
EăWUkQHĠHDHVWHH[FOXVăÌQDFHHDúLPăVXUăExuvii poate fi romanul reveriilor eliberatoare
(Bachelard 2003: 106 FăFL OLQLD GLQWUH UHDOLWDWH úL PLWILFĠLXQH HVWH DGHVHRUL úWHDUVă SULQ
MX[WDSXQHUH([LVWăvQSUR]D6LPRQHL3RSHVFXRHYLGHQWăPL]ăLGHQWLWDUăODFDUHQHYRP
UDSRUWD vQ FHOH FH XUPHD]ă vQVă DFHDVWD QX GHILQHúWH WRWRGDWă úL obiectivul PDMRU úL
singuODUDOSURLHFWXOXLVăX
$úH]DWăvQDFHHDúLOLQLHFX0LUFHD&ăUWăUHVFX6RUD6LPRQD3RSHVFXVH
UHYHQGLFă WRWXúL GLQ VIHUD VFULLWRULORU GH OLWHUDWXUă soft/ debole, în sensul dat de Vattimo
DFHVWXL FRQFHSW LDU SUREOHPDWLFD ÄURPDQXOXL´ VăX VSRUHúWH vQ VHPQLILFDĠLL SH D[D
FDX]DOLWăĠLL GLQWUH DXWRELRJUDILH-identitate-ILFĠLXQH ,GHQWLWDWHD HVWH R WHPă PDMRUă vQ
ILFĠLXQLOHFXSUHWHQĠLLDXWRELRJUDILFHIDSWSHQWUXFDUHVWXGLXOGHIDĠăVHYDRFXSDGHUHODĠLD
GLQWUHDXWRELRJUDILHúLFRQVWUXLUHDLGHQWLWăĠLLvQURPDQXOExuvii, amintind doar acele aspecte

*Acknowledgement: DFHDVWă OXFUDUH D IRVW ILQDQĠDWă GLQ FRQWUDFWXO POSDRU/159/1.5/S/140863,

SURLHFW VWUDWHJLF ,'   FRILQDQĠDW GLQ )RQGXO 6RFLDO (XURSHDQ SULQ 3URJUDPXO
2SHUDĠLRQDO6HFWRULDO'H]YROWDUHD5HVXUVHORU8PDQH– 2013.
 128

FDUHDXOHJăWXUăFXDFHDVWăWHPă6HYDGLVFXWDvQFHOHFHXUPHD]ăGHVSUHHOHPHQWHOHFDUH
DOFăWXLHVF FHHD FH V-DU SXWHD QXPL SRHWLFD LQWLPLWăĠLL vQ WH[WHOH vQ SUR]ă DOH 6LPRQHL
3RSHVFX VXVĠLQkQG DVWIHO úL LGHHD PDL YHFKH IRUPXODWă GH DXWRDUHD DFHVWHL OXFUăUL SULYLQG
VXVĠLQHUHD LSRWH]HL Fă SRVWPRGHUQLVPXO URPkQHVF HVWH DXWHQWLF SULQWU-un umanism special
caracterizat printr-RSRHWLFăDLQWLPLWăĠLLFRUHODWăFXUHWRULFDQHWHOHRORJLFăDFRUSRUDOLWăĠLL
Mai vQWkL VH SRDWH FRQVWDWD FX DVXPDUHD GLGDFWLFLVPXOXL YRLW DO DILUPDĠLLORU FH
XUPHD]ăFăRSHUDvQSUR]ăD6LPRQHL3RSHVFXHVWH ÄDPSUHQWDWă´ SULQFkWHYDVXJHVWLYH úL
GHILQLWRULLWUăVăWXUL7UDQVSXVHúLOHJLWLPDWHvQFăGLQSULPDVDQDUDĠLXQHExuvii (1997), ele
QXYRUVXIHULPRGLILFăULHVHQĠLDOHQLFLvQURPDQXOH[SHULPHQWDOFROHFWLYRubik (2008), nici
vQ WH[WHOH SHQWUX FRSLL   úL SUREDELO QLFL vQ FHOH XOWHULRDUH RUL GDFă se va
vQWkPSOD DOWIHO FHO PDL VLJXU DFHVWHD VH YRU GDWRUD XQRU VFKLPEăUi de viziune impuse de
YkUVWD GH FUHDĠLH 3H VFXUW FULWLFD OH-D LGHQWLILFDW D IL ÄVLPRQRORJLD´ &UăFLXQ 
intimitatea „corpurilor succesiv-simultane” (Sora 2008: 267), scrisul infernal, „cartea vie”
(ibidem  ÄFRUSRUDOLWDWH FLYLOL]DWă´ 7UXĠă   HWF 3HQWUX OXFUDUHD GH IDĠă
UHOHYDQWH VXQW ÄVLPRQRORJLD´ úL ÄFDUWHD YLH´ FD HIHFWH DOH ELRJUDILFXOXL GHFL SDUWH
FRQVWLWXWLYă D RPXOXL LQWHULRU D ILLQĠHL DXWHQWLFH 6LPRQRORJLD UH]XPă FXPYD
microstructurile (elementele comune, înregistrate vQ ÄPHPRULD´ FRUSXOXL FDUH FRQHFWHD]ă
ILLQĠHOH FDUH QH FRPSXQ FRSLOXO PLF FRSLOXO úFRODU DGROHVFHQWXO WkQăUXO QDLY úL WkQăUXO
matur etc.). Simonologia – dintr-R SHUVSHFWLYă LURQLF-XPRULVWă DFHDVWD SRDWH IL ÄúWLLQĠD´
autodescoperirii Simonelor (!) – aUHGRXăIDĠHWHsimonomahia úLsimonada:

Ä6LPRQRPDKLD GH ED]ă OXSWD vQWUH FHHD FH prescrie RUGLQHD H[WHUQă /RJRVXO
RUGRQDWRU DO WUDGLĠLHL úL DUKHWLSDO DO 7DWăOXL úL FHHD FH descrie interior propria
RUGLQHSURSULDÄVLPRQLWDWH´DWDFDWăGHLPDJLQLSUHIDEULFDWHVDXGHGHILFLWXOGHYLDĠă´
(Sora 2008: 266).

Simonadele VXQW GH IDSW FRFKLOLLOH H[XYLLOH ILLQĠHL VLPERO vQUHJLVWUkQG HIRUWXULOH
ILLQĠHLGHDVHIDFHFXQRVFXWăGHD-úLYDORULILFDDXWHQWLFLWDWHDúLGHDVHGLIHUHQĠLD0DLPXOW
decât atât, expOLFD*%DFKHODUGÄFOăGLPWRDWHILLQĠHOHQRDVWUHvQMXUXOXQLWăĠLLQXPHOXLSH
FDUHvOSXUWăP´%DFKHODUGSimonitatea, SULQFRPSOHWDUHFRQVHPQHD]ăIRUĠDFX
FDUH LQWLPLWDWHD GH FXYLQWH DXWHQWLFXO GLIHUHQĠD GLIHULWXO GHYLQH LQWLPLWDWH GH VLPĠXUL
VHQ]DĠLLFXORULDURPHHWFGHVHPQkQGDVWIHORVWDUHDÄUHDOLWăĠLLWUăLULORUWDOH´OXkQGILLQĠă
GLQFHDPDLSURIXQGăQRVWDOJLHDFRSLOăULHL6LPRQRORJLDDúDGDUQXUHSUH]LQWăGRDUGLVSXWD
GLQWUH (X úL &HLODOĠL FL VH LQVWLWXLH FD VWUXFWXUă VSHFLILFă FD LQVWDQĠă FUHDWRDUH DELOă úL
FDSDELOă Vă DYDQVH]H XQ GLVFXUV IDVFLQDQW GHVSUH YkUVWHOH RPXOXL úL GHVSUH HVHQĠHOH
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 129

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 130

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1 În sensul pe care Kafka îl atribuie Devenirii în nuvela Metamorfoza.

 131

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dat de G. Naum – asupra ta, de a-ĠL GHFLGH ,'(17,7$7($ $FHDVWă PăUWXULVLWă ÄWHDPă´
este creatoarea „hibridului simonesc” ce a pus la punct pledoaria pentru proza devenirilor:

Ä WUHF SULQ DFHVWH ½WUDQVIRUPăUL PROHFulare› intrând în corpul copilului sau
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vQĠHOHJHUH úL DPHOLRUDUH &HD PDL UHOHYDQWă GHYHQLUH SHQWUX 6LPRQD 3RSHVFX HVWH
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SHUVRQDOLWDWHDLGHQWLWDWHDÄQXHFHYDFHDLFHSULPHúWLRGDWăSHQWUXWRWGHDXQD1XĠLVHGă
QX ĠL VH LD 6XQW XQLL FDUH-úL ODVă DGHYăUDWD SHUVRQDOLWDWH vQ FRSLOăULH VDX vQ DGROHVFHQĠă´
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DEVRDUEH FX H[WD] FkQG úL FkQG GLQ HD FRQVWDWkQG QX GRDU Fă YLDĠD SRDWH IL GLQWRWGHDXQD
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exuvizate în lume.

3. Corpul-WH[WXDOúLPHPRULD&RUSXOXL

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3RSHVFXvQVăQXSDUH a avea corporalitate în afara amintirilor noastre, în afara imaginarului
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VWUDWHJLHúLSULQMRFXOGLVFXUVLYúLFRPSOLFHDOQDUDWRDUHLFRUSXO-individual sare în corpul-
WH[WXDO úL corpul-textual GHYLQH FRUS LQGLYLGXDO ÄFRUSXO FDUH Q (9 úL-aduce aminte”
(Popescu, 1997: 21).
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YRLQĠHOHPXOWLSOHILLQĠHOHGLQILLQĠă

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identitatea mea. Corpul meu, cu tot cu memoria lui, cu amintiULOH FX GRULQĠHOH FX
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VkQJH FL DFHOD SH FDUH ILHFDUH ILLQĠă vQ FDUQH úL VkQJH GLQ WUHFXWXO QRVWUX O-a însemnat cu
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acesta, Simonologie. Expus, prin cuvânt, corpul este simLODU FăUĠLL HO HVWH FRQFHQWUDUH GH
ILLQĠăGHFXYkQWGHDPLQWLUL$VWIHOúLFRUSXOúLFDUWHDDSDUDLFLUHSUH]HQWDWHvQSHUPDQHQĠD
ORU GH DUKLYDUL 'DU DFHDVWD QX HVWH XQLFD ORU IXQFĠLH VDX VLPLODULWDWH &RUSXO vQVHDPQă
H[SHULHQĠH HO HVWH FXQRDúWHUH UHDOLWDWH úL FXYkQW &DUWHD HVWH DPLFă FRPSOLFH DPDELOă úL
YLVăWRDUH VDX FXPSOLW GH DJUHVLYă 7ăFXWă – GDU H[WUHP GH ÄFRPXQLFDWLYă´ –, cu poze, cu
SODQWHRDPHQLúLDQLPDOHÄFLUFXODUă´ÄYLH´VHGXFăWRDUHFDUWHDÄQXHFKLDURFDUWH´idem:
56), este o „FDUWH YHJHWDOă´ R FDUWH FDUH FRQFHQWUHD]ă GRXă IRUĠH D DPLQWLULORU úL D
VLPĠXULORU
'DU FXP DPLQWLULOH úL VLPĠXULOH VXQW GHFODQúDWH GH H[SHULHQĠHOH FRUSXOXL VH SRDWH
DGPLWHFăH[LVWăRPDLPDUHFRQH[LXQHvQWUHFRUSúLFDUWHvQURPDQXOVFULLWRDUHLFHOH GRXă
completându-se într-XQVXURJDWGHVWXOGHDJUHDWGHRSW]HFLúWLcartea-corp – o „comunitate
DWDQGUHĠHL´%DFKHODUGVDXGLQFRQWUăRÄSDUDQRLDFXOWXUDOă´GDFăvLDFRUGăm
credit americanului Patrick O’Donell (O’Donell, 1992: 463). Cartea-FHOXOăD&RUSXOXLSRDWH
IL DGHVHRUL GHYRUDWRDUH HD ÄDUGH´ ILLQĠD SHQWUX D R HGXFD ÄvPL SRYHVWLVH PLH FkWH FHYD
despre mine. M-a trimis în OXPLQLú” 3RSHVFX   &DUWHD ÄEXQă´ HVWH FHD FDUH WH
DQXOHD]ăvĠLIXUăVăOEDWLFSURSULDILLQĠăÄ0-a jefuit! M-a anulat! Tot ce-am gândit e acolo.
ùLWRWFH-DPVLPĠLWùLWRWFHVXQW´idem&kWăÄFRQFHQWUDUHGHILLQĠă´vQDFHVW ÄMDI´
VLPEROLF )LLQĠD WUHEXLH Vă FDSHWH GHPQLWDWHD JkQGLULL FDUWHD ILLQGX-L DOLDW ÌPSUHXQă
WUHEXLHVăGXFăROXSWă ÄFXFUHLHUXOúLFRUSXOWRWRGDWă´SHQWUXFDvQFHOHGLQXUPăVăVH
IDFăÄOXPLQăvQLQWHULRUXOPHX´ibidem'DUHDFHUHúLVDFULILFLXDVHXUPăULGLQQRX
DOLDQĠDFRUS-caUWHÄFLWHDPSHEXUWăFXERWX¶ SHODEHODPDVăDSOHFDWăSHVWHSDJLQLSkQă
vQĠHSHQHDP &LWHDP FX SLFLRDUHOH VXE PLQH SkQă OH VLPĠHDP UHFL XPIODWH DPRUĠLWH ´
(Popescu, 1997: 66).
$FHDVWă UHODĠLH ELSRODUă GH FRRUGRQDUH úL GH ULYDOLWDWH FXSULQVă vQ IUD]D DQWHULRDUă
vQWUH ILLQĠă úL FDUWH DPLQWHúWH GH erotismul FăUĠLL )DVFLQDĠLD SURGXVă GH FăUĠL DVXSUD XQRU
oameni i-D vQGHPQDW DGHVHD SH DFHúWLD Vă R DVHPHQH LXELWXOXL LXELWHL 'HSHQGHQĠD
vQGUăJRVWLWXOXL GH LXELWD OXL HVWH VLPLODUă VHGXFĠLHL SH FDUH FDUWHD R PDQLIHVWă DVXSUD
FLWLWRUXOXL 7UDQVFULHUHD ÄILLQĠHL´ FăUĠLL SULQ H[SUHVLi ale valorilor umane este o activitate ce
 133

VROLFLWăFDUDFWHUXOSRHWLFDODXWRDUHLFKHPkQGODPHWDIRUă 1$VWIHOFDUWHDQHILLQGGRDUVSDĠLXO
WDQGUHĠHL – HD DSDUĠLQH WXWXURU VLPĠXULORU FKLDU úL FHORU QHFRQIRUWDELOH – RIHUă ÄUHIXJLX´
livresc, în „landul cuYLQWHORU´R]RQăFDUHVHFRQIUXQWăFXGUDPHGHFXORULGLIHULWHSHFDUH
vrând-QHYUkQGĠLOHDSURSULL&ăFLFDUWHDQXHVWHPHUHXSULHWHQRDVăHDvĠLVSXQHFkWHRGDWăúL
FHHDFHQXYUHLVăDIOLVDXvĠLVFRDWHVkQJHOHGLQFRUSFXDWLQJHUHDHLDVFXĠLWă1XPDLGXSăFH
vQYăĠkQGVăFRQGXFăÄOXSWD´– GXSăFHHVWHGHFkWHYDRULODUkQGÄDWDFDWă´

„m-D WăLDW QHPHUQLFD 2 PkQJkLDP FX GHJHWHOH HUD OXFLRDVă YHOLQă SDUIXPDWă R
PkQJkLDPLDUHDGXúPăQRDVăP-DWăLDW´3RSHVFXÄPL-am infectat mintea
úLWUXSXOFXWRWVRLXOGHGHMHFĠLLGHRURULOăOăLWHVLURSRDVHDPĠLQXWvQPkQăFăUĠLGH
FDUQHSXWUHGăFăUĠLGHVkQJHXQVXURDVHPOăúWLQRDVHFăUĠLRWUăYLWRDUHFăUĠLEROQave,
FăUĠLSULPHMGLRDVHFH-PLSkQGHDXFUHLHUXOFDQLúWHIORULFDUQLYRUH´ibidem: 68),

formându-úLOLPEDMXOSHUVRQDOFăXWkQGGRDUDFHOHFăUĠLFDUHÄVSXQHDXFHOPDLPXOWGHVSUH
PLQH´ILLQĠD-femeie-FRSLOUHVLPWHVSDĠLXOFăUĠLLFDILLQGXQXOSURWHFWRUDMXWkQG-RVăGHYLQă
ODH[WHULRUPDLSXWHUQLFăÌQIHOXODFHVWDFDUWHDGHYLQHSDUWHGLQFHOFDUHRFLWHúWH&DUWHD
GHYLQH SDUWH D FRUSXOXL FRUSXO GHYLQH FRQFHQWUDUH GH ILLQĠă GHYLQH PHPRULH FDUWH
identitate. Cartea-FHOXOăD&RUSXOXLHVWHFRPSOLFHOHSHUPDQHQWDOLQWLPLWăĠLLHVWHLGHQWLWDWH
DúDGDU HVWH GURJ HVWH ÄIRDPH DQLPDOLFă´ HVWH ÄDPHĠLWRDUH´ HVWH SURYRFDWRDUH úL ÄWH
REOLJă´PHUHXÄVăILLPXOWLSOX´vĠLLQWHUPHGLD]ăGHYHQLUHDÄSkQăGHYLLODUkQGXOWăXVXSHUE
FHIDORSRG VHQ]RULDO FX EUDĠH PXOWLSOH FHUHEUDOH´ ibidem: 68). Asemeni unui „vid care
DVSLUă´ 2FDUWHDYHJHWDOăFDUWHD YLHvQFăUFDWăGHHPRĠLLVHQ]DĠLLúLDPLQWLULSHOkQJăFDUH
SHUVRQDMHOH LQWULJLOH úL GLDORJXO VXQW OLSVLWH GH VHPQLILFDĠLH HVWH FDSDELOă Vă KLSQRWL]H]H
ILLQĠDVăUHvQYLHILLQĠHOHRELHFWHSODQWHDQLPDOHRDPHQLHXULLGHDOHGLQLQWHULRUXOVăXRUL
VăOHvQJKLWăvQWU-RGL]ROYDUHFRPSOHWăRP-carte.

4. Concluzii

ÌQFRQVHFLQĠăHYRFkQG PRDUWHDVSDLPHOHSDVLXQLOHúLDYHQWXULOHFRSLOXOXLDGROHVFHQWXOXL
úLWLQHUHLIHWH6LPRQD3RSHVFXDUJXPHQWHD]ăQHFHVLWDWHDFRQVHUYăULLILHFăUHLILLQĠHILHFăUHL
exXYLH vQ FRFKLOLD QRDVWUă FHD vQFăSăWRDUH vQ vQYHOLúXO GH WLS 0DWULRúND DO ILLQĠHL QRDVWUH
3ULQ XUPDUH SUR]D 6LPRQHL 3RSHVFX GHVFKLGH GLVFXĠLD DVXSUD OLWHUDWXULL úL H[LVWHQĠHL
extraliterare printr-XQYDJvQGHPQODRDQXPLWăILORVRILHGHVSUHYLDĠăFRQFHQWUDWăvQMXUXO
PHGLWDĠLHL úL OHFWXULL DFĠLRQkQG vQ PHGLXO FHO PDL SURIXQG DO LQGLYLGXOXL – sufletul – úL
SXQkQGSHWDEODGHúDKSLRQLL-FRQFHSWHFDUHGHVFULXH[SHULHQĠHOHFDUHWHWUDQVIRUPăGDUúL
ILLQĠHOH GLQ WLQH DGLFă DFHOH H[LVWHQĠH VLPXOWDQH FDUH WH DMXWă Vă GHYLL VDX Vă IDFL IDĠă
ritualurilor cotidiene.
9RUELQG GHVSUH FRSLOăULH PRDUWH VSDLPH HURWLVPXO úL IDVFLQDĠLD FăUĠLL 6LPRQD
3RSHVFXQXIDFHDOWFHYDGHFkWVăSXQăvQGLVFXĠLH,GHQWLWDWHD$PLQWLQGDYHQWXULOHúFRODUXOXL
de numai 8 ani sau spaLPHOHFRSLOXOXLGHDQLVDXSDVLXQLOHGHOHFWXUăDOHDGROHVFHQWHLGH
15 ani, naratoarea Simonei Popescu – IHPHLDVWDELOLWăYLUWXDOFDDYkQGGHDQL– instituie,

1 „Eram într-RYL]LWă/XPHPXOWăFOLQFKHWHOLFDSHWHGHIUD]H1XVHOHJDQLPLFùL-DWXQFLDPYă]XW-

R$PVLPĠLWSDUIXPXOHLGHGHSDUWH&XRFKLXOGLQFHDIăDPYă]XW-R,UDGLDFXSXWHUHúLFHOHODOWHR
vQFRQMXUDXFDRFHQXúă$úILYUXWV-RPkQJkLVăRDWLQJPăFDUùWLDPGHVSUHHDDWkWHDOXFUXUL(UD
DWkWGHDSURDSH6WăWHDPSHIRWROLXFXVSDWHOHúLRVLPĠHDP&UHLHUXOPHXVHPDVFXOLQL]DVHùLWRW
GRDURGRULQĠă9RLQĠă´3RSHVFX
2 Vidul, ne spune Bachelard, este „acea materie a posLELOLWăĠLLGHDIL´LQWHUVHFWHD]ăGHFLFXVLVWHPXO

intimului (Bachelard 2003: 245).

 134

GH IDSW R GLDOHFWLFă H[WUHP GH VHGXFăWRDUH vQWUH ILLQĠD SUH]HQWă úL FHOH WUHFXWH H[LVWHQWe
SRWHQĠLDO vQ QRL QXPDL FX DQXPLWH HIRUWXUL GH FRQVHUYDUH úL LQYLWă FLWLWRUXO Vă DFĠLRQH]H
LPSOLFLW,GHQWLWDWHDvQDFHVWFRQWH[WHVWHRVXPăDSURSULLORUGHYHQLULFDUHVHWUDQVIRUPăOD
QHYRLH vQ DYDQWDMH H[SOLFLWH vQ GLVFXĠLLOH FX FHL PLFL vQ DERUGDUHD DGROHVFHQĠLORU vQ
HPSDWL]DUHD FX DOĠL DGXOĠL vQ VFULHUHD SRH]LHL VDX SUR]HL HWF $VWIHO ILLQG QX QXPDL XQ
GLVFXUV ILFĠLRQDO FX SXWHUQLFH DQFRUăUL vQ UHDOLWDWHD PXOWRU JHQHUDĠLL GH URPkQL FL úL R
GHPRQVWUDĠLH H[FHOHQWă GHVSUH FXP LGHQWLWDWHD QX HVWH XQD FL HVWH PXOWLSOă URPDQXO
6LPRQHL3RSHVFXHVWHLQHGLWFRPSOH[úLVHGXFăWRUvQFăGHODSULPDOHFWXUă

Surse:

Popescu, Simona, 1997, Exuvii%XFXUHúWL1HPLUD

Popescu, Simona, 1998, Volubilis – eseuriFROHFĠLDÄ´%XFXUHúWL3DUDOHOD
Popescu, Simona, 2006, /XFUăUL vQ YHUGH VDX 3OHGRDULD PHD SHQWUX SRH]LH %XFXUHúWL
&DUWHD5RPkQHDVFă
Popescu, Simona, 2008, RubikURPDQFROHFWLY,DúL3ROLURP

5HIHULQĠH:

Bachelard, Gaston, 2003, 3RHWLFDVSDĠLXOXLWUDG,ULQD%ăGHVFXLQWURGGH0LUFHa Martin,

%XFXUHúWL3DUDOHOD
Bachelard, Gaston, 2005, Poetica reveriei, WUDG /XPLQLĠD %UăLOHDQXSUHI0LUFHD0DUWLQ
%XFXUHúWL3DUDOHOD
%RU]D &RVPLQ  Ä&DUWHD UHYHODĠLLORU – Simona Popescu. Exuvii”, în Cultura, nr. 95
din 25.10.2007, 11-12.
&UăFLXQ *KHRUJKH  Ä3DFWXO VRPDWRJUDILF 6WHUHRJUDPHOH 6LPRQHL 3RSHVFX 7UXS
WUDQVIRUPDUH SOăFHUH´ vQ Observator cultural QU  HGLĠLH HOHFWURQLFă
http://www.observatorcultural.ro/Pactul-somatografic.-Stereogramele-Simonei-
Popescu.-Trup-transformare-placere*articleID_5106-articles_details.html, data
DFFHVăULL
0LKăLHú 0LUFHD  &ăUĠLOH FUXGH MXUQDOXO LQWLP úL VLQXFLGHUHD, ed. a II-D UHY ,DúL
Polirom.
O’Donell, Patrick, 2002, „Engendering paranoia in contemporary narrative”, în Bran Nicol
(ed.), Postmodernism and the Contemporary Novel. A Reader, Edinburgh University
Press.
Ortega y Gasset, José, 2001, 2PXO úL PXOĠLPHD WUDG úL QRWH GH 6RULQ 0ăUFXOHVFX
%XFXUHúWL+XPDQLWDV
Nicol, Bran (ed.), 2002, Postmodernism and the Contemporary Novel. A Reader, Edinburgh
University Press.
3HWUDú,ULQDFeminitatea limbii române – genosanalize,DúL&DVD&ăUĠLLGHùWLLQĠă
3HWUDú,ULQD'HVSUHIHPLQLWDWHPRDUWHúLDOWHHWHUQLWăĠL,DúL,GHHD(XURSHDQă
Sora, Simona, 2008, 5HJăVLUHD LQWLPLWăĠLL &RUSXO vQ SUR]D URPkQHDVFă LQWHUEHOLFă úL
SRVWGHFHPEULVWă%XFXUHúWL&DUWHD5RPkQHDVFă
7UXĠă/LOLDQDÄ&RMLOHILLQĠHLúLIHĠHOHWLPSXOXLvQExuvii, de Simona Popescu”, în
Philologia, nr. 13, 175-181,
http://www.ceeol.com/aspx/issuedetails.aspx?issueid=7904f153-888f-475a-bc95-
3c9106ca61d3&articleId=59a272c8-09bd-4b83-8276-cae0d49a8ee0.
 135

Repere privind comunicarea elementelor spiritual-

ereditare în basmul Povestea lui Harap Alb úL vQ MRFXO
ğXUFD

Adela-Corina Fekete
)DFXOWDWHDGHùWLLQĠHOH&RPXQLFăULL8QLYHUVLWDWHD(FRORJLFăGLQ%XFXUHúWL

Maria-Carmen Fekete
Liceul 7Ä9LFWRU%DEHú´&OXM-Napoca

Literary mediation, through analyses and specific means available, allows us to

reconfigure the connection between childhood games / literary creation on the one
hand, and the public, on the other hand. At the same time, we could become
the promoters and excellent communicators of a kind of lifestyle typical
of Romanians. The present study is an attempt to make the transition from the stage
of genuine contemplative childhood model to a proactive one, to an
inclusive challenge, through childhood games and play by activating the subjective
experiences - called emotions - experienced through literary mediation and
childhood games. In contact with games and literary creation, emotions become
available and young people can identify them, thus fostering personal development
and self-knowledge. Such knowledge proves extremely useful and it helps identify
hereditary spiritual functions that childhood games vs. literary creations bear wthin
their inner strata. Childhood games intertwine with our personal perceptions, with
the way we build relationships with people around us and with life itself.

Keywords: journey game, spiritual-hereditary identity, literary mediation, topos,

transgenerational.

1. Introducere

Medierea OLWHUDOă HVWHSURFHVXOFDUHQHSULOHMXLHúWHUHVWDELOLUHDOHJăWXULORUvQWUHVRFLHWDWHD

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public (student / elev).
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,RQ&UHDQJăSXWHPLGHQWLILFDQXPHURDVHHOHPHQWHFHĠLQGHSDWULPRQLXOVWUăPRúHVF
úL GH FDOLWăĠLOH VSLULWXDO-ereditare DOH SRSRUXOXL URPkQ ÌQ DPEHOH VLWXDĠLL SXWHP YRUEL
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úLDQXPHcalea de a face cevaDGLFăGHDGDRQRXăYDORDUHDQXPLWRUHOHPHQWHLGHQWLWDUH
Ceea ce ar fi similar cu parcurgerea unui traseu, unic, identitar, pe care îl putem denumi
simbolic GUXPDOYLHĠLL.
 136

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&OXEXO5RPkQGHğXUFăDFRQFHSXWXUPăWRDUHOHUHSHUHterenul DUHDVSHFWXODVHPăQăWRUFX
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ghideze protejatul spre victorie.
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individ care participa la joc are propriile luLOLPLWHIL]LFH'DFăHFKLSDGLQWHUHQSULQGHĠXUFD
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(Lovinescu 1996).

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Evaluarea prin arbitraj în joc. Pentru respectarea corectitudinii jocului, se

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de marcaj, responsabil cu completarea foii de arbitraj.
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evaluator al lui Harap-Alb. Spânul are nevoie de arbitru:

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5ăVSXQVH vPSăUDWXO XLPLW ,D Vă DP HX R VOXJă DúD GH YUHGQLFă úL FUHGLQFLRDVă FD
+DUDS $OE Dú SXQH-R OD PDVă FX PLQH Fă PXOW SUHĠXLHúWH RPXO DFHVWD´ &UHDQJă
1983: 17).

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GH OD RSULUHD EăĠXOXL SH VRO FkWH OXQJLPL GH EkWă VXQW vQ OLQLH GUHDSWă GH OD ORFXO XQGH D
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FăSLWDQXORVLQJXUăGDWăvQLQWHUYDOGHVHFXQGHGHODOLFLWDUHDDUXQFăWRUXOXLSULQÄda”
VDXÄQX´IăUăDDSHODODQLFLXQIHOPăVXUDUH'DFăHFKLSDGHODSULQGHUHQXLQYDOLGHD]ăvQ
acest interval de timp, validarea se produce în mod automat.
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Harap-Alb. AnulkQGPRDUWHDFDDFWIL]LFúLvQYLQJkQG3ăFDWXOVWUăPRúHVFHURXOUHXúHúWHVă-
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eroului:

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Bisericii Ortodoxe Române.
Biedermann, Hans, 2002, 'LFĠLRQDUGHVLPEROXUL%XFXUHúWL(GLWXUD¶¶6DHFXOXP,2¶¶
&UHDQJă,RQPovestea lui Harap-Alb%XFXUHúWL(GLWXUD$OEDWURV
Durand, Gilbert, 1977, Structurile antropologice ale imaginarului %XFXUHúWL (GLWXUD
Univers.
Durand, Gilbert, 1998, )LJXULPLWLFHúLFKLSXULDOHRSHUHL, %XFXUHúWL, Editura Nemira.
Eminescu, Mihai, 2000, Poezii, %XFXUHúWL(GLWXUD&DUWH[
Galton, Francis, 1983, Inquiries into the Human Faculty and its Development,
http://www.gutenberg.org/files/11562/11562-h/11562-h.htm
Lovinescu, Vasile, 1996, &UHDQJăúLFUHDQJDGHDXU, %XFXUHúWL, Editura Rosmarin.
Plutchik, Robert, 2003, Emotions and life: Perspectives from psychology, biology and
evolution. Book. United Book Press.
http://tzurca.wordpress.com/un-mic-istoric/, accesat la data de 15.01.2015
http://tzurca.wordpress.com/regulamentul-jocului-de-tzurca/, accesat la data de 15.01.2015
http://www.rasfoiesc.com/educatie/psihologie/MASURAREA-EMOTIILOR19.php,
accesat la 17.01.15.
 146

Comment rendre Philoctète jouable

Tatiana-Ana Fluieraru
Universitatea Valahia din Târgoviúte

Considéré depuis le XVIe siècle, le plus souvent avec Œdipe Roi, le chef-d’œuvre de
Sophocle, Philoctète passe au XVIIIe siècle encore pour une pièce injouable.
Atténuer la souffrance du héros et peupler Lemnos sont les deux altérations majeures
de la tragédie antique qu’opère J.-B. Vivien de Chateaubrun dans son Philoctète de
1755. À partir de là, d’autres auteurs donneront au héros antique une fille, le modèle
français s’exportant même en Angleterre (Thomas Monro, Philoctetes in Lemnos,
1795). Ces réécritures d’une tragédie antique qui n’ont aucun fondement dans la
tradition mythologique sont les premières tentatives de faire évoluer Philoctète sur
un théâtre, avant même la mise en scène de la pièce éponyme de Sophocle.

Keywords: J.-B. Vivien de Chateaubrun; B. Mêndouze; Thomas Monro; Philoctète;

Antoine-François Riccoboni.

1. Jean-Baptiste Vivien de Chateaubrun, Philoctète, 1755

L’idée de Chateaubrun de donner une version du Philoctète de Sophocle survint à une

époque marquée par un regain d’intérêt pour les auteurs dramatiques anciens et pour
Homère et qui atteint son point culminant après 1754. Décidant de donner une imitation du
Philoctète de Sophocle Chateaubrun relève un défi de taille. En effet, adapter cette tragédie
grecque reviendrait principalement à rendre la souffrance physique de Philoctète
compatible avec les bienséances et à étoffer l’intrigue par une histoire d’amour.
Contrairement à la pièce de Sophocle, c’est Pirrhus 1 qui prononce la première
réplique : il était impatient d’aller à Troie et le voilà obligé de faire un détour par l’île de
Lemnos ! Ulisse le détrompe: la vaticination de Calchas après la mort d’Achille est
formelle : « N’attendez rien des Dieux […], / Vous allez tous périr, votre armée est défaite /
Si je ne vois au camp Pirrhus et Philoctete » (Chateaubrun 1756 : I, 1). Le jeune guerrier
pense que cette expression de la volonté des dieux pourra convaincre Philoctete de
réintégrer l’armée. Une fois de plus Ulisse doit le détromper : le héros brûle « contre les
Grecs d’une haine terrible » (ibidem : I, 1). Et Ulisse de raconter au jeune fils d’Achille
l’histoire de Philoctète, blessé par le dard envenimé d’un Troyen lors d’une attaque
d’Hector, au tout début du siège (ibidem : I, 1). Comme sa blessure ne guérit pas et qu’en
plus il critiquait tout le monde, Ulisse est chargé par « un ordre secret » de les débarrasser
tous de ce râleur. Nous connaissons la suite : Ulisse conseille à Pirrhus ce que celui-ci
appellera la feinte, le déguisement, le travesti, la ruse, que le fils d’Achille trouve « trop peu
digne d’un roi. » Mais Ulisse veut qu’une confrontation directe soit évitée pour que les

1 Je reproduis les noms des personnages tels qu’ils apparaissent dans l’édition de 1756.
 147

deux héros censés triompher à de Troie restent indemnes. Séduit par le discours d’Ulisse,
Pirrhus part à la recherche du héros, en compagnie de Démas 1. Il découvre la « triste
demeure » de Philoctete, qui lui inspire des réflexions sur l’instabilité de la fortune venues
directement de la tragédie de Sophocle (Phil., vv. 180-183 et 500-506). L’apparition de
Sophie accompagnée de Palmire 2 surprend le jeune homme: Pirrhus lui demande qui est
son père, occasion pour le spectateur de réécouter l’éloge de Philoctete, victime d’un
complot, le plus tendre des pères.
La jeune fille fait savoir au fils d’Achille comment elle est arrivée sur l’île: elle
vivait dans « la superbe Méthone », ignorant le sort de son père. Quand finalement elle
découvre la vérité, elle décide de le rejoindre. Pour conserver la claustration, Chateaubrun
invente un naufrage: le navire est détruit, seules Sophie et sa gouvernante survivent grâce à
Hercule (Chateaubrun 1756 : II, 3). Mais leur arrivée sur l’île ne fait qu’empirer la situation
de Philoctete, forcé à pourvoir à leurs besoins aussi : « Dans le sein de la triste indigence, /
C’est son arc qui pourvoit à notre subsistance; / Et moi, je me consume en voyant la
douleur/Que le soin de nos jours ajoute à son malheur. / Nous venions dans Lemnos pour
secourir mon père,/Et nous multiplions sa peine & sa misère » (ibidem : II, 3).
À la demande de Pirrhus, Sophie va chercher son père qui se réjouit de voir des
étrangers sur l’île. Philoctete déplore son état, se considérant « un exemple odieux/De la rage
des Grecs, & du courroux des Dieux » (ibidem : I, 5), et en donne une description saisissante :
« Des monstres à mes cris vinrent de toutes parts; / L’horreur de ces déserts s’offrit à mes
regards. / Traînant avec douleur ma fatale blessure, / La terre pour mon lit, mes pleurs pour
nourriture; / Sans espoir de secours parmi tant de tourmens, /Je fatiguais les mers de mes
mugissements. / […] Le désir de mourir fit place à la colère » (ibidem : I, 5). Mort vivant
comme chez Sophocle, Philoctète est partiellement tiré de cet état de léthargie par la présence
de sa fille, l’amour étant censé le rendre partiellement du moins à l’humanité.
Pirrhus glisse son nom dans la conversation, surprenant Philoctete par son identité. Il
lui apprend la mort de Patrocle, d’Achille, d’Ajax. Brusquement, l’archer propose à Pirrhus
de partir avec lui. Pirrhus accepte tout de suite de déplacer tout ce petit monde vers ses
terres natales, quand Philoctete est saisi d’une crise. Pirrhus est de plus en plus décidé à de
ne plus mettre en pratique le plan d’Ulisse (ibidem : II, 2) et espère pouvoir persuader
Philoctete de se rendre à Troie en lui exposant la véritable situation des Grecs et trouve des
arguments inattendus pour convaincre Philoctete de quitter son île : s’il ne peut l’émouvoir
en le citant, il pourra peut-être le mobiliser en lui récitant le code du parfait guerrier (le sort
du héros est de mourir sur le champ de bataille « moissonnant des lauriers », « parmi les
cris, le feu, le fer et le carnage »). Philoctete lui oppose ses argument: ce sont les Grecs qui
n’ont pas respecté le serment et en plus il ne veut plus participer à une « guerre frivole/
Trop peu digne du sang des Guerriers qu’elle immole. » Le dialogue a une fin inattendue: il
est temps de désabuser les rois de cette « funeste erreur » et de mener campagne
séparément (« Marchons contre Ilion sous nos propres drapeaux »). La scène finit dans
l’enthousiasme des deux guerriers sûrs de leur victoire ; notre Philoctete s’est trouvé un
nouvel Alcide (ibidem : II, 3).
Démas révèle à Ulisse que Pirrhus est amoureux de Sophie et toute l’intrigue de la
pièce sera modifiée pour montrer le jeune fils d’Achille hésitant, comme un nouveau
Rodrigue, entre devoir et amour.

1 Démas assume certaines parties du chœur (à titre d’exemple, il est près de Néoptolème pour entrer
dans la grotte, v 156-161), avec cette distinction toutefois, il est toujours fidèle à Ulisse. Son nom
rappelle le nom de l’ami de Philoctète dans l’Œdipe de Voltaire, Dimas.
2 Stamhorst change le nom de Sophie en Cephise (Stamhorst1758 : IV)
 148

Chateaubrun fait circuler entre le camp grec et Ulisse des messages qui mettent
constamment la pression et indiquent la stratégie à suivre. Le premier message lui ordonne
d’amener Philoctete « vivant ou mort au camp »; s’il résiste, il faut tuer sa fille (ibidem : III,
1). Car Ulisse reproche à Pirrhus d’être aveuglé par sa passion (ibidem : III, 2). On verra
par la suite Pirrhus agir suivant les impulsions qu’il reçoit alternativement d’Ulisse et de
Sophie. Car Sophie participe activement au développement de l’intrigue, défendant son
père et incitant son amoureux à le protéger. Finalement, elle reproche à Ulisse de faire
oublier à Pirrhus l’honneur et la pitié, dégradant ainsi sa noblesse. C’en est trop pour
Pirrhus, incapable de faire face à cette double pression : « De quel côté, grands Dieux, doit
donc tourner mon ame ? »
La scène donne dans le comique: après avoir hésité entre amour et gloire, les larmes
de Sophie tranchent ses doutes, comme le craignait Ulisse. Le poignard qui devait « sauver
l’honneur d’un père malheureux » convient à cette atmosphère de drame sentimental. C’est
l’occasion pour Philoctète de rappeler une fois de plus le destin d’Alcide et de marquer le
parallélisme entre l’existence des deux héros: « J’ai vécu comme Hercule, & veux mourir
de même ». L’exemple n’est pas bien choisi: Hyllos n’allume pas le bûcher d’Hercule,
malgré les propos du Philoctete de Chateaubrun. Avant de s’évanouir, craignant de n’être
enlevé pendant son malaise, Philoctete décide de tuer les Grecs présents sur l’île, à
commencer par Pirrhus. C’est à cette occasion qu’il apprend que sa fille et Pirrhus s’aiment.
Ulisse n’avait pas honte de rappeler à Pirrhus sa dette morale, Philoctete n’a pas honte de
demander à sa fille de contraindre Pirrhus à embrasser leur cause sous peine de s’opposer à
leur mariage et de lui dire : « Je sens avec douleur que je te sacrifie. » (ibidem : IV, 2).
Un nouveau message indique une offensive des Troyens qui ayant profané la tombe
d’Achille. On leur commande de tuer Philoctete et Sophie. C’est le temps d’employer les
grands moyens: Ulisse décide de se montrer, quitte à être blessé ou tué par Philoctete. Tout
le monde est sur le théâtre pour cette scène. Dès qu’il voit Ulisse, Philoctete demande ses
armes à sa fille, mais son ennemi dépose à ses pieds son épée. Philoctete veut s’en saisir,
empêché par Pirrhus (ibidem : V, 3). Un dialogue entre Philoctete et Ulisse a enfin lieu:
Ulisse accepte d’être sacrifié tant que Philoctete se rappelle qu’il a une patrie ; Philoctete
refuse d’y penser, car « depuis neuf ans entiers » sa patrie n’a pas entendu ses cris. Ulisse
lui demande de pardonner, alors que Pirrhus manifeste sa colère devant la haine et la
mauvaise foi de Philoctete. Il renonce même à son amour pour Sophie car « au salut public
je dois mes premiers vœux » (ibidem : V, 3). Ulisse n’a pas dit son dernier mot : c’est
l’exemple d’Alcide qu’il évoque en dernier et retrace le portrait de celui qui conspire contre
son pays - « rebut de l’univers, à soi-même odieux », vivant « errant, sans loix, sans amis &
sans Dieux » (ibidem : V, 3).
Terrifiée, Sophie supplie son père d’éviter une telle fin. Philoctete est sur le point de
se laisser fléchir. Ulisse demande aux Grecs de partir et de renvoyer par la suite des
vaisseaux à Lemnos. Quant à lui, il restera sur l’île auprès de Philoctete. Même s’il
demande qu’un mur d’airain le sépare d’un tel voisin, Philoctete est déjà touché par le
discours de son ennemi et son courroux est en train de se dissiper. Il confie sa fille à Pirrhus
et accepte, également au nom de sa fille, d’aller à Troie (ibidem : V, 3)

Du Philoctète de Sophocle à celui de Chateaubrun. Il aurait fallu du courage pour se

contenter de l’intrigue simple du Philoctète de Sophocle et réussir à « attacher durant cinq
actes [ses] spectateurs par une action simple, soutenuë de la violence des passions, de la
beauté des sentiments et de l’élégance de l’expression » (Racine, préface de Bérénice).
Chateaubrun est loin de cette austérité et préfère en mettre plein la vue, ajoutant une
intrigue amoureuse, convertissant de la sorte la tragédie en un drame romanesque implexe.
 149

Car donner une adaptation du Philoctète de Sophocle ne semble pas avoir été l’intention
première de Chateaubrun. Il y arrive guidé peut-être par son intérêt pour la guerre de Troie:
il s’y intéresse dans Ajax, mais aussi dans Les Troyennes, 1751, Philoctète, 1755, et
Astyanax, 1756 1. Quant à inventer une fille à Philoctète, c’est un truc que Chateaubrun
utilisait à bon escient. Notre auteur s’en était déjà servi dans Ajax, prenant exemple sur les
pièces de jeunesse de Corneille: là, Chateaubrun donnait une fille à Ulysse, aimée d’Ajax.
Chateaubrun tente de nouveau le coup dans Philoctète et le public semble apprécier, sauf
« quelques zélés, quelques idôlatres de l’antiquité [qui] ont trouvé mauvais qu’il ait
introduit une femme dans cette pièce » (Collé 1868 : 5-6), dont Lessing ! Daniel Donnet
remarque que la présence de Sophie « atténue, affaiblit […] l’intensité dramatique de
scènes qui, dans l’œuvre de Sophocle, constituent des moments forts », comme la rencontre
Pirrhus-Philoctète (Donnet 2004 : 327, 329, 332). La présence de Sophie devient la raison
de la survie du Philoctete de Chateaubrun: le Philoctète de Sophocle était réputé pour son
endurance, mais celui de Chateaubrun était sur le point de se laisser mourir dans sa grotte si
sa fille n’était pas venue « partager l’horreur de [sa] disgrâce ». Car Sophie ne joue pas
seulement de ses beaux yeux, pour reprendre l’expression de Lessing, elle est impliquée
activement dans l’intrigue et son rôle n’est pas de tout repos: la scène dans laquelle
Philoctete lui fait jurer de le tuer si les Grecs l’assaillaient pendant son sommeil a causé
« plus d’horreur et de dégoût que cela n’inspire de terreur et de pitié » (Collé 1868 : 7).

2. Antoine-François Riccoboni, La Rancune, 1755

On doit à l’audace de Chateaubrun non seulement la première adaptation du Philoctète de

Sophocle portée sur scène, mais aussi la première parodie de la séquence lemnienne du
mythe de Philoctète (une parodie de l’Œdipe de Voltaire dans laquelle paraissait Philoctète
datait de 1719). En effet, à quelques semaines de la première du Philoctète de Chateaubrun
une parodie est représentée au Théâtre de l’Hôtel de Bourgogne. La scène est cette fois à
Lyon (rapprochement phonétique avec Ilion). L’intrigue originale est convertie pour
renvoyer au monde du théâtre agité par des disputes: la guerre est provoqué par une
comédienne, la femme de l’entrepreneur de la Troupe du Mans, qui « tenoit l’emploi des
Reines », et qui, pour l’amour d’un chateur de l’Opéra de Lyon, quitte son mari de Cornillas
(double allusion à Ménélas), provoquant la faillite de la troupe (Riccoboni, 1755 : 4).
Comme chez Chateaubrun, c’est Rodomont-Pyrrhus qui prononce la première
phrase, demandant à Coulisse-Ulysse ce qu’ils viennent faire « sur les rochers déserts de
cette Isle, où le Rhône / Brise ses flots grossis des ondes de la Saône ». Coulisse s’excuse
d’en avoir fait un mystère, mais il devait se « réserver pour l’exposition » ; il met le jeune
homme au courant du conflit entre les deux théâtres, formulant la mission commune des
comédiens (Riccoboni, 1755 : 4) et dévoilant la solution : la troupe peut encore être sauvée
si deux acteurs, Rodomont et la Rancune, l’intègrent. À la différence du Philoctète de
Chateaubrun, les personnages de la parodie sont décidés d’appeler un chat un chat :
Coulisse reconnaît qu’il mérite d’être assommé par La Rancune, car il est coupable « de son
état affreux », de son abandon.

1 Calchas et Pyrrhus sont mentionnés par Chateaubrun dans ses Troyennes, dans Philoctète et dans
Ajax (« Pirrhus est fils d’Achille et respire à Sciros. » - Spire Pitou, The text and sources of
Chateaubrun’s lost « Ajax », p. 52; Calchas y est mentionne trois fois, pp. 34, 37 et 39; c’est la fille
d’Ajax, Phénice, qui le consulte pour savoir qui de son père, Ulysse, et de son amant, Ajax, aura gain
de cause dans le jugement des armes).
 150

Coulisse avait prémédité son plan de bataille: Rodomont devra proposer au vieil
acteur de quitter l’île pour intégrer « une bonne troupe » (Riccoboni 1755 : 6 et 19).
Rodomont finit par accepter de « devenir faux pour le bien général » et, en compagnie du
souffleur Thomas, part à la recherche de « notre fou ». Il découvre d’abord l’antre, ensuite
une jeune personne « avec art ajustée », la fille de La Rancune qui lui raconte leur triste
histoire : dès qu’elle avait appris que son père « languissoit sur ce triste rocher », elle était
partie le chercher avec une servante. Au moment où le bateau approchait « cet inculte
rivage » un coup de vent, « un orage affreux, un funeste ouragan », renverse l’embarcation;
Julie seule survit. Elle se dit prête à quitter l’île et espère convaincre son père, qui « est né
farouche & déteste les hommes » (Riccoboni 1755 : 10). Apparaît La Rancune, qui
reconnaît en Rodomont un des siens, un acteur auquel il raconte volontiers sa mésaventure.
Rodomont propose à La Rancune de le conduire où il veut, ce que le vieil acteur accepte
volontiers. C’est à ce moment-là qu’il est saisi d’une crise qui débute, comme chez
Sophocle, par un délire. Revenu à lui, La Rancune est plus décidé que jamais à quitter l’île.
Le moment est venu pour Rodomont de céder à sa nature généreuse. Sans se donner des
intentions héroïques, il fait savoir à La Rancune qu’il est en train de l’embobiner.
Coulisse avait suivi de loin les actions de son disciple et avait compris qu’il était sur
le point de le trahir. Thomas le met au courant de l’amour qu’il nourrit pour Julie, un amour
trop prompt, selon Coulisse, mais « La fille d’un Acteur est toujours combustible »
(Riccoboni 1755 : 21). Rodomont semble content de rester sur l’île avec La Rancune et sa
fille qu’il espère épouser, mais Coulisse arrive à le réactiver en lui racontant que le
créancier avait saisi les habits de ville des acteurs (Riccoboni 1755 : 25). Par ailleurs, Julie,
effrayée d’avoir vu « des Recors de la Maréchaussée » sur un bateau, comprend que
Rodomont complote de nouveau contre son père et décide de pleure pour l’attendrir
(Riccoboni 1755 : 28). Les effets mélodramatiques continuent avec la scène du poignard et
la confession de Julie qui apprend à son père l’amour de Rodomont: « Nous pourrons en
tirer bon parti », conclut La Rancune (Riccoboni 1755 : 32). Coulisse décide de confronter
La Rancune, mais dès qu’il l’aperçoit, celui-ci demande sa carabine. Coulisse lui donne son
épée que La Rancune veut utiliser sur le champ, empêché par Rodomont. La Rancune se
lance dans des imprécations contre les acteurs, jette la malédiction sur tous les acteurs, sauf
Rodomont. Finalement, La Rancune accepte de quitter son île, donne sa bénédiction à
Rodomont et Julie, car « il n’est point sans amour de dénouement heureux » et demande à
Coulisse d’excuser sa folie. C’est le discours de Julie qui clôt la pièce, le dernier vers
reprenant le dernier vers de la tragédie de Chateaubrun : « Esprits qui prétendez aux lauriers
du Poëte,/Pour l’honneur des talens imitez Philoctete./En prenant son Auteur pour guide &
pour soutien,/On suivra le grand homme & le vrai Cytoyen » (Riccoboni 1755 : 42).
Riccoboni avait choisi de faire correspondre aux événements, situations et
personnages du texte d’origine des événements, situations et personnages du monde du
théâtre. Mieux encore, il se plaît à user des procédés métadramatiques. Ainsi, La Rancune
demande à sa fille d’exprimer son désespoir et sa colère devant la trahison de Rodomont selon
les conventions théâtrales, donnant ensuite son avis sur son interprétation : « Tu viens de
déclamer comme une grande Reine, / Et tu rends joliment la vengeance & la haine »
(Riccoboni 1755 : 18). Le parodiste vise parfois une double cible, la pièce de Chateaubrun,
son hypotexte annoncé dans le titre, mais aussi le Philoctète de Sophocle, son hypo-
hypotexte. Ainsi, la mort de La Rapière-Achille provoque à La Rancune une réflexion sur la
disparition des acteurs et la survie des histrions qui renvoie différemment aux deux textes.
 151

3. Thomas Monro, Philoctetes in Lemnos, 1795

En février 1773 on déplorait dans le Gentlemen’s Magazine qu’aucune pièce de Sophocle

n’ait pas été mise en scène à Drury Lane. Thomas Monro (Munro) (1764-1815) semble
avoir voulu combler ce souhait en composant son adaptation du Philoctète de Sophocle.
La côte de l’île de Lemnos où vivait Philoctète se remplit de Grecs : en plus
d’Ulysse et de Néoptolème, Agarista, la fille de Philoctète, Thersite, Lycas, distribué dans
le rôle du pilote, un officier et des femmes de la suite de la jeune fille. Le paysage semble
inspiré par le Télémaque de Fénelon : Ulysse invite le fils d’Achille à chercher « a jutting
hill/ Toward the South its forked head uplifts » (« ce rocher qui élevait vers le ciel deux
pointes semblables à deux têtes » chez Fénelon, Télémaque, XII).
Le premier à rencontrer Philoctète est Lycas, qui le prend pour un fantôme hantant
les bois. Pendant qu’il cueille de la ciguë (?), Philoctète est saisi de douleurs et chante pour
appeler la mort ou le sommeil apaisant (Monro 1795 : I, 4). Néoptolème et Agarista le
retrouvent endormi au bord d’une route. La fille de Philoctète le reconnaît sous cette
apparence misérable et veut l’éveiller, mais Néoptolème l’en empêche, car il veut prévenir
Ulysse. Agarista reste auprès de son père qu’elle est prête à protéger avec son propre arc et
murmure une chanson inspirée de celle du chœur de Sophocle implorant le sommeil
guérisseur. Néoptolème revient avec Ulysse qui veut s’emparer des armes de Philoctète,
empêché par le fils d’Ulysse qui se charger de les obtenir autrement. À son réveil,
Philoctète est surpris de voir venir vers lui Néoptolème, qui fait signe à Agarista de
s’avancer. Malheureusement Monro ne craint pas le ridicule : voyant une femme, Philoctète
pense à sa libido (Monro 1795 : II, 2), ensuite, s’apercevant qu’elle pleure, aux soucis
d’amour qui la font souffrir (ibidem : II, 2). La jeune femme décline de manière assez
énigmatique son identité avant de s’évanouir. Heureusement le portrait attaché à son cou
renseigne Philoctète sur son identité (ibidem : II, 2).
La scène se déplace au bord de la mer, où se trouve les femmes de la suite
d’Agarista, Thersite et les marins. Nouveau changement de décor pour la scène suivante: le
père et la fille se rencontrent dans la grotte « hung with Skins of Beasts » (ibidem : II, 2).
Agarista raconte à Philoctète comment, après la mort de sa mère, elle est partie à sa
recherche. Arrivée à Ténédos, elle apprend ce qui est arrivé à Philoctète. Quelques jours
plus tard Calchas vaticine, la main gauche appuyé sur l’autel. Agarista fait part à Philoctète
de l’ambassade envoyée à Lemnos et du rôle d’Ulysse. Philoctète ne semble pas intéressé
par ce qui se passe à Troie, il pense encore une fois à la tragédie de sa femme, morte à
cause de son triste sort, et envisage son avenir avec sa fille à Lemnos. Il lui montre des
dépouilles des animaux qu’il a chassés avec ses flèches infaillibles (« never-failing
messenger »), un ours blanc (?) et un chat des montagnes.
L’acte III s’ouvre par un nouveau récital de Thersite sans relation avec l’histoire de
Philoctète. Devant la grotte, Philoctète et sa fille discutent de la passion de Néoptolème, le
père essayant de tempérer la jeune fille, lui expliquant l’ascendance divine de Néoptolème
(ibidem : III, 2). Oubliée Troie, oublié le siège, ce qui compte c’est le mariage d’Agarista,
car pour Philoctète Néoptolème est sujet à caution, un soldat qui promet beaucoup aux
jeunes filles sans avoir l’intention de tenir parole. La discussion continue entre Néoptolème
et Philoctète, qui, après avoir durement admonesté Néoptolème, lui fait l’honneur imprévu
de lui permettre de toucher l’arc et finalement il le lui confie, avant de se retirer dans sa
grotte consoler sa fille (ibidem : III, 2) Néoptolème n’est donc pas obligé à débiter des
mensonges pour s’emparer de l’arc de Philoctète. L’arc est ainsi devenu un dépôt sacré,
comme l’explique Néoptolème à Ulysse, survenu près de la grotte.
Philoctète ouvre la porte de sa caverne (?) et écoute leur dispute. Il se rend compte
 152

qu’il entend la voix maudite d’Ulysse, et sort de son abri, exigeant son arc. Ulysse
s’interpose entre lui et Néoptolème. C’est l’occasion pour Philoctète de mentionner ses
souffrances et de demander aux dieux que justice soit faite. Néoptolème rend l’arc à
Philoctète contre deux faveurs: laisser la vie sauve à Ulysse et lui donner la main de sa fille.
Philoctète décide pour l’instant de faire grâce de la vie à Ulysse, réduit ainsi à l’esclavage,
et invite Néoptolème à manger dans sa caverne ; quant à Ulysse, « I do not feed with slaves,
or I wou’d ask thee. » (ibidem : III, 2)
Restés seuls, Ulysse et Néoptolème s’affrontent de nouveau: Ulysse accuse le fils
d’Achille d’avoir fait échouer leur projet, Néoptolème défend sa propre stratégie fondée sur
la vérité. Leurs positions sont inversées par rapport au début de la pièce : Ulysse envisage
de faire venir plusieurs marins pour lier Philoctète et l’embarquer de force, alors que
Néoptolème veut user de « cool judging mind » (ibidem : III, 2, reprenant une formule
d’Ulysse). Après la sortie d’Ulysse Néoptolème se montre préoccupé de convaincre
Philoctète de la sincérité de ses sentiments envers Agarista dans un long discours fleuri.
Finalement, il demande sa main. Philoctète forme des projets sur l’avenir de la famille
installée à Lemnos (ibidem : III, 2), car Néoptolème fait semblant d’accepter d’y rester
(ibidem : III, 2). Comme Philoctète n’est pas près de quitter l’île de son exil, sa fille éplorée
décide de parler à son tour: elle rappelle à son père qu’il pourra jouir d’un apaisement de ses
souffrances et de la gloire. Philoctète ne résiste pas à cette image brossée par Agarista, « think
of health restor’d, of Troy o’ercome », et décide sur le champ de partir (ibidem : III, 2)
Dans la scène finale on a droit à une nouvelle discussion Lycas-Thersite-les femmes,
avant de voir s’avancer vers la nef Philoctète et Agarista. Comme un bourgeois soucieux de
son avoir, Philoctète transporte sur le navire tous ses biens, les peaux d’animaux (Agarista
porte une dépouille et quelques flèches), son arc, le gobelet en bois, etc.
Au bord de la mer Philoctète est saisi d’une forte émotion: il se rappelle le moment
de son abandon sur l’île. Le passage amplement inspiré de Sophocle évoque le premier
instant de désarroi et les moments d’espoir, d’amertume, de découragement qui avaient
jalonné son isolement (ibidem : III, 2). Il est temps de partir: Néoptolème ordonne un
sacrifice et Philoctète propose comme autel la pierre qui portait les traces de ses genoux.
Néoptolème et Agarista chante des hymnes en l’honneur du dieu de la mer et des filles de la
mer. Ulysse a été complètement oublié dans la coulisse.
Monro donne une tragédie romanesque dont il complique inutilement l’intrigue.
L’alternance très rapide des décors, l’action se déroulant dans plusieurs endroits, rend la
pièce difficilement jouable. L’effet dramatique est dilué dès le début de la pièce, la
discussion Ulysse-Néoptolème qui ouvre la pièce de Sophocle étant coupée en deux pour
permettre une première apparition de Philoctète dans un bois. La présence de nombreux
personnages complique inutilement la pièce. Les parties chantées devaient paraître
également inappropriées aux lecteurs de Monro; elles auraient été à leur place dans une
tragédie qui respecte la tradition antique plutôt que dans cet hybride de tragédie
romanesque.
L’image d’un Philoctète chasseur, aimant la solitude de l’île, est peut-être
l’altération la plus importante que Munro fait subir au texte de Sophocle. La présence de la
fille est certainement un emprunt à Chateaubrun et le petit monde déplacé à Lemnos, une
mauvaise idée personnelle qui en dérive.

4. B. Mêndouze, Philoctète, 1806

Une « Tragédie Liryque [sic] en 3 actes » intitulée Philoctète sera présentée au jury de
l’Académie Royale de musique par B. Mêndouze. Son livet, bien qu’accepté par l’Opéra au
 153

cours de l’année 1806 reste inédit (Salerno 2010 : 70) : « Ulysse et Pyrrhos retournent à
Lemnos pour récupérer [Philoctète]. Après les inévitables marches et danses
guerrières […], l’opéra narre les affaires tout à fait privées de Pyrrhos, promis d’Ismélie
fille de Philoctète, divisé entre l’amour […] et son devoir de soldat ; d’Ulysse, guerrier
froid et calculateur, se souciant uniquement de la patrie; d’Ismélie, qui se contenterait de
ramener son père dans la société civile; et de Philoctète, déchiré entre la soif de liberté et
l’esprit de vengeance contre les Grecs » (ibidem : 70-71).

5. Philoctète à Samos. Conclusions

La mythologie rime parfois avec rébellion au XVIIIe siècle ; Philoctète devient

l’incarnation de la victime innocente, comme on peut le voir dans le courrier d’Antoine
Allègre qui, embastillé, signe ses lettres du nom de Philoctète, mais aussi dans le fragment
d’une pièce inachevée de François Aubry, Drame sur l’arrivée du Philoctète français, avec
sa famille dans l’île de Samos. Proscrit par la Terreur, le Philoctète français doit s’exiler
avec toute sa famille, formée d’Émilie, son épouse, Léon, son fils, et Angélique et Martin,
ses domestiques. Les voilà débarqués à Samos qui est tout le contraire de Lemnos :
hospitalière, « de nos maux l’unique guérison », « l’asile des dieux », un vrai paradis
terrestre.
L’idée de Chateaubrun de donner une fille à Philoctète, qui pourrait lui venir de
l’Œdipe de Corneille ou de celui de Voltaire, permettra à l’auteur de concilier l’intérêt pour
la tragédie antique et les mentalités du XVIIIe siècle et de propulser sur la scène un
personnage jusqu’alors évité (Philoctète apparaît antérieurement dans des pièces reprenant
l’intrigue des Trachiniennes, donc d’avant son malheureux accident). Mais ce personnage
féminin modifie les relations entre les trois personnages présents dans la tragédie de
Sophocle, notamment le comportement de Néoptolème, ce qui semble être du goût d’autres
auteurs qui en donnent des réécritures.

Bibliographie :

Aubry, François, 1818, Œuvres en vers et en prose de François Aubry, serrurier d'Avignon
résidant à Nismes, Nismes, chez Gaude Fils.
Chateaubrun, J.-B. Vivien de, 1756, Tragédie par M. de Chateaubrun de l’Académie
Françoise, À Paris, chez Brunet.
Collé, Charles, 1868, Journal et mémoires, t. II, Paris, Firmin Didot.
Donnet, Daniel, 2004, « Sophocle, Chateaubrun, et l’association Riccoboni- Favart », in
Lettres Romanes, vol. 58, no 3-4.
Lessing, Gotthold Ephraim, 1802, Du Laocoon ou des Limites respectives de la poésie et de
la peinture, traduit de l’allemand par Charles Vanderbourg, Paris, chez A.-A.
Renouard.
Monro, Thomas, 1795, Philoctetes in Lemnos, a drama, in three acts. To which is prefixed,
A green Room scene, London, printed for William Bingley.
Pitou, Spire, 1969, The text and sources of Chateaubrun’s lost « Ajax », Vittorio
Klostermann, Frankfurt am Main.
Riccoboni, Antoine-François, 1755, La Rancune, parodie de Philoctete en un acte en vers,
Paris, chez la Veuve Delormel et fils.
Salerno, Leorigildo, 2010, « Les mésaventures de l’amour fugitif : Genèse d’Anacréon de
 154

Luigi Cherubini (1803) », in Schweizer Jahrbuch für Musikwissenschaft/ Annales

Suisses de Musicologie/Annuario Svizzero di Musicologia, nouvelle série, 28/29,
Peter Lang.
Stamhorst, Jacobus, 1758, Philoctetes, Treurspel door Jacobus Stamhorst. Gevolgd naar
het Fransche van den heere de Chateaubrun, lid der Fransche Academie,
Amsterdam, Izaak Duim.
 155

The Influence of Heinrich Heine in the Romanian

Literature in the Nineteenth Century before the First
World War

Mihaela Hristea
“I.L. Caragiale” National College, Bucharest

Heinrich Heine was taken as a model and his lyrics have been copied and
assimilated with enthusiasm in Romanian literature and contributed to the renewal of
our poetry in the second half of the nineteenth century. Writers from the society
“Junimea” such as Nicolae Schelitti, DiPLWULH3HWULQR7KHRGRUùHUEăQHVFX0DWLOGD
Cugler-3RQL 6DPVRQ %RGQăUHVFX DQG ODVW EXW QRW OHDVW 0LKDL (PLQHVFX ZHUH
influenced by the German romantic, creating a cult for him, translating much of his
verses and using them as a source of inspiration. The model had later created echoes
among the collaborators of the magazine “The Coeval”, like George Kernbach and
Avram Steuerman Rodion but also among those at the end of the century, the sower
poets like Stefan Octavian Joseph DQG0DULD&XQĠDQDQGDPRQJWKH symbolist poets,
especially &LQFLQDW3DYHOHVFXDQG%DUEX1HPĠHDQX+HLQHEHFDPHYHU\SRSXODULQ
our lyrics triggering a movement, a trend in Romanian literature, which would later
be called Heinism.

Keywords: influence, model, poetry, renewal, trend.

1. Introduction

Heine’s lyrics influenced the Romanian poetry from the second half of the nineteenth
century until the First World War. The musicality of his lines pierced first through the
original, then the local poets tried to transpose the new rhythms both in their translations
and in their own creations.
The model offered by Heine contributed also to the enrichment of the Romanian
poetic language, our writers also improving together with the new elements an artistic,
unique expression. At the urge of Titu Maiorescu, the Romanian poem gained a more
concise shape, similar to the one of Heine. His lines had a catalytic effect on the poetry of
that time, imprinting romantic themes and motives to it and improving it expressively.
Heine became a real ambassador of German Romanticism in the Romanian literature
of the second half of the nineteenth century, making it actual again, amplifying and
enriching the romantic lines of our poets with new elements.
Especially the collaborators writers of the “Literary Conversations”' dallied with the
rhythms of Heine’s poem, trying to copy it, but not in the structure, melody or style, they
took over especially symbols, motives and poetical images. They transposed these more or
less elaborate elements in their lyrics, often on the basis of some exaggerated emotional
tones, often being easy to recognize their source of inspiration.
The direct influence of the German writer expressed itself first of all in taking over
 156

the motives, themes, and the artistic procedures specific to the author, but also through pure
imitation as it happened to the most of the minors poets from the “Junimea” society.
Accents of Heine’s poetry are remarkable at the collaborators of the “The Coeval”,
of which we mention Gheorghe from Moldova (George Kernbach) and Avram Steuerman-
Rodion, the sower poets, particularly Stefan Octavian Iosif, who got the closest to the style
of the German poet as psychological affinity. We mention the presence of the lyricism of
Heine in Iosif’s poems as evocation of feeling, and also as an imaging and musical
representation. The creation of Romanian symbolist poets, especially the one of Barbu
1HPĠHDQXDQGRI&LQFLQDW3DYHOHVFXKDGDOVRWRVXIIHUDLQIOXHQFHRIWKH*HUPDQDXWKRU
but in a lesser extent.
Translations of the German writer’s work represented, at first glance, a spiritual
impetus of receiving new rhythms of German literature, and Heine was on the first place in
this respect, a fact that has revived the literary Romanian movement since the second half
of the 19th century, until the early 20th century.
It was less important whose poet work has been translated the most at that time.
Heinrich Heine was the most translated German poet among the foreign writers, registering
up to World War more than 750 Romanian versions of his poems. What is significant for us
is not the fact that it had been much translated from the German writer’s work, but the
phenomenon he had produced in our literature, namely the promotion and diversification of
romance to us. The Translations of his work contributed to the enrichment of the Romanian
literature with new features and led finally to the achievement of a synthesis of these
motifs, symbols, images and romantic tones. The Romanian versions of his poetry in
particular, had only to transmit European intellectual impulses, fulfilling also the role of the
German culture coming around the Romanian one. The poetry of Heine enriched Romanian
literature in the elements which were introduced in particular myths of German folk
tradition, new romantic motifs and symbols, but also some specific images of the author.
Minor poets weren’t able to acquire new German lyrical elements and imitated them
as such, these being easily noticed in their poems. Few are those who knew how to adapt
the new style in their own way of creation. Among these we mention both Mihai Eminescu,
6WHIDQ2FWDYLDQ-RVHSKEXWDOVR%DUEX1HPĠHDQXDQG&LQFLQDW3DYHOHVFX
The volume New Poems, a result of the blazer and deception of the poet who was
trying hard to adapt to the rough rules of the society of his time, transposes romantic images
in contrast with the reality of his era or an unexpected levity and sensuality, hardly
conceivable and accepted at that epoque which was dominated by the German model, a
serious and sentimental one, which submitted docile traditional marriage laws (Heine 1972:
243). Such erotic scenes are also noticed at Eminescu, but they are transferred into a dream
world, unreal, showing the two lovers as a couple, which share the same feelings, aiming to
reaching deep feelings (Eminescu 1884: 125). In many of the poems of this volume appear
different faces of women, whose beauty the poet doesn’t praise but he transforms them into
the object of his sensual satisfaction. The man is no longer a lover, he often doesn’t want to
see his lovers face, often covering their faces with his hands. This image of the prostitute
appears to the Romanian poet Avram Steuerman-Rodion, but he evokes the sad life of the
woman who arouses compassion by the way she is forced by circumstances to earn her
living. He reveals that she is forced to get into this situation because of the extreme poverty
in which she lives without insisting on the erotic, sensual side of its links. This type of
poetry was an exception in the Romanian literature and in general our poets were not
influenced by this side of erotic poetry of the German author which, moreover, was not
even in our public taste.
In the short poems from the Book of Songs we witness the construction of a short
 157

drama that occurs in just two or three stanzas, to the intense evoke of the tragic unrequited
love, and then the climax of the feelings which is suggested through several phrases and by
the unexpected outcome which comes as a blow theater. Most poems of Heine from the
erotic poetry volume written in his youth are built on this structure. His ballads are longer,
reaching eight to ten stanzas, evoking a world of magic, specific to the Romanticism and
their end is not terrible any more, but ironically, meant to withdraw the reader from the
condition of delightful romantic day-dream.
The influence of the German poet was felt in the Eminescu’s poetry where not just
the Heine’s motifs or symbols are noticeable, but also some similarities in the dramatic
construction of his poem. Eminescu takes a part of the structure and shape of the poems of
Heine, but to him the fund or the evoked feelings gain an unprecedented depth, being
emphasized in some poems on several stanzas. The tension meets an upward gradation
known as a highlight, and a downward one and a final stanza, in which the poet puts a cool
mask on his hero. The picture at the end is one of the superior man, of the genius who,
through his intellectual ability ascends to an infinite space, that of divinity, in a gesture of
the rebel who wants to prove he is more powerful than the others. In Eminescu’s romance,
we find, for example, a dramatic tension that is unknown to the writers of “Junimea”, which
were limited, with a few exceptions, to the mimicry of evoked feelings, only to sentimental
lyrics, fashionable at the time. In contrast with these, which have a predictable end from the
context, Eminescu’s poetry brings not only an amplitude of evoked feelings, but a
completely new end, which contains a stanza of reproach, in general, addressed to the lover,
perceived as a punishment.
To Heine revenge against the woman he loves appears rarely at the end of the poem.
An example of this kind is the poem Donna Clara where the man, after he stoically bears
the malicious remarks of the girl against the Jews, reveals together with her name the origin
in a challenging and also impertinent manner. Unlike most poems of the German author
which end suddenly and, in most cases, tragically, at Eminescu the end is often an
imputation, an indictment brought to the lover.
A tempered drama and denouement which is similar to the one of Heine from the
poem Der Asra from the volume Romancero are to be found in some poems of the
Junimists, that, inspiring from the model of the German author, were able to easily adapt to
the taken poetic picture. The slave evoked in the Romanian poetry is shy in love, after the
lyrical model specific to that time; he dares neither to speak to the sultan’s daughter, nor to
gaze at her.
The attraction to chimeras, often found in Heine’s poems appears also in Eminescu’s
poems, especially in evoking the image of the girlfriend, of the idyllic landscapes, of the
cosmic space loaded with metaphysical meanings. The temptation death occurs to our poet
too, however, with the German writer, it acquires a greater depth. In the Book of Songs, but
also in Romancero we meet the idea of afterlife to the fulfillment of the impossible love
from the real world. Through death, after the conception of Heine, this dream becomes
achievable; the couple wouldn’t have to face the financial or social barriers imposed by the
society of that era.

2. Heine’s influence at the society “Junimea”

The direct influence of the German writer expressed itself first of all in taking over the
motives, themes, and the artistic procedures specific to the author, but also through pure
imitation as it happened to the most of the minor poets from “Junimea” society, namely:
 158

Nicolae Schelitti, Matilda Cugler-3RQL7KHRGRUùHUEăQHVFX'LPLWULH3HWULQRDQGRWKHUV$

styling, a mRUHVXEWOH XVHRI WKHWDNHQHOHPHQWV ZDVVHHQ DW6DPVRQ%RGQăUHVFXDQGRXU
great national poet, Mihai Eminescu.
Tragic accents which are similar to the ones of Heine are to be found in the poetry of
Nicolae Schelitti, but these are, often, filled with philosophical reflections upon the sense of
life and the sense of death. To Schiletti the feeling of love is often the same with the feeling
of death. Although his poetry is much deeper than other Junimists poets, it stands far from
his German model level (Schelitti 1888: 92).
Some of the Junimists that were able to easily process the items taken from Heine’s
poems transposing them into sentimental, melodious romances were Matilda Cugler-Poni
DQG 7KHRGRU ùHUEăQHVFX +RZHYHU QRQH RI WKHP FDSWXUH WKH GUDPD RI WKH *HUPDQ SRHW
their creation remaining at the level of a romance which evokes gentle feelings on a
melodious and elegiac tone.
Matilda Cugler-Poni had written erotic poems that were similar to the ones of Heine
not because at that time the German poet was popular among the Junimists as far as that
goes the translations and a reference value to which the young Romanian poets are related,
but especially because he related in the way of feeling and in the psychological structure to
the German poet. The themes of his poetry get closer to Heine’s one, respectively: the
predilection for evoking the unshared love, the feelings of unspoken love, of the lost love
and of the separation of the beloved one. What is remarkable is the intensity of the poetic
feeling which the poet transmits through his lines, especially the transition from evoking
the sadness, the despair, to the pessimistic ideas on concerning life and to the presentiment
of death. The feeling that predominates, however, in the poems of Matilda Cugler-Poni is
love, a true love, with slightly romance accents. Her lines are characterized by an expressive
language, with carefully selected lexical and stylistic forms (Cugler Poni 1885: 226).
From the german author, the woman poet had taken the interest for folklore, many of
her lines presenting a folk structure, both in form and content. The sadness, melancholy,
isolation and the pain presented in Heine’s poetry from the last period of creation find their
correspondent in the lyrics of the woman writer. The preferences of the German poet for
motifs like the linden tree, the swan, the tear, crying, the moon can also be easily found at
Matilda Cugler-Poni.
7KHRGRU ùHUEăQHVFX ZURWH VKRUW DQG HPRWLRQDO SRHPV GLVWLQJXLVKHG E\ O\ULFDO
expression and by the fine humour. The favourite themes of his poetry, written in Heine’s
style are not sharing the love, the sufferings of love and separation. Related by
temperament to Heine, the poet expressed feelings of love, grief or sadness similar to the
great German romantic poet. Most of his poems contain a touching lyricism, impressing
WKURXJK WKH SRZHU RI HYRFDWLRQ RI IHHOLQJV ùHUEăQHVFX   7KH ORVW ORYH DQG
separation from the beloved woman is evoked on a deeply elegiac tone in many of his
poems. The feeling is deep, evoked similarly to Heine’s lyrics, but without the specific
tragedy of the German poet. Many of his poems, having many repetitions and rhetorical
questions on love, life and death were set to music, becoming the new genre of romance
initiated by him and known and appreciated by people.
With Dimitrie Petrino, we notice the presence of an overwhelming sadness due to
the untimely death of the beloved one. The poet mourns the dead lover in his lyrics, in a
way similar to Heine, evoking the same feelings, but not caused by the lover’s death, but
her betrayal. His poetry has original notes regarding the intensity, the depth of feelings and
contains mostly philosophical reflections (Petrino 1870: 114).
6DPVRQ %RGQăUHVFX VWDQGV RXW PRUH DV DQ DUWLVWLF YDOXH RI KLV SRHWU\ DJDLQVW Whe
plethora of the Junimists writers taking and processing more the model from which they
 159

inspire. The theme of his lyrics is somewhat similar to other poets around the “Junimea”
association, thanks to the common sources of foreign literature which they have called,
using, in particular Heine’s poetry, fashionable at the time, as a model. All these poets,
LQFOXGLQJ %RGQăUHVFX RI WKHP LV FRPPRQ VHQWLPHQWDOLW\ D ODWHU 5RPDQLDQ URPDQFH
feature. It is certain that Bodnarescu was a talented poet especially in the short-form poetry,
VXFKDV+HLQH¶VOLHG%RGQăUHVFX)DYRXULWHWKHPHVRIKLVSRHWU\ZULWWHQLQWKH
style of the German poet, are not sharing the love, the sufferings of love and separation,
grief, disappointment, loneliness, sea praise, meditation on the passage of time, genesis etc.
The Junimist poet often cultivated the sense of escape, abandoning the loneliness of wide,
huge spaces, like the sea and desert.
At the Romanian poet, we can speak about the presence of a philosophical poetry,
which addresses widely the issue of creation, of love as universal principle, of life’s
PHDQLQJ VHQVH RI WLPH RI IDLWK DQG WKH SURFHVV RI DUWLVWLF FUHDWLRQ %RGQăUHVFX¶V
philosophy, as reflected in his poetry, is similar to Heine’s philosophical concept. Eloquent
in this regard is their proximity to the mentality of the Greco-Roman world. If Heine
declared his panteist belief in his volume New Poems %RGQăUHVFX GLG LW DW ³-XQLPHD´
Pagan belief, which is based on accession to divinity through matter, is manifested as in the
German's poetry of maturity, including, in fact, sincere nostalgia to the wisdom of the
ancient world.
The influence of Heine can be found at Eminescu but in a much more stylish and
arranged form. Both Heine and Eminescu used a series of motives, images, symbols and
popular expressions. The language of the Romanian poet in his erotic poetry is simple, just
as the heinean one, and has a tone close to the popular one, that is why it often sounded as a
romance, being adored and sung by the people.
Eminescu expressed his attraction to the sea area in his wish to die at the sea
(Eminescu 1884: 147), because this was the paradise for him, and the sea bottom suggests
“Walhalla”, the fluid heaven, related to the diamond, a representation appearing at Heine
but being more difficult to be recognized.
Both Heine and Eminescu came close to the Spanish space of the passionate love
that they transferred and completed in their poems. Names as Donna Clara, Don Ramiro
and many others, with Mediterranean sounds can be found not only in the poetry of one of
them, but in the other one’s too, and they represent the proof of the same sensuous love and
romantic fantasy.
Both poets use images from the sea area, especially from the sea space. The ocean,
as well as the mermaids’ mirage is symbolically known to both poets equally. The seascape
appears on the background, having a catharctic effect, a purifying one, which would be the
same as tranquility, serenity and a peaceful state of mind, thus suggesting a regaining of the
poetry’s genuine identity. Inside the north – south reference system it can be noticed that
both of them treat the Italian and Spanish phenomenon as a symbol of the Mediterranean
artistic and human atmosphere.
We can notice in both cases the balance between the exotic and romantic fantasy and
the strictness of the classical rules. Eminescu and Heine were equally subject to the rules of
the sonnet, meaning that they knew how to adjust to the art of stanza composition and to the
verse of the classical model. The two poets included in this fixed form common motives
such as the dream, the moon and the clouds and highlighted the stars and the eyes symbols.
Heine and Eminescu’s entire lyrical creation is based on “the dream”, especially the
awakening dream and visions that reflect life in its real meaning. There is at Eminescu a
reality with spiritual connotations, namely “the dream world” (Eminescu 1884: 68 ).
 160

3. Heine’s influence at the magazine “The Coeval”

A pleasant presence of the accents of the Heine’s poetry is remarkable at the collaborators
of the “The Coeval”, of which we mention Gheorghe from Moldavia and Avram
Steuerman-Rodion.
Among other writers that had as a model the German poet, George from Moldavia is
distinguished by the folkloric style imprinted to his poetry. His lyrics retain many of the
elements of Heine, which other poets also took, but these are very easy to identify because
they are not adapted and assimilated in the style of his creation. In his poems we meet an
idyllic blend between Alecsandri and Heine’s verses, as of those sentimental belonging to
Matilda Cugler-3RQLRU7KHRGRUùHUEăQHVFX+LVVHQWLPHQWDOO\ULFVDUHZULWWHQLQWKHVW\OH
of the era and have folkloric influences (Kernbach 1930: 104).
Most poems, like the ones of Heine, contain just a few stanzas. Other general
elements, specifically romantic, encountered in Gheorghe from Moldavia’s lyrics are: the
forest, the wandering knight, mysteries of the night and stars. The images, motifs and
situations from the lyrics of Heine are relatively easy to recognize in Gheorghe from
Moldavia’s poetry, because he most often does not process them very much, thus appearing
simply compiled. He inspired himself from Heine’s lyrics, primarily due to the translations
from the author’s creation and then because it was specific to the age.
A.Steurman-Rodion proves an uncommon strength of evoking a feeling in his
poems, which reaches special amplitudes, arriving often to the extreme (Steuerman-Rodion
1898: 88). An example of the depth of the feeling is the one in which love transfigures into
hatred. At Steuerman-Rodion numerous images from Heine’s lyrics appear, such as: the
unshared love, the face of the women compared to an icon, the man’s disappointment
caused by the treason of his beloved, the break up, the ignorance of the beloved one, etc.

4. Heine and the sower writers

Another presence of the accents of Heine’s poetry can be observed at the sower poets,
0DULD&XQĠDQDQGSDUWLFXODUO\6WHIDQ2FWDYLDQ-RVHSKZKRJRWWKHFORVHVWWRWKHVW\OHRI
the German poet as psychological affinity. We mention the presence of the lyricism of
Heine in Iosif’s poems as evocation of feeling, and also as an imaging and musical
representation.
Without having the depth of Eminescu’s lyrical poetry, Stefan Octavian Joseph has,
however, originality and a poetic art of his own, a simple grace in our literature that was
only himself. From the creation of the German poet, he has translated the poetry of love
that matched his special sentimentality. The influence of the German author can be
noticeable in his resignation and melancholy, in the pale light of the moon, in the romantic
isolation and in the alienation of the poet (Iosif 1903: 172). His love poems fit in the
Posteminescianism from the confluence of centuries, from where romance was born. Most
of these poems reflect influences from Heine’s lieds and from Romanian folklore. Like his
predecessors he harnesses folklore also a main source of poetic expression, always simple
and clear, often dotted by oral forms of expression. The fine artisan work is not lacking in
popular type lyrics and leads to remarkable results most of the time. However the
influences of the new lyrical poetry are felt through his work, and the symbolist note is not
foreign. In particular the poems With the eyelashes gone, Ballad and Gone Times contain
reminiscences from Heine’s poetry. What is impressive is the romantic frame as well as the
mysterious atmosphere of the castle of some poems which brings him near his model.
 161

0DULD&XQĠDQNHHSVLQKHUSRHPVYDJXHHFKRHVRI+HLQH¶VSRHWU\GHHSO\HPEHGGHG
in her own creative style. The lyrics of the poet stand by evoking the tenderness, sadness
DQGORQHOLQHVVRIWKHIHPLQLQHIHHOLQJV&XQĠDQ Some have slight lyrical tones
from Heine’s poetry, plus a specific musical note and influences of the Romanian folklore
grown in the style of the VRZHU 0DULD &XQĠDQ WDNHV YHU\ IHZ HOHPHQWV RI WKH *HUPDQ
model, which she often processes and assimilates into her lyrics.

5. Heine and symbolist poets

Heine had later created echoes among the symbolist poets, especially Cincinat Pavelescu
DQG%DUEX1HPĠHDQX
Cincinat Pavelescu was one of the closest poets to the German model, who wrote
similar lyrics by evoking romantic landscapes and magical effects. Images of the Heine’s
poetry can particularly be found in romances, but his lyrics generally contain mild lines like
those of minstrels. Pavelescu expresses specific feelings of melancholy troubadour style on
the background of a symbolist outstanding musicality (Pavelescu 1911: 75). His poems are
distinguished by a suave image, the tone of romantic serenade translated into a musical
background of sounds and musical incantations.
%DUEX 1HPĠHDQX D ZHOO-known translator of Heine’s poetry, presents some
LQIOXHQFHVIURPKLVORYHSRHP1HPĠHDQXWRRNRYHUWKHSROHPLFDOVW\OHDQGLURQ\IURPWKH
German model and also the contrast technique and attraction to evocation of the reality,
towards the transposing of a realistic picture of life that compellingly evokes the rift
EHWZHHQ DSSHDUDQFH DQG UHDOLW\ 1HPĠHDQX   ,Q VRPH SRHPV HOHPHQWV RI VRFLDO
revolt appear, with similar accents of Heine’s poems with political tendency. Most lines
evoke man as a misfit to life’s conditions.

6. Conclusion

Romanian poets were influenced especially by the lyrics of The Book of Songs, as most of
them were also translators of these poems. The symbols and motifs taken over from the
poetry of the author are sometimes filled with new meanings in their lyrics, although they
keep their initial connotation. They appear in completely new contexts, but there are many
cases where elements in the German poet lyrics can be clearly recognized, sometimes
appearing to be translated from the original language.
There has been a fashionable trend in Romania in translating the creation of Heine,
especially of his erotic lyrics, as well as a taking over of his model in poetry by both the
poets that translated his work and by those who read it in the original version or read its
translations into Romanian.
Ridicule and bantering are not reached by any of the Romanian poets who, not even
in the translation of the writer’s lyrics, failed to restore the satirical spirit of Heine. Just in
Eminescu’s poetry, we encounter some accents of romantic irony, yet more subtle, without
reaching the extremely sarcastic level known to Heine. Eminescu also takes over the
predilection for solemnity from the German model but without satire of the poem’s end that
destroys its idyllic picture.
The closeness of his works through the Romanian versions led to the influence of
the German culture on the Romanian one, but this eliminates the simple imitation by
copying it, its influence being a more complicated phenomenon of communication and
 162

expression of the two cultures. It is certain that the translations from the author’s lyrics
have favoured and promoted the atmosphere and the romanticism influence in the
Romanian literature. Heine’s translations, made in an era where there was a dominating
discrepancy between a world that is hostile to the human personality development and
man’s desire to become great, acted like a catalyst, contributing to the creation of a
synthesis of the romantic motifs in the Romanian literature, imprinting it European
intellectual trends.

Sources:

Tcaciuc, Nicolae A, 1926, Heinrich Heine in der rumänischen Literatur&HUQăXĠL

TRURXĠLX ,OLH (  +HLQULFK +HLQH úL KHLQLVPXO vQ OLWHUDWXUD URPkQHDVFă %XFXUHúWL
Tipografia Bucovina.

References:

%RGQăUHVFX6DPVRQScrieri%XFXUHúWL(GLWXUDSHQWUXOLWHUDWXUă
Cugler-Poni, Matilda, 1885, Poezii, %XFXUHúWL(GLWXUD/LEUăULHL6RFHF &RPSDQLD
&XQĠDQ 0DULD  Poezii 2UăúWLH (GLWXUD 0LQHUYD ,QVWLWXW 7LSRJUDfic, Societate pe
DFĠLXQL
Eminescu, Mihai, 1884, Poezii%XFXUHúWL(GLWXUD/LEUăULHL6RFHF &RPS
Heine, Heinrich, 1972, Werke und Briefe in zehn Bänden, Berlin und Weimar, Aufbau –
Verlag.
Iosif, Stefan O, 1903, 3RH]LLRULJLQDOHúLWăOPăFLUL%XFXUHúWi, Editura Minerva.
Kernbach, George, 1930, Scântei%XFXUHúWL7LSRJUDILDQRXă
1HPĠHDQX%DUEX, Poezii, %XFXUHúWL(GLWXUDOLWHUDUăDùFRDOHORU
Pavelescu, Cincinat, 1911, Poezii, %XFXUHúWL(GLWXUD0LQHUYD
Petrino, Dimitrie, 1870, /XPLQHúLXPEUe&HUQăXĠL7LSDUXOOXL,%XFNRZLHFNL &RPS
Skelitti, Nicolae, 1888, Poesii, Bârlad, Editura George Catafany
Steuerman-Rodion, Avram, 1898, Lirice ,DúL (GLWXUD /LEUăULHL 1RXă 3 ,OLHVFX  '
Grossu.
ùHUEăQHVFX7KHRGRUPoesii%XFXUHúWL(GLWXUD/LEUăULHL6RFHF &RPSDQLD
 163

6SLULWXDOLWDWHúLVSLULWLVP%3+Dsdeu – LQLĠLDWRUXO
spiritismului românesc

Florinel Augustin Ilie

Universitatea din Craiova

In Sic Cogito &HHYLDĠD"Ce e moartea? Ce e omul?), 1895, B.P. Hasdeu made a

meticulous and articulate analysis of spiritism as a „science of the soul.” According
to him, spiritism could become the only „belief-science”. The main ideas in his
doctrine are: the divine intervention, the heroic power of super-man, and the celestial
hierarchy. In his esoteric book, Hasdeu wrote about immortality and revelation in a
„materialist”, rather „pantheistic” perspective, in the sense of German mystics and
idealists. His philosophy is positivist, experimentalist and transformist.

Keywords: Hasdeu, Sic Cogito, spiritism, spirituality, transpersonal communication.

1. Introducere

Obiectivele FHUFHWăULLVSLULWLVPXOXLVXQWPRWLYDWHDWkWGHFDUDFWHUXORFXOWDODFHVWHLSUDFWLFL
FkWúLGHDSURIXQGDUHDLQVXILFLHQWăDWLSXOXLGHFRPXQLFDUHvQFDUHvQFDGUăPDFest domeniu.
2ELHFWLYHOHVXQWXUPăWRDUHOH
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 UHSHUDUHD úL VLVWHPDWL]DUHD SURFHGHHORU FHUFHWăULL VSLULWLVWH úL SULQ extrapolare, a
SURFHGHHORUUHIOH[LYHúLDXWRUHIOH[LYHGHFRQVWUXFĠLHDFRPXQLFăULLWUDQVSHUVRQDOH
(VWH QHFHVDU PDL vQWkL Vă IDFHP GLVWLQFĠLD vQWUH FRQFHSWHOH ÄVSLULWXDOLWDWH´ úL
ÄVSLULWLVP´ FD IRUPH DOH FRPXQLFăULL WUDQVSHUVRQDOH Spiritualitatea, în sensul ei cel mai
DPSOXUHSUH]LQWăFDOLWDWHDVDXFDUDFWHUXODFHHDFHHVWHVSLULWXDOLQFOX]kQG úLDQVDPEOXOGH
LGHLúLGHVHQWLPHQWHFHFDUDFWHUL]HD]ăXQRPVDXRQDĠLXQHGLQSXQFWXOGHYHGHUHDOYLHĠLL
spirituale, al specificului culturii sale. Spiritismul HVWH DFHD FRQFHSĠLH úL SUDFWLFă PLVWLFă
SRWULYLW FăUHLD FRPXQLFDUHD FX VSLULWHOH PRUĠLORU HVWH SRVLELOă 9RP UHDOL]D úL R GLVWLQFĠLH
vQWUHVSLULWXDOLWDWHúLspiritualism$FHVWDGLQXUPăLOXVWUHD]ăFRQFHSĠLDILORVRILFăLGHDOLVWăúL
mistico-UHOLJLRDVă SRWULYLW FăUHLD VSLULWXO HVWH R UHDOLWDWH VXEVWDQĠLDOă SULPRUGLDOă
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secolului al XIX-OHD úL DWLQJkQG QRWRULHWDWHD vQ SULPHOH GHFHQLL DO VHFROXOXL al XX-lea –
VSLULWLVPXO ,QLĠLDWRUXO VSLULWLVPXOXL vQ FXOWXUD URPkQă D IRVW VDYDQWXO %RJGDQ 3HWULFHLFX
Hasdeu. În Sic Cogito &HHYLDĠD"&HHPRDUWHD"&HHRPXO" 1895, a realizat RDQDOL]ă
PHWLFXORDVăúLDUWLFXODWăDDFHVWXLGRPHQLXSDUDSVLKRORJLF+DVdeu considera spiritismul o
ÄúWLLQĠă D VXIOHWXOXL´ vQĠHOHJkQG SULQ DFHDVWă VLQWDJPă ÄúWLLQĠD FXSULQVă vQ VXIOHWXO ILHFăUXL
om, oricât de ne-QYăĠDW´ +DVGHX   $FHDVWă ÄFUHGLQĠă-úWLLQĠă´ (ibidem: 12) se
ED]HD]ăSHWUHLFRPSRQHQWH Dumnezeu, nemurirea úLGHVWăLQXLUHDLDUIHQRPHQRORJLDHLeste
FRQGLĠLRQDWăGHLYLUHD ÄVXSUDRUJDQLVPXOXLDGLFăDLQFRQúWLHQĠHLSHUVRQDOH´ibidem: 64).
 164

2. Spiritualitate, spiritism

$FHDVWăFHUFHWDUHV-DGHVIăúXUDWSHXQDQVDPEOXGHúDVHWH[WHHVRWHULFHVFULVHGHFăWUHB. P.
Hasdeu în perioada 10 martie 1891- QRLHPEULH  úL DGXQDWH vQ YROXPXO Sic Cogito
(1893) / (1895 – OD (GLWXUD 6RFHF WH[WHOH IXVHVHUă SXEOLFDWH vQ 5HYLVWD QRXă în cursul
anului 1891. Volumul Sic Cogito DU IL WUHEXLW Vă IDFă SDUWH GLQWU-un „triptic” cu caracter
spiritist: Ita sensum DGRXDRSHUăDVDFXSULQ]kQGH[SHULPHQWHOHIL]LFHDVXSUDVSLULWXOXLúL
Virtus rediviva GH]YROWkQG úL GHPRQVWUkQG WHRULD UHvQFDUQăULL 5HGXFĠLD úL DSURIXQGDUHD
RELHFWXOXL FHUFHWDW DX FRQVWLWXLW FRQGLĠLLOH SUHOLPLQDUH GH ED]ă Sic Cogito ($úD  $VWIHO
gândesc eu) cuprinde: Prologul  FDSLWROH úL Epilogul. În cele 6 capitole (1. ùWLLQĠD
sufletului, 2. 6RPQXO úL VXIOHWXO, 3. Telegrafia iubirii, 4. Ipnotismul în spiritism, 5
Materialismul în spiritism, 6. Excelsior) autoUXO XUPăUHúWH Vă GHPRQVWUH]H H[LVWHQĠD úL
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&RPXQLFDUHDWUDQVSHUVRQDOăVHSRDWHUHDOL]DSHFăLGLYHUVHDSDUĠLQkQGXQRUVIHUHFXOWXUDOH
eterogene. MRGHOHOHSVLKRORJLFHWHRORJLFHILORVRILFHSRHWLFHHVRWHULFHQHRIHUăRLPDJLQH
GHVWXOGHDPSOăDIHQRPHQXOXLVWXGLDW3HQWUXvQĠHOHJHUHDERJăĠLHLVHPDQWLFHDFRQFHSWHORU
ÄVSLULWXDOLWDWH´ÄVSLULWLVP´ÄVSLULWXDOLVP´YRPOăUJLFDGUXOFHUFHWăULLSUH]HQtându-le într-
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úLVSLULWV-DGH]YROWDWúLvQUHOLJLLOH ÄDEUDKDPLFH´KDPLWR-VHPLWLFHvQHEUDLFăneshama /
nephesh SURYHQLQG GLQ UăGăFLQD 160 – VXIODUH vQ RSR]LĠLH FX roach (provenind din
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cu HVHQĠD FHVHPDQLIHVWăFDminte / suflet pe orice nivel al acestei ierarhii panteiste.
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 165

pentru convingerile spirituale.

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DVLJXUD DFFHVXO OD FXQRDúWHUH SHQWUX WRĠL RDPHQLL &RPHQLXV vQ ORFXO HUPHWLVPXOXL FDUH
vQFRQMXUD FXQRDúWHUHD úWLLQĠLILFă úL ILORVRILFă OD DFHD YUHPH FRQYLQJHUHD Fă UHODĠLD GLQWUH
XPDQúLVSLULWXDOQXDUHQHYRLHGHPHGLHUHLQVWLWXĠLRQDOL]DWăELVHULFDFăFLRVSLULWXDOLWDWH
QDWXUDOă5RXVVHDXHVWHGHDMXQVúLPDLSRWULYLWăSHQWUXRP2SDUWHDLQWHOHFWXDOLWăĠLLGLQ
(XURSD úL 68$ D vPEUăĠLúDW VSLULWLVPXO FD H[SOLFDĠLH ORJLFă D UHDOLWăĠLL LQFOX]kQG WHPH
OHJDWH GH WUDQVFHQGHQĠă 'XPQH]HX YLDĠD GH DSRL HWF ÌQ $PHULFD GH 6XG VSLULWLVPXO
GHYLQHRGRFWULQăUHOLJLRDVăúLPLVWLFăGHH[HPSOXvQ%UD]LOLDPDLPXOWGHPLOLRDQHGH
RDPHQL VH GHFODUă ÄVSLULWLúWL NDUGHFLúWL´ DFHúWLD GkQG QDúWHUH úL XQRU VHFWH VLQFUHWLFH FH
FRQĠLQHOHPHnte religioase ale popoarelor amerindiene).
&DGUXO FHUFHWăULL QRDVWUH VH FRQVWLWXLH GLQ WHRULLOH corpurilor, cea a karmei, cea a
lumilor úLDVWăULORUGHFRQúWLLQĠăúLFHDDWUDQVFHQGHQĠHL. Doctrinele diverse pe care le vom
expune au rostul de a servi ca sXSRUW SHQWUX R WHRULH XQLILFDWă D FRPXQLFăULL SRHWLFH
transpersonale.

2.2. Bogdan Petriceicu Hasdeu – LQLĠLDWRUXOVSLULWLVPXOXLURPkQHVF

Savantul enciclopedist Bogdan Petriceicu-Hasdeu s-D QăVFXW OD  IHEUXDULH  OD
&ULVWLQHúWL GLQWU-R PDPă OLWXDQLDQă (OLVDYHWD úL XQ WDWă $OH[DQGUX FX XQ DUERUH
genealogic ruso-polono-PROGRYHDQ Ä)DPLOLD +kMGHLORU +kMGăX  +DMGăX  +DMGHX
VXJHUHD]ă FHYDGLQKDRVXOVFLWLF&ăOLQHVFX6SLULWXOHQFLFORSHGLFvOPRúWHQHúWH
GH OD WDWăO VăX $OH[DQGUX +kMGHX ERWDQLVW ILORVRI ILORORJ DUKHRORJ LVWRULF QXYHOLVW úL
SRHWSURIHVRUPHPEUXDO6RFLHWăĠLLGH,VWRULHúL$QWLFKLWăĠLGLQ2GHVDFROHFĠLRQDUGHFăUĠL
UDUH &ăOLQHVFX D VFKLĠDW LPDJLQHD XQXL SHUVRQDM URPDQWLF úL IXQDPEXOHVF QHOLQLúWLW
nestatornic, în stil byroniano-lermontovian.
'DWăILLQGSHUVRQDOLWDWHDFRPSOH[ăúLR[LPRURQLFăDVDYDQWXOXLURPkQSUHRFXSăULOH
OXLVSLULWLVWHQXPDLSDUDWkWGHVWUDQLLSULYLWHGLQDFHDVWăSHUVSHFWLYă6WUXFWXUDVDDWkWGH
ÄvQFăUFDWă´GDUPDLDOHVUHDOL]ăULOHVDOH vOUHFRPDQGăFDSHXQDOGRLOHDPDUHHQFLFORSHGLVW
URPkQGXSă&DQWHPLUÌQVXúL&ăOLQHVFXUHFXQRDúWHvQHOXQJHQLXXQLYHUVDOúLSXWHPDILUPD
Fă D L]EXWLW DSURDSH vQ WRDWH GRPHQLLOH FXOWXULL LVWRULH OLWHUDWXUă OLQJYLVWLFă HWF +DVGHX
vQFHSHVăVHSUHRFXSHGHVSLULWLVPvQFHSkQGFXGXSăPRDUWHDJHQLDOHLVDOHILLFH,XOLD
 166

2.3. Sic Cogito úLGRFWULQDVSLULWLVWă

$FHDVWăFDUWHLQHGLWăÄPDQXDO´DOGRFWULQHLVSLULWLVWHFXSULQGHúDVHFDSLWROH
În Capitolul I. 6FLLQĠD VXIOHWXOXL: Dumnezeu, Nemurirea, DHVWăLQXLUHD; savantul
vQFHDUFă Vă SXQă spiritismul pe baze úWLLQĠLILFH 1RXD GRFWULQă HPDQă GLQ WUHL SULQFLSLL
'XPQH]HX1HPXULUHDúL'HVWăLQXLUHD+DVGHX3HQWUXDUJXPHQWDUHVHIRORVHúWH
GHWUHLUDPXULDOHúWLLQĠHLELRORJLDFKLPLDúLDVWURQRPLD1XIDFHDEVWUDFĠLHQLFLGHWHRORJLH
FăFLDFHDVWDÄHVWHúWLLQĠă IăUăDvQFHWDDILFUHGLQĠă” (ibidem6DYDQWXOUHDOL]HD]ăúLXQ
SDUDOHOLVP vQWUH FHOH WUHL GRJPH ÄOHJL QHFOLQWLWH DOH ILULL RPHQHúWL´ ibidem  úL
FRQFOX]LLOHÄúWLLQĠHORUSR]LWLve”: I) lexemului DUMNEZEU îi corespunde INFINITUL; II)
NEMURIREA – (92/8ğ,81($,,,'(67Ă,18,5($ – ANTROPOTEHNIA. Aceste
WUHL HFXDĠLL FODULILFă FLWLWRUXO vQ SULYLQĠD VLVWHPXOXL VăX GH JkQGLUH VWUXFWXUDW DOFăWXLW GLQ
perechi conceptuale antinomice: suborganism animal vs. supraorganism sufletesc;
PăUJLQLUHvs. GH]PăUJLQLUHVXERPH[-om) vs. supraom.
Numai supraomul este atins de harul divin, el putând comunica cu spiritele.
Spiritologia HVWH R úWLLQĠă SUDFWLFDWă QXPDL GH LQGLYL]LL vQ]HVWUDĠL GH FăWUH GLYLnitate cu
HQHUJLL VSHFLDOH )HQRPHQHOH GH VRPQDPEXOLVP VDX KLSQR]ă QX SURYLQ GLQ PDJLH FL GLQ
ELRORJLHFRQVLGHUăHO
'LILFXOWDWHD SH FDUH R vQWkPSLQăP OD OHFWXUă SURYLQH GLQ UHGXQGDQĠD WHUPLQRORJLHL
VLQRQLPLFHRH[SOR]LHRVXSUDDEXQGHQĠăWHUPLQRORJLFă FHGHVHPQHD]ăFRQFHSWHLGHQWLFH
ÌQ VSULMLQXO WHRULHL VDOH FLWHD]ă VDYDQĠL RDPHQL GH OLWHUH SUHFXP :LOOLDP &URRNHV
Lamarrck, Darwin (1859), Alfred Russel Wallace, Hackel, Fichte, Zollner, Fechner,
Ostrogradski, Butlerov, Hare, De Morgan, Barret, Huggins, Chambers, Gladston, Oxon,
Valey,Edison, V. Hugo, George Saud, Thakeray, Trollope, Lytton BulWer, Arsenie
Houssay, Theophile Gauntier, Longfellow etc.
În Capitolul II. 6RPQXO úL VXIOHWXO, DXWRUXO LGHQWLILFă GRXă HOHPHQWH QHFHVDUH
UHDOL]ăULLXQHLFRPXQLFăULVSLULWLVWHWUDQVSHUVRQDOHÄRGH]PăUJLQLUHvQSULYLQĠDVSDĠLXOXL´
úLÄRGH]PăUJLQLUHvQSULYLQĠDWLPSXOXL´ibidem$FHVWHDVHUHDOL]HD]ăvQYLVSHQWUX
FăÄYLVXOHVWHRGH]PăUJLQLUHSULQFDUHVXIOHWXOvúLGREkQGHúWHRVWDUHGHIHULFLUH´ibidem:
 ([LVWHQĠD RPXOXL DUKHWLSDO HYROXDW FRQGXFH OD FRQFOX]LD ORJLFă FHD GH-a doua
LSRVWD]ă D VD RPXO FRPXQ WUHEXLH Vă ILH SHQWUX D SXWHD HYROXD R ÄGH]PăUJLQLUH VSUH
LQILQLW DGHFă XQD DOFăWXLQG XQ IHO GH SOHFDUH FHDODOWă vQIăĠLúHD]ă XQ IHO de întoarcere”
(ibidem: 37).
ÌQWUHJXOPHFDQLVPGHIXQFĠLRQDUHDXQLYHUVXOXLVHED]HD]ăSHÄDFĠLXQHúLUHDFĠLXQH´
(ibidem  DYkQG vQ FHQWUXO VăX LXELUHD ,XELUHD HVWH XQLFXO UDSRUW ÄvQWUH IăSWXUă úL vQWUH
Dumnezeu” (ibidem: 37). Concluzia savantului estH FODUă VSLULWLVPXO GRFWULQD
FRPXQLFDĠLXQLLvQWUHVSLULWHOHFHORUPRUĠLVLFHLYLLÄvQWUHFHLvQWUXSDĠLúLFHLGHVWUXSDĠLGHMD´
(ibidemVHvQWHPHLD]ăQXSHIHQRPHQHSUREOHPDWLFHQLFLSHIHQRPHQHSRVLELOHFLSH
IHQRPHQHQHFHVDUHFăFLÄQXSRDWHIi altfel…” (ibidem: 65).
Capitolul al III-lea. Telegrafia iubirii. ,GHHD SULPă vQ DFHVW FDSLWRO HVWH DFHHD Fă
ÄLQILQLWXO´HVWHSXQFWXOGHSOHFDUHvQúLUXOGHFHUFHWăULDVXSUD VSLULWLVPXOXLÄIăSWXUDDIRVW
XU]LWă GLQ LQILQLW«HD QX SRDWH IL GHFkW R SăUWHFLFă GLQ DFHO LQILQLW SXVă vQ PăUJLQL >«@
0ăUJLQLUHD OLPLWDUHD úL GH]PăUJLQLUHD QHOLPLWDUHD VXQW GDUă FHOH GLQWkL GRXă PDUL
XUPăULDOHLQILQLWXOXL´ibidem: 67).
6WXGLLQG UHDFĠLLOH RPXOXL vQ VWDUHD VD GH VRPQ vQ VRPQDPEXOLVP úL vQ KLSQRWLVP
savantul aMXQJHODFRQFOX]LDFăVXIOHWXOGHVSULQVWRWDOGHFRUSXOPDWHULDOVWUăEDWHVSDĠLXOúL
timpul „într-RQHDWkUQDUHDSURDSHGHSOLQă´ibidem: 68), bucurându-VHGHRPHPRULHXULDúă
GH R PLQXQDWă SXWHUH D YRLQĠHL úL GH R LXELUH DXWHQWLFă 1XPDL SULQ DFHVW VXSUDorganism
HWHUDW VXIOHWXO SRDWH FRPXQLFD GXSă PRDUWHD WUXSXOXL FX VXIOHWHOH FHORU UăPDúL vQ YLDĠă
 167

Ä,XELUHD VXIOHWHORU LXELUH GH WDWă GH PDPă GH FRSLO GH IUDĠL VDX SULHWHQL LDWă FKHLD
VSLULWLVPXOXL VLQJXUD FKHLH D FRPXQLFDĠLXQLL vQWUH VSLULWH´ ibidem: 65). Iubirea este
altruism, GDUúLmijlocul extrasenzorial prin care putem intra în contact cu cineva drag.
Capitolul IV. Ipnotismul în spiritism. +DVGHX VHVLVHD]ă GLKRWRPLD lege – fenomen:
OHJHD H XQ UDSRUW QHFHVDU LDU QHFHVLWDWHD QX VH GLVFXWă SHcând fenomenul nu este decât o
HYHQWXDOLWDWHVXSXVăFRQWUROXOXL6SLULWLVPXOIDFHSDUWHGLQOHJHDILUHDVFăJHQHUDOăDHYROXĠLHL
Ä2ULFLQHHGDUZLQLVWvQĠHOHJHPHYROXĠLRQLVWHVWHúLVSLULWLVWVSLULWLVWvQWHRULH´FăFLWHRULDIDFH
parte dintr-o lege univHUVDOăPDLVLJXUăGHFkWRULúLFkWHIHQRPHQH´ibidem: 96).
6DYDQWXOvúLH[SXQHvQFRQWLQXDUHFRQFHSĠLDDQWURSRORJLFăRPXOQXHVWHXQXOFLGRXă
RUJDQLVPH XQXO LQIHULRU VXERUJDQLVPXO úL DOWXO VXSHULRU VXSUDRUJDQLVPXO - „corpul
YDSRURV´DGLFăcuksma-carâra, având epitetul de ativâhika („mai iute ca vântul”). Întrebarea
IXQGDPHQWDOă DELD DFXP YLQH ÄRDUH SULQ FH PLMORF QHWUXSHVF XQ VXIOHW SRDWH Vă LQWUH vQ
FRPXQLFDĠLXQH cu un alt suflet?” (ibidem: 98). 3HQWUX D UăVSXQGH QH RIHUă PDL vQWkL R
SDUDQWH]ăFODULILFDWRDUHUHDOL]kQGRDQDORJLHFRQFHSWXDOăvQWUHWHUPHQXOVăXÄVXSUDRUJDQLVP´
VXIOHWHVF úL ÄLQFRQúWLHQW´ vQ VHQVXO SDUDSVLKRORJLF GH SOXULFRQúWLHQW ,DWă úL R GHILQLĠLH D
karmei: „o înverigare de mai multe vQWUXSăUL XQD GXSă DOWD´ ÄIDWDOLWDWHD LQGLYLGXDOă GLQ
prezent este suma tuturor liberelor arbitre personale din trecut” (ibidem: 104).
Prin hipnotism UHJUHVLH KLSQRWLFă VH SRDWH DFFHGH OD YLHĠLOH DQWHULRDUH (la
ÄSOXULFRQúWLLHQW´ ÌQFHDUFă úL UHDOL]DUHD XQHL DQDORJLL vQWUH ÄLSQRWLVP´ úL ÄPDJnetism”.
Realizarea hipnozeL SUHVXSXQH GRXă YDULDQWH – UHJUHVLYă úL SURJUHVLYă ùL LDWă vQ VIkUúLW
UăVSXQVXOODvQWUHEDUHDSHFDUHRULGLFDVHODvQFHSXWXOFDSLWROXOXLSULYLWRDUHODPLMORDFHOHGH
FRPXQLFDUH VSLULWLVWă DFHVWHD VXQW GH GRXă IHOXUL D) mijloace inferioare (prin sugestie
KLSQRWLFăGHFRPXQLFDUHVSLULWLVWăÄvQYkUWLUHDPHVHL´úLÄVFULHUHDvQWUHSOăFL´ibidem: 123);
EPLMORDFHOHVXSHULRDUHÄLQVSLUDĠLXQHDSURSULX-]LVă VFULVRDUHDDXWRPDWLFă´ibidem: 124).
În capitolul V. Materialismul în spiritism, DXWRUXOIDFHPDLvQWkLRFODVLILFDUHGXSă
Charles Richet a fenomenelor spiritiste vPSăUĠLWH vQ GRXă FDWHJRULL D ÄSUHVLPĠLUHD´
SUHPRQLĠLD ÄOXFLGLWDWHD VRPQDPEXOLFă´ úL ÄFRPXQLFDĠLXQHD WHOHSDWLFă´ úL E ÄPLúFăULOH
RELHFWHORU PDWHULDOH IăUă DWLQJHUH´ WHOHNLQH]LD ÄYHGHQLLOH VDX IDQWRPHOH´ DSDULĠLLOH
VXSUDQDWXUDOHIRWRJUDILLOHVSLULWLVWHúLDOWHIHQRPHQHQXPLWHÄIL]LFH´
&RQFHSĠLDOXL+DVGHXHVWHvQVăPXOWPDLQXDQĠDWăHOFRQVLGHUkQGFăDWkWFXJHWDUHD
FkWúLVSLULWXOVXQWIRUĠHWRWDWkWGHPDWHULDOHÄSHFkWGHPDWHULDOHVXQWXQGHOHHOHFWULFLWăĠLL´
(ibidemFXDOWHFXYLQWHVXQWIHQRPHQHIL]LFHPăUJLQLWH$VWIHOHOvPSDUWHIHQRPHQHOH
VSLULWLVWH vQ IHQRPHQH ÄFX VXJHVWLXQH´ úL IHQRPHQH ÄIăUă VXJHVWLXQH´ UROXO VXJHVWLHL vQ
astfel dH IHQRPHQH HVWH FRYkUúLWRU 3HQWUX D VXVĠLQH DFHDVWă LGHH HO DGXFH H[HPSOH GLQ
Goethe, Schopenhauer, David Hume, Russel Wallace etc. Fenomenele „cu sugestiune” sunt
FRQVLGHUDWH VXSHULRDUH FHORUODOWH GHRDUHFH VXJHVWLD PHQWDOă FD IHQRPHQ SDUDSVLKRORJLF
reaO DUH FD HIHFW R UHDFĠLH DXWHQWLFă YHULGLFă D SDFLHQWXOXL +DVGHX VH RFXSă GH FD]XO
particular al fenomenului de „deduplicare a persoanei” printr-R VXJHVWLH PHQWDOă ÌQ
IHQRPHQRORJLD VSLULWLVWă DVHPHQHD FD]XUL VXQW QXPHURDVH úL QX VH SRW UHDOL]D GHFkW Fu
DMXWRUXO XQHL RJOLQ]L FDUH GHVWUXFWXUHD]ă IHĠHOH SHUVRQDOLWăĠLL XUPkQG ÄUHDVDPEODUHD´
DOFKLPLFăDPLFURFRVPRVXOXLQXPLWRP
([LVWHQĠDSHUVRQDOLWăĠLORUDQWDJRQLFHGHVFRSHULWHvQVXELHFĠLLXPDQLVXSXúLUHJUHVLHL
hipnotice sunt explicate de Hasdeu prin fenomenul UHvQFDUQăULL ÄVH SRDWH GDUă vQĠHOHJH
numai prin UHvQFDUQDĠLXQHQXPDLSULQGRXăH[LVWHQĠHVXFFHVLYHQXPDLFDRFLRFQLUHvQWUH
GRXăWUHSWHGLQHYROXĠLXQHDXQHLVLQJXUHLQGLYLGXDOLWăĠL´ibidem: 147).
ÌQ VSULMLQXO YHULGLFLWăĠLL UHDOL]ăULL IRWRJUDILLORU VSLULWLVWH HO DGXFH vQ GLVFXĠLH
DQFKHWHOH VXFFHVLYH UHDOL]DWH vQ 68$ úL $QJOLD )RWRJUDILD VSLULWLVWă VH SRDWH REĠLQH QX
numai într-R vQFăSHUH OXPLQDWă DUWLILFLDO GDU úL SH vQWXQHULF ÄSULQWU-R OXPLQă SH FDUH R
 168

UăVSkQGHVF vQVHúL VSLULWHOH´ ibidem:  $FHVWH IHQRPHQH DSDUĠLQkQG VIHUHL

nesugestional-obiective, au menirea „a învedera LHUDUKLD FXUDW PDWHULDOă între spirite.”
(ibidem$XWRUXOFRQFOX]LRQHD]ăFăQXPDLDFHOHVSLULWHDSURSLDWHSULQPDWHULDORUGH
PDWHULD SăPkQWHDQă L]EXWHVF PDL XúRU D IL DWLQVH GH VLPĠXULOH QRDVWUH VDX VXUSULQVH GH
LQVWUXPHQWHOHDFWXDOHFHOHPDLSHUIHFĠLRQDWH
)HQRPHQHOH VSLULWLVWH VXJHVWLRQDOH VXQW QXPDL RELHFWLYH QX úL VXELHFWLYH H[
autosugestia VH vQWHPHLD]ă SH R YRLQĠă SHUVRQDOă FRQúWLHQWă SHQWUX Fă HOH YLQ GLQ DIDUă
printr-R VXJHVWLH ÄGH OD DJHQĠL GHVWUXSDĠL´ ibidem  'LPSRWULYă fenomenologia
VSLULWLVWă QX vQFHSH ÄGHFkW DFROR XQGH VH LYHúWH VXSUDRUJDQLVPXO DGHFă LQFRQúWLHQĠD
SHUVRQDOă´ LELGHP  &HOH VXELHFWLYH GHúL QX VH GDWRUHD]ă LQIOXHQĠHL GLQ DIDUă GLQ
SDUWHDXQRUÄILLQĠHGHVWUXSDWH´LELGHPHOHSRWDUXQFDROXPLQăFODULILFDWRDUHDVXSUD
ÄRUJDQLVPXOXLLQGLYLGXDODGLFăSHVWHeul ce-OYUHPHOQLFHúWHvQOăQĠXLWvQWUXS´
Toate fenomenele spiritiste sunt clasificate pe trei niveluri: nivelul / treapta de jos
cuprinde fenomenele nesugestionale subiective, nivelul de mijloc – pe cele nesugestionale
obiective, iar cel de sus pe cele sugestionale. La începutul ultimului capitol, Hasdeu
UHDOL]HD]ăúLRFODVLILFDUHDVXJHVWLHLÄVXJHVWLXQHDHVWH LSQRWLFăDGHFă LQWUDRPHQHDVFăúL
VSLULWLVWăDGHFăH[WUDRPHQHDVFă”. (ibidem: 165)
Ultimul capitol – Excelsior! (Mai sus!), UHSUH]LQWăRRGăvQFKLQDWăILLFHLVDOH,XOLD
Hasdeu. Fenomenul „dicteului automat” este folosit pentru realizarea templului spiritist,
„mormântului-SRHPă´DODFHVWHLDÄvQWRFPDLGXSăSODQXOGDWFXWRDWHDPăQXQWHOHGH-XOLD
Hasdeu” (ibidem'HVLPEROLVWLFDWHPSOXOXL,XOLHL+DVGHXGLQFLPLWLUXOXLùHUEDQ-YRGă
s-a ocupat G. Ionescu-Gion în articolul 8QPRUPkQWSRHPă (5HYLVWDQRXă, 1891: 411-415).
1XSXWHPVăQXDPLQWLPGHH[LVWHQĠDcredo-XOXLVSLULWLVWVăSDWvQPDUPXUăúLSROHLWVXER
VWHD RFWRJRQDOă FX IRQGXO DOEDVWUX GLQ DFHVW FDYRX 6SLULWHOH FDUH-O VXJHVWLRQHD]ă SH
+DVGHX vQ SULYLQĠD FRQVWUXFĠLHL WHPSOXOXL VXQW DWkW FHO DO ,XOLHL +DVGHX FkW úL FHO IUDWHOXL
VăX 1LFRODH SLFWRU PRUW OD YkUVWD GH  DQL 3H GDWD GH -25 decembrie 1890, Iulia îi
ÄGLFWHD]ă´WDWăOXLHLFHOHSDWUXOHJLÄSULQFDULVHOHDJăvQWU-XQVLQJXUPăQXQFKLreligiunea,
morala, socialismul, filosofia. Excelsior!” (Hasdeu: 2002: 194-195).
Tot prin dicteu automat, ,XOLDvLWUDQVPLWHWDWăOXLHLFkWHYDPHORGLLSULQLQWHUPHGLXO
medium-XULORU &RVPRYLFL úL * 6WHSKăQHVFX 3H IDĠDGD DOWDUXOXL GHVFRSHULP XUPăWRDUHD
LQVFULSĠLH Ä5(48,(0  0(/2',( 326780Ă '( -8/,$ +$SDEU  $5$1-$7Ă
PENTRU QUATUOR '(*67(3+Ă1(6&8´
ÌQDFHVWWHPSOXVSLULWLVWVDYDQWXOHVWHVLJXUFăYDDIODÄvQWUXSDWHLGHDOXOSăFLLVHQLQH
úL DO ]ERUXOXL QHMLFQLW DO PLQĠLL SUHFXP úL VLPEROXO SăPkQWHVF DO HWHUQLWăĠLL VSLULWXOXL úL
materiei” (I. Sopolescu: Scrisoare FăWUH %3 +DVGHX  ,DWă FXP DUWD SRH]LD PX]LFD
DMXWă OD UHDOL]DUHD XQHL FRPXQLFăUL WUDQVSHUVRQDOH Ä7HPHLXO RULFăULL FRQFHSĠLXQL GH DUWă
este poezie, simbolism úL WUăLQLFLH HWHUQă DGHFăSRH]LH vQ JkQGLUH VLPEROLVP úL WUăLQLFLH
eteUQăvQvQWUXSDUHDDFHOHLJkQGLUL´ (ibidemùLXQGHRDUHDFHVWHSLHWUHXQJKLXODUHDUIL
SXWXWVă-úLJăVHDVFăORFXOORUGDFăQXvQWU-un templu al spiritului, al nemuririi?
5HYHQLQGODvQWUHEăULOHGHODvQFHSXWXOFăUĠLLÄ&HHYLDĠD"´Ä&HHPRDUWHD"´Ä&e e
RPXO"´VDYDQWXODILUPăÄPL-DPUăVSXQVPLHvQVXPLSHQWUXPLQHvQVXPLGDUDPUăVSXQV
d-D GUHSWXO SULQ vQVăúL ILUHD OXFUXULORU SULQ H[SHULPHQWHOH FHOH PDL OăPXULWH FHOH PDL
QHQGRLRDVH >«@ IăUă %XGGKD IăUă =RKDU IăUă $JULSSD VDX 3DUDFHOVXV´ (ibidem: 163). În
DFHDVWă XOWLPă SDUWH +DVGHX QX PDL ĠLQH FRQW QLFL GH FXOWXUD VD FDEDOLVWLFă VDX
IUDQFPDVRQLFă ÄIăUă QLFL XQ IHO GH ocultism GH FDUH 'XPQH]HX Vă Pă IHUHDVFă SH YLLWRU
GXSăFXPP-DIHULWSkQăDVWă]L´ (ibidem: 163).
 169

Concluzii

Filosofia lui +DVGHXLJQRUDWăFXVXILFLHQĠăGHFăWUH0DLRUHVFXFDUHQXDGPLWHDDOĠLILORVRIL

vQ DIDUă GH HO HVWH XQD SR]LWLYLVWă, H[SHULPHQWDOLVWă úL WUDQVIRUPLVWă ÌQ WLQHUHĠH SULQ
vQUkXULUHD WDWăOXL VăX vO VWXGLDVH SH +HJHO $FXP QXPHOH PDL GHV LQYRFDWH VXQW 'DUwin,
:DOODFH 6SHQFHU úL 5HQDQ 6H DGDXJă *LDPEDWWLVWD 9LFR UHDOL]kQG R YDULDQWă D
transformismului7HRULDGDUZLQLVWăDVHOHFĠLHLQDWXUDOH nu este îndeajuns pentru a explica
fenomenele înalt spirituale. Hasdeu introduce în paradigma sa un concept nou – „VHOHFĠLD
SURYLGHQĠLDOă´ SH FDUH R DSOLFă QX QXPDL RPXOXL FL úL SULQ H[WUDSRODUH ÄJLQĠLORU´
QHDPXULORU SRSRDUHORU 'RFWULQD ÄSUHGLVWLQDĠLXQLL JLQĠLORU´ HVWH FRPSOHWDWă FX LGHHD
OLEHUXOXL DUELWUX 3HQWUX HO VHOHFĠLD SURYLGHQĠLDOă UHSUH]LQWă JUDĠLD GLYLQă ce poate coborî
DVXSUDXQXLRPVDXDXQXLQHDPHOFXJHWăDLFLÄFDXQFDWROLFFD%ODLVH3DVFDO´&ăOLQHVFX
1982: 379). n ,VWRULD FULWLFă +DVGHX vQFHDUFă Vă GHPRQVWUH]H Fă VHOHFĠLD QDWXUDOă úL FHD
SURYLGHQĠLDOăVXQWFRPSOHPHQWDUHOXFUkQGvQIDYRDUHa poporului nostru.
3HQWUX VDYDQWXO +DVGHX XQLYHUVXO HVWH R VIHUă R LHUDUKLH GH VWUDWXUL GH OD PDWHULD
EUXWă SkQă OD VSLULWXO SXU 6XIOHWXO UHSUH]LQWă ÄWUHDSWD GH VXV´ PDWHULDOă vQ vQĠHOHVXO
VSLULWXDOLVW LDU PRDUWHD H R vQăOĠDUH (O DGPLWH vQ YLUWXWHD WUDQVIRUPLVPXOXL R vQăOĠDUH D
LQGLYLGXOXL úL D VSHĠHL XPDQH vQ JHQHUDO OD VWDUHD QRUPDOă de duh DGLFă R DSURSLHUH GH
spiritul universal vQ WHUPHQL KHJHOLHQL DGLFă GH 'XPQH]HX (O SURIHVHD]ă R DGHYăUDWă
ÄPHWHPSVLKR]ă SURJUHVLVWă´ ibidem: 380). PeQWUX VXVĠLQHUHD DFHVWHL FRQFHSĠLL QX VXQW GH
DMXQVLGHLOHGHÄVHOHFĠLHQDWXUDOă´úLÄSURYLGHQĠLDOă´JUDĠLDGLYLQă0DLHVWHQHYRLHúLGHR
tensiune spre superior, ăFL RPXO HVWH XQ ÄFDQGLGDW´ OD VSLULWXDOLWDWH 7HKQLFD DFHDVWD
DSDUĠLQH supraomului (corespondentul individual al gintei alese), care e determinat de
LQVSLUDĠLHPrin evocarea magiei, Hasdeu propune o filozofie non-FRQWHPSODWLYăFHFRQVWă
vQ vQĠHOHSFLXQH DFĠLXQH úL WHKQLFD GH D VH LQLĠLD vQ LHUDUKLD VSHĠHORU 9RLQG D UHOLHID
caracterul magic – RSHUDQWDOVSLULWXDOLVPXOXLVăXHOvúLQXPHúWHGRFWULQDÄFUHGLQĠă-úWLLQĠă´
VDX ÄVSLULWRORJLH´ 0DL WUHEXLH DGăXJDW Fă PLMORFXO GH FRPXQLFDUH vQWUH GRXă JUDGH
VSLULWXDOHHVWHÄDPRUXO´LGHHGHORFLQJHQXăODXQVDYDQWDFHVWÄDPRU´QXHVWHDOWFHYDGHFkW
platonicul „eros” din sistemele mistice. Ideile acestea de HYROXĠLHLHUDUKLHLQLĠLHUHH[WDWLFă
DRPXOXLLQVSLUDWHURWLFăGLYLQăHWF. le-DSXVJkQGLWRUXOúLSHYHUVXUL

Surse:

Hasdeu, B.P., 2002, 6LF &RJLWR &H H YLDĠD" &H H PRDUWHD" &H H RPXO", BucureúWL (G
Athos.

5HIHULQĠH

Burckhardt, T., 1998, $OFKLPLD 6HPQLILFDĠLD HL úL LPDJLQHD GHVSUH OXPH %XFXUHúWL
Humanitas.
&ăOLQHVFX *  ,VWRULD OLWHUDWXULL URPkQH GH OD RULJLQL SkQă vQ SUH]HQW %XFXUHúWL
Minerva.
Corbin, Henri, 1984, Face de Dieu, face de l`homme, Paris, Flammarion.
Chertok, L. 1996, L`hypnose: théorie, pratique et technique, Paris, Payot.
Durand, Gilbert, 1999, ,PDJLQDUXO (VHX GHVSUH úWLLQĠHOH úL ILOR]RILD LPDJLQLL Aventurile
imaginii, %XFXUHúWL1HPLUD
Durand, Gilbert, 2000, Structurile antropologice ale imaginarului, Introducere în
 170

DUKHWLSRORJLDJHQHUDOă%XFXUHúWL8QLYHUV(QFLFORSHGLF
Eliphas, Levi, 1994, &XUVGHILOR]RILHRFXOWă%XFXUHúWL$QWHW
Jung, C.G., 1996, 3VLKRORJLHúLDOFKLPLH,Vol. II, %XFXUHúWL7HRUD
Laplanche, J., Pontalis, J.-B., 1994, Vocabularul psihanalizei, %XFXUHúWL+XPDQLWDV
Michel, A., 1994, Metanoia. Fenomene fizice ale misticismului%XFXUHúWL1HPLUD
Peters, Francis, E., 1997, 7HUPHQLLILOR]RILHLJUHFHúWL%XFXUHúWL+XPDQLWDV
Shivananda, Swami, 1996, Puterea gândului, %XFXUHúWL'HFHQHX
Steiner, Rudolf, 1994, 8QLYHUVXO 3ăPkQWXO úL 2PXO – PLWRORJLD HJLSWHDQă úL FLYLOL]DĠLD
DFWXDOă%XFXUHúWL8QLYHUV(QFLFORSHGLF
Zimmer, H. 1997, Filozofiile Indiei, %XFXUHúWL+XPDQLWDV
 171

Richard Wagner’s literary work and socio – political

stance under the communist regime

Roxana Ilie
Independent researcher

In my paper, I enlarge upon the crucial role that the Aktionsgruppe Banat played in
depicting the reality of their times to increase awareness of the atrocities of the
communist regime. The secret police network called Securitate, which had been
monitoring and suppressing the group’s actions eventually succeeded in dismantling
the group in 1975, following a series of house checks and seizures of books and
manuscripts, as well as several arrests. Richard Wagner, one of the group’s
members, dedicated himself both to the cause of a nation and to his literary activity,
but his nationalistic efforts eventually failed. He was a renowned writer, who chose
the Romanian territory as the setting for his stories during the communist era, being
an adept of the idea that people have to confront their past, in order to achieve
healing. Recollections have either a cathartic or a destroying force, if we analyze the
texts from psychoanalytic perspective.

Keywords: Aktionsgruppe Banat, communist regime, psychoanalysis, recollections,

Richard Wagner.

1. Introduction

Politics and literature are two areas that can be woven in a harmonious way, which means
that literature appeals to reality, therefore, to politics. Richard Wagner seeks to put this idea
into practice in his work, to sketch the image of an oppressed nation and to guide its first
steps towards the psychological healing with the help of recollection. He was not allowed to
actively take part at the political life of his country, Romania, because he was regarded as
being a minority, an intruder, a troublesome person. But this didn’t stop him from trying to
draw the attention of the ones reading his poems to the distructive situations the country
was confronting with at that particular moment. This would be an uninterrupted effort of
encoding the poetic message, whose polysemy can be both his salvation and his damnation.
In this paper we intend to dissect, to deconstruct and reconstruct all the levels on
which Richard Wagner 1 builds his vision of reality, to identify and analyse the

1 Richard Wagner was born on the 10th of April 1952 in Lovrin, TLPLú County, as the son of Nikolaus
Wagner and Margarete Dreier. He studied Germanic philology and Anglistics at the West-University
of TimiúRDUD XQWLO  $IWHU JUDGXDWLQJ KH ZRUNHG DV D JHUPDQ WHDFKHU LQ +XQHGRDUD +LV ILUVW
literary works were published when he attended the secondary school and his literary activity
flourished during the period when he was a member of the Aktionsgruppe Banat, a group that he
founded in 1972 among with eight other young writers. The official name of the group was Cenaclul
 172

autobiographical data that the author has used in his work. We will make reference to this
data by comparing his work written while he was in Romania and the tomes he wrote while
on German territory. We will further enlarge upon the influence that the group
Aktionsgruppe Banat has had on his style and the way his work has been received both by
the Romanian and German people.

2. The Aktionsgruppe Banat

The Aktionsgruppe Banat was founded during a press conference organized by the Neue
Banater Zeitung, which bore the name of “Am Anfang war das Gespräch” and dealt with
the situation of the new generation of writers related to literature. The name of
“Aktionsgruppe Banat” was given to them by Horst Weber, a reviewer of Die Woche. This
organization had nine members: Albert Bohn, Rolf Bossert, Werner Kremm, Johann Lippet,
Gerhard Ortinau, Anton Sterbling, William Totok, Richard Wagner and Ernest Wichner,
who accidentally or not had certain similarities, because they all belonged to the postwar
generation, they were all born in the period between 1951 and 1955 and all of them (with
three exceptions) have studied Germanic philology in TimLúRDUD7KH\ZHUHWU\LQJWRFUHDWH
a bond with the Beat generation of the sixties from the west with the help of the apparently
liberal politics led by the Romanian state, and that is why the authors dedicated themselves
to the literary experiment.
The members of the Aktionsgruppe Banat wanted to move further away from
traditionalism and they strived for a basic aesthetic modernism. Because of the breach with
the traditional values of the literature that existed before them and of their impetuous
position against provincialism, the members of the Aktionsgruppe Banat thought and said
that they were writing anti-rumäniendeutsche Literatur (against the german literature from
and of Romania), this is the moment when a cultural and aesthetic emancipation is more
than necessary, and what they do in this respect sentences them to a peripheral condition of
the minorities’ literature from the viewpoint of representing a reality where stereotypes
don’t fit, a reality under the auspices of Marxism. Der Prager Frühling (Spring in Prague)
had also an influence upon the programmatic education of the members of the
Aktionsgruppe Banat.
The main purpose of the group was that of an inclination towards a new cultural
reality, towards finding that common denominator, which is supposed to be tangential with
creating an own publicity, that is not spoilt by the old traditionalism or the policy practiced
by the party. Anton Sterbling characterizes this internal policy of the group in the following
way: “the enthusiasm for modernism, the tendency towards avant-gardiste literature, the
wish and desire for a change.” (Langer 2010: 40) Their objections have as a target the
political system, which became increasingly repressive, but also the seclusion, obstinacy
and the limited perspectives of the community they belonged to, which was against an
experimental literature and, therefore, against modernity. The reality is perceived as being

8QLYHUVLWDUDO&DVHLGH&XOWXUăD6WXGHQĠLORUGLQ7LPLúRDUD. After the group was dissolved, Richard

Wagner was the leader of the literary circle Adam Müller-Guttenbrunn (1981-1982) and the editor of
the weekly magazine Karpatenrundschau. Starting with 1983 until the fall of the communist regime
he was not allowed to work anymore or to publish any of his books, which led to his emigration to the
Federal Germany in 1987. From that time on he has been working as a writer and free journalist in
Berlin: he wrote mostly for Die Neue Zürcher Zeitung, Die Welt and Observator cultural; he is one of
the members of the journalistic network Die Achse des Guten.
 173

”degrammaticalized”, taking into account the writing with a small letter or restriction of the
functions of the valency. Thomas Krause (Krause 1998: 83) proves that “language
assemblies don’t regard syntactical constraints anymore, but they connect fragmentary
sentences”. They often used the cross-reading technique. There is also a loss of identity in
what reality is concerned and the language is completely revealed.
These young men regarded literature as being the ideal way of liberating the people
from the yoke of the communist regime, they believed in the awakening in the middle of
reality with the help of reality, and this could have been accomplished only through the
experiment, because the pre-existing patterns weren’t appropriate for the purpose of a unitary
and organic rehabilitation, and through these transformations one can reach the so intensely
desired detachment from the past and the dogmas, which reduce or annul your posibilities.
Since 1974 the State authorities start putting into practice the oppressions, which
were meant to intimidate the dissidents, especially after the programme Kodex der Normen
und Prinzipien des Lebens und der Arbeit der Kommunisten, der sozialistischen Ethik und
Rechtlichkeit came into force in 1974, which was a sort of a pre-established code of
conduct practiced by the authorities towards all the areas of the social life. It gave them the
right to commit abuses and to apply disciplinary punishments to calm down the impetus of
some plain objections coming from people disgusted by the nonsensical practices and the
rising power of the ones governing the state. The collective spirit of the group, their unity
and independence, is what caused the ones from the secret services to lose their patience
and made them try anything humanly possible and impossible in order to break up this
group. The influences that the members of the group appealed to (Bertholt Brecht, Wiener
Gruppe, Helmut Heißenbüttel etc.) were in an obvious disagreement with that socialist
conscience that the communists demanded. They even tried to co-opt them to join the
Securitate, in order to gain their help in what the translation and decoding of the poetic
message is concerned, that the ones who were under surveillance used in the texts they
wrote. The actions of the group were declared to be against the regime and the society and
in October 1975 Richard Wagner, Gerhardt Csejka, Gerhard Ortinau and William Totok
were arrested, but while the first three of them were set free after a week of imprisonment
and interrogatories, William Totok is kept eight months under arrest for close
investigations. House checks were organized and the manuscripts were seized and they
were unjustly accused of attempting to illegally cross the border .
During this second level of development, the expression “engagierte Subjektivität”
emerges (Spiridon 2002: 231) which leads towards a deeper inwardness that looms from the
texts of the writers belonging to the german literature of Romania, an ironical incisiveness and
an even higher codification of the verses, a hidden dialogue between the writers and the
public, which had to go through the censorship, they had to handle a certain language. Things
seemed to have settled down, it was some kind of an apparent mutual agreement between the
state and the writers; this open dialogue with the regime was only a foolish fancy.
This so-called “friendship” between the state and the authors becomes more
violently from 1982, when a new wave of house checks and manuscript and book seizures
occur, which cause a counter-stroke on behalf of the targeted ones, who wrote a protest
letter to the communist party and to the president of the writers’ union, but this fails. The
evident and increasing critique towards the regime became even worse and this was
reflected in the texts of the rebellious authors. Olivia Spiridon notices that “some kind of a
giving up realism emerges, a drawing with a saving stroke of the pen. Reality becomes a
sketch.” (ibidem: 18).
The ex-couple Richard Wagner and Herta Müller left the country in 1987 and this
had as a consequence the interdiction of publishing their works on romanian territory until
 174

the fall of the communism. After a long stay in what they called “Durchgangslager” in
Nürnberg, Herta Müller and Richard Wagner are granted german citizenship and decide to
remain from now on in Berlin. At first, the authors coming from Banat are still perceived as
a group by the german public even after they have settled down in Federal Germany.

3. Richard Wagner’s literary and political activity

3.1. Richard Wagner’s poetry

R. Wagner is the first member of the Aktionsgruppe Banat to have had an individual
volume published – Klartext, whose original title was Der Fischbesprecher. His texts have
a strong political and ironical feature, dwelling on a reality which can’t be put into question,
and for this tome he was awarded The Literary Prize of the Communist Youth’s Union. In
April 1976 the poems published in the Neue Literatur magazine indicate an increasing
annoyance and frustration moving away from the innovating feature of the works published
in that specific time.
In 1977 he published his second book of poetry, Die Invasion der Uhren, in three parts,
where reality is perceived as routine. The way in which he chooses to write in this volume is one
standing under the sign of subjective sensations deriving from his own life experience.
After the issue of the two poetry books – Hotel California I (subtitle - Der Tag der
mit einer Wunde begann) and Hotel California II (als schliefe der planet) (1980-1981),
whose name comes from the song with the same title of the ones from the Eagles, Richard
Wagner makes some experiments in the areas of prose (Der Anfang einer Geschichte,
1982) and children’s literature (Anna und die Uhren. Ein Lesebuch für kleine Leute, 1980).
In both poetry volumes the borders between the literary genres have vanished. Wagner is a
real constructor, who demolishes and builds new structures of the language because the
language is an instrument which he can play with when writing poetry.

3.2. Richard Wagner’s prose

In the book Der Anfang einer Geschichte, in Der Junge Berger, Wagner makes some
experiments with that thing that others have intensely used before him (Virginia Woolf,
James Joyce, Anton Cehov, Knut Hamsun, etc.), i.e, stream of consciousness, where the
labyrinthine experience of the hero is presented in a certain rhythm.
Gegenlicht (1983) it’s a sort of a découpage of the reality seen through the lens of
the camera, a tidy congestion of details, a volume of poetry, whose title is taken from the
area of photography, thus explaining the precision with which the events and the giving up
at the long poem are described, the latter hindering the concreteness and the minuteness of
the description of feelings and situations caused by solitude and isolation.
In 1984, the fourth volume of prose of Richard Wagner is published, Das Auge des
Feuilletons. Geschichten und Notizen, in which the author makes use of his own experience
as a starting point for the short stories presented here. There are texts in the form of some
entries in the diary, fragments or short stories, or even “shooting pictures”. The events are
of a high diversity imbued with the local vividness of those times, of what life meant in a
country where the communists seized the power and started controlling all the areas of the
public life, as well as the one of the private life. Richard Wagner doesn’t resort to the
depiction of a reality anymore which stands under the sign of terrifying events, but he
doesn’t indulge himself too freely in an extreme sexuality either. He describes the reality of
 175

the village, complicating it unduly and connecting it to history, generally speaking, and
with the history of a family, particularly speaking, writing rich biografies by combining the
two types of history, that, brought together, lead to real connections. From now on it begins
to frequently come into sight also the image of the ones who flew abroad and are now
coming to visit their poor relatives in Romania with their armes full of presents and
incredible stories about life in the West. The idea of crossing the border begins to arise and
to become more visible in the minds of even more people.
After having emigrated to Federal Germany, another wave of published works came:
Ausreiseantrag (1988) is the fragmented story of a corresponding member at a german
journal in Romania, his name being Stirner, and of his wife, Sabine. He gets fired from the
magazine because he feels drawn against the regime and, due to the fact that it becomes
impossible for him to find another job in Romania, they both write an ”Ausreiseantrag”
(petition of emigration). This obviously refers to his experience and that of Herta Müller,
although it is clear that Wagner manages to detach himself from the turmoil of the events
described in the book and to work with a detached and omiscient narrator.
In Begrüßungsgeld (1989) Wagner comes up with a clear and real image of what
living in a foreign country means, the winding way of the same hero Stirner of
accommodation to a new world, completely different of what he has known so far, a world
which he can’t fit in and where he hardly finds again his own I, because years pass until he
manages to overcome the paralysis that has taken control over him in what the process of
writing is concerned. It’s a wonderful journey inside Stirner, of bringing back together the
past and the present, the past generating memories and in which accurate feelings, book
quotations, dreams and representations intersect. Stirner is an outsider whose story is being
told with the help of the shortcut technique.
During this time, Richard Wagner devotes himself to writing specialized books, an
activity which had as a final scope the publication in 1991 of Sonderweg Rumänien. Bericht
aus einem Entwicklungsland, in which he describes the eyesores and consequences that the
participants had to witness and the events from Romania in 1989, but also the publication in
1992 of the tome Völker ohne Signale. Zum Epochenumbruch in Osteuropa (Nations
without signals. The wind of change of the epoch in Eastern Europe), which deals with the
uncertain situation of the romanian political system and with the after – effects in the case
of many people after the fall of the communism in the states of south-eastern Europe. In
1993, Mythendämmerung. Einwürfe eines Mitteleuropäers (Downfall of myths. The
Objections of a central european) appears, a series of essays previously published in
Romania in 1984, but also the ones released between 1988 and 1992, connecting the
downfall of the political utopias from the countries in the south-eastern Europe and the way
in which this fact has influenced his life experience.
Wagner’s novel Die Muren von Wien (1990) is a metaphor for the political changes
in the south-eastern Europe after 1989 and for the memories from his past in the communist
Romania, the same idea of fictitious coming back in the Romania of the past being the basis
of some poems in the tome Schwarze Kreide (1991).

3.3. Richard Wagner’s political activity

Richard Wagner cannot break up the connection to politics and he is still active in this area
in Germany, because he is a member of the Evangelical Academy of Berlin and shows up at
some manifestations of the “green ones”, enjoying a good reputation in the area of politics,
which saves him from the threatenings and the intimidation attempts from the Securitate.
 176

The necessity of adjusting the new language, of replacing the language from the homeland
with the language of the foster land emerges, but the break up with one’s country and
language it’s like a break up with oneself, the denying of a pre-existing self and the
assertion of a new one, which has some reminiscences in the old one. Writers like Wagner,
who emigrated, have found themselves in a sort of a “Niemandsland” (“no man’s land”),
because they don’t belong completely to either of the two states. Both sides regard them as
minorities: in Romania they were germans in the middle of a romanian majority, while in
Germany they are seen as romanians. They try to reconstitute reality out of pieces, in order
to bring it back to that whole they want, the past is rebuilt out of fragments of memories,
having as a starting point the disagreeable experiences with the Securitate, that they want to
forget. The dominant themes are the triumph of the childhood and of the first love
experiences, which Wagner also makes use of in Die Muren von Wien.
If, in Romania, literature was a means of fighting against abuses and oppression, in
Germany literature was regarded as goods, that had to be constantly adjusted to the needs of
the population. The power that comes with the money is strongly connected to the sexual
symbolism, money can buy everything, even sexual favours in Richard Wagners novels; he
also dwells on the theme of the metropolis, also present in Die Muren von Wien. The
language used by the ones, who had taken refuge in Germany, is a new language, in which
English and American idioms come together and in contact with archaisms brought from
their stay in the communist Romania, a language that is not familiar to the ones surrounding
them. By looking back at the past, towards the love experience of one’s youth and towards
the paternal home, a bridge towards reality is created. In the case of Richard Wagner it is
very obvious the fact that he wishes to let loose anything that has something to do with the
past and focus upon the new face of reality in Federal Germany, also through the attempt of
combining the two languages, the one belonging to the past and the one belonging to the
present. The word has the power of comprising different realities, out of which each
individual drew the one he wanted and which was capable of creating identities by being
integrated in a linguistic system.
Gerhardt Csejka (Spiridon 2002: 246) defines Wagner’s path as being the passing
from “Minderheitenautor” (“the author of a minority”) to “Mehrheitsautor” (“the author of
a majority”), due to the benefic change which occurred in his style and in the themes
Richard Wagner dwelled on. The book Der Himmel von New York im Museum von
Amsterdam (1992) is a blend of texts previously published in Romania, and in Giancarlos
Koffer. The author parallels events which take place in Romania with events that unfold in
Germany. Looking back towards Romania is what the author develops upon in the books
Der Mann der Erdrutsche sammelte (1994), In der Hand der Frauen (1995), Lisas
geheimes Buch (1996) and Im Grunde sind wir alle Sieger (1998). The problems of women
and relationships undergo a deep psychological analysis, the heroes are in a desperate
search after something that would allow them to discover their sense and place within the
new society, their madness and the attempt to get out of this state is what is stressed.
Wagner endows the metropolis with new valencies, new ways of being perceived with all
its hiding places, where also the media has an overwhelming significance. In In der Hand
der Frauen, the story is turned into a universal cliché, into an alienation given notice of
from everywhere, an acute lack of communication between individuals, and Wagner does
this with the help of some quotations from articles in the newspaper or commercial slogans,
which come up constantly in the turmoil of the events the characters take part at.
 177

4. Conclusion

Richard Wagner has proved that the capacity of adapting oneself to an unknown literary
and social environment, that you have pictured yourself in a different way, it’s not a
difficult task at all, but you need tenacity and an enormous trust in your own capacities and
strengths, because the preferences of the German public are not the same as the ones of the
Romanian public. As a member of the Aktionsgruppe Banat, R. Wagner tries to transfigure
reality with the help of literature, starting with the critical evaluation and representation of
reality itself. The dictature “forces” him to follow a certain way literary speaking, by giving
the words hidden meanings, so that these could avoid being censored. This creates the
perfect climate for the depiction of a search of the lost or of a new identity.

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Wagner, Richard. 2011. Belüge mich. Berlin: Aufbau-Verlag.
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Wagner, Richard. 1995. In der Hand der Frauen. Stuttgart: Deutsche Verlags-Anstalt.
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Wichner, Ernest (ed.). 1992. Ein Pronomen ist verhaftet worden. Texte der Aktionsgruppe
Banat. Frankfurt am Main: Suhrkamp Verlag.

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Nachkriegzeit. Hamburg: Igel Verlag.
7XGRULFă&ULVWLQDRumäniendeutsche Literatur (1970-1990). Die letzte Epoche einer
Minderheitenliteratur. Tübingen: Francke Verlag.
 179

3DUWLFXODULWăĠLDOHMXUQDOHORUOXL/LYLXV&LRFkUOLH

Elena Mateiu (Manole)

8QLYHUVLWDWHDGLQ%XFXUHúWL

The aim of this paper is to focus on one of the paradigms of writing that I identified
in the creation of Romanian diary writer, Livius Ciocârlie, called the ephemeral
diary. The main paradygm, the diary of ideas, is proof of this process of literary
hybridization throught its confessional style that uses a caracter who sometimes
looses himself in short notes or reading impresions, making observations about
minor facts, mostly about pure nothing. The ephemeral diary is a form of the diary of
ideas in which the narrator, by using fragmentary notes, is observing himself in
relation to the commonplaces of his life. The features of this form of writing can be
found through the entire work of L. Ciocârlie, but most of them are concentrated in
the latest publications. Thereby, this paper is proposing a new concept in the key of
postmodern litterature with a certain application, the latest diaries of this writer.

Keywords: blankness, ephemeral diary, literary hybridization, postmodernism.

1. Aspecte generale

JurnalXO LQWLP D GHYHQLW R IRUPă GH H[SULPDUH FDUH-L RIHUă VFULLWRUXOXL R PDUH OLEHUWDWH
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vQVHPQăUL úL LPSUHVLL GH OHFWXUă úL DMXQJ OD REVHUYDĠLL Părunte, ale unor fapte minore,
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UHXúHVWH Vă-L XPSOH VFULLWRUXOXL VHQWLPHQWXO GH JRO GH OLSVă D XQHL SLHVH LPSRUWDQWH GLQ
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WHPD H[SUHVLHL HD QX VH PDL UHIHUă GHFkW OD HD vQVăúL úL WRWXúL QX HVWH SULQVă vQ IRUPD
LQWHULRULWăĠLL VH LGHQWLILFă FX SURSULD HL H[WHULRULWDWH GHVIăúXUDWă´ )RXFDXOW  
Opera lui L. CioFkUOLH SRDWH IL FODVLILFDWă vQ SDUDGLJPH GH FUHDĠLH FULWLFXO
H[SHULPHQWDWRUXO GDU úL FUHDWRUXO FDUH DERUGkQG VWLOXO FRQIHVLY úL VFULVXO ÄJUDWXLW´ VH
GHGLFăvQVHPQăULORUGHVSUHHIHPHULWDWHDYLHĠLLPDLDOHVDSURSULHLYLHĠL

2. Jurnalul efemerului: o SRVLELOăGHILQLĠLH

/XFUDUHD GH IDĠă SURSXQH XQ QRX FRQFHSW vQ FKHLD HYROXĠLHL OLWHUDWXULL SRVWPRGHUQH –
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XOWLPHOHFăUĠLSXEOLFDWHSUHFXP%ăWUkQHĠHúLPRDUWHvQ mileniul al treilea (2005), &XIDĠDOD
 180

perete (2010), Cartea cu fleacuri  úL /D IRF PăUXQW (2012). Încadrarea acestora în
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Care ar fi caracteristicile acestui jurnal al efemerului"5HSUH]LQWăHORQRXWDWHSHQWUX
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atât scriitorul (dar, în acest caz, e vorba de XQ SHUVRQDM DOH FăUXL UHVXUVH H[SUHVLYH úL
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DFHVWXLD´0LKăLHú
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vQVHQVPDLODUJ&kQGYRUELPGH/LYLXV&LRFkUOLHSXWHPVăDGXFHPDUJXPHQWHOHDXWRUXOXL
SULQYHUVXULOHFDUHVSXQHHOH[SULPăFHO PDLELQHVWDUHDSHFDUHRUHVLPWH&HDPDLLQWLPă
SRUQLUHDPHDDUHQXQĠDVăRODVEDOWăHGRULQĠDPHDFHDPDLYHFKHúLPDLvQDOWă´Sorin
*KHUJXĠapud Livius Ciocârlie, 2010: 38). $úDGDUGLQDFHDVWăUHQXQĠDUHDWRWGLQDFHDVWă
OHQH PHWDIL]LFă VDX QX GLQ GHILQLĠLD MXUQDOXOXL FD ÄLQWLP SHUFHSXW vQ EDQDOLWDWHD OXL
FRWLGLDQă´ ibidem  /LYLXV &LRFkUOLH úL-D IăXULW SURSULD IRUPă GH H[SULPDUH MXUQDOXO
efemerului.
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IRUPDXQRUvQVHPQăULGHFHOHPDLPXOWHRULIUDJPHQWDUHVHREVHUYăSHVLQHPDLDOHVGLQ
H[WHULRUvQUDSRUWFXEDQDOLWDWHDYLHĠLLFRWLGLHQHúLDIDSWHORUSDVDJHUHPLQRUHFXFDUHVH
LQWHUVHFWHD]ăVDXSHFDUHOHUHPDUFăvQWUHDFăW7UăVăWXULOHDFHVWHLIRUPăGHVFULHUHOHSXWHP
identifica pe parcursul operei lui Livius Ciocârlie, iar majoritatea sunt concentrate în cele
PDL UHFHQWH FăUĠL SXEOLFDWH 3HQWUX R PDL EXQă LOXVWUDUH D FRQFHSWXOXL YRP SUH]HQWD
WUăVăWXULOH PDL LPSRUWDQWH VXE IRUPD XQRU PRWLYH UHFurente. Acestea ar fi: jurnalul, ca
IRUPă D VFULVXOXL HIHPHU QHVHPQLILFDWLY PDUFDW GH ÄDQLPD´ PRWLYXO LQGLIHUHQĠHL FD
vQFHUFDUH GH VXSOLQLUH D YLGXOXL FUHDĠLD DIODWă VXE VHPQXO LQFRQVLVWHQĠHL úL VXE VHPQXO
ÄIOHDFXULORU´ PRWLYXO SUHFDULWăĠLL HXOXL PDQLIHVWDW SULQ QRVWDOJLD XQHL YLHĠL GH FORúDUG
LGLOLVPXOVWăULLGHÄGROFHIDUQLHQWH´ úLvQVHPQăULOHXQXLHXFHWUăLHúWHÄODVXSUDIDĠDYLHĠLL´
Livius Ciocârlie ne-D RELúQXLW GHMD FD vQ RULFH FDUWH SXEOLFDWă Vă JăVLP LPSUHVLL GH
OHFWXUă úL PDL DOHV ILQH FRmentarii asupra celor citite. De asemenea autorul este mereu
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 181

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184-185).

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1 Gustave Flaubert, Correspondence, www.gallica.bnf.fr.

 182

pentru revitalizarea organismului. De felul lui, prin nerespectarea regulii calendarului,

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asudate.

4. Concluzii

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se vrea în mod explicit postmodern sau e[SHULPHQWDOvQVFKLPEQXVHSRDWHOăVDGHOHFWXUă
úLGHDQDOL]DH[WHULRDUăDSURSULXOXLHX
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Surse:

Ciocârlie, Livius, 1993, 3DUDGLVXOGHUL]RULX-XUQDOGHVSUHLQGLIHUHQĠă%XFXUHúWL(GLWXUD

Humanitas
Ciocârlie, Livius, 1997, &DSúLSDMXUă%XFXUHúWL(GLWXUD$OEDWURV
Ciocârlie, Livius, 2005, %ăWUkQHĠH úL PRDUWH vQ PLOHQLXO DO WUHLOHD %XFXUHúWL (GLWXUa
Humanitas.

1 ÌQ LQWHUYLXO DFRUGDW 'RUHL 3DYHO HO DILUPă Ä $FXP SURGXF FDP WUHL IUD]H OD GRXă ]LOH ,PSUHVLL
JkQGXULQRWHGHOHFWXUăYLVXULVHFYHQĠHWUăLWH´ÌQAncheta Acolada : Jurnal de scriitor (I), Revista
Acolada, Nr. 4, 2008, p. 6.
 185

Ciocârlie, Livius, 2010, &XIDĠDODSHUHWH %XFXUHúWL(GLWXUD&DUWHD5RPkQHDVFă

Ciocârlie, Livius, 2010, Cartea cu fleacuri3LWHúWL(GLWXUD3DUDOHOD
Ciocârlie, Livius, 2012, /DIRFPăUXQW %XFXUHúWL(GLWXUD&DUWHD5RPkQHDVFă
%HQĠHD Mircea, 2010, SHPLQHVăQXFRQWDĠLFRQYRUELULFX0LUFHD%HQĠHD(GLĠLDD,,D
3LWHúWL(GLWXUD3DUDOHOD

ReferinĠe:

&ăOLQHVFX*HRUJHFals jurnal%XFXUHúWL(GLWXUD)XQGDĠLHL352
&UăFLXQ *KHRUJKH  Ä/LYLXV &LRFkUOLH FDUWRJUDIXO eului precar” în Observator
cultural, nr.291.
Foucault, Michel, 2004, Ce este un autor? 6WXGLLúLFRQIHULQĠH, traducere de Bogdan Ghiu,
Cluj-Napoca, Editura Idea Design&Print.
Liiceanu, Gabriel, 2005, 8úDLQWHU]LVă(GLWXUD+XPDQLWDV%XFXUHúWL
0LKăLHú, Mircea, 1995, 6WUXFWXUL ILFĠLRQDOH vQ MXUQDOXO LQWLP 8QLYHUVLWDWHD GLQ %XFXUHúWL
)DFXOWDWHDGH/LWHUH7H]ăGHGRFWRUDW
Pavel, Dora, 2008, „Ancheta, acolada, jurnal de scriitor” (I) în Revista Acolada, nr.4.
9XOWXU6PDUDQGDÄ)OHDFXULúLQXSUea...”, în Revista 22.
Zamfir, Mihai, 2005, „Pariul” în 5RPkQLD/LWHUDUă, nr.40.

Acknowledgement: $FHDVWă OXFUDUH D IRVW FRILQDQĠDWă GLQ )RQGXO 6RFLDO (XURSHDQ SULQ
3URJUDPXO2SHUDĠLRQDO6HFWRULDOSHQWUX'H]YROWDUHD5HVXUVHORU8PDQH– 2013, Cod
Contract: POSDRU/159/1.5/S/140863, &HUFHWăWRUL FRPSHWLWLYL SH SODQ HXURSHDQ vQ
GRPHQLXO ùWLLQĠHORU XPDQLVWH úL VRFLR-HFRQRPLFH 5HĠHD GH FHUFHWDUH PXOWLUHJLRQDOă
(CCPE).
 186

The Ethics of Writing in Franz Kafka and Maurice

Blanchot

Hossein Moradi
Islamic Azad University, Karaj, Iran

In deconstructive thinking, literature is where boundaries in ontology are violated.

Literature offers a place for the Other and prepares the self for the Other to come.
Regarding this point, Blanchot discusses the condition of the self when it is
transformed by writing in which the self experiences suspense between being and
non-being. This illustrates the poet’s dying which necessitates the opening of being
into the space where the self enters into communication with the Other. Blanchot
argues that the being-in-the other is at the heart of community, since the existence of
every being calls upon the plurality of others. Therefore, being summons
community. The community abandons its boundaries to what comes. It could be said
that “the community of the Other” is the absence of community in the sense of the
gathering of its members in a fusion or series. It is linked to writing that is the
making of relation between two others; writing does not set the self against the other
but it establishes a heterogeneous relationship by which they are created anew.
Kafka in Josefine, the Singer or The Mouse People illustrates “the community of the
other”. From the beginning the story, Josefine and her song are deprived of any
sense of leadership or heroism that totalizes the community.

Keywords: community, ethics, feminine, singularity, writing.

1. Introduction

Franz Kafka has remained untouched by deconstructive reading in terms of the act of
writing which leaves the space for the “other,” or what I call the “community of other.”
Besides other major French deconstructive figures such as Jacques Derrida, Gilles Deleuze
and Emmanuel Levinas, Blanchot–as the important figure in deconstructive thinking–
perhaps more than anyone else has looked at the nature of writing and the “other.” He has
theorized the relationship between literature and ontology and changed the manner in which
they are related. Leslie Hill (1997: 2) in his review of Blanchot’s intellectual itinerary
writes: “Blanchot in his writing has renewed the critical debate concerning the ontological–
or non-ontological–status of literature and art in general.” He has related literature to the
question of being, which involves the “other.” Blanchot (1981: 21) writes that literature
begins with question by which it calls into question itself: “Let us suppose that literature
begins at the moment when literature becomes a question.”
Many critics consider that Blanchot’s fictions are influenced by Kafka, arguing that
he wrote some essays on Kafka: Reading Kafka, Kafka and Literature, and Kafka or the
Demand of Literature. These essays read Kafka as the writer who has devoted himself to
 187

the question that literature poses on thought and makes and unmakes the writer, undoes the
identity and its possibility of formation. In other words, writing leaves open the space for
the “other”. This reading of Kafka can be seen in Blanchot’s theorization and his fictions.
Blanchot discusses the condition of the self when it is transformed by writing. He
writes that the self experiences suspense between being and non-being:

“But why does the work demands this transformation? [...] We might also answer:
because it deprives this living man (the writer) of the world by giving him the space
of the imaginary to live in; and that is in part, in fact, the malaise of a man fallen
outside of the world and, through this separation, floating eternally between being
and nothingness, incapable henceforth of dying and incapable of being born”
(Blanchot 2003: 216).

The writer is deprived of the sense of selfhood and transforms into the state of
“between being and nothingness.” Writing blurs the distinction of inside / outside. In this
space, outside is in the inside. This space is neither interior nor exterior. Blanchot in the
essay on Holderlin’s poem, argues that,

“[…] if the sacred is a radiant power whose law is scattering burst, the principle of
that which appears, one understands that in foretelling the poet is already placed in
the heart of a complete presence and that the approach of the sacred would be for it
the approach of existence. But, for the present, the enigma takes an other form. For
at the beginning, the poet is not yet, for he himself depends on Totality in order to
exist and the Totality depends on his mediation in order to be a Totality. Now,
existing as ‘not yet’, he has seized, forcasted the coming of the sacred, which is the
principle of this coming itself, which is the anterior coming to every ‘something
which comes’ and by which ‘everything’ comes, the Totality comes” (ibidem: 122).

The power which is called “sacred” by Blanchot is the poem or the work that
brings “Totality” by gathering and scattering at the same time. The sacred or the poem in
the act of “scattering burst” calls the coming of the Totality (the cosmos). The sacred, by
being before and after everything, allows being to stand in a kind of proximity which is
never unified in totality:

“The whole oeuvre of Holderlin discloses the consciousness of an anterior power

exceeding men as well as gods, even those who prepare the cosmos to be ‘at once’”
(ibidem: 119). 1

The poem or the work which allows being to stand appropriates and
disappropriates itself. Thus, “proximity” implies the impossibility of gathering together
and closure of completion.
The poet or the writer as the mediator who has a “not yet” existence forecasts the
coming of the sacred. The writer’s being is sacrificed to be in the “proximity” of
completion, that is to say, being as such, self-present as such, that which escapes from
every mediation. The poet (the writer) vanishes at the moment the world as untotalized
totality appears through him by poem (the work). The poet’s being is negated when this
power fulfills its work:

1 I have used the translation quoted in Herman Rapaport (1989: 118).

 188

“The poet destroys himself, and he destroys his language that he lives, and no longer
possessing a before and an after, he is suspended in emptiness itself” (ibidem: 129).

The poet (the writer) must die and it should be a death without death in order that the
poem or the work is produced. He comes into existence by this “process of dying” that is
never completed. To put this in another way, as Blanchot writes, the poem makes him
undergo a dying: “between being and nothingness, incapable henceforth of dying and
incapable of being born” (ibidem: 216). Outside the hackneyed theme of the life after death
or the second birth which involves metaphysics, the poet's dying necessitates the opening of
being into the space where the possibility of invention comes.
In the “process of dying,” the self through the act of writing will be the incoherent
entity exposed to any exteriority. In Blanchot’s expression, as Libertson writes, the
totality and identity of the self are replaced with the “otherness” which signifies as
standing “between”:

“The Other is the impossibility of closure which makes possible an alterity that
‘stands between.’ It is a becoming–other and a heteronomy which precedes and
exceeds the correlation and unification of dialectical opposition. Alterity is the fact
that a term is not alone, but also not in an ensemble or relation with its opposite”
(Libertson 1982: 203).

The self enters into communication with the Other. This situation is not reducible to
the dialectical process of opposition because the Other which is present in this
communication is not a constituted or differentiated other. The Other is the “otherness”
which is always arriving. There is no reciprocal relationship between the self and other. No
mutual approach can be found in the way that they come close to each other to form a
closed structure. They are always “approaching.” Thus, the tautological process of self’s
formation is brought into no identity and totality but is placed “in-between.” This state is
always in-coming.
Libertson explains this condition in Blanchot as the “proximity” or approach which
characterizes the suspense of the self:

“Blanchot and Levinas invoke the notion of a communicational Alterity whose

inaccessibility is also its incumbence or weight. The factor in communication which
escapes totalization and recedes Into indefinition or ambiguity approaches as it
escapes. Its distance is a contact, its inaccessibility is an involvement. It is ‘near’ or
‘close’ to the subjectivity created by communication – without this subjectivity
being ‘near’ or ‘close’ to this inaccessible element” (ibidem: 3).

It is the communication with the “other” in writing which closes and opens the self
to the “other.” “Proximity”, which signifies neither being close nor far, shows that the self
is irreducible either to disappearance or totalization. In the process of formation through
writing, the self in communication means that while the self is distant from the “other” it is
in immediate proximity with the “other” and its action is manifested as an oscillation which
is dynamic at the same time. This reminds us of “the empty and animated space” in
Blanchot’s expression (2003: 215–16). The writer is defined as the dynamic animated space
in the “proximity” which is made by communication with the “other.”
 189

2. From self to community

The ethics of writing in Blanchot’s sense is not limited solely to the domain of the self-
critique. Writing does not only open the self but also the whole community to the “other.”
In The Unavowable Community, Blanchot proposes that being is always in incompletion
and cannot stand independently alone. He traces this lack in the necessity of being exposed
to questioning: “The awareness of the insufficiency arises from the fact that it puts itself in
question, which question needs the other or another to be enacted.” (Blanchot 1988: 5). The
insufficiency does not necessitate completion in order to be closed and find an identity but
questions being and invites the “other.” The act of questioning opens being towards the
“other”: “A being does not want to be recognized, it wants to be contested in order to exist
it goes towards the other” (ibidem: 6).
Blanchot brings up the inseparability of being and community. The being-in-the
other is at the heart of community, since the existence of every being calls upon the
plurality of others. Therefore, being summons community. Being is not individuated; it
must exist in the “other.” The death of subjectivity is the experience of the community. This
situation implies the absence of community in a traditional sense as communion in which
beings lose themselves inside a totality in movement (ibidem: 7). Jean-Luc Nancy, to whom
Blanchot responds in developing the idea of “the community of the other,” criticizes the
traditional community because it aims at: “the fusion into a body, into a unique and
ultimate identity that would be no longer exposed.” (Nancy 2004: xxxviii). Nancy, like
Blanchot, opposes totalitarianism to “the community of the other” (ibidem: xxxix). The
traditional community is characterized as the search for belonging and the emphasis is on
the cultural construction of identity, the self versus the other (ibidem: xii).
In the view of “the community of the other,” being cannot be together with the
“other” and exist as a separate individual. Being enters the process of composing and
decomposing itself. Community in the sense of having boundaries is not founded because it
is open to an exterior. Nancy writes about Blanchot”s community:

“Community necessarily takes place of in what Blanchot has called ‘unworking’

[desoeuvrement], referring to that which, before or beyond the work, withdraws
from the work, and which no longer having to do either with production, or with
completion, but which encounters interruption, fragmentation, suspension.
Community is made of the interruption of singularities. Communication is the
unworking of the social, economic, technical institutional work” (ibidem: 31).

This community removes the hierarchical system of society. However, this classless
community does not fuse its parts together as equal entities; it is not the matter of equal
individual beings or social institutions. Members of this community are not reduced to be
same. Any member does not treat the other as the same, to reduce the other to another (like)
myself. This community does not consider an ultimate goal as the final product; the
community abandons its boundaries to what comes. It could be said that “the community of
the other” is the absence of community in the sense of the gathering of its members in a
fusion or series.
“The community of the other” in Blanchot is linked to writing that is the making of
relation between two others; writing does not set the self against the other but it establishes
a heterogeneous relationship by which they are created anew. The community of writing is:
“the search for the last words: ‘Come, come you for whom the injunction, the prayer, the
expectation is not appropriate’” (Blanchot 1988: 12). Writing brings about events that come
 190

unexpectedly and unpredictably and could not be reduced to appropriation by which the
communion of individualities constructs identity. In this sense, writing exposes beings in
the community to new events as the act of questioning and necessitates the being-in-the
other. This could be considered as the freedom which Blanchot means when he writes that
the unavowable community is the opening to unknown spaces of freedom (ibidem: 56).
A similar idea can be seen in Giorgio Agamben’s notion of “whatever being” by
which he means that it is a pure and empty relation to language, to predication, yet without
being defined once and for all. “Whatever being” does not mean its qualities; it is its
exposure to all other qualities that each particular quality re-says and re-calls. It touches
itself in language in the pure passion of being called. As Thomas Wall explains, such a
being in Agamben occupies a particular place that is radically put into question as it opens
onto another space (Wall 1999: 125).

3. Kafka and the community of the Other

In Josefine, the Singer or The Mouse People, Kafka illustrates “the community of the
other.” By making Josefine a singer, Kafka proposes that art constitutes the community.
From the beginning the story, Josefine and her song are deprived of any sense of leadership
or heroism that totalizes the community. Josefine, the narrator says, “is one of us” (2007:
106). Her position for the people “has never been properly defined” (ibidem: 100). She is
not a leader with sovereignty: “This squeaking that arises where silence is imposed on
everyone else comes almost as a message from the people to the individual” (ibidem: 100).
She is neither the representative of the whole people nor the individual. Her song, as a
message, has neither sender nor receiver because the people and the individual are the
same. “People take care of Josefine the way a father looks after a child” (ibidem: 99). She is
not a heroine because the people are not dedicated to her: “unconditional devotion is all but
unknown to our people” (ibidem: 98). Her song “as such does not represent anything
extraordinary” (ibidem: 95). No one is sure that her artistry is song or just a squeaking. Her
song is squeaking that is neither silence nor speaking. Josefine’s singing is neither artistic
skill nor the manifestation of everyday life. People in the story are unmusical and at the
same time have traditions of musicality. She thinks that she protects the people but they
believe that “she rarely has anything to say” (Bataille 99).
Neither music nor art fuses the people together in some higher spirituality, a single
truth. The community, for Kafka, is without head and the ultimate goal. Bataille opposes
Kafka’s community to a Communism that: “is prepared to subordinate the present moment
to the imperative power of a goal” (Bataille 1985: 153). Art, in Kafka’s view, never strive
for a single truth, a sovereign who constitutes a homogenous community.
Josefine is feminine. This implies that Kafka sees art as feminine. This femininity is
not only limited to Josefine; the people are feminine: “she, who appears to be strikingly
gentle even among a people as rich in such feminine types as our own, seemed at that
moment downright mean” (my Italic) (ibidem: 96). For Blanchot, the community is
“absolutely feminine, with the meaning that it goes beyond any specificity, outside a
psychological or sociological level and beyond the mythic and the metaphysical” Blanchot
(1988: 53). The absolutely feminine crosses over any boundary and situates the community
in excess, “the excess that comes with the feminine” (ibidem: 53). The excess of femininity
shows itself in being close to death and the abandonment of individuality. The people in
Josefine’s community are those who are familiar with death: “she does not save us. It is
easy to be the savior of this people–a people that is well acquainted with death” (Kafka
 191

2007: 100). The excess of femininity exposes us to death. Here, excess and death provide
the possibility of the opening of freedom through the transgression of identity; it moves
from individual to the world and to the cosmos. Transgression is “a movement which
always exceeds the bounds that can never be anything but partially reduced to order”
(ibidem: 84). In his theoretical-fictional text, The Step Not Beyond, Blanchot presents
femininity as “neuter” or the “Thing” meaning that it is a space of neutrality in terms of
gender distinction:

“The thing, like the he / it, like the neuter or the outside, indicates a plurality
characterized by singularizing itself and by appearing, by default, to rest in the
indeterminate. That the Thing has a relation to the Neuter: outrages and finally
inadmissible supposition, in so far as the neuter cannot arrest itself in a subject noun,
even this be collective, having also this movement of diverting anything to which it
would apply itself from its momentaneous essence” (Blanchot 1992: 73).

This femininity is the neutral element that is neither male nor female. It affects a
deferring and differing within the concept of femininity or masculinity. Undecidability and
indeterminacy which is implied by the feminine element defers the formation of gender.
The indeterminacy of gender formation causes the heterogeneity which Blanchot expresses
as “singularity.” Regarding the “singularity” of identity, Derrida writes:

“[…] identity is a self-differentiating identity, an identity different from itself,

having an opening or gap within itself […] I am not one with myself that I can speak
with the other and address the other” (Derrida 1997: 14).

Heterogeneity, in this sense, means that the self engages with the “other” which is
neither outside nor inside. The “other” eliminates the boundary between inside and outside.
The “other” entails the impossibility of closure, being open to come.
By this “singularity”, members of the community never acquire fixed identities so
that they own memory of their past. In “singularity”, people are open to hospitalize one
another through which they interact and create new possibilities. The creativity of the
community forgets the past in every instant and looks forwards to the future. By this
absolute futurity, the community does not leave a fixed history behind itself. In this sense,
the community becomes fragmentary; it is composed and decomposed. As Blanchot says,
“the strangeness of what could not be common is what founds that community, eternally
temporary and always already deserted” (1988: 54). The community without history is the
absence of community. The narrator says that “we completely neglect historical research”
(Kafka 2007: 100) or “we practice no history” (ibidem: 108). In The Use and Abuse of
History, Nietzsche begins with a meditation on a herd of grazing animals which, he writes,
“live unhistorically; for [the herd] ‘goes into’ present, like a number, without leaving any
curious remainder.” And he continues:

“But man is always resisting the great and continually increasing weight of the past;
it presses him down, and bows his shoulders; he travels with a dark invisible burden
that he can plausibly disown, and–is only too glad disown in converse with his
fellows in order to excite their envy. And so it hurts him, like the thought of a lost
Paradise, to see a herd grazing, or, nearer still, a child, that has nothing yet of the
past to disown, and plays in a happy blindness between the walls of the past and the
future” (Nietzsche 1964: 95–96).
 192

In order for the true human condition to be fulfilled, all anteriority should be annihilated by
the power of forgetting. This radical rejection of the past makes a community temporary
and fragmentary which Blanchot calls “episodi” (1988: 48). When Josefine abandons the
people at the end of the story, they consider her as an episode in their ahistorical
community: “she is a brief episode in the eternal history of our people” (Kafka 2007: 107).
The eternal history is what Blanchot considers as “eternally temporary.” The temporary
community lives on forgetting and sends everything to the past that does not exist: “the
heightened redemption of being forgotten” (ibidem: 108). Walter Benjamin sees the world
where Kafka lives between the prehistoric and the future. The intermediate world between
these two is not our historical world. Kafka’s world rests upon the a-historical time in the
past and the not-yet future. The characteristic of the intermediate world of Kafka, for
Benjamin, is oblivion. In this intermediate world, the constant flow of new strange products
is yielded through oblivion:

“Everything forgotten mingles with what has been forgotten of the prehistoric world,
forms countless, uncertain, changing compounds, yielding a constant flow of new,
strange products. Oblivion is the container from which the inexhaustible
intermediate world in Kafka’s stories press toward the light” (Kafka 1973: 127).

The recurrence of new forms of what have been forgotten implies that Kafka moves
the masses of historical happenings to bring into light the layers under their surface.
Benjamin (1999: 391) writes on the concept of history: “Every age must strive anew to
wrest tradition away from the conformism that is working to overpower it.” Oblivion
counteracts the homogenous or conformist view of history to give birth to what is in
history’s womb.
The narrator associates the people with childness. This childhood exists in the
community forever: “A certain unfading childishness pervades our people” (Kafka 2007:
102). The narrator contrasts this notion of everlasting childhood with the view of other
people who think that their children make the future of the people when they grow younger.
In Josefine’s community, the people have no schools and remain childlike: “Hardly does a
child appear than it is a child no longer” (ibidem: 101). Bataille sees in Kafka the tendency
of a sustained infantile situation which implies the excess of childhood: “He chose the
unrestrained caprice of his heroes, their childishness and carelessness. In a word, he wanted
an irrational world, which escaped classification, to remain supreme and to provide an
existence only possible to the extent in which it called for death” (Bataille 1985: 158). The
everlasting childhood of the people is associated with the excess of death that removes
classification and boundary to characterize the community as the experience of excess by
moving towards outside. The experience of everlasting childhood is the violent
transformation of freedom and excess.

Conclusion

Josefine’s community is a community of art that exists without any head or leader. It does
not dissolve its members into a single unity. Art founds a community in excess, setting
towards outside, open to the future. This is “the community of the other”, the community of
writing proposed by Blanchot: “Hence the foreboding that the community is linked to a
certain kind of writing, a writing that has nothing else to search for the last words: ‘Come,
 193

come you for whom the injunction, the prayer, the expectation is not appropriate’” (1988:
12). The apocalyptic tone of writing disappropriates the community and is radically passive
to only the sudden unpredicted coming of the other. Writing never calls the other but
prepares itself for the excess of transgression given by the other.

Sources:

Blanchot, Maurice. 1988. The Unavowable Community. Translated by Pierre Joris. New
York: Station Hill Press.
--. 1981. “Literature and the Right to Death”. In The Gaze of Orpheus. Translated by Lydia
Davis. New York: Station Hill Press.
--. 1982. The Sirens’ Song. Translated by Sacha Rabinovitch. Sussex: Harvester Press.
--. 2003. The Book to Come. Translated by Charlotte Mandel. California: Stanford
University Press.
--. 1995. “The Sacred Speech of Holderlin.” In The Work of Fire. Translated by Charlotte
Mandell. California: Stanford University Press.
--. 1992. The Step Not Beyond. Translated by Lycette Nelson. New York: State University
of New York Press.
Kafka, Franz. 1949. The Diaries of Franz Kafka, 1910-1913, edited by Max Brod.
Translated by Joseph Kresh. New York: Schocken.
--. 2007. “Josefine, the Singer or The Mouse People.” In Kafka’s Selected Short Stories.
Translated by Stanely Corngold. New York: W.W. Norton & Company.

References:

Bataille, Georges. 1985. Literature and Evil. Translated by Alastair Hamilton. New York:
Marion Boyars.
Critchley, Simon. 1992. The Ethics of Deconstruction: Derrida and Levinas. Edinburgh:
Edinburgh University Press.
Delanty, Gerard. 2010. Community. New York: Routledge.
Derrida, Jacques. 1997. Deconstruction in a Nutshell: A Conversation with Jacques
Derrida, edited by John D. Caputo. New York: Fordham University Press.
Fort, Jeff. 2002. “Translator’s Introduction.” In Aminadabe. Nebraska: The University of
Nebraska Press.
Gasché, Radolph. 1986. The Tain of the Mirror: Derrida and the Philosophy of Reflection.
Massachusetts: Harvard University Pres.
Gray, Richard T., Ruth Gross, Rolf J. Goebel and Clayton Koelb. 2005. A Franz Kafka
Encyclopedia. Westport: Greenwood Press.
Hill, Leslie. 1997. Blanchot: Extreme Contemporary. London: Routledge.
Libertson, Joseph. 1982. Proximity: Levinas, Blanchot, Bataille and Communication. The
Hague: Martinus Nijhoff Publisher.
Nancy, Jean-Luc. 2004. The Inoperative Community. Translated by Peter Conner.
Minneapolis: The University of Minnesota Press.
Nietzsche, Friedrich. 1964. The Complete works of Friedrich Nietzsche, vol.2, edited by
Oscar Levy. TranslaWHGE\0D[LPLOLDQ$PȨJJH1HZ<RUN5XVVHOO 5XVVHOO
Norris, Christopher. 2003. Deconstruction: Theory and Practice. London: Routledge.
Rapaport, Herman. 1989. Heidegger, Derrida: Reflections on Time and Language. Lincoln:
 194

University of Nebraska Press.

Royle, Nicholas. 2003. Jacques Derrida. London: Routledge.
Suglia, Joseph. 2004. Holderlin and Blanchot on Self-Sacrifice. New York: Peter Lang
Publishing.
Wall, Thomas Carl. 1999. Radical Passivity: Levinas, Blanchot, and Agamben. New York:
State University of New York.
 195

Identity Politics in the Literary Works of Ismail Kadare

Irena Myzeqari
European University of Tirana

The literary work of Ismail Kadare is one of the main references in terms of
important historical concepts and cultural phenomena in Albania. Enis Sulstarova
(2013) says that “he is the first Albanian author who achieved to create an Albanian
identity”. The various genres, the richness of treated topics, starting with antiquity
and its modern continuity, accompanied with a wide range of characters and
geographical areas included in it, create a great chance to trace the problem of
feminist identity construction.
Based on a poststructuralist approach this paper traces the dynamics of gender roles
in two of his novels, Qorrfermani and The Winter of Great Solitude. Through
critical discourse analysis, it will analyse how is constructed the feminist identity,
looking for main features or functions that are attributed to women, especially in
terms of identity politics and resistance. I aim to identify and examine the discursive
strategies that are embedded in the novels I have selected, not only in their content,
but also in their form, style and structure. According to Judith Butler (1990), identity
is a perpetual construction and knowing that literature plays a significant role in the
construction of the identity of the readers, it is important to ask whether his books,
written during communism, are still important today and how they influence the
existing identity’s categories.

Keywords: identity, communism, resistance, sexuality, women.

1. Introduction

Ismail Kadare is the most prominent author in Albania. His books are listed among the
most well-known canons, not only in Albania, but also in the European and World
Literature. Both novels and poems written by him are a testimony of a highest artistic level
that the Albanian language, as one of the oldest languages of the Balkans could offer.
Ramon Sanches Lizarralde , his Spanish translator, says that Ismail Kadare creates a gallery
of characters, places, environments, connections, real or fantasies that live within his
books...characters that want to create a whole new world, self-sufficient and alternative to
this real world we live (Lizaralde 2008: 23). As an author he is famous for his limits of
time, geographies and sociological models. He himself says that “the combination of
different periods of time, spaces, people’s destinies, histories are often treated in literature,
meaning that literature is a vivid organism that has an answer for each dimension of human
life (Beqiri, 1991: 127). Said this, in his works we can see the three dimensions of time
clash together with geographical coordination, with social stereotypes and prejudices, in all
levels of consciousness; the man himself is a vivid and continuous battle field. It is due to
this continuous dissonance that Ismail Kadare never declares a novel or a poem completely
closed (Lizaralde 2008: 21).
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2. Literature review

Nationalism, the Other and identity are some of the variables that are used to read and
analyze the work of Kadare. His complexity has been one of the reasons why Kadare and
his works have been subjected to these kinds of studies. Enis Sulstarova, author of a book
based on the analysis of Kadare’s works, says that Kadare compared with other socialist
writers has achieved to create an identity literature for Albanians.... [because] he has chosen
to treat in his works themes that are related with key moments of the Albanian nation
(Sulstarova 2013: 156). Robert Elsie shares the same opinion, saying that the works of
Kadare are a perfect reflection of the Albanian political life (Elsie 1997: 338). For Eric
Faye, critic of Ismail Kadare, the ambiguity of the writer is a chance to have a complete
radiology of the Albanian society (Novel 5. 12). Another study conducted on Kadare’s
novels is written by Viola Isufaj, who sees the return of famous mythological figures in his
novels. Jing Ke is another researcher, who tries to analyze the national identity of
Albanians in relation to the Other. Same as Sulstarova, he traces the appearances of the
Other and analyzes how literature is used as a mean to make people believe what are the
do’s and the don’ts of their nation (Ke 2013: 39).
This paper, part of a PhD thesis, brings in attention of the research the gender
variable, which has remained unnoticed till now. Tefik Caushi, Kadare’s most famous
critic, says that Eros is a cuddling fire in all his works and in many cases the milestone of
the whole novel’s structure (Caushi 2000: 9). Another researcher, John Cox, says that
Kadare is quite interested in issues dealing with women rights… [but] as in all Balkan
literature, women are present only through their silence (Cox 2004). Here we can bring an
interesting data about the absence of women in his novels. Tefik Caushi says that from
‘1200 characters, 77% of them are males and only 21% females and in his works we can
find representatives of all gender and sex roles such as prostitutes, whores, courtiers,
lesbians, homosexuals, hermaphrodites etc’ (Caushi 2000: 10). All these data are closer, but
do not cover entirely the focus of this paper that tries to analyze identity based on the
lingual characteristics of main characters and how do they perform their identity, in terms
of gender relations. This article aims to analyze the discursive strategies embedded by the
author and see how female characters interact with others, especially the hero and discuss
about ways they try to resist to the drama of the plot.

3. Methodology

This study is based on the idea that writers, through texts, tend to present and transmit to
their readers cultural notions related with gender. Generally speaking these notions come in
forms of stereotypes or prejudices about the role of men and women and in the majority of
novels tend to represent different characteristics for both sexes, characteristics that derive
from their gender. The feminist critical approach aims to raise the awareness on the
importance that language plays in constructing characters within the novels and how
‘language in literature is used to show that the dominant group, so men are in a much more
comfortable power position than women [and] that language reflects and contributes to the
survival of [these] stereotypes’ (Lakoff 1975: 161- 162). Concisely below are explained the
main research objectives, questions and hypothesis.
 197

Research objectives

This paper has two main objectives

1- To explore the role of discourse in constructing gender identity

2- To highlight the relation between discourse, politics and resistance in
Qorrfermani and The Winter of Great Solitude.

Research questions

1- How is created the feminist identity in these novels?

2- How do characters talk?
3- When do characters talk?

Hypothesis

The main hypothesis of this paper is that Ismail Kadare, as a writer, builds the
femininity and the female characters based on a typical masculine position, describing
them as the other of the history and the drama that the hero passes through. Female
characters tend to speak about less important topics than male characters, using simpler
words in a complex grammatical structure. This kind of reading brings or better to say finds
out lost elements within the text, completing entirely the character’s identities in the eyes of
the reader and in the image that the author creates for the female and the male, women and
men, within his literary universe.

Main theories and instruments of analysis

This paper aims to analyse the nature of discourse and its relation with power and
ideology. As one of the main focuses of Critical Discourse Analysis (CDA) is power
relations within the text, the gender variable is one of the most interesting approaches in
this field. In many ways, the feminist approach is paradigm, where a good part of the
research is focused in social inequalities and domination (Van Djik 2009: 359). According
to Michele Lazar (2005) the motivation for such an approach was that main names of CDA,
such as Fairclough (1995: 2-3) or Van Djik have not been interested in this issue Jorgensen
and Phillips (2004: 4-6), in a broader sense CDA is a social –constructivist based in the idea
that the representation of the world is half discursive, meanings are specific both culturally
and historical and knowledge is created through social action. The feminist approach in
CDA claims that this process of analysis is called demystification or denaturalization- so
that its role is to undo those gender suppositions that are nothing but ideological and
strengthen the power relation differences and inequalities (Lazar 2005: 7, Sunderland and
Litosseliti 2002: 19, 5, Talbot 1995: 151). Having in mind that CDA is a post-structuralist
approach, we should not forget that language does not operate in an isolated environment,
same as discourse that is always changing. Said this, the change in discourse in its essence
is a cultural and systematic; even in the cases when it starts by one individual, it requires
from the social community to change the way it speaks and reacts about it (Lemke 2008:
26). We have now two main operational concepts to analyse the figure of women and
femininity in Ismail Kadare’s works. She is a semiotic body and a social subject. Lemke
(2005: 71) says that body carries a meaning. Apart its biological function that is not of our
interest, the body carries out a social meaning, or better to say the individual perse. What
 198

Lemke said above is the sum of meanings that we give and use together with specifics of
speaking, opinions and actions. This semiotic body is the basis where will be built later on
the social subject and based on this we will analyse how does the author give to all female
characters features that he himself perceives as typically feminine.

4. Results

4.1. Qorrfermani

An unusual order comes out in the empire to find or to catch “the bad eye”. Referring to the
Albanian popular culture, the eye carries several positive and negative meanings: from the
most believable oaths till the most severe curses. The main characters, Maria Ura and
Xheladini are in search of a discovery, a process that is divided in the most classical and
sexist way by the author. The author builds in both characters the need to see; Xheladini
wants to see in order to catch the bad eye that is driving insane the entire empire while
Maria wants to see and capture the essence of her sexuality. Her eagerness is transmitted by
the author in these words:

“The girl listened with bright eyes, the poor words of her sister in law covered by
her shyness and good conduct, in the time when her desert thirst was looking for
more” (Kadare 1999: 54).

Maria decided to escape herself from the social anomie of the empire, by finding
comfort in her sexuality as the only mean to save her life from the terrors happening around
her and her lover. Maria dares to break the taboo of sex after marriage, acceding herself to
her fiancée and allowing him to do anything with the trembling center of her body. Despite
this, the whole scene of her sexual awareness is accompanied by a veil of fear or a
justification to legitimize what she had done in that room. Same as Virginia Woolf that was
looking for a room of her own to think and to discover her ideas, Maria wants a room to
break the chains of her virginity. In her mind, she compares her body with her underwear
that are cold and dead, inside the bride’s dowry box, waiting to revive. Not only her
underwear, but her entire body as well is eager to experience love and sex but she can only
accept this silently and uses this outer mean to signify her entire body that swarms and
longs for the furious body interchange. “There they were, in line, clear blue, frozen but she
would wear them all, one after the other, would baptize them, sanctify and fill them with
the warmness, flavor, marks, fluids and groans of love” (Kadare 1999: 57)
Another important testimony of Maria’s discovery and resistance is the mirror, in
front of which she fits on her underwear. The mirror becomes the eye where she sees her
reflection, waiting for an approval because the mirror is nothing but Xhaladin, her man.
Through the mirror she allows to herself, lightly to see a part of her sex that she describes
as such:

“… This was the entrance to her body…it should be beautiful, decorated with
almond flower laces and be welcoming… she had heard that the women’s sexes
were all different as their faces… Maria was sure her sex was beautiful and if so it
would be a sin for him not to see it.
… Looked at her undisturbed venter, the black shrub above her pubis and then, with
her legs half opened, started to observe her sex- tranquil, she said, as nothing has
happened…” (Kadare 1999: 58).
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Maria discovers her sexuality through thinking; she does not speak and even
sometimes she hesitates to give a name to what “she makes”. This hesitation is drawn clear,
not only in her lonely moments but also in the moments when she is with him: she invites
him in that game without saying anything. Her resistance is a silent resistance and private;
it is a testimony that women are incapable to influence the public sphere and they can only
be the hero of themselves.

4.2. The winter of Great Solitude

The Winter of Great Solitude is maybe the most politicized literary work of Ismail Kadare.
The novel is a parade of whole social classes; party members, journalists, proletarians, the
persecuted etc and each of this class has its own female voices that occupy just a peripheral
part of the communicative action among characters. The three main female voices are Zana,
Ana and Nurihan, representatives of three different social classes. Zana as the fiancé of
Besnik Struga, the main hero, suffers the change that the visit in Russia causes to him. The
political relation between Russia and Albania changes and so does their intimate
relationship. Zana tries to resist and protect her relationship with Besnik, whose
metamorphosis leaves her hopeless. Her resistance leads her to the arms of Mark, the boy of
a declassed family. The words of Besnik- how can she not understand his drama- utter the
social incapacity of Zana as a women to capture the meaning of his sufferance.

“Is it possible for her not to get anything? ....Fiddling…while Rome burned??...I
should have helped her to understand the size of the drama…. there, it was late for
everything, while you say “late” for nonsense, for an insult over the phone.
Ridiculous!!!” (Kadare 2002: 208).

Zana does not only betray her future husband; what is much worst is the fact that she
chooses Mark. Her resistance is both personal and social; a woman that betrays her fiancé
and the daughter of socialism that mixes up with the –ex bourgeoisie.
Same as Zana, Ana distances her life from the social drama of other characters and
her only preoccupation is her body. Conscious for her sexual appeal she dares to break
social rules by having an affair with another man, outside her marriage. In search of liberty,
she finds her salvation in her sexuality; it’s her oasis in a cold winter. The sentences below
describe her world:

“Ana stayed awhile in this etheric state of invisibility, caring not about his familiar
life, how or when they would meet. She was in complete freedom. She got up from
the bed naked and came across the mirror. All these are for you- she said- looking
attentively to her body. For you… and then… for another….” (Kadare 2002: 301).

The third relevant feminine voice for this analysis is the voice of Nurihan, the old
declassed woman that waits anxiously for the regime to fall. Alone, with her ears in the
radio, she performs her resistance by her talk with other declassed individuals that come in
her house to learn the latest news. Her language is full of subjectivities and resembles the
glory of a time now gone with the wind, while her death a symbol of austerity and
hopelessness that the situation will go for worst.
These three female voices share among them two main features. Firstly they do not
have any political relevance and by this we understand that as women the only way to
participate in the public sphere is by focusing in their private sphere that in this case is
 200

symbolized by their body or their home. Secondly, their communicative action is isolated
and does cause nothing but a personal tragedy with no effects on the lives of other male
characters round them. In a feminist perspective, this novel is sexist and full of prejudices
and stereotypes that undress women from any sociological role they could have.

5. Conclusions

Ismail Kadare proclaims that his works are a proof of individual resistance in times of wars
and dictatorial regimes. His universe is full of characters that resist becoming part of the
system, always in search of a path to escape their lives, spirits or values. This is mostly true
for male characters, while female character have a more private and personal space of
rebellion. In both novels taken for analysis, the female voices are peripheral in terms of
importance they play in the plot. They tend to speak less and when they do, they talk about
less important topics as is the case of Zana or Anna who care only for their personal drama,
leaving out of their focus what happens around. Maria decides to stay in her room, while
her lover is in a mission to save the empire. This classical division of gender roles is shown
also in their language structure, a structure full of hesitations. What is obvious for all these
female is that their utterances do not cause actions and mostly they think instead of talk.
Kadare as an author divides resistance as a process in a sexist way, designing a woman that
cannot do more from what is expected from her to do, act and suffer in private.

Corpus:

Kadare, I. 2002. Autobiografia e popullit ne vargje. Tirane: Onufri.

Kadare, I. 2002. Dimri i Vetmise se Madhe. Tirane: Onufri.
Kadare, I. 1999. Qorrfermani. Tirane: Onufri.

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Talbot, M. 1995. Fictions at Work. London & New York: Longman.
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Meyer (Eds.), Methods of critical discourse analysis (Introducing Qualitative
Methods. London: Sage, 95-120.
Wodak, R. 1997. Gender and Discourse. Londer: Sage Publication.
Wodak, R. 2001. “What CDA is about – a summary of its history, important concepts and
its developments”. In R. Wodak & M. Meyer (Eds.), Methods of critical discourse
analysis (Introducing Qualitative Methods), London: Sage, 1-13.
Wodak, R., & Meyer, M. 2009. “Critical discourse analysis: history, agenda, theory and
methodology”. In R. Wodak& M. Meyer (Eds.), Methods of critical discourse
analysis (Introducing Qualitative Methods) (2nd ed.). London: Sage, 1-33.
Wodak, R., Meyer, M. (Eds.). 2001. Methods of critical discourse analysis (Introducing
Qualitative Methods). London: Sage.
 202

L’onomastique dans Codin de Panait Istrati

Adela-Marinela Stancu
Universitatea din Craiova

Iuliana-Adelina Iliescu
Universitatea din Craiova

The analysis we propose is to go deep inside, behind the knowledge of the work; this
analysis will enable us to penetrate the world of the literary text and the writer
observed, so as to characterize the sound character, as well as the traditional
Romanian name (e.g. Codin), some surnames and nicknames (e.g. Cotoiul), and
fictitious names invented (e.g. Adrian Zograffi). “Toponyms”, with no doubt, are
much smaller in number, thery are endowed with less loaded style, except those
which are in relationship with “anthroponyms” meant to characterize the character
of those which enter into the structure of expressions, the phrase of place names
which obviously are generally designed to fix the space of action.

Keywords: anthroponym, character, literary text, onomastic, toponym.

1. Introduction. Présentation de l’œuvre Codin

L’œuvre de Panait Istrati propose deux mythes fondamentaux: le « mythe de l’amitié » née
de la « flamme du cœur qui devrait être la motivation et la finalité du monde et le mythe de
la défaite, de l’échec non-dramatisé, les vaincus se supposant à la fatalité avec une
résignation assumée en avant. Les personnages d’Istrati sont les chercheurs d’une utopie
dioscurique, soit à travers les solitudes purifiantes de Levant, soit dans les rues de la Ville-
Lumière, parcourant le chemin d’une initiation virile » (Melinescu 1974 : 12).
3DQDLW,VWUDWLHVWQpHQGDQVOHTXDUWLHUGH%UăLOD&RPRURIFDIDXERXUJGHYHQX
célèbre en même temps avec les terribles actes de bandits de Codin, mais aussi après ce que
l’écrivain ait laissé à notre mémoire la nouvelle Codin. Les études inachevées, Istrati
commence à vivre, à partir de 1898, une vie tant difficile, autant aventureuse, en travaillant
SDU OHV GRFNV GH %UăLOD FKH] GH GLYHUV PDvWUHV FRPPH RXYULHU HQ YR\DJHDQW HQVXLWH SDU
toute l’Europe, publiant avec du succès chez les revues et les éditions françaises. Auteur
des écritures avec des personnages picaresques et qui se trouvent à la périphérie de la
société, lui-même, il a expérimenté la vie de faubourg, la solitude, la souffrance, la prison et
la tentative de suicide. La plupart de son œuvre, il l’a publiée en français, peut-être c’est
SRXUTXRL*HRUJH&ăOLQHVFXQHOXLDFFRUGHDXFXQHOLJQHGDQVVRQHistoire de la littérature.
Il a fallu passer assez de temps jusqu’à ce qu’il fût reconnu dans notre littérature.
La nouvelle Codin est inspirée de la réalité. Le personnage qu’Istrati a connu
s’appelait Codin. Il est entré dans le circuit des légendes et des histoires de quartier grâce à
O¶°XYUH GH 3DQDLW ,VWUDWL &RGLQ D YpFX GDQV &RPRURIFD OH IDXERXUJ GH %UăLOD DYDQW OD
première guerre mondiale. Il était une personne qui aimait les scandales, environ trente ans,
 203

habillée en vêtements de fête, luxueux. D’une taille athlétique, il s’appuyait de son coude et
souriait aimablement. « Il avait une moustache noire et retroussée, les cheveux sales et
graisseux et peignés grossièrement » - ainsi Panait Istrati décrit Codin, dans l’œuvre avec le
même nom. La description est réalisée après la première rencontre de l’auteur avec le
personnage Codin. « Bagarreur » de Comorofca, Istrati a connu le brigand dans le quartier
des « bagarreurs » de Braila, à l’âge de douze ans. Codin était une légende dès alors : « il
était sorti de la prison, il jetait l’épouvante dans les cœurs du faubourg, il cherchait la
querelle chez les uns et les autres et il attaquait les personnes avec le couteau ». Le brigand
était parti de la maison, d’un petit village situé sur le bord de Ghecet, à l’âge de treize ans.
Dans la vision d’Istrati, Codin était le géant du port, « par sa taille de deux mètres, par sa
capacité de travail, par sa résistance aux scandales, par ses années de prison. Que dit,
aujourd’hui, le monde ? Je sais qu’il boit dans la taverne d’Anghelina, qui existe
aujourd’hui encore. Il était un individu de très haute taille, on disait qu’il était le plus haut
GH%UăLOD », nous a déclaré Marian Voica, un habitant de Comorofca de nos jours.

2. L’anthroponymie dans l’œuvre Codin

L’onomastique littéraire a à la base une recherche interdisciplinaire qui réunit

la linguistique et la littérature. Dans les œuvres, les anthroponymes achèvent le portrait du
personnage par la suggestion apportée, d’habitude, par l’appellatif qui se trouve à la base du
nom, par les références caractéristiques. Panait Istrati a créé des personnages vifs,
représentatifs pour la société de son temps, chacun ayant son identité bien contournée, ses
traits spécifiques, sa manière d’être, de penser et de s’exprimer. On peut facilement
observer la préférence de l’auteur pour les noms grecs, mais il y a aussi dans son œuvre des
noms d’origine turque ou latine.
L’étude des relations qui existent entre les anthroponymes et les toponymes est
nécessaire parce qu’elle conduit à établir l’origine des noms, et, en plus, certaines théories
peuvent être complétées ou annulées. Par exemple, l’affirmation qui soutient la réciprocité
des relations entre les anthroponymes et les toponymes n’est pas vérifiée dans tous les cas.
Dans notre étude, nous analyserons les anthroponymes de l’œuvre Codin.
Adrian Zograffi – le prénom Adrian reproduit le nom personnel latin Hadrianus, à
l’origine un cognomen avec la signification « de Hadria », dérivé du nom de lieu Hadria.
L’origine du nom Hadria reste incertaine, bien que les essais de l’expliquer sont multiples
(quelques spécialistes le considèrent d’origine étrusque, les autres, étant donné sa
ressemblance avec un nom de Balcani, proposent un étymon illyrien). Devenu nom
indépendant et porté par quelques martyres des premiers siècles de notre ère, l’ancien nom
romain pénètre dans l’onomastique chrétienne et, par l’intermédiaire de celle-ci, se répand
en Europe, étant donc plus vieux que la plupart des noms d’origine latine repris par voie
culte dans le siècle passé. Repris du latin par les grecs, le nom arrive chez les peuples slaves
et d’ici, chez les roumains (Ionescu 1975 : 25-26). L’anthroponyme Zograffi < gr. Zografos
(Iordan 1983 : 500), « peintre en bâtiment. »
Alexe, l’ami de Codin : « délicat, rusé et rapide comme un écureuil, beaucoup plus
jeune que son ami, d’une beauté fade, manquant de virilité, il se tenait inerte et cataleptique,
tout le temps il chantait, appuyé de l’épaule de Codin » (Istrati 2009 : 114). Les temps
anciens, les Grecs utilisaient les noms personnels Alexas, Alexias, Alexis, Alexios etc.
Couramment, ces noms sont considérés comme dérivés directs du verbe ĮȜȑȟȦ« défendre,
protéger», forme d’origine indo-européenne. Mais, toutes les formes grecques avec la
terminaison –as sont des hypocoristiques, on peut les considérer comme partant du prénom
$OH[DQGURV ǹȜȑȟĮȞįȡȠȢ. Par intermédiaire slave, le prénom entre dans l’anthroponymie
 204

roumaine, ayant dans une certaine période une grande popularité (Ionescu 1975 : 33-34).
Anastasia reproduit les noms personnels grecs Anastásios, Anastasía ou Anastasíe,
fréquemment utilisés pendant les premiers siècles de notre ère. Ces noms sont créés sur la
base d’un terme ecclésiastique anástasis « renouveau de la mort », qui a été consacré dans
l’église avec le sens de l’« Ascension du Jésus Christ». Le nom grec a à l’origine le verbe
anasta – anistánai « se lever, se hausser » et il est formé de aná- « dessus » et *-sta-,
radical indo-européen, représenté presque dans toutes les langues de cette famille. Il est vite
devenu un nom fréquent et répandu. Par intermédiaire slave, ces noms pénètrent aussi dans
l’onomastique roumaine vers la fin du XIVe siècle (ibidem : 37-38).
Anghelina est un dérivé du latin Angelus, ayant à la base le nom angelus « ange »
que les Romains ont emprunté des Grecs. Dans la littérature grecque préchrétienne, ángelos
(mot d’origine orientale) avec la signification « sol, messager » apparaît en liaison avec de
différentes divinités de l’Enfer, étant aussi considéré comme protecteur des morts. Dans le
Vieux Testament, le grec angelos traduit l’hébraïque mal’akh « messager », acquérant ainsi
dans la période chrétienne le sens spécial de «messager de Dieux» (ibidem : 40-41).
Le nom a une connotation positive, mais dans l’œuvre d’Istrati le personnage
représente une veuve qui a une taverne qui a été fermée par la police et, ainsi, son nom
reçoit des connotations négatives.
Codin est un hypocoristique de Constantin, un prénom actuel fréquent, qui reproduit
le cognomen latin Constantinus, dérivé avec le suffixe -inus de Constantius formé à partir
de l’adjectif constans, constantis « constant, ferme ». La forme grecque Konstantinos
pénètre par intermédiaire slave dans l’onomastique roumaine et il est attesté vers la fin du
XIVe siècle. À partir de ce nom, plusieurs hypocoristiques se sont formés des thèmes
obtenus par une fausse analyse (Costa, première partie du nom et -din-, la partie finale du
nom). (Ionescu, 1975 : 89-90). Iorgu Iordan et Alexandru Graur le considère comme étant
un hypocoristique de Constantin (> Dinu) (Iordan, 1983 : 139), (Graur 1965 : 67).
Cotoiul est le surnom d’un garçon « toujours amoureux, le vagabond nocturne et très
drôle ». Il était celui qui faisait des sérénades à Irina, l’amante de Codin.
Dumitru provient du grec ǻȘȝȒIJȡȚȠȢ, ayant à l’origine une forme adjectivale, qui
garde aujourd’hui encore le souvenir du nom de la déesse Demeter qui était une vieille
divinité de la végétation et de la fertilité de la terre. Dès l’Antiquité, le nom Demeter était
traduit par «terre-mère». Entré dans l’onomastique slave, le nom devient très populaire chez
tous les peuples slaves. Dans notre anthroponymie, le nom entre par intermédiaire slavon,
la première attestation dans les documents des Pays Roumains étant Dimitru en 1387,
Dumitru en 1429, Dimitrie en 1437 (Ionescu 1975 : 114-115).
Irina, prénom féminin fréquent aujourd’hui, reproduit l’ancien gr. ǼȚȡȒȞȘ (Eiréné)
«paix». (Constantinescu 1963 : 87, Ionescu 1975 : 179). Dans l’œuvre de Panait Istrati,
Irina est le nom donné à une fille très belle, habillée comme pour le jour de dimanche, mais
avec les yeux pleurants et le regard méchant, soupçonnant, l’amante de Codin.
Stavru apparaît lui aussi même du début du roman comme un personnage
mystérieux et admiré par le jeune Adrian. Stavru n’était pas un analphabète. Défier était sa
technique de séduction. Adrian, innocent et admiratif, était la victime. Stavru est un
homosexuel qui a le but et le désir de s’approcher davantage de son ami jeune. Ce que met
en garde Adrian, qui se propose de «l’observer» annonce, en fait, le futur conflit. On ne
sait, et ni Adrian n’en sait. Le personnage se considère malade et exclus injustement de la
société. Le nom du personnage a liaison avec sa mentalité, avec son psychique. Stavru du
grec Stavros « croix » (cf. Graur 1965 : 49, cf. aussi le bulgare Stavro) avec le suffixe -escu
(Iordan 1983 : 424). Stavru est celui qui porte sa croix; bien que homosexuel, il épouse une
jeune fille sensible, amoureuse platoniquement de lui. L’écrivain est plutôt intéressé par la
réflexion de la déshumanisation dans l’âme du personnage, dans sa conscience, sur le fond
 205

de son orientation sexuelle, ce qui confère à l’œuvre de Panait Istrati de l’individualité et de

l’unicité tant sous rapport thématique, que sous rapport analytique et stylistique.
7ăQDVH est un hypocoristique d’Atanasie avec le suffixe -iu. L’anthroponyme a une
origine grecque DZșĮȞȐıȚȠȢ < ȐșĮȞĮıȓĮ « renom, immortalité », le mot pénétrant par la
filière greco-slave (Constantinescu 1963 : 17).
Les toponymes, indiscutablement beaucoup plus réduits numériquement (le
faubourg Comorofca, la rue Carantinei, la rue *ULYLĠD, le bord Ghecetului), sont moins
stylistiques; à l’exception de ceux qui se trouvent en relation avec les anthroponymes pour
caractériser le personnage ou de ceux qui entrent dans la structure des expressions, des
phraséologismes, les noms topiques ont, en général, le rôle de fixer le cadre spatial de
l’action. Bien que beaucoup de noms de lieux utilisés par les écrivains sont, par la précision
de l’information offerte, de vraies « étiquettes manquant de contenu sémantique »
(Câmpeanu, 1975 : 139), répondant le plus souvent à la fonction évocatrice, ils acquièrent,
dans telles situations, un certain sens stylistique grâce au contexte.
Les relations d’interdépendance entre l’anthroponymie et la toponymie n’excluent
pas la possibilité d’établir une corrélation entre les anthroponymes, les toponymes et les
autres catégories de noms propres. L’idée que les anthroponymes constituent une sous-
FODVVH RQRPDVWLTXH GLVWLQFWH VRXWHQXH SDUPL OHV DXWUHV SDU 'RPQLĠD ,FKLP-Tomescu
(Ichim-Tomescu 1984 : 203), est justifiée par les particularités onomastiques et
grammaticales des noms qui font partie de cette catégorie.

3. Conclusions

Le problème des noms propres du texte littéraire étudié se révèle être une investigation des
points de vue multiples. L’analyse des noms littéraires est une de nature étymologique,
esthétique, le nom propre fonctionnant comme sélecteur de l’ethnie, de l’origine sociale, de
l’âge etc. Le nom propre a une fonction narrative dans le texte, si l’on a en vue que
l’apparition du nom est simultanée avec la réalisation d’un texte narratif. L’auteur a donné
des noms qui, par leur contenu notionnel ou par leur sonorité, ressemblent au personnage et
le caractérisent.

Bibliographie:

Câmpeanu, Eugen, 1975, Substantivul. Studiu stilistic %XFXUHúWL (G ùWLLQĠLILFă úL
EncicloSHGLFă
Constantinescu, N. A., 1963, 'LFĠLRQDURQRPDVWLFURPkQHVF%XFXUHúWL(GLWXUD$FDGHPLHL
Graur, Al., 1965, Nume de persoane%XFXUHúWL(GLWXUDùWLLQĠLILFă
Ichim-Tomescu, 'RPQLĠD ©$VWURQLPHOH VXEFODVă RQRPDVWLFăª vQ 6WXGLL úL FHUFHWăUL GH
lingvLVWLFă 1984, 3, 203-211.
Ionescu, Christian, 1975, 0LFă HQFLFORSHGLH RQRPDVWLFă%XFXUHúWL (GLWXUD HQFLFORSHGLFă
URPkQă
Iorgu, Iordan, 1983, 'LFĠLRQDU DO QXPHORU GH IDPLOLH URPkQHúWL %XFXUHúWL (GLWXUD
ùWLLQĠLILFăúL(QFLFORSHGLFă
Istrati, Panait, 2009, 1HUDQĠXOD&RGLQ%XFXUHúWL(GLWXUD(UF3UHVV
Marincovici, Magda, 1991, „FlaFăUD LQLPLL – Panait Istrati”, îQ 5HDOLWDWHD URPkQHDVFă
2/323 : 2.
Melinescu, Gabriela, 1974, „Panait Istrati – mitul prieteniei”, în 5RPkQLDOLWHUDUă, 7/44: 12-13.
 206

'RXă WLSXULGHDJHQĠLGHSROLĠLHvQURPDQXO
5RGLFăL2MRJ-%UDúRYHDQX–studiu comparativ

Dorina Nela Trifu

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The present comparative study entitled “Two types of police officers in the novels of
Rodica Ojog-%UDúRYHDQX - a comparative study” aims to present a typology of
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novels. (The list of these novels is found in the bibliography.) These characters hold
the position of police officers in the narrative schema. The study focuses on their
character traits and the role these characters play in the history of the investigation.
Two types of police officers, namely Minerva Tutovan and Basil Dobrescu are to be
highlighted. These characters stand for intelligence, the first, and stupidity, the
second. Both are focusing characters. This research will be interesting insofar as it
examines the investigator, the functions of the agent characters and their ability to
investigate.

Keywords: character, police officer, stupidity, typology, wisdom.

1. Introducere

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 207

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umanitate.

2.2. Vasile Dobrescu

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„– […] Închide gura, Dobrescule!” (ibidem: 110).

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la bacalaureat?!” (ibidem: 39).

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4. Concluzii

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DJHQWXODELOFDUHvQURPDQHGH]OHDJăRULFH mister, prezentând lectorului criminalul, mobilul
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 212

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evenimentului tragic, prin replici comice, argotice.
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Surse:

Ojog-%UDúRYHDQX5RGLFD2007, 6SLRQDMODPăQăVWLUH, Editura Nemira.

Ojog-%UDúRYHDQX Rodica, 2014, 2PXOGHODFDSăWXOILUXOXL, Editura Nemira.
Ojog-%UDúRYHDQX5RGLFD2001, Minerva se GH]OăQĠXLH, Editura Scriptum.
Ojog-%UDúRYHDQX5RGLFD 2007, Plan diabolic(GLWXUD8QLYHUVLWDUă
Ojog-%UDúRYHDQX5RGLFD1982, 1RSĠLDlbe pentru Minerva(GLWXUD0LOLWDUă
Ojog-%UDúRYHDQX5RGLFD2004, Violeta din safe, Editura Kullusys.

5HIHULQĠH

Apolzan, Mioara 1979, &DVDILFĠLXQLL, Cluj-Napoca, Editura Dacia.

%DORWă1LFRODHRomanul românesc în secolul XX, Editura Viitorul românesc.
&RUQHD3DXO,QWURGXFHUHvQ7(25,$/(&785,,,DúL3ROLURP
Eco, Umberto 1991, /HFWRU LQ IDEXOD &RRSHUDUHD LQWHUSUHWDWLYă vQ WH[WHOH QDUDWLYH
%XFXUHúWL(GLWXUD8QLYHUV-168, 238-246
Goethe, Johann Wolfgang, 1957, 'HVSUHOLWHUDWXUăúL DUWă(GLWXUDGHVWDWSHQWUXOLWHUDWXUă
úLDUWă
Gyurcsik, Margareta 1991, A povesti, a reflecta, 7LPLúRDUD(GLWXUD)DFOD
,EUăLOHDQX*DUDEHWStudii literare, Editura Tineretului.
Henryk Markiewicz, &RQFHSWHOHúWLLQĠHLOLWHUDWXULL%XFXUHúWL, Editura Univers..
0XúDW&DUPHQ3HUVSHFWLYHDVXSUDURPDQXOXLURPkQHVFSRVWPRGHUQúLDOWH ILFĠLXQL
teoretice, Ed. Paralela 45.
̅̅̅32(7,&$ 520$18/8, 520Æ1(6& $QWRORJLH QRWH úL UHSHUH ELEOLRJUDILFH GH
0LUFHD5HJQHDOă1987, %XFXUHúWL(GLWXUD(PLQHVFX
Popovici, Vasile, 1988, Eu, personajul(GLWXUD&DUWHD5RPkQHDVFă
̅̅̅ROMANUL ROMÂNESC CONTEMPORAN, Studiu introductiv, note, culegerea
textelor de Ion Vlad %XFXUHúWL(GLWXUD(PLQHVFX
Simenon, Georges 2005, Cine a ucis-o pe Cécile?, Polirom.
Vartic, Mariana 1983, $QWRQ+ROEDQúLSHUVRQDMXOFDDFWRU, %XFXUHúWL(GLWXUD(PLQHVFX
pag.168-199.
Vianu, Tudor 1968, Estetica%XFXUHúWL(GLWXUDSHQWUX/LWHUDWXUă
 213

Modele retorice romane în opera lui Dimitrie Cantemir

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&ROHJLXO1DĠLRQDO Ä=LQFD*ROHVFX´3LWHúWL$UJHú

In Dimitrie Cantemir’s works, there are reflected his ideas regarding the art of
rhetoric abouth which the author himself said that it was “the sweet manner of
speaking and writing beautifully”. The Moldavian rhetorician was our first writer
who had clear notions on rhetoric, due to his elevated education received from the
Greek scholar, Ieremia Cacavelas. The preoccupation for rhetoric represents the
Moldavian thinker’s wish to enrich and embellish his literary style, turning his work
into an aesthetic study of rhetoric. A beautiful rhetoric style and Christian eloquence
are scattered in his writings. In developing Cantemir works, the author used some
ideas and principles from the works of some ancient rhetoricians: Cicero (106 – 43
b.c.e.) and Quintilian (35 – 96 c.e.). These principles of ancient writers appear
especially in the works: 'LYDQXO VDX JkOFHDYD vQĠHOHSWXOXL FX OXPHD VDX JLXGHĠXO
sufletului cu trupul [The Assembly or the wise man’s quarrel to the world or the
judgement of the soul with the body], ,VWRULDLHURJOLILFă>The Hieroglyphic History@úL
Hronicul vechimei a româno-moldo-vlahilor [The Chronicle of Ancient Times of the
Romanian-Moldavian-Wallachian].

Keywords: ancient, Cantemir, rhetoric, style, work.

1. ,]YRDUHGHLQVSLUDĠLHvQRSHUDOXL'&DQWHPLU

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DQWLFL&LFHURúL4XLQWLOLDQ3ULQFLSLLOHVFULLWRULORUDQWLFLVHUHJăVHVFvQXUPăWRDUHOHOXFUăUL
cantemiriene: DivaQXOVDXJkOFHDYDvQĠHOHSWXOXLFXOXPHDVDXJLXGHĠXOVXIOHWXOXLFXWUXSXO,
,VWRULDLHURJOLILFăúLHronicul vechimii a romano-moldo-vlahilor.
Divanul HVWH ÄR FDUWH SURIDQă GH HGXFDĠLH ILLQG vPEXQăWăĠLWă FX WULPLWHUL OD WH[WH
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HFKLYDOHQWH vQ OLWHUDWXUD URPkQHDVFă´ %ăGăUăX   ÌQ DFHDVWă RSHUă QH VXQW
prezentate disputele medievale dialogate între suflet úLtrup, între om úLlume, între QDWXUă úL
FRQúWLLQĠă, dispute vQWkOQLWH úL vQ OXFUăULOH ILORVRILORU DQWLFL 6HQHFD &LFHUR 3OXWDUFKXV
(SLFWHW7KDOHVGLQ0LOHW0ăFLXFă
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scripturistici”, într-un dialog folosind mijloace retorice din De amicitia a lui Cicero.
Perpessicius considera Divanul FDILLQGÄXQSDVDMSULQH[FHOHQĠăRUDWRULF´&DQWHPLU-
ILLQGFRQVWUXLWGXSăÄPRGHOXOGLDORJXULORUSODWRQLFLHQH´úLFDUHÄYăGHúWHWDOHQWXO
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PHúWHúXJvPSRGRELWă´3LUX
 214

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FXYkQWXOXLvQGUHSWDULXDYRURYLLIUXPRDVăQHSRWULYLWăSLOGăúLPDLDWXWXURUúWLLQĠHORU
domn, în toate RUDĠLLOHVFULVHúL]LVHYHULOăXGăWRDUHDUILIRVWYHULKXOLWRDUHúLvQWU-
DOWHPDLIăUăQXPăUHSLVWROLLúLVFULVRULFXWRDWăDPLQĠLi isteciune, pe carea firea i-o
GHGHDVH úL PHúWHúXJXO FX PXOWXO vQDLQWH L-R DVFXĠLVă SUHFXP SXĠLQ Vă ILH RVWHQLW
SXĠLQVăILHDVXGDWVHYHGH«PLQWHDPXOWvúL]EăWXVăúLvQFăVXGRULGHVkQJHVăILH
YăUVDWVLQJXUVăYăGHDúWH´&DQWHPLU;;,úL/,9

ÌQDFHDVWăRSHUă&DQWHPLUIRORVHúWHHOHPHQWHYDULDWHFDUDFWHULVWLFHVWLOXOXLUHWRULF'H
asemenea, în predoslovia Hronicului, Cantemir aduce un elogiu retoricii lui Cicero,
exprimându-úLvQDFHVWIHORSLQLDIDĠăGHFRQFHSWHOHUHWRULFHDOHHSRFLL

„De OXFUXDFHVWDGDUăYUkQGVăVHDSXFH&DQWHPLUWRDWHFRDUGHOHPLQĠLLvúLvQWLQGH

QLFLXQLLLVWHQHOLOHFUXĠăQLFLDVXGRULORUSXKRDLHVLPWHúLFDFXPDVXSUDULWRULFăLV-
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FKHOWXLWRUvLULVLSăvLD]UOHúWHúLQLFLVăRGLKQHDúWHSkQăFkQGIXQGDPHQWDODIOăSXQH
úLvQWăUHúWH´&DQWHPLU

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2. Arta retoricii la Dimitrie Cantemir

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greco-ODWLQH+RPHU&LFHUR4XLQWLOLDQHWFGDUúLGLQVFULHULOHRULHQWDOLORUDUDELSHUVDQLúL
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acumulate în capitala Imperiului Otoman, se vor reflecta mai târziu în opera sa.
&DQWHPLU VH EXFXUă GH R ÄHGXFDĠLH VLVWHPLFă DWkW GH WHPHLQLFă vQFkW a încercat o
UHGDFWDUH LQWHJUDOă D XQHL RSHUH URPkQHúWL SRWULYLW UHJXOLORU FODVLFH´ &DQWHPLU  ÌQ
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vQIUXPXVHĠH]H VWLOXO OLWHUDU DVWIHO vQFkW FDSRGRSHUHOH OXL GHYLQ XQ ÄVWXdiu maxim de
estetizare a retoricii” (ibidem: 360). În capodoperele cantemiriene bate un ceas unic al
VSLULWXDOLWăĠLLURPkQHúWLvQFDUHVHvQWkOQHVFPDULOHFHWăĠLDOHFXOWXULLXQLYHUVDOHúLÄGDWRULWă
contactului direct pe care l-a avut cu operele marilor UHWRULúLSUHGLFDWRULFUHúWLQLvQOHVQLWGH
FXQRDúWHUHD OLPELORU FODVLFH 'LPLWULH &DQWHPLU LQVSLUkQGX-VH GLQ DFHVWHD D SUHVăUDW vQ
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ERJDĠLFDUHÄQLFLQXFDXWăPDWHULDúLIRUPDILORVRIDVFăQLFLFXQRVFGHRVHELUHDúLDOFăWXLUHD
loghicHDVFăQLFLvQUHWRULFă WURSXOvQGHVWXOăULLDXDVFXOWDWQLFLvQJUDPDWLFăJUDLXOIăUăFKLS
úLFXYkQWXODJLXQJHDXvQYăĠDW´&DQWHPLU
'RULQĠD JkQGLWRUXOXL PROGRYHDQ HUD GH D-úL VXSXQH VFULVXO XQRU FDQRDQH
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vQFkW&DQWHPLUDUHXúLWVăOHIăXUHDVFăÄIRORVLQGVWLOXOOLPELLFăUWX-rarilor vremii pe care se
Fă]QHD Vă R vQFKLGă vQ WLSDUHOH XQHL H[SULPăUL VRILVWLFDWH GXSă PRGHOHOH UHWRULFLL JUHFR-
 217

latine, pentru a da RFkWPDLGHSOLQăH[SUHVLHFRPXQLFăULL´9DLGD-104).

ÌQ SULPD ELRJUDILH GLQ FXOWXUD URPkQă Vita Constantini Cantemyrii (9LDĠD OXL
Constantin Cantemir vQWkOQLP IRDUWH PXOWH FXYkQWăUL XQHOH SUH]HQWDWH PDL SH VFXUW LDU
altele detaliat:

„Cuvântul lui CRQVWDQWLQ &DQWHPLU FăWUH Făpitanul Burlă FDUH vúL vQVXúLVH FHL RSW
FDL vQFmUFDĠL FX DXUXO OXL *ULJRULH *KLFD 9RGă; Cuvântul marelui vizir, prin care-i
DGXFH OD FXQRúWLQĠă isprava OXL &RQVWDQWLQ &DQWHPLU vQ OHJăWXUă FX DSărarea casei
sultanului (haremul) de armata polonă; 'LDORJXOGLQWUH*KHRUJKH'XFDúL'LPLWULH
Cantemir vQ OHJăWXUă cu viitorul ginere al lui Duca; 'LIHULWH GHFODUDĠLL DOH
YRLHYRGXOXL'XPLWUDúFX&DQWDFX]LQR úLUăspunsurile primite; Cuvântarea tâlharului
Burlă Fătre domn úL UHSOLFD SULPLWă; DLDORJXULOH GLQWUH YRGă úL IDFĠLXQHD
&RVWLQHúWLORU; Discursul lui Constantin Cantemir rostit înainte de moartea sa, pe
când era bolnav de paralizie în iatacul său etc.” (Cantemir 1973: XVI-XVII17, 31,
41, 59, 63, 97, 99, 215-235).

Ultimul discurs este conceput chiar de cronicarul moldovean, cu scopul de a

SUH]HQWD R LPDJLQH LGLOLFă D GRPQLWRUXOXL &RQVWDQWLQ &DQWHPLU SUHFXP úL WHVWDPHQWXO
SROLWLF OăVDW GH DFHVWD SULQ FDUH KRWăUkVH FD SH VFDXQXO 0ROGRYHL Vă XUFH QLPHQL DOWXO
decât Principele Dimitrie Cantemir.
8Q DOW GLVFXUV HVWH úL Panegiricul lui Petru cel Mare 1 (Panegyricum juvenis
principis Russiae et Moldaviae sept. aetatis imperatori Petri, anno 1714). Acesta a fost
URVWLW vQ FLQVWHD ğDUXOXL 3HWUX FHO 0DUH DO 5XVLHL vQ YUHPHD FăUXLD SURWRFROXO úL HWLFKHWD
FXUĠLLGRPQHúWLLPSXQHDXDVWIHOGHVFXUWHFXYkQWăULURVWLWHvQOLPELOHJUHDFăODWLQăúLUXVă
7LSăULW vQ DQXO  OD 0RVFRYD HVWH GH IDSW R RGă vQFKLQDWă OXL 3HWUX FHO 0DUH FDUH
XOWHULRUDIRVWSXEOLFDWvQODWLQHúWHúLUXVHúWHDYkQGWLtlul: ÌQFKLQDUHvQIRUPăGHSDQHJLULF
OXL 3HWUX ÌQWkL« vPSăUDW GRPQ úL SURWHFWRU DO VăX URVWLW úL RIHULW GH VROGDWXO GLQ
regimentul 3UHREUDMHQVNLILXOGHSULQFLSHDO,PSHULXOXL5XVHVFúLDO0ROGRYHLUREVXSXV
ùHUEDQ&DQWHPLUDQXOGHODQDúWHUHD'RPQXOXLPDUWLHvQDQXODOúDSWHOHDDOYLHĠLL
VDOHURVWLWvQOLPEDHOLQHDVFă
ÌQDQXO'LPLWULH&DQWHPLUIDFHRYL]LWăvQFDSLWDOD5XVLHLvQVRĠLWGHFHLGRLILL
úL GH XQD GLQWUH ILLFH úL FX DFHDVWă RFD]LH vO SXQH SH ILXO VăX ùHUEDQ vQ YkUVWă de doar
úDSWHDQLÄVăURVWHDVFăRFXYkQWDUHvQJUHFHúWHSHQWUXODXGDOXL3HWUXFHO0DUH´3DQDLWHVFX
VFULVăVHSDUHGH'LPLWULH&DQWHPLUÌQPanegiric întâlnim pasaje din Psaltire
úL BiblieODFDUHDXWRUXODWDúHD]ăúLSURSULLOHH[SOLFDĠLL GDUúLRVHULHGHODXGHDGXVHĠDUXOXL
&DQWHPLU VSHUD Vă REĠLQă VSULMLQ GH OD DFHVWD SHQWUX UHGREkQGLUHD 6FDXQXOXL
0ROGRYHLúLHOLEHUDUHDĠăULLVDOHGHVXEGRPLQDĠLD,PSHULXOXL2WRPDQÄ'HúLURELĠLGHPDL
SXĠLQL DQL – scrie Cantemir – VRFRWLP Fă D VRVLW Wermenul predestinat pentru libertatea
QRDVWUă´ &HO PDL LPSRUWDQW SDVDM HVWH DFHOD FkQG DXWRUXO DILUPă Fă SUHFXP +ULVWRV D
PkQWXLW RPHQLUHD vQ WLPSXO vPSăUDWXOXL &ODXGLX ÄDúD úL VXE WLQH 3HWUH vPSăUDWH PDUHD
ELVHULFăDOXL'XPQH]HXYDUHFăSăWDYHFKHDHLOLEHUWDWH3UHFXPXUPDúLLOXL$GDPDXWUăLW
YHDFXULOXQJLvQURELHúLWRWXúLQLFLRGDWăQ-DXSLHUGXWQăGHMGHDGH]URELULLDúDúLQRLILLLFHL
QRLDLOXL$GDPGHúLURELĠLGHPDLSXĠLQLDQLVRFRWLPFăDVRVLWWHUPHQXOSUHGHVWLQDWSHQWUX
OLEHUDUHDQRDVWUă”.
Petru cel Mare s-DEXFXUDWDVFXOWkQGDFHDVWăFXYkQWDUHGkQGSRUXQFăVă ILHWLSăULW
LPHGLDWVSUHGHRVHELUHGHFHOHODOWHRSHUHVFULVHGH&DQWHPLUFDUHYăGOXPLQDWLSDUXOXLDELD

1 3DQHJLULFXOHVWHXQFXYkQWGHODXGăRGăSULQFDUHJUHFLLúLURPDQLLSUHDPăUHDX PHULWHOHYLDĠDúL

YLUWXĠLOHRPHQHúWL
 218

la începutul secolului al XVIII-lea. ,,Textul latin, destul de bine ritmat, HVWHRFRPSR]LĠLHvQ

JXVWXO LH]XLW DO YUHPLL R VFULHUH SROLWLFă VXE KDLQD UHOLJLRDVă FHUXWă GH vPSUHMXUăUL
ocazionale” (Panaitescu 1958: 192).
$VWIHOGHGLVFXUVXULvQWkOQLPvQOLWHUDWXUDURPkQăúLODFURQLFDUXOPROGRYHDQ0LURQ
&RVWLQ FDUH DGUHVHD]ă R FXYkQWDUH GRPQLWRUXOXL 9DVLOH /XSX 'XSă PRDUWHD ORJRIăWXOXL
&RVWLQ ùFRDOD GRPQHDVFă GLQ ,DúL SURSXQHD XQ PDQXDO GH UHWRULFă vQ FDUH JăVLP úL
GLVFXUVXULOHFURQLFDUXOXLFDPăUWXULLSHQWUXDUWDUHWRULFLL

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HUD DFRSHULWă GH UD]HOH VDOH FD GH XQ SăU GH DXU HO GăGHD JODV GH UHFXQRúWLQĠă FH
UăVXQDFDGLQWU-un instrument muzical.
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UXúLQăP QXSXĠLQGHDFHDVWDWXLHGDFăODvQWkPSLQDUHDSUHDOXPLQăĠLHL-tale, domnul
QRVWUX SUHD PLORVWLY QX DP DUăWD EXFXULH GLQ LQLPă DWXQFL FkQG vQ FDVD
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vQYHVHOHúWLSULQSUH]HQĠDWDGHGRPQ«$úDGDUH[SULPăPăQWU-atâta bucurie zilei de
azi, precât este datoria omeniei; vorbim ceea ce este GDWLQDHORFYHQĠHL, dorim ceea ce
XUăP´ 1 (M. Costin: 329-330).

Prin WHPDWLFăGLVFXUVXULOHFURQLFDUXOXLVHvQFDGUHD]ăvQWUDGLĠLDGH]YROWDWăGHğăULOH
5RPkQHDSUDFWLFăULLRUDĠLLORUURVWLWHGRPQLWRUXOXLFXRFD]LDVăUEăWRULORUUHOLJLRDVH$MXQXO
&UăFLXQXOXL$QXO1RXVDXODQXQĠL (Simionescu 1940: 22-59).

3. )UXPXVHĠLVWLOLVWLFHFDQWHPLULHQHFXOHVHGLQOLWHUDWXULOHJUHDFăúLODWLQă

În opera lui Dimitrie Cantemir întâlnim foarte multe figuri de stil din litera-WXULOHJUHDFăúL
ODWLQăFXFDUHDXWRUXOvPSRGREHúWHFRQĠLQXWXORSHUHLVDOH9RPSUH]HQWDúLQRLFkWHYDGLQWUH
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vQIUXPXVHĠDúLDSXQHvQOXPLQăSUHRFXSăULOHVDOHGHUHWRULFăGLQDFHDHSRFă
Alegoria HVWHvQWkOQLWăvQ&KHLDIstoriei ieroglificeDWXQFLFkQG&DQWHPLUSUH]LQWăîn
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YkUIXULOHúLXQGHQHVXQWYkUIXULOHDFRORUăGăFLQLOHVăOHPXWăm” (Cantemir, vol. IV: 152).
Antiteza vQRSHUDOXL&DQWHPLUDUHUROXOGHDUHDOL]DH[SUHVLDDULVWRWHOLFăDWH[WXOXL
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1 &HOHWUHLGLVFXUVXULDOHOXL0LURQ&RVWLQVHDIOăvQFRSLe în ms. latin nr. 73 al Academiei Române

(f. 203-SăVWUDWHvQYHUVLXQHSRORQă
 219

H[SOLFLWFXEHOúXJGHFXYLQWHOăPXULWúLvQLGHLúLvQYRUEHúLFDUHIDFvQFXvântare un fel de
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Printre figurile de stil întâlnite în Hronicul vechimii a romano-moldo-vlahilor se
QXPăUă antiteza úL FRPSDUDĠLD FD GH H[HPSOX Ä'HFLLD YRU PăUWXULVL SUHFXP poporul
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Elegia HVWH SUH]HQWă vQ ,VWRULD LHURJOLILFă, atunci când autorul fRORVHúWH WkQJXLUHD
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priatinii l-DXOăVDWvQOăQĠXMHO-DXOHJDWWRDWăgreu-tatea nepriatenului în opreala Inorogului
i-DXVWăWXWLDUGHDFXPvQFHULXVă]ERDUăQ-DUVFăSDRPLHGHFDSHWHGHDUDYHDLDUEDQ-o
mai mânca. 8QXO/XSXFLúLDFHODGHSăUWDWQ-are cum îi folosi! Nu-l poate agiutori? De nu
DOWDvQFDULOHVă-l tkQJXLDVFăÌQFDULOHVă-OMHOXLDVFă´0ăFLXFă
([FODPDĠLDUHWRULFă$FHVWSURFHGHXPDQLHULVWHVWHIRORVLWúLGHUHWRULLDQWLFLFDUH-l
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vQ DSă OLQă R IăUkPDUHD vQ OLPDQ R IDSWă QHIăFXWă úL SRYHVWH QHSRYHVWLWă úL DXG]LWă«´
(Cantemir, vol. IV: 228).
([FODPDĠLDUHWRULFă RvQWkOQLPúLOD&LFHURvQWUDWDWXOGHPRUDOăDe amicitia, atunci
FkQGRUDWRUXOvúLH[SULPăDGPLUDĠLDIDĠăGHSULHWHQLHGHILQLWăSULQPHWRQLPLDsapientiam. O
praeclaram sapientiam! Solem enim e mundo tollere videntur, qui amicitiam e vita tollunt,
qua nihil a dis immortalibus melius habemus, nihil iucundius. Quae est enim ista securitas?
Specie quidem blanda sed reapse multis locis repudianda… Quod si curam fugimus, virtus
fugienda est… itaque videas rebus iniustis iustos maxime dolere, imbellibus fortes,
flagitiosis modestos. Ergo hoc proprium est animi bene constituti, et laetari bonis rebus et
dolere contrariis 1 (XIII).
Epitetul praeclaram vLGăRVWUăOXFLUHDSDUWH&LFHURDUDWăFăYLUWXWHDGLVSUHĠXLHúWHWRW
ce-LHVWHSRWULYQLFDMXQJkQGODFRQFOX]LDFăXQXLVXIOHWPRUDOvLHVWHGDWVăVHEXFXUHGHFHH
ELQHúLVăVXIHUHGLQFDX]DUăXOXLlaetari bonis rebus et dolere contrariis).
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1 Ä&HPLQXQDWăvQĠHOHSFLXQH'HIDSWFHLFDUHvQGHSăUWHD]ăGLQYLDĠăSULHWHQLDFHHVWHWRWFHQH-au dat
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 220

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dialogul dintre ÌQĠHOHSW úL Lume printr-R LQWHURJDĠLH UHWRULFă Ä9ă]XúL GDUă DFPX R
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FH VIkUúLW LHVH" 9ă]XúL FH SRIWHúWH úL OD FH vQGHDPQă OXPHD DGLFă WUXSXO SH RP DGLFă SH
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EXQăWăĠL VLOHúWH &ă DúD QHILLQG úWLLQĠD FDOHD FHUXULORU úL SUHFXP VH G]LFH SkQă QX YHĠL
vQWRDUFH úL Vă Yă IDFHĠL FD SUXQFLL QX YHĠL LQWUD vQWUX vPSăUăĠLD FHUXULORU´ ibidem: 238).
$WXQFL FkQG VXQW vPSUHMXUăUL QHIDYRUDELOH SHQWUX FHO YLQRYDW &DQWHPLU SXQH SH VHDPD
SHUVRQDMHORUIRUPXODFLFHURQLDQăÄDXWXQXRDre?”
,QWHURJDĠLDUHWRULFă 3URFHGHXOHVWHIRORVLWúLGH&LFHURDYkQGX-l ca interlocutor pe
&DWLOLQD (O vúL vQFHSH GLVFXUVXO SULQ PDL PXOWH LQWHURJDĠLL UHWRULFH Quousque abutere…
Quamdiu etiam furor iste tuus… Quem ad finem? 3ULQWUH PăUFLOH GLDORJXOXL UHPDUFăP
vocativul repetat Catilina, verbele la persoana a II-a.
Cicero începe acest discurs împotriva lui Catilina printr-un exordium ex abrupto,
IăUă Vă DWUDJă EXQăYRLQĠD SXEOLFXOXL captatio benevolentiae 'RULQĠD OXL QX HVWH Vă
HPRĠLRQH]H SULQ IUXPXVHĠH FL Vă WUDJă XQ VHPQDO GH DODUPă DYHUWL]kQG VHQDWRULL GH
pericolul pus la cale.
Metafora. )LLQGSUHRFXSDWGHH[SUHVLYLWDWHDFXYLQWHORU&DQWHPLUSXQHvQGLVFXĠLHúL
SURFHGHHVWLOLVWLFHFD PHWDIRUDÄ,DWă PDVDGUHSWăĠLLSkLQHDYLHĠLL YLQXO QHPUĠLL úLSoama
GHYLDĠăGăWăWRDUH«VHDUDWă´&ăFLÄIăFOLDFHDGHDXUvQVIHúQLFXOGHGLDPDQWúLOXPLQDFHD
GH REúWH vQ FDVHOH úL PHVHOH WXWXURU VH SXQH´ $XWRUXO IRORVHúWH PHWDIRUD FX VFRSXO GH D
VHQVLELOL]DFLWLWRUXO ÄGHDGDSXWHUHH[SUHVLHLúLGLVLPXODUHDWLWXGLQLORUVHQWLPHQWHORUDúD
FXPRELúQXLDXvQ$QWLFKLWDWH4XLQWLOLDQ&LFHUR$ULVWRWHO´%XUFă
0HWDIRUDRvQWkOQLPúLvQWUDWDWXOGHUHWRULFăDOOXL&LFHURDe oratore:

„Trei sunt, din punctul de vedere al cuvintelor luate izolat, mijloacele pe care le
IRORVHúWHRUDWRUXOVSUHDGDVWUăOXFLUHúLHOHJDQĠăFXYkQWăULLVDOHvQWUHEXLQĠDUHDXQXL
FXYkQWQHRELúQXLWvQWUHEXLQĠDUHDXQXLFXYkQWQRXvQWUHEXLQĠDUHDXQXLFXYkQWFXVHQV
PHWDIRULF1HRELúQXLWHVXQWFXYLQWHOHYHFKLúLvQOăWXUDWHGLQSULFLQDYechimii lor de
X]XO YRUELULL ]LOQLFH SH FDUH SRHĠLL DX R PDL PDUH vQJăGXLQĠă Vă OH vQWUHEXLQĠH]H
GHFkWQRLùLWRWXúLUDUDUHXQHRULúLvQWU-o cuvântare demnitate un cuvânt poetic”
(Barbu 1972: 451).

,DWăGHFLWRDWHDFHVWHILJXULGHVWLOvQWUHEXLQĠDte de Cantemir în opera sa, oglindesc

FRQFHSĠLDVDGHVSUHDUWDUHWRULFLLúLSXQvQOXPLQăSUHRFXSăULOHGHUHWRULFăGLQDFHDYUHPH
 221

5HIHULQĠH

Aristotel, Retorica [Rhetoric], 1, 2, 1.

Bayet, Jean, 1972, /LWHUDWXUD ODWLQă >/DWLQ OLWHUDWXUH@, a translatioQ RI *DFULHO &UHĠLD
%XFXUHúWL(GLWXUD8QLYHUV
Barbu, N. I., (coordonator), 1972, ,VWRULD OLWHUDWXULL ODWLQH GH OD RULJLQL SkQă OD
GHVWUăPDUHD 5HSXEOLFLL >7KH +LVWRU\ RI /DWLQ OLWHUDWXUH IURP RULJLQV XQWLO WKH
dissolution of the Republic], second edition %XFXUHúWL (GLWXUD 'LGDFWLFă úL
3HGDJRJLFă
%ăGăUăX 'DQ  Filozofia lui Dimitrie Cantemir [Dimitrie Cantemir’s Philosophy],
%XFXUHúWL(GLWXUD$FDGHPLHL535
%XUFă *KHRUJKH  3UHRFXSăUL GH UHWRULFă úL HORFYHQĠă ELVHULFHDVFă vQ RSHUD OXL
Dimitrie Cantemir [Preoccupations for rhetoric and ecclesiastic eloquence in
Dimitrie Cantermi’s work], în Glasul bisericii [The Church’s Voice], Revista
RILFLDOăD6ILQWHL0LWURSROLLD8QJURYODKLHL$QXO;;;,91U– 4, martie-aprilie.
Cantemir, Dimitrie, Opere [Works]…, vol. I.
Cantemir, Dimitrie, 1928, Metafizica [Metaphisics], from latin by Nicodim Locusteanu,
ZLWKDIRUHZRUGE\(P&*ULJRUDú%XFXUHúWL(GLWXUD$QFRUD
Cantemir, Dimitrie, 1835, Hronicul vechimei a româno-moldo-vlahilor [The Chronicle of
Ancient Times of the Romanian-Moldavian-Wallachian]YRO,,DúL
Cizek, Eugen, 1994, Istoria literaturii latine [History of Latin literature]YRO,%XFXUHúWL
6RFLHWDWHDÄ$GHYăUXO´6$
Curticeanu, Marin Valentina, Formarea terminologiei literare URPkQHúWL, Epoca genezelor
[Formation of Romanian literary terminology, Epoch of geneses], în „Analele
8QLYHUVLWăĠLL%XFXUHúWL´/LPEăúLOLWHUDWXUă;;,,QU
Curtius, Ernst Robert, 1970, /LWHUDWXUD HXURSHDQă úL (YXO 0HGLX ODWLQ >7KH (XURSHDQ
literature and the Latin Middle Ages]%XFXUHúWL(GLWXUD8QLYHUV
'LFĠLRQDU GH WHUPHQL OLWHUDUL >'LFWLRQDU\ RI OLWHUDU\ WHUPV@  %XFXUHúWL (GLWXUD
Academiei R.S.R.
Grimal, Pierre, 1997, /LWHUDWXUDODWLQă>/DWLQOLWHUDWXUH@DWUDQVODWLRQRI0DULDQDúL Liviu
)UDQJD%XFXUHúWL(GLWXUD7HRUD
Quintilian, $UWDRUDWRULFă>2UDWRU\$UW@, 2, 17, 37.
0ăFLXFă&RQVWDQWLQDimitrie Cantemir%XFXUHúWL(GLWXUD$OEDWURV
Panaitescu, P. P., 1958, 'LPLWULH &DQWHPLU 9LDĠD úL RSHUD >'LPLWULH &DQWHPLU /LIH Dnd
work]%XFXUHúWL(GLWXUD$FDGHPLHL535
Piru, Al., 1977, ,VWRULD OLWHUDWXULL URPkQH GH OD RULJLQL SkQă OD  >7KH +LVWRU\ RI WKH
Romanian literature from the origins until 1830] %XFXUHúWL (G ùWLLQĠLILFă úL
(QFLFORSHGLFă
Simionescu, Dan, 1940, 2UDĠLLOH GRPQHúWL vQ VăUEăWRUL úL OD QXQĠL >&RXUW ZLVKHV IRU
holidays and weddings], în &HUFHWăULOLWHUDUH>/LWHUDU\UHVHDUFKHV@(published by N.
&DUWRMDQ,9%XFXUHúWL
222
 223

Partea a III-a

&RPXQLFDUHúLDOWHIRUPHGHGLVFXUV
224
 225

Familia le[LFDOăDYHUEXOXLa încânta

în poezia lui Traian Dorz

Florina-0DULD%ăFLOă
8QLYHUVLWDWHDGH9HVWGLQ7LPLúRDUD

The current paper’s objective is to consider the stylistic values of terms belonging to
the semantic field of the verb a încânta, highlighting their role in creating the lyrical
frame of Traian Dorz – a contemporary Romanian poet, unfortunately a less studied
one, author of thousands of poems with mystical approach and of many volumes
with memoirs and religious meditation. We will have in view the fact that some
lexemes like a încânta, încântare, încântat, vQFkQWăWRU trigger mostly positive
connotations, illustrated through the means of other words like a fermeca, DYUăML, a
UăSL and their derivatives. Moreover, in several situations, in the structure of the
same poem, the above-mentioned terms are used alternatively, thus being created
authentic contextual equivalencies between these and others that have figurative
meanings.

Keywords: derivation, lexicology, mystical-religious poetry, semantics, stylistics.

1. Introducere

ÌQ DQDOL]D RULFăUXL WLS GH WH[W OLWHUDU XQ ORF DSDUWH vO RFXSă SHUVSHFWLYD OH[LFR-VHPDQWLFă
DOăWXULGHDERUGDUHDVWUXFWXULLVLQWDFWLFHGHPHUVFXDWkWPDLQHFHVDUúLVHPQLILFDWLYDWXQFL
când valorile de sens ale cuvintHORUYLQVăMDORQH]HFUH]XODUWLVWLFDODXWRUXOXLFRQWULEXLQGOD
FRQVWUXFĠLD WH[WXDOă D DUWHORU SRHWLFH DGHVHD PHQLWH Vă UHIOHFWH GUDPDWLVPXO WUDVHXOXL VăX
H[LVWHQĠLDO
3H DVWIHO GH FRRUGRQDWH VH vQVFULH úL RSHUD OXL 7UDLDQ 'RU]  XQ DXWRU URPkQ
contempoUDQDFăUXLH[SHULHQĠăGHYLDĠăVHFRQIXQGăDSURDSHWRWDOFXH[SUHVLDOLULFăÌQWU-
DGHYăU QH DIOăP vQ IDĠD XQHL SRH]LL FXWUHPXUăWRDUH GHVSUH WUăLUHD vQWUX vQDOW vQWUX
VSLULWXDOLWDWH DSDUĠLQkQG XQXL VFULLWRU FH DUH GHSOLQD FRQúWLLQĠă D DFHVWHL GLPHQVLXQL prin
LQWHUPHGLXO FăUHLD PDULOH VSLULWH DOH XPDQLWăĠLL DX UHXúLW Vă VH VDOYH]H VXSUDYLHĠXLQG vQ
FLXGD FRQGLĠLLORU YLWUHJH LPSXVH GH UHJLPXULOH WRWDOLWDUH SULQ UHYHODĠLD XQRU PRGDOLWăĠL
VSHFLILFH GH D WUDQVILJXUD GXUHUHD úL GH D GREkQGL OLEHUWDWHD vQ VSDĠLXO FDUFHUDO FUHGLQĠD
PLMORFLWăGHUXJăFLXQHDSUDFWLFDWăúLFUHDĠLD,OLH-418; Cistelecan 2000: 21-27).
Traian Dorz nu a scris poezie de dragul poeziei ori OLWHUDWXUăIăUăVHQVvQFRQVHFLQĠă
QLFL QX D FăXWDW Vă HSDWH]H SULQ OLPEDM QX D XUPăULW VSHFWDFXOR]LWDWHD OLQJYLVWLFă VDX
FXORDUHD FDUH Vă HVWRPSH]H PHVDMXO UHOLJLRV FL D YL]DW XQ VFRS DQXPH vPSOLQLUHD PDULL
misiuni la care s-D VLPĠLW FKHPDW Cu alte cuvinte GLUHFĠLD HVWHWLFă D SRH]LHL VDOH VH
FRQWXUHD]ă vQ EXQă PăVXUă SULQ LQWHUPHGLXO YHUVXULORU vQVHúL DOFăWXLQG GLVFXUVLY QX
vQFLIUDW R DGHYăUDWă DUWă D LXELULL SHQWUX 'XPQH]HX /LULFD GRU]LDQă SRDWH IL GHILQLWă
 226

DúDGDUFD DUWăSRHWLFăSURIXQGăDXQXLVSLULWDIODWvQFăXWDUHDDEVROXWXOXLUHOLJLRVÄRrbit” de
OXPLQD'LYLQLWăĠLLSHFDUHúL-a dorit-o încontinuu), captivat plenar de puterea Sa. Poate de
aceea autorul nu este deloc exploziv în limbaj – úLDFHDVWDvQVWUkQVăOHJăWXUăFXDWLWXGLQHD
GHXPLOLQĠăDVXPDWăFRQúWLHQWvQLQWHJUDOLWDWHDHLGHVLPSOLWDWHvQDOWăGHSURVWHUQDUHvQIDĠD
&UHDWRUXOXLFXFRQYLQJHUHDIHUPăFă VLQJXUăvQWRDUFHUHDODVDFUXúLODFUHGLQĠăUHSUH]LQWă
VROXĠLD L]EăYLWRDUH 2DUHFXP vQ FRQWUDGLFĠLH FX SUHFHSWHOH PRGHUQLWăĠLL FUHDĠLD OXL
SURFODPăvQWU-RPDQLHUăH[WUHPGHH[SOLFLWăDGkQFLUHDWUăLULLVSLULWXDOHIDSWFHPHULWăDIL
SXVvQOXPLQăvQWUXFkWFRQVWLWXLHXQYHULWDELOSXQFWGHUHSHUSHQWUXIHOXOFXPDIRVWJkQGLW
vQSULQFLSLXPRGXOGHFRQVWUXFĠLHWH[WXDOă
1H SURSXQHP vQ FRQWLQXDUH Vă DUăWăP Fă OD QLYHOXO operei dorziene pot fi
LGHQWLILFDĠL DQXPLĠL WHUPHQL FDUH VH LPSXQ OD R OHFWXUă DWHQWă SULQWU-o repetitivitate
HPEOHPDWLFă IXQGDPHQWDOL SHQWUX DFHVW WLS GH VFULLWXUă UHOHYDQĠL QX QXPDL VWDWLVWLF FD
IUHFYHQĠăFLúLSULQDSRUWXOORUODUHDOL]DUHDXQRUFkPSXULVHPDQWLFH'LQDFHVW PRWLY QH
YRP RSUL vQ FHOH FH XUPHD]ă DVXSUD XQHL IDPLOLL GH FXYLQWH XUPăULQG YDORULOH SH FDUH
OH[HPHOHUHVSHFWLYHOHGH]YROWăQXDWkWvQVLQHFkWvQUHODĠLHFXFHOHODOWHHOHPHQWHLQWHJUDWH
vQVWUXFWXULOHVLQWDFWLFHDOHWH[WXOXLúLLPSOLFLWFULVWDOL]DUHDDFHVWXLDGLQXUPă în jurul unor
DWDUL ÄPăUFL´ FDUH SULQ PDQLIHVWăULOH ORU FRQFUHWH vQ VSDĠLXO SRH]LHL PLVWLFR-religioase, îi
DGkQFHVFúLvLvQWUHJHVFUHOLHIXO

2. Verbul a încânta

'LQWUH PHPEULL IDPLOLLORU GH FXYLQWH DSDUĠLQkQG DFHOHLDúL VIHUH VHPDQWLce, numeroase
RFXUHQĠHDUHvQOLULFDOXL7UDLDQ'RU]YHUEXOa încântaDOHFăUXLDFFHSĠLLVHRUJDQL]HD]ăSH
GRXă SDOLHUH $VWIHO PXOWH GLQWUH DSDULĠLLOH VDOH FRQWH[WXDOH DFWXDOL]HD]ă VHPQLILFDĠLLOH
SR]LWLYHÄDSURGXFHRVWDUHGHEXFXULHGHPXOĠXPLUHGHHQWX]LDVPGHVDWLVIDFĠLHDGHOHFWD
DGHVIăWD´ÄDDWUDJHDFXFHULDFDSWLYDDIDVFLQDDIHUPHFDDYUăMLDVXEMXJD´FXUHIHULUH
HYLGHQWă OD FRQFUHWL]ăULOH UHODĠLHL HXOXL DXFWRULDO FX 'XPQH]HX SULYLWă VXE GLYHUVHOH HL
aspecte – FUHDĠLDúLWUăLUHDMHUWILWRDUHPLVWHUXOSOăVPXLULORUDUWLVWLFHÄ&XRFKLLGXúLPăQDOĠ
SH]ăULúLWDLQHPăvQFkQWă,]YRUXOYHúQLFHLFkQWăULFXXQGD-LPă-QYHúPkQWă´CDr:
22, 2FkQGPă-ndemni!... 1LPSOLFDUHD6DvQWUDVHXOH[LVWHQĠLDODOFHORUFUHGLQFLRúLDIODĠL
vQFRPXQLXQHSHUSHWXăFX(OúLFRQFRPLWHQWXQLLFXDOĠLLÄ1HPXULWRDUHVODYăğLHSULQWRW
ce poate încânta, / tot ce-L ILRU úL SăUWăúLH  QL-H vQWUH QRL 3UH]HQĠD 7D´ CNem: 123,
1HPXULWRDUHVODYăğLHDúWHSWDUHDvQH[WD]D DMXQJHULLvQÌPSăUăĠLD&HUXULORUJXYHUQDWăGH
SOHQLWXGLQHDSUH]HQĠHLOXL'XPQH]HX– VSHUDQĠăúLLGHDOVXSUHPDOFHORUFHúL-au consacrat
YLDĠD vPSOLQLULL SRUXQFLORU /XL GLQFROR GH EDULHUHOH FRPXQH DOH WLPSXOXL úL VSDĠLXOXL
Ä8UFăP FX RFKLL SOLQL GH GRU  úL WRWXO QH vQFkQWă / úL QRX DYkQW vQăOĠăWRU  FX KDUXUL QH-
QYHúPkQWă´CCm: 26, Mai Sus, mereu...vQVHúLPDQLIHVWăULOHSURWHFĠLHLGLYLQHvQWRWFHHD
FHH[LVWăvQILUHDvQFRQMXUăWRDUHÄ'HVLPWRDGLHUHGHYkQWvQPLUHVPDWD7DDSURSLHUHPă-
QFkQWă-nfiorat” (CCm: 37, 'H YăG.. SHUVSHFWLYD QHPXULULL úL VWDUHD VXIOHWHDVFă GH WDLQă
GLQFHDVXOUXJăFLXQLLFkQGWăFHUHDODVăORFFXYLQWHORUGHPXOĠXPLUHÄ2FHFXUDWHYLVXOGLQ
FDUHWHWUH]HúWLGXSăXPEODUHDVIkQWăFX'XPQH]HXSH-RFDOHFkQGvQFă-ĠLPDLvQFkQWă
miresmele cerHúWLDGkQFXOúLQăOĠLPHDUHFXQRúWLQĠHLWDOH´CUrm: 93, O, ce curat e cerul),
XQLWDWHDLQGLVROXELOăGLQWUHLXELUHúLMHUWIăÄ'UDJ,LVXVGLQODFULPLGUDJRVWHDQH-o-QFkQWă,

1 Spre a nu îngreuna parcurgerea trimiterilor, am optat pentru notarea, în text, a referirilor (cu
DEUHYLHULODYROXPHOHDSDUĠLQkQGOXL7UDLDQ'RU]GLQFDUHDXIRVWVHOHFWDWHVHFYHQĠHOHOLULFHXUPDWH
GH QXPăUXO SDJLQLL SDJLQLORU OD FDUH VH DIOă IUDJPHQWXO UHVSHFWLY úL Ge titlul poeziei. Toate
VXEOLQLHULOHGLQYHUVXULOHFLWDWHQHDSDUĠLQ
 227

Iă-QHVFXPSă-QHOHIHULFLUHDVIkQWăIă-ni-le-DPkQGRXă]HVWUHúLFXQXQăVă-mpletim din
HOHYHFLLvPSUHXQă´CNoi: 164, 'UDJRVWHúLODFULPL).
Alteori, a încânta HVWH vQWUHEXLQĠDW vQ YHFLQăWDWHD XQRU YHUEH VDX D XQRU DGMHFWLYH
vQUXGLWHFDVHQVJHQHUkQGYHULWDELOHUHGXQGDQĠHFXUROXOGHDVXEOLQLDRDQXPLWăLGHHSRHWLFă
(leJDWă GH XQLFLWDWHD 'LYLQLWăĠLL vQ YDULDWHOH HL LSRVWD]H Ä)LRUXO /XL PL-QFkQWă-auzul /
DOLQWăWRUúLIHUPHFDW, / ca dintr-RPX]LFăFHUHDVFăDFRUGXOFHOPDLPLQXQDW´CCm: 82, Ce
dulce-PLVXQă); „Nimic pe lume nu Pă-QFkQWă, / nu PăYUăMHVFúLQX m-atrag, / Comoara
PHDSHYHúQLFLHHúWLQXPDL7X,LVXVH'UDJ´CCm: 155, Ce Nume Scump...); în ultimul
IUDJPHQWDVRFLHUHDVLQRQLPHORUFRQWH[WXDOHPHQLWăVăHYLWHPRQRWRQLDÄSRDWHVăH[SULPH
>@ PDL QXDQĠDW GHFkW UHSHWLĠLD LGHHD GH DFXPXODUH´ 7RKăQHanu 1975: 45) 1. Ca atare,
vQWUHEXLQĠDUHD XQRU DVHPHQHD FRQVWUXFĠLL LQHGLWH IRUPDWH GLQ GRL VDX WUHL WHUPHQL VH
impune – GLQFRORGHFDGUXOUHVWUkQVDOUHSHWLĠLHL– FDRWUăVăWXUăGHILQLWRULHvQFRQVWLWXLUHD
textului, conferind expresiei un plus de armonie GH HFKLOLEUX VLQWDFWLF úL VHPDQWLF FX
FRQVHFLQĠHGHFLVLYHDVXSUDPHVDMXOXLYHUVXULORU,ULPLDúX
ÌQSRH]LDOXL7UDLDQ'RU]YHUEXOvQGLVFXĠLHDSDUHDGHVHD– mai mult decât oricare
GLQWUH WHUPHQLL GLQ DFHDVWă VIHUă – în structuri (progresive, „recapitulative”) de tip binar,
WHUQDU VDX FXSULQ]kQG XQ QXPăU PDL PDUH GH HOHPHQWH RUJDQL]DWH SH ED]D FRRUGRQăULL
FRSXODWLYH VDX SULQ MX[WDSXQHUH DVWIHO ÄVXQW DGXVH vQ DFHODúL SODQ HOHPHQWH >@ SDUDOHOH
VLWXDWHvQVLPXOWDQHLWDWHúLDVRFLDWHVHPDQtic sau semantic-PHWDIRULF>@-X[WDSXQHUHDODVă
GHVFKLVH SHUVSHFWLYHOH JUDGăULL XQRU VWăUL DFĠLXQL IHQRPHQH SULQ VHQVXO OH[LFDO DO
termenilor, care se succed [sic!] în mod liber” (ibidem: 178- ILHFDUH GLQWUH DFHúWLD
impunându-i-se celui anterior pentru a-l preciza – IDSW FRQFOXGHQW vQ SURFHVXO GH]YROWăULL
LGHLL SRHWLFH (VWH YRUED GHVSUH VLQWDJPH FH PL]HD]ă SH DFXPXOăUL VXJHVWLYH FRPSOH[H
DOFăWXLWH ÄHQXPHUDWLY´ GLQ XQLWăĠL FX GLYHUVH IXQFĠLL úL YDORUL HFKLYDOHQWH FD vQĠHOHV VDX
cel mai frecvHQW FYDVLVLQRQLPH FRQWH[WXDO FRURERUDWH XQHRUL FX UHSHWLĠLL FDUH VH
DFFHQWXHD]ăFXRULFHWHUPHQQRXFRQIHUăYHUVXULORURDQXPLWăULWPLFLWDWHLQWHULRDUăOLSVLWă
vQVăGHPRQRWRQLHúLDGkQFHVF OLULVPXOÄ&LQHSRDWHVă-QĠHOHDJăFHQHVSXVHIUXPXVHĠL /
OXPLQHD]ăúL vQFkQWă RFKLLWDLQLFHLYLHĠL´CCm: 66, Cine-DUúWL"Ä'HúL-a trecut atâta
vreme / de când, Iisuse, Te urmez, / de când LXELUHD 7D Pă-QFkQWă / úL-Q KDUXO 7ăX Pă
GHVIăWH]>@(XúL-azi, cu-DFHHDúLEXFXULHúLGRUQHVWăSkQLWvn piept, / ca-QSULPDFOLSă
GHFUHGLQĠă7HFDXW7HFKHPúL7HDúWHSW´CCm: 91, 'HúL-a trecut); „E cântecul meu
de dragoste – VWUkQV  GLQ SULPXO ILRU GH JUHD VIkúLHUH  GLQ ]LXD FkQG ğLH ,LVXVH ğL-am
SOkQVvQWkLDLXELUHúL-ntâia durere. // AscXOWă-OFXPFUHúWHPHUHXPDLDSULQVPHUHXPDL
puternic, mereu mai ILHUELQWHR2DVWHRĠDUăROXPH-a cuprins, / o QDOĠă, o-QFkQWă úL-o
SRDUWă nainte...” (CCm: 111, (FLQHYDFkQWăÄ2DPSXWXWvQIUkQJHVFUkúQLULOHGHGLQĠLúL
VWULJăWHOHXULLVHWRDVHGXSăVkQJHGDUúRDSWD-QILRUDWăDGUDJRVWHLILHUELQĠLPă-QFkQWăPă
GRERDUăPăOHDJă úLPă-nfrânge!” (CCm: 121, Am biruitÄ29kQW&HUHVFIă-mi zborul
PDLJUDEQLFúLPDLGXOFHVSUHKDUXOFHP-DúWHDSWăvQFDVDPHDFHDVIkQWăVă-PLSRDWă-
odDWăIUXQWHDLXELULLVăVHFXOFHSHvPSOLQLUHDFDUHROHDJăQă úL-o-QFkQWă!” (CÎnv: 64, O,
FDVD PHD FHUHDVFă Ä6SUH )ăSWXUD 7D 'LYLQă Dú VWD YHúQLF Vă SULYHVF  WRDWH DOH 7DOH
'RDPQH Pă vQFkQWă úL VILQĠHVF!” (CÎnv: 66, 6SUH )ăSWXUD 7D); „Începând din Sud,
SăWUXQGHĠL  vQWU-R OXPH OHJHQGDUă  XQGH ILHFDUH XPEUă  WH vQFkQWă / úL-QILRDUă, / unde
ILHFDUH YDOH  vĠL GH]YăOXLH-R PLQXQH  XQGH ILHFDUH SLDWUă  H-XQ SRSDV  GH UXJăFLXQH´
(LNS: 13, )DFHĠL-Yă WLPS Vă PHUJHĠL GH UHĠLQXW vQ XOWLPXO IUDJPHQW ruperea
paralelismului dintre structura semantico-VLQWDFWLFă D YHUVXULORU úL FHD SUR]RGLFă SULQ

1 &IúLSUHFL]HD]DUHDOXL*,7RKăQHDQXÄvQSODQXOFRQĠLQXWXOXLVLQRQLPLDQXHVWHGHFkWR

UHSHWLĠLH ©PDVFDWăª vQWUXFkW DFHHDúL >VXEO DXW@ VDX DSURDSH DFHHDúL LGHH VH reia cu ajutorul unor
WHUPHQLGLIHULĠL´– fapt relevant pentru textul poetic citat mai sus.
 228

trecerea sensului dintr-RXQLWDWHPHWULFăvQDOWDFXUROGHFLVLYvQGHVIăúXUDUHDVHPQLILFDĠLHL

lirice, componentele (individualizate) primind, în acest fel, relief semnificativ (Irimia 1979:
225-'HDVHPHQHDvQXQHOHGLQWUHVHFYHQĠHOHFLWDWHVHUHPDUFăR DPSOăúLGHQVăUHĠHD
de explicitare prin verbe-SUHGLFDWH FDUH vúL GHILQHVF VDX vúL SUHFL]HD]ă vQĠHOHVXO FHHD FH
conduce, în principal, la accentuarea úLGLQDPL]DUHDH[SUHVLHLDUWLVWLFHLPSULPkQGIUD]HLXQ
ritm alert (ibidem: 179).
$OWHRUL DFFHSĠLLOH SR]LWLYH DOH OXL a încânta sunt ilustrate în sintagme aflate,
FRQWH[WXDOvQRSR]LĠLHvQDQWRQLPLHúLFRQVWLWXLWHDOăWXULGHFkWHYDHOHPHQWHDúH]DWHúL ele
vQ FRQWUDVW VXE IRUPD VLPHWULLORU DQWLWHWLFH DOH XQRU SHUHFKL FRRUGRQDWH SULQ FRQMXQFĠLD
GLVMXQFWLYăsau RULSHED]DUHODĠLHLGHVXERUGRQDUHGLQWUHRSURSR]LĠLHVXELHFWLYăúLUHJHQWD
HL Ä0RU úL-amintirile..., / dar ele învie uneori prin vise / sau ca un semn ivit din taina
DVFXQVăOXPLQkQGX-ni-se / re-PSURVSăWkQGvQQRLFHYHúQLFDPILGRULWVă ne încânte / sau
ce-DP IL YUXW SH WRWGHDXQD QHPDLúWLXW  Vă VH-nmormânte”. (CR: 194, 0RU úL-amintirile);
Ä,QLPL IUăPkQWDWH VXIOHWH VăUPDQH  GXSă FH-aleUJDĠL YRL RDUH FH-DĠL GRUL"  )UXPXVHĠHD
lumii? – ODFULPH úL UDQH  FH vQFkQWă DVWă]L mâine va-ngrozi”. (CCm: 115, Ce-ai dori tu
oare?); „Vara arzi în soare, iarna arzi în ger, / ce te-QFkQWă DVWă]L PkLQHĠL-HSRYDUă, / toate-
DSDVăGXKXOWRDWH-l strâng ca-QILHU QXPDLFRQúWLLQĠDVIkQWăH XúRDUă´CUrm: 73, Anii
trec ca norii) – IDSW UHOHYDQW OD QLYHO FRQVWUXFĠLRQDO GHRDUHFH FUHHD]ă ÄGH]YROWDUHD XQXL
HFKLOLEUXVLQWDFWLFVHPQLILFDWLYHOHPHQWGHHVHQĠăvQRUJDQL]DUHDDUPRQLHLYHUVXOXL´,ULPLD
1979: 208).
Verbul a încânta FXQRDúWHvQVăvQOLULFDOXL7UDLDQ'RU]úLFRQRWDĠLLQHJDWLYH– „a
DGHPHQLSULQIăJăGXLQĠHDDPăJLDvQúHODFXSURPLVLXQL´–vQSRH]LLFHFRQĠLQOH[HPH
GLQVIHUDÄ]LFHULL´FXWULPLWHUHODPLUDMXOÄJODVXOXL´SHUILGDOSOăFHULlor acestei lumi, al urii
úL DO PkQGULHL DO GXSOLFLWăĠLL úL DO ODúLWăĠLL VWUăLQ DúDGDU GH SRUXQFLOH GLYLQH úL GH
GLPHQVLXQHDVDFUDOLWăĠLLvQUHDOLWDWHDGXFăWRUGHSLHU]DUHúLGLVWUXJHUH2EXQăSDUWHGLQWUH
VWUXFWXULOHUHVSHFWLYHDFWXDOL]HD]ăFRQFRPLWHQWIXQFĠLDFRQDWLYăúLIXQFĠLDIDWLFăUHOLHIDWH
úLGHXWLOL]DUHDLPSHUDWLYXOXLFDUHSULQGHILQLĠLHVHFHQWUHD]ăDVXSUDGHVWLQDWDUXOXLVDXD
XQRUVLQWDJPHFHLPSOLFăDGUHVDUHDGLUHFWăODSHUVRDQDD,,-a), în vederea „punerii în act” a
unui proces, LQIOXHQĠDWă GH FăWUH ORFXWRU FHUWLILFkQG LQWHQĠLD DXWRUXOXL GH D-úL RUJDQL]D
WH[WXO vQ VWLO GLDORJLF úL H[FODPDWLY-imperativ) – spre a intra într-R UHODĠLH QHPLMORFLWă FX
'XPQH]HXúLFXFHLODOĠLLQFOXVLYFXVLQHvQVXúLvQYHULWDELOHÄFRQYHUVDĠLL´LQWHUioare) –, de
a-O WHDWUDOL]D DVWIHO SUHFXP RGLQLRDUă )HULFLWXO $XJXVWLQ vQ Confesiunile sau în
Solilocviile sale: Ä'HSăúLQG VXIHULQĠD LQGLYLGXDOă SRHWXO GHYLQH GH IDSW XQ poeta vates
[subl. aut.] ce-úLDVXPăRGXEOăFRQGLĠLHGHLQGLYLG>@úLGHUHSUH]HQWDQWDOXQHLPXOĠLPL
FX SDWLPL VLPLODUH´ ,OLH   WUDQVJUHVkQG PDWHULDOLWDWHD WHUHVWUXO GHJUDGDQW úL
REVFXU SULQ HYLGHQĠLHUHD VHQWLPHQWXOXL GH UHVSRQVDELOLWDWH GH FDUH WUHEXLH Vă GHD GRYDGă
RULFH ILLQĠă XPDQă vQ IDĠD SURSULHL FRQúWLLQĠH /D FRQWXUDUHD úL OD vQWUHJLUHD PHVDMXOXL
FRQWULEXLH úL SXQFWXDĠLD PăUFLOH JUDILFH DIHUHQWH VHPQXO H[FODPăULL úL OLQLD GH SDX]ă DX
UROXO GH D IRFDOL]D PDL DOHV OD ILQDOXO YHUVXULORU R vQFăUFăWXUă GH VHQV VXUSULQ]ăWRDUH
GLQDPL]kQGVHPDQWLFDORULQWHUQă Ä3ULQGHVIDFHUHDXQLWăĠLORUVLQWDFWLFHVROLGDUHVHL]ROHD]ă
FRPSRQHQWHHVHQĠLDOHFDUHSULQDFHDVWDGHYLQUHOHYDQWH VXEDVSHFWVHPQLILFDWLYFHQWUL DL
GH]YROWăULLLGHLLSRHWLFH´,ULPLD 224): „Când cu vorbiri YLFOHQHVWUăLQXOYăvQFkQWă,
/ când ODXGăLXELUHDúLUkYQDYRDVWUăVIkQWăFkQGlimba-LHGHPLHUHúLvorbele i-s unse, /
– ILĠLFXOXDUH-aminte / la cursele-i ascunse!” (CL: 82, Când cu vorbiriÄ)UXPRDVă-a fost
vorbirea YRDVWUă  PLúHL FH QH-QFkQWDĠL FkQGYD  IUXPRDVă úL vQIăĠLúDUea, / dar inima n-a
IRVW DúD  >@  &H WULVW SOăWLP DFXP ©IUXPVHĠHDª  minciunii ce ne încânta; / vi le-am
crezut frumoase toate, / dar inima n-DIRVWDúD´CL: 100, Dar inima...); „Nu-LFUHGHĠLFkQG
Yă-QFkQWă cu biblice vorbiri  Fă-n gând li-e inWHUHVXO úL-n suflet uneltiri” (CL: 106, Pe
SDWXOPRUĠLLPHOHÄ&kQGHúWLvQIDĠDvQFHUFăULLúLOXPHDXPEOă-a te-ncânta VDXFHOUăX
 229

YUHD Vă WH-QVSăLPkQWH  DOHJL FH YUHL – dar nu uita” (CÎnv: 31, &kQG D]L vQ IDĠD WD);
Ä3ULYLUHDFHYăFKHDPăúLvraja FHYă-QFkQWă / e úRDSWD EOHVWHPDWăDúDUSHOXLFăOăX´CR:
111, AdâncuriÄ&KLDUFkQGVWDLFX'RPQXOILLFXJULMăVIkQWăSDWLPDYUăMHúWHúDUSHOH
vQFkQWă”. (CNem: 166, Chiar mergând cu Domnul); de semnalat, în unele fragmente,
UHGXQGDQĠD GHVSUH FDUH GLVFXWDP úL vQ DOWH VLWXDĠLL UH]XOWDWă GLQ LQVHUDUHD SURJUHVLYă vQ
VWUXFWXULFRRUGRQDWHDPDLPXOWRUHOHPHQWHDSDUĠLQkQGDFHOXLDúLFkPSVHPDQWLF

3. Substantivul încântare

Substantivul feminin încântare (la origine, infinitivul lung al lui a încânta) apare, în poezia
OXL 7UDLDQ 'RU] QXPDL FX VHPQLILFDĠLL SR]LWLYH ÄVHQWLPHQW GH EXFXULH IRDUWH YLH GH
PXOĠXPLUH GH HQWX]LDVP GH VDWLVIDFĠLH IDUPHF YUDMă´ ÄFDSWLYDUH FXFHULUH GHOHFWDUH
GHVIăWDUH IDVFLQDĠLH´ ÄFRQFUHW DVSHFW IDSW FDUH SURGXFH R SOăFHUH GHRVHELWă OXFUX
PLQXQDW úL VXUSULQ]ăWRU´ WRW FX UHIHULUH OD DVSLUDĠLD VSUH YHúQLFLH VSUH OXPLQD úL
ELQHFXYkQWăULOH OXL 'XPQH]HX VSUH GUDJRVWHD úL LPSOLFDUHD /XL GHRVHELWă vQ GLYHUVH
PRGXUL vQ YLDĠD FHORU FUHGLQFLRúL DIODĠL vQWU-o stUkQVă UHODĠLH FX (O vQ FLXGD GLILFXOWăĠLORU
LQHUHQWHDOHH[LVWHQĠHLORUSHSăPkQWÄ6ăPăvPEUDFvQîncântarea QHPDLVIkUúLWHL7LQHUHĠL
 úL Vă P-DIXQG SH YHFL vQ PDUHD  /XPLQLL 9HúQLFHL 9LHĠL´ CCm: 79, Cutremurat ÄVă-
ntorc spre-DFHLDúL VRUL SULYLUL PHUHX GLQ DOWă ]DUH  Vă DIOX-DFHORUDúL IUXPVHĠL R DOWă
încântare” (CÎnv: 130, &UHGFăGH-aceea m-DPQăVFXWÄ&kQWăULOHQRDVWUHQ-DXVHDPăQúL
VRĠvQQLFLRVLPĠLUHúLOLPEăúL]DUHRULFLQHOH-aude s-aprinde – úL-QWRĠLvQYLHcereasca
úL sfânta-ncântare”. (CS: 100, &kQWăULOHQRDVWUH; încântarea HVWHGHFLRWUăLUHGHVRUJLQWH
GLYLQă FD úL XQLFLWDWHD VDX SXULWDWHD FUHDĠLHL QHPXULWRDUH GXSă FXP R DWHVWă úL FHOH GRXă
adjective-DWULEXWH GLQ VIHUD VDFUDOLWăĠLL FUHkQG R GHWHUPLQDUH PXOWLSOă UHGXQGDQWă);
Ä'DWRULWăJULMLL7DOHFDVDPHD-LOXPLQăSHUQDPHDHQXPDLPRDOHPDVDQXPDLSOLQă
somnul meu e numai pace, / munca încântare úL-orice greu mi se preface / binecuvântare”
(EP: 15, 'DWRULWăQXPDLğLH).
5HPDUFăPvQXOWLPDVHFYHQĠăFLWDWăGHILQLĠLLOHHQFRPLDVWLFHUHDOL]DWHVLPHWULFSULQ
DFXPXOăULDQDORJLLOHúLSDUDOHOLVPHOHVSHFLILFHGHDOWIHOOLULFLLGRU]LHQHDúDFXPWUHEXLH
Vă REVHUYăP DVRFLHUHD VXEVWDQWLYXOXL încântare vQ FRRUGRQDUH FD úL vQ FD]XO YHUEXOXL a
încânta) cu altele care-i devin, contextual, sinonime, subliniindu-L VHQVXO úL FRQWXUkQG
DVWIHO WHPDWLFD úL DWPRVIHUD YHUVXULORU 1: „Numele meu l-DP DX]LW  úRSWLW GH JODVXUL
LXELWRDUHúL-DWXQFLFXGUDJDPWUHVăULWGHbucurie úL-ncântare.” (CDr: 141, Numele meu
l-am auzit); „Nimic nu-ğLVHDPăQă,XELULLFH7XvQLQLPă-mi aprinzi, / nimic IUXPVHĠLL úL-
QFkQWăULL / cu care sufletu-mi cuprinzi!...” (CCm: 63, 6WăSkQXODVFXOWăULLPHOHÄ&ăFLGH-
DWXQFLYLDĠD-mi arde, / ochii n-DXKRGLQăGXKXO]ERDUăJXUDFkQWăLQLPDVXVSLQă– / de
OXPLQă úL-ncântare  LQLPD VXVSLQă´ CCm: 161, Cine mi te-a pus?); „Ce mult ne
VWăSkQHúWH$VWă]LGHSDUFăQLFLQ-DIRVWYUHXQ,HULúLSDUFăQLFLQ-ar fi vreun Mâine, / –
ci-L QXPDL $VWă]L-de-GXUHUL  VDX QXPDL $VWă]L-de-SOăFHUH, / de încântare úL EHOúXJ – /
XLWăP GH ,HUL FHO FD XQ OHDJăQ  úL 0kLQH FHO FD XQ FRúFLXJ´ CNem: 45, Ce mult ne
VWăSkQHúWH$VWă]L).

1 Vezi Câmpeanu (1975: 30): „De multe ori, cu deosebire în stilul beletristic, câmpul semantic se
UHDOL]HD]ăGLQHOHPHQWHFHQXVHvQWkOQHVFSHOLQLDVLQRQLPLHLvQDIDUDDVRFLDĠLHLILJXUDWLYH,QFOXGHUHD
ORU vQ DFHODúL FRQWH[W H[SORDWHD]ă SH SODQ H[SUHVLY FDOLWDWHD LPSOLFDWă vQ VHQVXO WXWXURU úL FDUH OH
apropie într-RDVHPHQHDVLQRQLPLHPHWDIRULFăRFD]LRQDOăGHFLUFXPVWDQĠă´
 230

4. Adjectivul încântat

$GMHFWLYXOGHSURYHQLHQĠăSDUWLFLSLDOăîncântat are numai sensul pasiv „plin de bucurie, de

DGPLUDĠLHGHPXOĠXPLUHGHVDWLVIDFĠLHGHHQWX]LDVPGHXLPLUHFDSWLYDWFXFHULWH[WD]LDW
fascinat, IHUPHFDW VXEMXJDW YUăMLW´ vQWU-R VWUXFWXUă XQGH HVWH vQWUHEXLQĠDW OD VXSHUODWLYXO
absolut, marcat cu adverbul preavQUHODĠLHGHVLQRQLPLHFXXQDOWDGMHFWLv (robit – FDUHvúL
H[SOLFLWHD]ă DVWIHO vQĠHOHVXO ILJXUDW úL vQ FRRUGRQDUH FRSXODWLYă SULQ nici repetat, cu un
atribut adjectival (zdrobitDOFăUXLVHPDQWLVPWULPLWHH[DFWODSROXORSXVWH[WXODUHIXQFĠLH
FRQDWLYăFHQWUkQGX-úLSULQDGUHVDUHGLUHFWă) mesajul (imperativ) pe destinatarul ce trebuie
FRQúWLHQWL]DWGHQHFHVLWDWHDGHDQX-úLOLPLWDH[LVWHQĠDODWUăLUHDLPHGLDWXOXLRULDFOLSHLGH
acum, ci de a privi lucrurile într-R SHUVSHFWLYă LQWHJUDWRDUH VXE DXVSLFLLOH DWRWSXWHUQLFLHL
divine: „O, nu fi prea robit GH $VWă]L  nici prea zdrobit, nici prea-ncântat, / Prezentu-i
VFXUWLDU9LLWRUXOQHFXQRVFXWúLQHDúWHSWDW´CNem: 46, &HPXOWQHVWăSkQHúWH$VWă]L).

5. Adjectivul vQFkQWăWRU

Derivatul adjectival vQFkQWăWRU vúL DFWXDOL]HD]ă VHQVXULOH DQWRQLPLFH vQ GRXă VHFYHQĠH –
XQXOvQUHJLVWUXQHJDWLYÄDGHPHQLWRUDWUăJăWRUFXFHULWRULVSLWLWRUvQúHOăWRUVHGXFăWRU´
într-o versificare a Psalmului 58DFăUXLLGHHVHFHQWUHD]ăSHEODPDUHDFHORUPLQFLQRúLúL
UăL SH QHFHVLWDWHD GH D FRQGDPQD LPSDFWXO ORU UHSUREDELO DVXSUD FHORU FUHGLQFLRúL GH
UHPDUFDWvQDFHVWFRQWH[WúLSDUDOHOLVPXOVHULLORUVLQRQLPLFHÄ2WUDYDORUHFDGHúHUSLFD
GHDVSLGăVXUGăFDUHúL-DVWXSă-DHLXUHFKLQLPLFDVăQ-DXGă6ăQXDXGăJODVSOăFXW úL
vorbe-QFkQWătoare, / nici viers frumos GHFkQWăUHĠQLFLúRDSWăGHFKHPDUH...” (CP: 105,
Psalmul 58FHOăODOWvQUHJLVWUXSR]LWLYúLILJXUDW– ÄFDUHYUăMHúWHFDSWLYHD]ăSODFHIRDUWH
PXOW DGRUDELO GHVIăWăWRU IDVFLQDQW IHUPHFăWRU mângâietor, minunat”), într-un poem
GHGLFDWIUXPXVHĠLORULQGHVFULSWLELOHDOHÌPSăUăĠLHLOXL'XPQH]HXÄğDUD0LQXQDWă´O: 253)
IăJăGXLWă XUPDúLORU OXL +ULVWRV ÄùL FRYRDUH PRL GH URXă úL GH UD]H QL VH-DúWHUQ  VSUH
odihna-QFkQWăWRDUH a Edenului etern” (EP: 14, Tu ne-DUăĠL,LVXVH&Dlea).

6. Concluzii

'XSăFXPVHREVHUYăXWLOL]ăULOHWHUPHQLORUGLQIDPLOLDOH[LFDOăDYHUEXOXLa încânta UHOHYă

IDSWXO Fă HL GH]YROWă VWDWLVWLF YRUELQG DFFHSĠLL VSHFLILF UHSHWLWLYH XQLWDUH GDU GHORF
banale), constituindu-VH vQ DGHYăUDWH QXFOHH OD QLvel textual, cristalizate în simetrii
VLQRQLPLFH FX URO GH LQWHQVLILFDUH VHPDQWLFă úL GH RUJDQL]DUH D H[SUHVLHL 'H DOWIHO
LPSUHVLDJHQHUDOăFDUHVHFULVWDOL]HD]ăHVWHDFHHDFăDXWRUXODXUPăULWúLDúH]DUHDFXYLQWHORU
vQ ODQĠXUL GH FYDVLVLQRQLPH SHQWUX D GD XQ DQXPH UHOLHI QXDQĠHORU DFHVWRUD FD DWDUH
mDQLHUDGHPDQLIHVWDUHDUHSHWLWLYLWăĠLLGHYLQHFHQWUXOGHLQWHUHVDOPXOWRUFUHDĠLL úLILHFDUH
GLQWUH WHUPHQL DU PHULWD FkWH XQ DUWLFRO OH[LFRJUDILF vQ GLFĠLRQDUXO OLPEDMXOXL SRHWLF DO OXL
Traian Dorz, DúDFXPDOWHVWXGLLDUWUHEXLFRQVDFUDWHúLFHUFHWăULLXQRUIDPLOLLGHOH[HPHFX
sensuri similare úL FX QXPHURDVH RFXUHQĠH FI GH SLOGă a fermeca, farmec, fermecat; a
YUăML, YUDMă, YUăMLW; DUăSL, UăSLUH, UăSLWHWFDOHFăURUYDOHQĠHVHRUGRQHD]ăvQSrincipal, tot
SH GRXă SDOLHUH )ăUă D vQFHUFD Vă IDFHP LHUDUKL]ăUL úL PHQĠLQkQGX-ne în limitele unei
DQDOL]HFRQVWDWDWRDUHUHĠLQHPFăYHUVXULOHWUHEXLHSODVDWHvQWU-RH[SHULHQĠăSHUVRQDOăGHWLS
special, drept care valorile elementelor discutate configurHD]ăRDUWăSRHWLFăDSDUWHDXQXL
XQLYHUV GH IDFWXUă PLVWLFR-UHOLJLRDVă FDUH VH FRQILJXUHD]ă QX SULQ LQRYDĠLH FL SULQ
RPRJHQLWDWHúLUHSHWLWLYLWDWH
 231

&RQVWUXFĠLDWH[WXDOăVHPDQWLFăúLVLQWDFWLFăODVăVăWUDQVSDUăQXQXPDL XQDQXPLW

tip de manierism, ci, LPSOLFLW úL XQ PRG GH D JkQGL DFWXO OLULF FDUH HVWH XQXO FHQWUDW
H[FOXVLY SH UDSRUWXO GLQWUH RP úL &UHDWRU 3HQWUX DXWRU SRH]LD QX UHSUH]LQWă GHORF R
VăUEăWRDUH D ILJXULORU GH VWLO D PLMORDFHORU DUWLVWLFH JHQHUDWRDUH GH VSHFWDFXOR]LWDWH GUHSW
care niFLQXFDXWăLQVLVWHQWúRFDQWXOLQRYDĠLDOLQJYLVWLFăILLQGFăLPSRUWDQWHVWHQXDEVROXWXO
H[SUHVLHL FL DEVROXWXO &UHDWRUXOXL SHQWUX &DUH QXWUHúWH XQ VHQWLPHQW YăGLW GH DWDúDPHQW
SURIXQG FRURERUDW FX DWLWXGLQHD GH XPLOLQĠă GH VLPSOLWDWH LQFOXVLY SULQ OLPEDM úL GH
VREULHWDWHFRQúWLHQWăDVXPDWăWRWDOvQIDĠDVDFUDOLWăĠLL.
(PEOHPDWLFăSHQWUXSRH]LDOXL7UDLDQ'RU]HVWHFXFHUWLWXGLQHFRQFHSHUHDWH[WXOXL
SULQDFXPXOăULúLGH]YROWăULvQVLPHWULLVLQWDFWLFHVXEIRUPDXQRUDJORPHUăULVHPDQWLFHvQ
ascendeQĠă GH OLPSHGH WUDQVSDUHQĠă FX HIHFWH GH SRHWLFLWDWH PRGHUDWă FD PLMORDFH
HVHQĠLDOH GH LQWHQVLILFDUH D PHVDMXOXL úL GH GHFRGDUH GLULMDWă FYDVLDQDOLWLFă D DFHVWXLD
ÌQFHUFkQGVăSăVWUH]HÄFODVLFLWDWHD´RSHUHLHXODXFWRULDOQXWUăLHúWHWRWXúLVLQJXU ci mereu
în dialog, adresându-se imperativ sau comunicând despre sine cu ajutorul unui lexic
concentrat, fixat constant pe realizarea UHSHWLĠLLORU úL D SDUDOHOLVPHORU (cu rol decisiv în
FRQVWLWXLUHDúLvQGHVIăúXUDUHDVHPQLILFDĠLHLDVWIHOvQFkWYHUVXOvQVXúLVăFRQGXFăVSUHWHPD
JHQHUDOăúLvQGHILQLWLYVăMDORQH]HFUH]XODUWLVWLFDOVFULLWRUXOXL
7UDLDQ 'RU] HVWH XQXO GLQWUH SRHĠLL URPkQL FRQWHPSRUDQL FDUH DX vQĠHOHV Fă
ÄPHFDQLVPHOH LQLPLL FUHGLQFLRDVH VH SXQ vQ PLúFDUH vQ IXQFĠLH GH DOWH FULWHULL GHcât cele
HVWHWLFHFăLQVSLUDĠLDGLYLQăSRDWHILGHVFRSHULWăPDLFXVHDPăDFRORXQGHH[LJHQĠHOHDUWHL
vQFHWHD]ă Vă PDL FHQ]XUH]H DFWXO H[SULPăULL´ &LREDQX  ,,, $XWRUXO UăPkQH IăUă
vQGRLDOăÄXQH[HPSOXGHIHOXOvQFDUHXQSRHWQăVFXWFXRvQ]HVWUDUHQHRELúQXLWăDUHQXQĠDW
Vă-úL SHUIHFĠLRQH]H WDOHQWXO vQ GLUHFĠLD VOXMLULL SURSULHL SHUVRQDOLWăĠL DUWLVWLFH SHQWUX D OXD
calea slujirii celuilat eu >VXEO DXW@ FDUH VH DOFăWXLHúWH vQ FOLSD FkQG ILLQĠD DFFHSWă Vă-úL
asume rolul de parte în întregul care este biserica lui Hristos” (ibidem: II).

*TRAIAN DORZ s-DQăVFXWODGHFHPEULHvQVDWXO5kWXULD]L/LYDGD%HLXúXOXL

DFWXDOXOMXGHĠ%LKRU/DYkUVWDGHDQLDGHUăODÄ2DVWHD'RPQXOXL´ PLúFDUHUHOLJLRDVă
LQLĠLDWă GH SUHRWXO ,RVLI 7ULID OD 6LELX vQ  DYkQG GUHSW VFRS UHQDúWHUHD VSLULWXDOă ÄD
Bisericii noastre [Ortodoxe – n.n. F.-0%@ úL VDOWXO FDOLWDWLY PRUDO FXOWXUDO úL VRFLDO vQ
+ULVWRV DO SRSRUXOXL QRVWUX´ 'RU]   'H SULQ  vQFHSH Vă VFULH SRH]LL GH
IDFWXUă PLVWLFă pe care le trimite spre publicare la Centrul „Oastei Domnului” din Sibiu.
Din 1934, Dorz devine colaborator apropiat al preotului Trifa, iar un an mai târziu îi apare
primul volum de versuri, intitulat La Golgota &RQWLQXă Vă VFULH úL Vă SXEOLFH vQ OLEHUWDte
SkQă OD VIkUúLWXO OXL  FkQG HVWH DUHVWDW GH 6HFXULWDWH &X IRDUWH SXĠLQH vQWUHUXSHUL D
SHWUHFXW  DQL vQ vQFKLVRULOH FRPXQLVWH DFX]DW ILLQG SHQWUX DSDUWHQHQĠD VD OD PLúFDUHD
Ä2DVWHD'RPQXOXL´RUJDQL]DĠLHFHIXVHVHVFRDVăvQDIDUDOHJLLSHQWUX DFWLYLWDWHDLQWHQVăúL
ERJDWă vQ FDGUXO DFHVWHLD SHQWUX LPSOLFDUHD vQ FRRUGRQDUHD HL OD QLYHO QDĠLRQDO SHQWUX
VFULHUHDSRVHVLDúLUăVSkQGLUHDGHPDWHULDOHUHOLJLRDVHQHDXWRUL]DWHÌQFLXGDFRQGLĠLLORUGH
GHWHQĠLH D UHSHWDWHORU DUHVWăUL DQFKHWH SHUFKH]LĠLL DPHQLQĠăUL DPHQ]L HWF 7UDLDQ 'RU]
FUHHD]ă VXWH úL PLL GH SRH]LL GHVFKL]kQG OXQJD VHULH D &kQWăULORU 1HPXULWRDUH; cele mai
PXOWH DX IRVW SXVH SH QRWH úL FRQVWLWXLH XQ YHULWDELO WH]DXU PX]LFDO DO DVRFLDĠLHL Ä2DVWHD
'RPQXOXL´vQVăHOHDXDMXQVVă ILHFXQRVFXWHúLGHFăWUHPHPEULLDOWRUFRQIHVLXQLFUHúWLQH
În perioada regimului comunist, volumele sale au putut circula (în clandestinitate) numai
VXE IRUPă GDFWLORJUDILDWă VDX FRSLDWH GH PkQă LDU R SDUWH GLQWUH YHUVXUL DX Yă]XW OXPLQD
tiparului în sWUăLQăWDWH SULQ EXQăYRLQĠD XQRU FUHúWLQL FDUH DX DSUHFLDW WDOHQWXO FUHDWRU
VSLULWXOSURIXQGUHOLJLRVúLYRFDĠLDGHÄPLVLRQDUODLF´DDFHVWXLSRHWURPkQ7UDLDQ'RU]D
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 232

VFULHULOH OXL SRH]LL PHPRULL VDX PHGLWDĠLL DX IRVW SXEOLFDWH vQ ĠDUă OD HGLWXUL SUHFXP
„Oastea Domnului” din Sibiu sau „Traian Dorz” din Simeria.

Surse:

Ciobanu, Mircea (coord.), 1994, 3RH]LLOH FUHúWLQLORU URPkQL %XFXUHúWL (GLWXUD &DVD
ùFRDOHORU
CCm = Dorz, Traian, 2007, &kQWDUHD&kQWăULORUPHOH, Sibiu, Editura Oastea Domnului.
CÎnv = Dorz, Traian, 2007, Cântarea Învierii, Sibiu, Editura Oastea Domnului.
CDr = Dorz, Traian, 2006, &kQWăULGH'UXP, Sibiu, Editura Oastea Domnului.
CS = Dorz, Traian, 2008, &kQWăULGH6XV, Sibiu, Editura Oastea Domnului.
CL = Dorz, Traian, 2005, &kQWăUL/XSWăWRDUH, Sibiu, Editura Oastea Domnului.
CNem = Dorz, Traian, 2007, &kQWăUL1HPXULWRDUH, Sibiu, Editura Oastea Domnului.
CNoi = Dorz, Traian, 2008, &kQWăUL1RL, Sibiu, Editura Oastea Domnului.
CUrm = Dorz, Traian, 2007, &kQWăULOHGLQ8UPă, Sibiu, Editura Oastea Domnului.
CP = Dorz, Traian, 2005, &kQWăULOH3VDOPLORU, Sibiu, Editura Oastea Domnului.
CR = Dorz, Traian, 2006, &kQWăULOH5RDGHORU, Sibiu, Editura Oastea Domnului.
EP = Dorz, Traian, 2010, Eternele poeme, Sibiu, Editura Oastea Domnului.
Dorz, Traian, 2005, Hristos – PăUWXULDPHD, Sibiu, Editura Oastea Domnului.
LNS = Dorz, Traian, 2010, Locurile noastre sfinte HGLĠLD D ,,-a, Sibiu, Editura Oastea
Domnului.
O = Dorz, Traian, 2005, Osana, Osana, Sibiu, Editura Oastea Domnului.

5HIHULQĠH

Câmpeanu, Eugen, 1975, Substantivul. Studiu stilistic %XFXUHúWL (GLWXUD ùWLLQĠLILFă úL
(QFLFORSHGLFă
Cistelecan, Ioana, 2000, 3RH]LDFDUFHUDOă3LWHúWL(GLWXUD3DUDlela 45.
,OLH(PDQXHODÄ©'ă-ne, Doamne, mântuirea / pentru jertfa ce-am adus...». Poezia-
UXJăFLXQH vQ VSDĠLXO vQFKLVRULORU FRPXQLVWH´ *DIWRQ $OH[DQGUX *XLD 6RULQ úL
0LOLFă ,RDQ FRRUG 7H[W úL GLVFXUV UHOLJLRV, nr. 2 / 2010. /XFUăULOH &RQIHULQĠHL
1DĠLRQDOH 7H[W úL GLVFXUV UHOLJLRV HGLĠLD D ,,-D ,DúL -14 noiembrie 2009 ,DúL
(GLWXUD8QLYHUVLWăĠLLÄ$OH[DQGUX,RDQ&X]D´S-422.
Irimia, Dumitru, 1979, Limbajul poetic eminescian,DúL(GLWXUD-XQLPHD
7RKăQHDQX*,Expresia DUWLVWLFăHPLQHVFLDQă7LPLúRDUD(GLWXUD)DFOD
 233

5HJLPXOMXULGLFúLSURWHFĠLDMXULGLFăDSOLFDELOH
solicitantului de azil

Andra Maria Brezniceanu

Universitatea din Craiova

The following article offers a general presentation and analysis of legal

communication on juridical protection and on the applicable rules for persons
requesting asylum in the Romanian State, and also on the parameters that Romania
has to follow in conformity with the Universal Declaration of Human Rights, with
the law of the European Union and the internal law when it imposes conditions for
the access and presence within the territory of the persons mentioned above.
Moreover, there are analysed the procedural guarantees offered by the Romanian
State (regarding especially the non-refoulement principle), the obligations of the
persons requesting asylum and the procedures to follow in order to gain the refugee
character or another form of subsidiary protection.

Keywords: asylum, low, legal, office.

1. Introducere

Cadrul legal pULYLQGVWDWXWXOVROLFLWDQWXOXLGHD]LOúLSURWHFĠLDDFRUGDWăDFHVWXLDVXQWGDWHGH

OHJHDQUSULYLQGD]LOXOvQ5RPkQLD PRGLILFDWăúLFRPSOHWDWăSULQ 2UGRQDQĠDQU
1/2014, 2UGRQDQĠDQU, Legea nr. 187/2012 – pentru punerea în aplicare a Legii nr.
286/2009 privind Codul penal, Legea nr. 376/2013 – SHQWUX PRGLILFDUHD úL FRPSOHWDUHD
XQRUDFWHQRUPDWLYHGLQGRPHQLXOPLJUDĠLHLúLD]LOXOXL2UGRQDQĠDGHXUJHQĠăQU,
Legea nr. 18/2013, Legea nr. 280/2010, 2UGRQDQĠDGHXUJHQĠăQU, 2UGRQDQĠDGH
XUJHQWă QU , 'HFL]LD &XUĠLL &RQVWLWXĠLRQDOH – UHIHULWRDUH OD H[FHSĠLD GH
QHFRQVWLWXĠLRQDOLWDWH D SUHYHGHULORU art. 121 din Legea nr. 122/2006 privind azilul în
România, 2UGRQDQĠD GH XUJHQĠă QU  – SULYLQG vQILLQĠDUHD 2ILFLXOXL 5RPkQ SHntru
,PLJUăUL SULQ UHRUJDQL]DUHD $XWRULWăĠLL SHQWUX VWUăLQL úL D 2ILFLXOXL 1DĠLRQDO SHQWUX
5HIXJLDĠL SUHFXP úL PRGLILFDUHD úL FRPSOHWDUHD XQRU DFWH QRUPDWLYH SUHFXP úL OHJHD QU
SHQWUXDGHUDUHD5RPkQLHLOD&RQYHQĠLDSULYLQGVWDWXWXOUHIXJLDĠLORUDúDFXPDIRVW
PRGLILFDWă SULQ 3URWRFROXO GH OD 1HZ <RUN GLQ  LDQXDULH  +RWăUkUHD GH *XYHUQ
1251/2006 pentru aprobarea Normelor metodologice de aplicare a legii 122/2006, Directiva
2011/95/UE privind standardele minime, Directiva 2013/32/UE privind procedurile de azil
a Parlamentului European úL a Consiliului din 26 iunie 2013, privind procedurile comune de
acordare úL retragere a SURWHFĠLHL LQWHUQDĠLRQDOH.
/HJHD QU  VWDELOHúWH UHJLPXO MXULGLF DO VWUăLQLORU FDUH VROLFLWă SURWHFĠLH
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 234

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3. DFRUGDUHDSURWHFĠLHLODIURQWLHUă
ÌQ SUH]HQWD OXFUDUH YRP DQDOL]D SURWHFĠLD LQWHUQDĠLRQDOă DFRUGDWă VROLFLWDQĠLORU GH
azil in România.
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recunoscut statutul de refugiat sau i s-D DFRUGDW SURWHFĠLD VXEVLGLDUă 'HILQLUHD VWDWXWXOXL
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vQVă FDGUXO MXULGLF GH UHIHULQĠă DO VLVWHPXOXL MXULGLF HXURSHDQ GH SURWHFĠLH D D]LODQWXOXL´ 1.
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baza conceptelor si criteriilor comune.
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VăVHUHvQWRDUFă´ 2.
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azil este o eWDSă LQWHUPHGLDUă vQ REĠLQHUHD VWDWXWXOXL GH UHIXJLDW GDU WRWRGDWă QX H[LVWă
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1 &XUWHDGH-XVWLĠLHD8QLXQLL(XURSHQe, cauzele conexate C-175/08,C176/08 si C-179/08, p. I-01493,

$\GLQ6DODKDGLQ$EGXOODúLDOĠLL%XQGHVUHSXEOLN'HXFKODQGPDUWLHS
2 http://lege5.ro/concluzia-nr-c-199-12-2013.
3 http://www.unhcr-centraleurope.org
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2. Solicitarea de acces la procedura de azil

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VWDW WHUĠ În cazul VWUăLQLORU minori, cererile de azil pot fi depuse de reprezentantul legal.
Minorii care au împlinit vârsta de 14 ani pot depune cereri de azil în nume propriu.

3. Principii úL JDUDQĠLL procedurale a VROLFLWDQĠLORU de azil

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1 http://www.unhcr-centraleurope.org/ro/pe-cine-ajutam/solicitanti-de-azil.html
2 www.irdo.ro/file.php?fisiere_id=754&fmt=pdf.
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1 http://www.echr.coe.int.
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GXSăFD]GH]LOHGHGHFODUDUHDUHFXUVXOXLRULGHODGDWDKRWăUkULLGHUHVSLQJHUHDLQVWDQĠHL
de recurs.
ÌQ FRQGLĠLLOH vQ FDUH VROLFLWDQWXO GH D]LO QX SRDWH SăUăVL ĠDUD GLQ PRWLYH RELHFWLYH
DFHVWXLD L VH SRDWH DFRUGD GH FăWUH 2ILFLXO 1DĠLRQDO SHQWUX 5HIXJLDĠL SHUPLVLXQHD GH D
 240

UăPkQHSHWHULWRULXOĠăULLDSOLFkQGX-i-VHUHJLPXOMXULGLFDOVWUăLQLORUvQ5RPkQLD6HGHVSULQG
concluziile:
1. Adoptarea cu prioritate unor metode de identificare timpurie a persoanelor cu
QHYRLVSHFLDOHDXQXLPHFDQLVPOHJLVODWLYDVHPăQăWRUFHOXLSUHYă]XWSHQWUXLGHQWLILFDUHDúL
referirea victimelor traficului de persoane.
2. Modificarea art.45 alin. 5 din legea 122/2006, care permite ca solicitantul de azil
VăSRDWăSDUWLFLSDODHIHFWXDUHDLQWHUYLXOXLvQDEVHQĠDDYRFDWXOXLUHSURJUDPDUHDLQWHUYLXOXL
FD XUPDUH D DEVHQĠHL DYRFDWXOXL HVWH SRVLELOă R VLQJXUă GDWă úL QXPDL GDFă H[LVWă PRWLYH
vQWHPHLDWHFDUHVăMXVWLILFHDFHDVWăDEVHQĠăvQVHQVXODVLVWăULLREOLJDWRULLDVROLFLWDQWXOXLGH
D]LO GH FăWUH XQ DYRFDW vQ FXUVXO LQWHUYLXOXL GHRDUHFH DFHVWD HVWH R SDUWH LPSRUWDQWă a
procedurii administrative, cu efect determinant în formarea opiniei persoanelor abilitate, de
oportunitate în acordDUHD IRUPHL GH SURWHFĠLHL VROLFLWDWH &RQVLGHUăP Fă DVLVWHQĠD MXULGLFă
HVWHGHRVHELWGHLPSRUWDQWăvQSURFHGXULOHGHD]LOXQGHEDULHUHOHOLQJYLVWLFHSRWIDFHGLILFLOă
vQĠHOHJHUHDSURFHGXULORUMXGLFLDUHFRPSOLFDWHVDXDSOLFDWHFXFHOHULWDWHDVWIHOvQFkWQu pot fi
vQĠHOHVHúLDVLPLODWHGHFăWUHSHUVRDQHOHvQFDX]ă

5HIHULQĠH

/HJHDQUSULYLQGD]LOXOvQ5RPkQLDPRGLILFDWăúLFRPSOHWDWăSULQ2UGRQDQĠăQU
1/2014, 2UGRQDQĠă QU , Lege nr. 187/2012 – pentru punerea în aplicare a
Legii nr. 286/2009 privind Codul penal, Lege nr. 376/2013 – SHQWUXPRGLILFDUHDúL
FRPSOHWDUHD XQRU DFWH QRUPDWLYH GLQ GRPHQLXO PLJUDĠLHL úL D]LOXOXL 2UGRQDQĠă GH
XUJHQĠăQU, Lege nr. 18/2013, Lege nr. 280/2010, 2UGRQDQĠăGHXUJHQĠăQU
187/2008, 2UGRQDQĠă GH XUJHQWă QU , 'HFL]LH D &XUĠLL &RQVWLWXĠionale –
UHIHULWRDUHODH[FHSĠLDGHQHFRQVWLWXĠLRQDOLWDWHDSUHYHGHULORUart. 121 din Legea nr.
122/2006 privind azilul în România.
+RWăUkUH GH *XYHUQ Qr.1251/2006 pentru aprobarea Normelor metodologice de aplicare a
legii 122/2006.
Directiva 2013/32/UE privind procedurile de azil a Parlamentului European úL a Consiliului
din 26 iunie 2013, privind procedurile comune de acordare úL retragere a SURWHFĠLHL
LQWHUQDĠLRQDOH.
&XUWHD GH -XVWLĠLH D 8QLXQLL (XURSHQH FDX]HOH FRQH[DWH &-175/08,C176/08 si C-179/08,
p.I- $\GLQ 6DODKDGLQ $EGXOOD úL DOĠLL/Bundesrepublik Deuchland, 2 martie
2010, p.52.
Vergatti Cristina Narcisa, $VSHFWH DOH SUREOHPHL UHIXJLDĠLORU îQ FDGUXO MXULGLF LQWHUQ úL
LQWHUQDĠLRQDO7H]ăGHGRFWRUDW– Rezumat, p.13 preluat www.unibuc.ro.
&RQVLOLXO(XURSHL$JHQĠLDSHQWUX'UHSWXUL)XQGDPHQWDOHD8QLXQLL(XURSHQHManual de
drept european în materie de azil, IURQWLHUH úL LPLJUDĠLH, 2014, p.71, preluat de pe
http://www.echr.coe.int
ÌQDOWXO&RPLVDULDWSHQWUX 5HIXJLDĠLDO1DĠLXQLORU8QLWH81+&5, Raport – Mecanism de
UăVSXQVODQHYRLOHVROLFLWDQĠLORUGHD]LOYXOQHUDELOL, 2013: 24-25.
http://www.unhcr-centraleurope.org
http://lege5.ro/Gratuit/gm4dqojtgi/concluzia-nr-c-199-12-2013
 241

ParticulariWăĠLOHWHUPLQRORJLHLPHGLFDOH
ODOHFĠLLOHGHOLPEDURPkQă

Aliona Busuioc
860)1LFRODH7HVWHPLĠDQX&KLúLQăX

Argentina Chiriac
860)1LFRODH7HVWHPLĠDQX&KLúLQăX

Education for communication implies the development of some skills translatable in

capacity terms: to pick up correctly, to analyze and estimate messages, to express
one message in one’s own ways, to argue the expressed opinions. Any
communicative activity is listed in the context of one field; in studying languages,
four different fields can be distinguished: public field, professional field, educational
and personal fields.
Medicine is one of the most important sciences which represents a large source of
research, that is why we can speak about the medical terminology priority and
responsibility. There are medical terms in the scientific medical field. In this article,
we emphasize the importance, for foreign medical students, of the study of
terminology during Romanian language lessons which represents an important
objective in the process of future specialists’ training. Medical terminology presents
complex aspects of terms which are reciprocally connected and form a system of
integration for medical students. Medical vocabulary has an international circulation.

Keywords: medical terms, Romanian language, specialty texts, terminology.

1. Introducere

ÌQ HSRFD PRGHUQă DVLVWăP OD R GH]YROWDUH DFFHOHUDWă D úWLLQĠHL FH vQOHVQHúWH DSDULĠLD úL
HYROXĠLD WHUPLQRORJLHL Ä0DUHD QRDVWUă GRULQĠă GH D SURPRYD vQYăĠăPkQWXO FD VWUDWHJLH D
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UHFHSĠLRQDUHúLGHvQVXúLUHDOLPEDMXOXLPHGLFDOURPkQHVFGHFăWUHPHGLFLQLúWL&XQRúWLQĠHOH
SHFDUHOHRIHUăVXQWLQGLVSHQVDELOHLQWHJUăULLXOWHULRDUHVRFLRSURIHVLRQDOHDYLLWRULORUPHGLFL
úLYRUDVLJXUDXQQLYHOGHFDOLWDWHvQSUHVWDUHDSURIHVLHLGHPHGLF
3HQWUX D IL vQ SDV FX WLPSXO úL D IDFH FXQRúWLQĠă FX QRLOH PHWRGH GH WUDWDPHQW GH
DSDUDWXUăPRGHUQăPHGLFLQLúWLLDOROLQJYLúLVWUăLQLWUHEXLHVăDSHOH]HIUHFYHQWODOLPEDMXOGH
specialitate. )RUPDUHDOLPEDMXOXLGHVSHFLDOLWDWHOHYDSHUPLWHVWXGHQĠLORUXWLOL]DUHDFRUHFWă
IăUăDOHFUHDGXELL
'RPHQLLOHSRWILIRDUWHGLYHUVHvQVăvQUDSRUWFXvQYăĠDUHDOLPELORUHVWHSHUWLQHQWVă
LGHQWLILFăP SDWUX VHFWRDUH PDMRUH domeniul public, domeniul profesional, domeniul
 242

HGXFDĠLRQDO úL GRPHQLXO SHUVRQDO (CECRL 2003: 19). ÄÌQ FRQGLĠLLOH FUHúWHULL UROXOXL
vQYăĠăPkQWXOXLXQLYHUVLWăĠLOHVHSODVHD]ăSHRSR]LĠLHFDOLWDWLYQRXăvQFRQWH[WVRFLDO´*XĠX
2006: 4). 'HRDUHFHYRUELPGHVSUHGRPHQLXOSURIHVLRQDODWXQFLHVWHREOLJDWRULXVăDFRUGăP
R PDUH vQVHPQăWDWH FRQĠLQXWXOXL WHPDWLF DO GLVFLSOLQHL SUHGDWH RELHFWLYHOH VSHFLILFH SRW
contribui la amplificarea temelor de specialitate peQWUXPHGLFLQLúWLLDOROLQJYLúLVWUăLQLGHOD
GLIHULWH IDFXOWăĠL ÌQGRPHQLXO PHGLFDODOvQYăĠăPkQWXOXLVXSHULRU PHGLFLQLúWLLDOROLQJYL úL
VWUăLQL YRU IL LQFOXúL vQ GLIHULWH VLWXDĠLL GH XWLOL]DUH D OLPEDMXOXL GH VSHFLDOLWDWH SUHFXP
OHFĠLLOHSUDFWLFHGHOD XQLYHUVLWDWHFOLQLFLSROLFOLQLFL VSLWDOHvQUHODĠLDSURIHVLRQDOăGLQWUH
FROHJLvQUHODĠLDGLQWUHGRFWRUvQUDSRUWFXSDFLHQWXOúHGLQĠHFRQIHULQĠHIRUPDUHPHGLFDOă
FRQWLQXă GHSODVăUL GH VHUYLFLX VWDJLL GH SHUIHFĠLRQDUH PHGLFDOă FLWLUHD UHYLVWHORr de
specialitate, protocoalelor medicale, studii de specialitate. ,DUFXQRDúWHUHDSDUWLFXODULWăĠLORU
WHUPLQRORJLHLPHGLFDOHYDFRQWULEXLODDPHOLRUDUHDVWXGLHULLvQOLPEDURPkQă
0HGLFLQDVHGH]YROWăUDSLGIDĠăGHFHOHODOWHGRPHQLLúWLLQĠLILFHúLYLLWRULL medici au
QHFHVLWDWH GH D FLWL PXOWă OLWHUDWXUă GH VSHFLDOLWDWH ÄÌQ FRQGLĠLLOH vQ FDUH úWLLQĠD GHYLQH WRW
PDL VWUkQV OHJDWă GH SUDFWLFă vQYăĠăPkQWXO QX SRDWH Vă UăPkQă QXPDL OD WHRUHWL]ăUL´
(Cerghit 2006: 242).

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úLDOSUDFWLFLLGHOLQJYLVWLFă

ÄÌQ SULYLQĠD WHRULHL WHUPLQRORJLD VH GHRVHEHúWH GH OLQJYLVWLFă SULQ DVSHFWHOH HL
importante: conceptualizarea limbii, conceptualizarea obLHFWHORU GH VWXGLX GXSă
GLVFLSOLQHSHUVSHFWLYDVWXGLHULLRELHFWHORUúLVFRSXOFHUFHWăULL´&RWHDQX

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GRPHQLXO GH DFWLYLWDWH SURIHVLRQDOă WHUPLQRORJLLOH VXQW IRUPDWH GLQ FXYLQWH GLQ OLPED
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limbaj de specialitate. Terminologia, ca domeQLXOH[LFDOUHSUH]LQWăÄtotalitatea de cuvinte
VSHFLDOH GH FDUH VH VHUYHVF úWLLQĠHOH DUWD FHUFHWDUHD VL SURIHVLXQLOH vQ JHQHUH GDU úL XQ
FHUFHWăWRUVDXXQJUXSGHFHUFHWăWRUL´ibidem: 95-108).
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terminologiei medicale include cea mai mare parte din elemente greco-latine. ÌQFRQVHFLQĠă
FXQRVFkQGSUHDELQHWRDWHDFHVWHD&RúHULXúL-DIL[DWvQFăGHODvQFHSXWXUPăWRUXOSULQFLSLX
terminologic:

„Eu încerc – ILLQGFăFRQVLGHUFă HQHYRLHFDúWLLQĠHOHXPDQLVWHVăILHúLXPDQHúLVă

ILH PDL PXOW VDX PDL SXĠLQ vQĠHOHVH GH YRUELWRUL – Vă Pă DSURSLL FkW PDL PXOW GH
YRUELUHDFXUHQWăúLVăWUDQVIRUPvQWHUPHQFHHDFHH[LVWăGHMDvQYRUELUHDFXUHQWăúL
VăvQWUHEXLQĠH]FXYkQWXOQXFDvQ OLPEăFLFDWHUPHQSHQWUXFHYDGHILQLW$FHVWDHVWH
SULQFLSLXOPHXvQWHUPLQRORJLH´&RúHULX

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SDUWH GLQ FRUSXO PHGLFDO GHRDUHFH QLFLR SHUVRDQă QX SRDWH FXQRDúWH foarte bine
WHUPLQRORJLD WXWXURU GRPHQLLORU GH DFWLYLWDWH Ä/LPEDMXO HVWH FRQGLĠLD sine qua non a
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 243

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FRPSDUDĠLHFXVWUXFWXUDDOWRUXQLWăĠLWHUPLQRORJLFH
'XSăFXPVSHFLILFă&ULVWLQHO0XQWHDQXÄun limbaj tehnic este cunoscut doar de un
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(Munteanu 2010). Limbajul medical este un limbaj specializat, care face parte din stilul
IXQFĠLRQDO WHKQLFR-úWLLQĠLILF (XJHQLX &RúHULX DUJXPHQWD Fă ³ limbajul specializat medical
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de specialitate ar presupune investigarea unor probleme cum ar fi: formarea limbajului de
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specialitate, a fost respectat caracterul particular al domeniului medical. Astfel, am propus o
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în chirurgie, urologie, psihiatrie etc.), farmacologie (medicament, posologie, remediu,
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LQVWUXPHQWDU HQGRGRQWLF SHGRGRQĠLH HWF GH D HYLGHQĠLD vQVXúLULOH FDUDFWHULVWLFH DOH
limbajului de specialitate.

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formare a termenului medical etc.) dependente între eOH IRUPHD]ă XQ WRW úL VWDELOHúWH
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 244

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Baylon, Christian, Mignot Xavier, 2000, Comunicarea ,DúL (GLWXUD 8QLYHUVLWăĠLL Ä$O ,
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Mândâcanu, Virgil, 2007, (GXFDĠLH&UHGLQĠă8PDQLVP&KLúLQăX%DúWLQD-RADOG.
Munteanu, Cristinel, 2010, „ReflecĠLLSULYLQGIXQFĠLDFULSWLFă a limbajului medical”, Revista
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 247

The Desperate Housewives serial –

a popular culture product

AdrianD1LFROHWD&RFvUĠă
University of Bucharest

In this paper we aim to illustrate that popular culture represents an important part of
the cultural studies area, which allows researchers to explore a field of
interdisciplinary studies intended to discover the newest cultural consumerism of
postmodern society. Stereotypes represent a large part of the popular culture field
and their major importance is given by the fact that they allow us to understand the
manner in which people regard life and the type of shortcuts that they use in order to
create a shorter way between their cognitive and empirical universe. This paper
provides a specific analysis on one of the most encountered stereotypes in the media:
the TV series, illustrated by the Desperate Housewives American series.

Keywords: culture, genre, popular culture, product, stereotype.

1. Introduction

The cultural studies academic field is extremely diverse, and it frames an interdisciplinary
form of study with countless research possibilities in order to study social practices
regarding art, human beliefs, institutions and the way in which these are communicating.
Accordingly, in Cultural Studies volume by L. Grossberg, C. Nelson and P.A. Treichler,
the cultural studies are defined as:

“An interdisciplinary, trans-disciplinary, and sometimes counter-disciplinary field

that operates in the tensions between its tendencies to embrace both a broad,
anthropological and more narrowly humanistic conception of culture” (1992: 4). 1

More than that, the core of the cultural studies field is contemporary culture, put “in
relation with lives and individual experiences distancing themselves from the scientific
positivism or objectivism” (During 1993: 1). This is one of the main characteristics of the
field which was defined this way for the first time by Richard Hoggart in 1950. The second
characteristic of cultural studies is that they represented an involved form of analysis
because they had as starting point the fact that societies are unequally structured and
individuals are born without having equal access to education, money, healthcare etc. Also,
cultural studies are interested in the way that minority groups have developed their own
semantics illustrated by cultural products, art, and entertainment and in the way that they
have created their specific identity: the rock groups, the punk groups, the flower power

1 Our translation.
 248

trends and so on. Rock groups, for instance, created their identity by using motorcycle
jacket, long hair etc., symbols which were then illustrated on clothes, on ornamental
objects, on talismans. All these were put together with a specific argot and with a particular
worldview and they created a large number of cultural products studied by anthropologists.

2. Popular culture

In a society with strong consumerism and in an age “which some people insist to call
postmodern” (Spiridon 2013: 15) we can discuss about cultural consumerism, partially
analysed with a useful instrument called popular culture. Some of the specialists in this
field say that by defining this area of study we only crop it in a wrong way, but in this case
we need a working definition and we will use a very well-known one given by John Fiske
in Reading the Popular: “Popular culture is the subordinate that is defining its
subordination” (1997: 5). Fiske discusses about a culture remodelling and about a change
made in the consumption patterns of human beings. If we try to make a résumé of the most
important definition given along the way to popular culture, we can say that it refers to the
entire contemporary consumption and production practices of successful commercial
culture created by the media.
In order to create an exhaustive image of popular culture, we should mention that it
and popular culture are not one and the same as mass culture designed to a large number of
people because there are some important differences. First, mass culture is rural, archaic,
oral, it has a transparent channel of dissemination ant it is also authorless and repetitive. On
the other hand, popular culture is very urban, sophisticated, a relation category defined by
comparison, it is a consumerism culture created by cultural industries. The theory of
cultural industry was created, for the first time, in 1947 by Theodore Adorno and M.
Horkheimer who were the founder members of the Frankfurt School and of the Institute for
Social Applied Research. They were the ambassadors of the most important instance of
“critic and cultural history which it somehow anticipated the actual study of popular
culture” (ibidem: 19). Cultural industry products, according to Adorno, have a variety of
features: they are commercial products, they do not have aesthetic independence, they are
built inside the system and turn to sensational things in order to seduce. The industry
displays material welfare, it applies the standardisation of commercial schemes, it presents
a mass culture in opposition with the cultivated culture, and the effects on the public are
downshifting while the impact is manipulative and alienating.
In opposition, other scholars have created the Birmingham School and the Centre for
Contemporary Cultural Studies. The scientists of this school defined the field of popular
culture and its study objects: mostly the everyday life. They also created and articulated the
best research method: encoding and decoding, explained in the study Encoding – decoding
model (EDM). This EDM method builds the codification programme that reflects the
hegemonic values and the oppositional subversive reception because its goal is to overturn
the hegemonic power. The scholars who represented the Birmingham School created two
biases: culturalism and structuralism, the latter very well represented by Émile Durkheim.
If we choose to analyse the concept of popular culture in terms of contemporary
practices, we can say that popular culture has a conservative and mimetic character. This
character is a valuable instrument regarding the stability and the mediation of what we are
calling a receptive contract and even an instrument used to control the public. Furthermore,
within the genre as frame, we encounter the serialisation of cultural products, which is
made in two ways: by following the norms of the genre and creating the soap or romance
 249

product or by deceiving the norms of the genre and creating a product which for the public
would be difficult to accept. The mimetic and conservative character has one more
particularity: the plausibility, which could be defined as: “the ability of a speech - oral,
visual, etc. – to appear acceptable, natural and possible in relation to several criteria or
guiding marks” (ibidem: 87). The three types of plausibility are: referential, ideological and
genre, which are changing the distances between the transmitter and the receiver of the
message.

3. Recyclable pre-manufactured

Another way through which the mimetic and conservative character of popular culture
asserts itself is created by the recyclable pre-manufactured within which we can easily
identify the mythical containers. In order to better understand this collocation, it is
necessary to explain what myth is. First, we have heritage myth and personal myth which
are the stereotypes.
To show what a myth is, we can use the definition given by Albert Réville in
Prolégomènes de l’histoire des religions for the heritage myth: “The description of a
natural phenomenon considered as the exponent of a divine drama in which the good
integrates a moral idea in a dramatic story” (1886: 156-157). A semiotic approach on the
meaning of myth is the one that says that the myth is “a type of speech, a communication
system, a message, a way of representation, a form” (Barthes 1957: 107). The ambassador
of the teleological approach of the myth is Mircea Eliade, who defined the myth as “a
metaphysical valorisation of the human existence” (Eliade 1999: 7). Therefore, we can state
that the main characteristic of myths is that they can be analysed from a large spectrum and
that they can be used and reused in a variety of frameworks without suffering any
fundamental changes. On the contrary, the more they are recycled and used, the more their
force and meaning are bigger and stronger.
On the other hand, regarding the proper production myths, these are very much
different from the first, for many reasons. First, the heritage myths have a history that goes
as far as the immemorial times and the others are created in a more recent present. The first
have a high degree of flexibility and can be applied to a wide range of situations and
characters, and the others are purely instrumental and only allow us to get to know the
environment in a mediated manner, making thus the cognitive process easier. In these
conditions, it is necessary to have a definition of the concept of stereotypes, which were
mentioned for the first time by Walter Lippman. He circumscribed the concept by saying
that the stereotype: “scants the real, simplifies a diverse phenomenology and reduces it to a
general and adequate scheme for a certain community” (apud Spiridon 2014: 108). In a few
words, stereotypes are like patterns that people usually see and easily understand the world
where they live and they use it to shorten the way between the empiric and cognitive
universe.
Furthermore, in relation with the mimetic and conservative character of the popular
culture is the concept of serialisation, whose main activity is the recycling of prefabricated
formats which are easy to understand by the public and effortless to distribute by the media.
The TV is the fundamental channel through which the serialisation process was propelled
and Liebes and Katz, through their empirical studies, have discovered that between the
public and the television a para-social interaction is created because of the rhythmicity, the
invariability and the frequency with which people met their favourite serial characters on
precise days and hours. As a result, the mimetic and conservative character has a crucial
 250

influence regarding the way in which a popular culture product is set on the market and has
its own brand. “The contemporary entertainment […] is the universe of privatised
pleasures, of individualisation and of free time merchandising” (Lipovetsky 2007: 184), a
universe where popular culture products will always find their place and their loyal
customers.

4. Transmediality

There is another series of elements that together indicate to the scholar the presence of a
popular culture product: intertextuality, transmediality and interface. The origin of the
intertextuality concept was found in the Mihail Bahtin’s hypothesis about dialogism.
Transmediality refers to the cooperation between the products of the same media channels
or even different channels in order to gain a constant public. According to Monica Spiridon,
transmediality evolves in two ways: horizontally, like barters and win - win situations,
where the products are changing among themselves and some comic books characters
become movie heroes and the other way around. And, there is also the subordinate
transmediality in which the producers of a South American soap opera are developing an
industry by creating stories around the main characters and stories about the sets etc. As
regards the cultural industries, the existence of transmediality can only be salutary because
it allows them to vertiginously expand and to set patterns and life models. The third
element – the interface – is stated through the blurring of boundaries between distinct study
areas in order to gather a complete imagine of the studied objects.

4.1. Desperate Housewives Serial

The Desperate Housewives serial was made during 2004-2012 and it shows the story of
five neighbours from a district in an American suburb, whose lives are dramatically
changing after the mysterious suicide of one of them. The serial had eight seasons and
almost 190 episodes. It was created by Marc Cherry, produces by the ABC studious and the
main roles were: Marcia Cross (Bree Van de Kamp), Teri Hatcher (Susan Mayer), Felicity
Huffman (Lynette Scavo) and Eva Longoria (Gabrielle Solis). It won three Golden Globes
for the best comedy TV series in 2006, the best actress in a TV series – Tery Hatcher and
the best comedy TV serial in 2005 and other 49 awards and 127 nominations. The story
takes place on Wisteria Lane, a street from the imaginary American city Fairview and it
shows the lives of a group of women, on a 13-year period, viewed through the eyes of the
neighbour who killed herself in the very first episode. The plot is built on the lives of the
four families, their personal stories, their secrets, their crimes, their mysteries and happy
moments which they live in their perfect suburb.
The aim of this research is to show that this is a popular culture product by applying
the conceptual grid which was presented earlier. So, we can start by saying that the serial is
based on an explicit scheme used also by other TV serials: you put together a group of very
different people with strong and complex personalities. Then, you create invisible chains
that bring them together and make them experience unexpected events originated in
forgotten histories and secrets deeply buried. The mimetic character of the serial comes
from the fact that their life pattern is taken from the close reality and it copies it, a pattern
that is easy to recognise, to identify and that is extremely attractive for the TV viewer
because it offers him/her a cathartic experience.
The genre is easy to identify from the first moment a person sees the serial’s poster,
 251

its title or its summary. The receiving contract is mediated by the soap genre interlarded by
mystery, drama or comedy elements. All these are creating a harmonious mix that keeps the
TV viewers’ expectations up, and for 40 minutes that person is caught in the plot and eager
for the next episode.
In this applied analysis, we have to illustrate the credibility of the product in order to
explain the reasons why some people accepted in such a short period of time the story and
remained fans for eight years. First, the referential credibility is highlighted through the
construction of a world very similar with the real one in which the referential systems are
materialised in the usual American city within any state, the suburb, the quiet street, the
white fence, the recently grass cut, the children who go to school, etc. All these create a
very strong impact on the viewer and he/she conveniently accepts all that he/she receives.
The cultural credibility is given by collocations like: it’s proper, it’s not proper, it is well
known, must etc. In this case, the credibility is accomplished by respecting the rules: of
welcoming a new neighbour, of participating in the most important events in the life of the
neighbours within the suburb, of looking perfectly no matter how you feel, of being polite,
of respecting the elders, of smiling and so forth. In the end, the genre credibility is given by
the familiar frame which the soap serial has: some main characters who have complicated
life stories and a lot of secrets and who pass through a series of tests, of troubles, who fight
and conciliate, who suffer and cheer. Of course, we have a happy ending and the family
stays together, despite all the problems that were about to take them apart one on other, as
in the case of Lynette Scavo or Susan Mayer.
Furthermore, we aim to demonstrate that the Desperate Housewives serial is a
recyclable pre-manufactured product because of all the strong and clear stereotypes present
there. We will choose only the four main female characters because even this is a stereotype.
We will start with Susan Meyer who is a mature woman, but clumsy, extremely romantic and
who has a magnetic charm. In her story her love life, uninspired decisions and hectic love
relations with various men like Mike Delfino whom she marries twice are emphasised.
Susan is the perfect model of the girl next door and she creates a strong emotional anchor
for the viewers, especially for her humour, charm, sensibility and vulnerability. Susan is a
hesitant person whose single parent responsibilities are overwhelming, whose plans are
rarely working and whose sincerity is not always the best policy.
Unlike Susan Mayer, Lynette Scavo embodies the stereotype of the woman who had
an unhappy childhood. She was the eldest sister and she had to take care of her younger
brothers for her mother who was an alcoholic and who had several relations with different
men. Lynette underwent life and she worked very hard for everything she had. Having such
a difficult history she fell in love and got married with the first man that she knew with
whom she had six children. She embodied the fighting woman who had to be in control of
everything that happened in her family and even of her husband. Their relationship passes
though some difficulties, they are about to get divorced, but, in the end, that does not
happen and they remain together.
Gabrielle Solis embodies the shallow woman stereotype for whom to have money
and to look good is the ultimate aim. Gabrielle is a Mexican girl who was sexually abused
by her stepfather in her childhood. When she was fifteen, she ran away from home to New
York where she was discovered and she followed a very successful career in modelling.
When her career was declining she chose to get married to Carlos Solis, a very successful
businessman and she moved to Wisteria Lane. Of course, they had two children, they got
through a divorce, they got married again and after some adventures, the two of them
remained together.
The last stereotype character is Bree Van de Kamp, a woman for whom keeping the
 252

appearances is the ultimate goal in life. Bree is making astronomical efforts to maintain a
perfect image about herself and her family, despite widowhood, divorce, alcoholism and
gay son. The main features of this character are: perfectionism, ethics, religion, obsessive –
compulsive disorders, the talent for preparing gourmet food and for shooting with hunting
guns. At the end of the serial, Bree gets married, for the third time, with her lawyer, she
moves in a different state and she has a public position in the city board. Although the
events built around these four main characters are extremely simple, they have managed to
create a Golden Globe TV serial success for eight years.
The serialisation was one of the factors that contributed to its success because it
allowed it to happen for eight years without losing people’s interest. The rhythm of the
action was quite slow and the storyline kept the magic formula: a minimum number of
pieces of information and a maximum number of characters who comment and interpret
them. Regarding transmediality, we can say that it was barter when the serial was taken
over by the TV and the Internet within a large number of professional movie web sites. We
can also discuss about an underlying transmediality when all the specific magazines
published news and cover stories about the characters or other information regarding the
plot. It is also important to mention that the serial has generated: printed T-shirts with the
name of the serial, with its representative cherry apple, DVDs, cans, bags, notebooks, etc.
An entire commercial industry was created based on this serial which generated large
profits for all the people involved.

5. Conclusion

We are convinced that, in the end, we managed to demonstrate that Desperate Housewives
serial is a popular culture product which filled the most important characteristics of the
field and that it fits within the movie industry oriented towards the demands of different
markets. In a cultural system with a dynamic always adjusted to the public, this serial, as
many others, marks and influences the life of people by diversifying their options, but also
by alienating them from the real life, the real people.

References:

Adorno, Theodor. 1991. The Culture Industry. London: Routledge.

Adorno, Theodor, Horkheimer, Max. 1979. Dialectic of Enlightenment. London: Verso.
Barthes, Roland. 1957. Mithologies. New York: The Noonday Press.
During, Simon. 1993. “Introduction.” In During, S. (ed.). The Cultural Studies Reader.
London: Routledge.
Fiske, John. 1997. Reading the Popular. London: Routledge.
Grossberg, Lawrence, Nelson, Cary, Paula A. Treichler. 1992. Cultural Studies. London:
Routledge.
Lipovetsky, Gilles. 2007. )HULFLUHD SDUDGR[DOă (VHX DVXSUD VRFLHWăĠLL GH KLSHUFRQVXP.
Iaúi: Polirom.
Réville, Albert. 1881. Prolégomènes de l’histoire des religions. Paris: G. Fischbacher.
Spiridon, Monica. 2013. 3RSXODU FXOWXUH PRGHOH UHSHUH úL SUDFWLFL FRQWHPSRUDQH.
&UDLRYD)XQGDĠLD– Editura Scrisul Românesc.
 253

Blogues des enseignants et identités numériques

&RQGRLX9LQWLOă(OHQD-Georgiana

Universitatea din Craiova

Un enseignant est un être social, sa pratique dans la classe n’est qu’une composante
de la complexité qui le caractérise. Dehors de la classe, ou comme un prolongement
de celle-ci, les professeurs se mettent à animer des blogues. Blogues des professeurs
de FLE, blogues professionnels. Linguistiquement, les blogues des professeurs se
classent du côté de l’ « identité » et de l’ « image de soi ».

Mots-clés: blogue, éthos, identité, image de soi, professeur.

1. Introduction

Depuis longtemps, en parlant d’un groupe, on essaie de trouver une caractéristique

définitoire, une image à laquelle l’associer. On a associé l’image de l’enseignant avec celle
d’un savant, comme l’a fait Gustave Flaubert (Dictionnaire d’idées reçues, 1913)
« Professeur: Toujours savant » ou « Grammairiens: Tous pédants ». Ces stéréotypes
traversent le temps, leur résistance s’amplifie quelquefois, tout comme leur rôle d’étiquette.
Mais les enseignants, en tant que personnes pour lesquelles le quotidien signifie
s’exprimer en public, pour un public d’apprenants, ces enseignants donc, exposent, en
même temps que leur discours, une image d’eux-mêmes créée par et dans ce discours. Cette
image peut être considérée à partir des traces qu’elle laisse, bref, en observant l’éthos. Si
l’on évoque l’éthos, la pensée va vite vers « l’image de soi que le locuteur construit dans
son discours pour exercer une influence sur son allocutaire » (Charaudeau &Maingueneau
2002 : 238) ou, autrement dit, image de soi construite par l’orateur pour « contribuer à
l’efficacité de son dire » (Amossy 2006 : 69).
Imperceptiblement séparés, deux points de vue se présentent ici: celui de
Charaudeau &Maingueneau exprime le désir de l’orateur, celui de Ruth Amossy, le résultat
du dire, qui se reflète d’ailleurs dans l’action à laquelle s’engage le public après avoir
entendu le discours de l’orateur. Étudier l’éthos ne peut se faire sans mentionner Aristote et
sa Rhétorique qui parle de l’influence que le discours a sur l’autre et des lieux d’inscription
de cette influence:

« Les preuves inhérentes au discours sont de trois sortes: les unes résident dans le
caractère moral de l’orateur; d’autres dans la disposition de l’auditoire; d’autres
enfin dans le discours lui-même, lorsqu’il est démonstratif, ou qu’il paraît l’être »
(Aristote 19 :1 :83 cité par Amossy 2006 : 10).

« Blogue » ou « blog » est un mot récent et encore instable pour ses utilisateurs, qui
l’orthographient différemment, mais dont le fonctionnement repose sur « animation »,
 254

« liberté éditoriale », « interaction ». En dehors des textes, le blogue contient des images
(dessins, photos) des fenêtres qui s’ouvrent, il est associé quelquefois à d’autres espaces, sa
matérialité complexe est multimodale.
Le blogue des professeurs de FLE est d’abord un « texte » qui se trouve, dès sa
conception, sous l’influence des pratiques professionnelles de ses concepteurs-acteurs. Une
remarque peut déjà être faite: le concepteur du blogue peut être un des énonciateurs, ou
plusieurs. Il peut être conçu par un spécialiste qui n’est pas professeur, mais à défaut de
preuves dans cette direction, nous considérons le blogue comme appartenant du point de
vue de sa conception aux acteurs qui l’animent.

2. L’image de soi

L’image de soi en tant qu’une représentation du sujet dans le discours intéresse

particulièrement Maingueneau. Il élabore le concept d’éthos discursif. L’éthos est « lié à
l’énonciation, non à un savoir extradiscursif sur l’énonciateur » (Maingueneau 1999 : 76),
autrement dit, il se construit dans le discours. Pour l’auteur de la Rhétorique, l’éthos est une
des « preuves » au service de l’argumentation, dans le cadre de l’analyse du discours, il
renvoie au « processus plus général de l’adhésion des sujets à une certaine position
discursive » (ibid.). Dans le champ de la linguistique et de l’analyse des interactions, l’éthos
a été repris comme une expression d’un point de vue du sujet parlant. Kerbrat-Orecchioni
(1999) met en évidence les liens entre l’éthos et les places énonciatives prises par le
locuteur comme traces de sa subjectivité. La « scène d’énonciation » joue un rôle
déterminant dans la construction de l’éthos :

« L’énonciateur n’est pas un point d’origine stable qui ”s’exprimerait” de telle ou

telle manière, mais il est pris dans un cadre foncièrement interactif, une institution
discursive inscrite dans une certaine configuration culturelle et qui implique des
rôles, des lieux et des moments d’énonciation légitimes, un support matériel et un
mode de circulation pour l’énoncé » (Maingueneau 1999 : 82).

On souligne l’importance de la modalisation du discours qui contribue à

l’élaboration du positionnement en rapport avec l’effet que le locuteur veut produire sur son
interlocuteur. Autrement dit, l’éthos est indissociablement lié à une situation d’énonciation:

« [...] ce qui se trouve investi dans une interaction donnée, ce n’est évidemment pas
l’identité globale de X, mais certaines composantes seulement de cette identité, qui
sont seules pertinentes dans le contexte interlocutif [...] ainsi disposons-nous tous
d’une panoplie de « casquettes » qui ne sont pas toutes mobilisées au même degré
dans toutes les circonstances de notre vie sociale » (Kerbrat-Orecchioni 2005 : 157).

3. L’identité sociale et l’identité discursive

Le terme d’identité a été travaillé, entre autres, par Charaudeau (2009) qui distingue
l’identité sociale et l’identité discursive: « L’identité sociale représente ce qui donne au
sujet son ”droit à la parole ”. » (ibidem : 19). L’identité discursive du sujet parlant est
construite « en répondant à la question: ”Je suis là pour comment parler ? ” » en essayant
de défendre son image – son éthos – tout en posant l’accent sur la « crédibilité et la
captation » (ibidem : 21). Le sujet parlant, c’est-à-dire le blogueur/l’enseignant, doit aussi
 255

être pris au sérieux par ses apprenants et c’est son obligation de réussir à les « persuader »
grâce à son discours et à ses prises de parole. Il fait ainsi preuve d’une image positive de lui
et de ses compétences.
Bien sûr, l’identité discursive est construite autour de l’identité sociale – moi,
enseignant – celle-ci étant celle qui influence la façon dont le discours se construit. Mais les
interrelations entre les dimensions langagières (le blogue) et sociales (l’enseignant) sont
beaucoup plus complexes et problématiques. Selon Claude Chabrol et Marcel Bromberg
(1999 : 296-297) « un acte de parole, au-delà de sa fonction de dire quelque chose,
constitue un acte social au moyen duquel les acteurs sociaux interagissent ». Avec Patrick
Charaudeau nous affirmons qu’il est impossible de séparer l’identité sociale de l’identité
discursive et que:

« L’identité sociale a besoin d’être confortée, renforcée, recréée ou, au contraire,

occultée par le comportement langagier du sujet parlant, et l’identité discursive, pour
se construire a besoin d’un socle d’identité sociale » (Charaudeau 2009 : 19).

Si l’identité sociale fait référence aux autres, à la légitimité, l’identité discursive fait
référence à la crédibilité et au sérieux: « comment puis-je être pris au sérieux ? ».
À partir de ce corpus, nous allons esquisser un parcours linguistique pour dégager
l’identité discursive en rapport avec l’identité sociale et tracer quelques coordonnées de
l’éthos de l’enseignant.

4. « Blogues » et discours de blogues

4.1. Le blogue – forme interactionnelle de communication

Le blogue, contrairement au forum, ne relève pas du genre conversationnel, mais de la

publication éditoriale (Soubrié 2008 : 125). Certes, l’espace commentaire accroché à
chaque message fonctionne sur le même principe qu’un forum. Mais seuls les écrits de
l’auteur s’affichent sur la page principale. Pour lire les commentaires, il est nécessaire de
les ouvrir dans une fenêtre secondaire. Cette disposition dissocie très nettement l’auteur du
blogue des lecteurs ou commentateurs: « C’est ce qui fait dire à Chesher que jamais un outil
de communication n’avait jusqu’ici accordé autant d’importance à la ‘fonction auteur’ »
(ibidem : 125).
Les interactants ne se trouvent pas face à face, ils partagent le même espace
seulement pendant la connexion Internet. L’énonciation est différée: exemple – les
commentaires. Pourtant, on ne peut pas négliger le fait que les commentaires influencent
l’auteur du blogue.
Prenons, par exemple, le blogue: francaislangueetonnante.wordpress.com. Après la
publication de l’article Learning Apps (article sur l’utilisation d’un TBI), un de ses lecteurs
(Fred FLQ) suggère à l’auteur (le 21 février 2014) de visiter un autre site: « allez
voir: http://www.education-et-numerique.org ». Le même jour, l’auteur lui répond qu’il ne
connaissait pas ce site et 2 mois plus tard il publiera un article sur le nouveau site (image 1).
C’est à travers les réactions des lecteurs, leurs commentaires, que l’auteur du blogue est
amené à se positionner, à affiner ses jugements et, ce faisant, à révéler des parts de lui-
même.
 256

4.2. Le blogue – situation de communication

Le but de notre recherche est d’observer comment s’élabore la construction de l’identité

sociale vs. l’identité discursive, comment les enseignants se positionnent par rapport à
l’image qu’ils se font de leur métier, et comment ils développent des pratiques
vulgarisatrices.
Selon Roland Goigoux 1 « nous rencontrons souvent des enseignants en quête
d’outils pour mieux enseigner, rarement d’outils pour remédier ». Toutefois, les blogues des
enseignants sont créés pour aider tantôt les enseignants, tantôt les apprenants.
Dans la section « Accueil » ou « À propos de », la plupart des blogueurs se
présentent et présentent les objectifs de leur blogue:

BLOGUE Objectifs du blogue

http://www.fle-philippemijon.com « Un espace de réflexion sur le monde du FLE
(méthodes, pratiques de classe, formations) pour
tous les professeurs ! »
http://foudefle.blogspot.ro RIEN
http://francaislangueetonnante.wor « L’objectif de ce blog étant avant tout la
dpress.com collaboration et le partage entre les professionnels
du FLE, les documents ne sont pas toujours
disponibles en intégralité sur le blog. »
http://jouerfle.blogspot.fr RIEN
http://legoutdufrancais.org RIEN
http://leszexpertsfle.com « Créé en mars 2013, ce site est avant tout un blog
pédagogique qui s’adresse à tous les formateurs
FLE. «
http://www.o-fle.fr RIEN
http://lewebpedagogique.com RIEN
http://flenet.rediris.es « Les chercheurs, enseignants et étudiants qui font
partie de cet espace de communication échangent
et proposent des informations, des documents et
des idées sur les enjeux entre les nouvelles
technologies de l’information et de la
comunication dans l’enseignement (TICE) et le
monde du Français Langue Étrangère (FLE). »

BLOGUE Présentation des blogueurs

http://www.fle-philippemijon.com « Diplômé en phonétique verbo-tonale (Université
de Mons, Belgique), j’assure des formations pour
les professeurs de français de Catalogne depuis
2004. Aujourd’hui coordinateur pédagogique à
VOILÀ, un centre de langue spécialisé dans
l’enseignement du français pour les entreprises, je
suis professeur associé à l’Université Ramon Llull

1http://www.cafepedagogique.net/lexpresso/Pages/2012/04/19042012_RGoigoux.aspx
dernière consultation : le 21 janvier 2015.
 257

et à l’école de commerce qui en dépend

(ESADE). »
http://foudefle.blogspot.ro RIEN
http://francaislangueetonnante.wor Amandine
dpress.com Passionnée de création pédagogique, je travaille
essentiellement avec des adultes de tous niveaux.
J’ai créé le blog Français Langue Étonnante en
2012.
Après un court passage en Ukraine et deux
chouettes années d’enseignement à Lyon me voilà
partie tenter l’aventure en Malaisie.
Alice
Argentine, Jordanie, Lyon et c’est LA rencontre.
Après deux ans de complicité pédagogique, Alice
a enfin rejoint le blog en décembre 2013 et y
participe activement depuis. Elle aime créer des
activités autour du cinéma, de la littérature.

http://jouerfle.blogspot.fr RIEN
http://legoutdufrancais.org L’Équipe: Chantal Giroux et Marion Vergues
(présentation détaillée)
http://leszexpertsfle.com « Les Zexperts, ce sont trois formateurs FLE,
également formateurs de formateurs. »
(présentation détailléé)
http://www.o-fle.fr « Le blog Ô Fle! est né du désir de concilier
plusieurs de mes centres d’intérêt: le français
langue étrangère, la création de sites web ainsi que
les rencontres (interculturelles ou pas). »
http://lewebpedagogique.com « Je possède une Licence en Langues Etrangères
Appliquées anglais-italien,obtenue en juin 1991 à
l’Université Lumière – Lyon II. De plus, la même
année, j’ai obtenu aussi la Mention Français
Langue Etrangère toujours à l’Université Lumière
– Lyon II. »

http://flenet.rediris.es « F L E N E T.RedIRIS est une communauté

virtuelle et une liste de discussion autour du
Français Langue Étrangère et Internet. Les
chercheurs, enseignants et étudiants qui font partie
de cet espace de communication échangent et
proposent des informations, des documents et des
idées sur les enjeux entre les nouvelles
technologies de l’information et de la
comunication dans l’enseignement (TICE) et le
monde du Français Langue Étrangère (FLE). »

Ces blogueurs, on peut les partager en deux catégories, selon l’identité qu’ils
exposent sur leur page de présentation. La première catégorie met l’accent sur identité
 258

sociale – Philippe Mijon, Amandine et Alice, Chantal Giroux et Marion Vergues, Les
Zexperts, la chroniqueuse de Webpédagogique (dont on ne connaît pas le nom) – ces
blogueurs se présentant en exposant leur parcours professionnel, les diplômes obtenus ou
l’expérience professionnelle. Parmi eux, il y a ceux qui présentent en détail leurs diplômes
et leur parcours professionnel et ceux qui se présentent en grandes lignes. La deuxième
catégorie est celle qui met l’accent sur l’identité discursive : Elsa (foudefle) et Mme Devine
(jouerfle). On peut observer facilement que la plupart des blogueurs mettent l’accent sur
l’identité sociale et peu d’entre eux mettent l’accent sur l’identité discursive qui, « pour se
construire, a besoin d’un socle de l’identité sociale » (Charaudeau 2009 : 19).
L’influence qui résulte du jeu entre ces deux types d’identités « ne peut pas être jugé
en dehors de la situation de communication » (ibidem : 23). Cette situation de
communication donne des instructions quant à la façon de se comporter discursivement,
elle définit les traits de l’identité discursive. S’agissant du sujet enseignant, la question
serait: je suis là pour comment venir en aide aux autres ?, qu’on parle d’autres enseignants
ou des apprenants. Le sujet enseignant se trouve donc dans une double situation: d’une part,
il doit être le porteur et le garant des connaissances qu’il veut transmettre, d’autre part, il
doit faire adhérer les autres à son blogue et aussi prouver sa « légitimité à dire » (ibidem :
20) qui procède d’un « savoir-faire » (ibidem)

5. L’éthos de l’enseignant sur la Toile

Les premiers blogues apparus voulaient « faire entendre une autre voix que celles des
médias officiels ou attirer l’attention sur tel ou tel événement qu’ils jugeaient digne
d’intérêt » (Soubrié 2008 : 125). Quel que soit le type de blogue, quels que soient les
thèmes abordés ou la plus ou moins grande distance que prend le sujet vis-à-vis de son
discours, les blogues ont pour dénominateur commun l’engagement d’une individualité. Ce
qui est important, c’est d’exprimer son point de vue, ses réflexions ou ses connaissances.
À partir de cette idée, nous pouvons affirmer que le blogue représente tantôt un outil
d’autopublication, tantôt un outil de communication. Les blogues exposent et présentent les
images des blogueurs et construisent la dimension sociale de ceux-ci. Cette dimension est
complétée, en dehors des commentaires, aussi par le blogroll – appelé en français blogoliste
– est une liste de liens vers des blogues « amis » (c’est à dire dont on souhaite
volontairement faire la promotion). Il est souvent positionné dans l’une ou l’autre colonne
d’un blogue: il est donc visible depuis n’importe quel article consulté (cf. Dictionnaire du
Web 1). Le blogroll permet, selon Mario Asselin, un des pionniers de l’utilisation éducative
des blogs et auteur du blog Mario tout de go 2, de connaître le voisinage intellectuel et les
réseaux avec lesquels l’auteur a des affinités.

6. Types d’éthos

L’éthos de l’énonciateur peut être manifesté de manière directe (se présenter soi-même
dans l’énoncé) ou de manière implicite ou « insinué » (Herrero 2006 : 212). Dans les
blogues présentés, quatre blogueurs ont choisi de se manifester directement: « j’ai
immédiatement su que je le réutiliserais dans toutes mes formations », « Aujourd’hui je

1 http://www.dictionnaireduweb.com/, dernière consultation : le 21 janvier 2015.

2 http://blogue.marioasselin.com, dernière consultation : le 21 janvier 2015.
 259

vous propose une activité que je pourrais placer au carrefour d’une blague et d’un support
de développement personnel », « Je crois bien que dans chaque enseignant se niche un
fantasme de cours magistral », « Personnellement, il me semble que les deux réseaux
sociaux de langues les plus connus sont Livemocha et Babbel » etc. Les autres ont choisi la
manière implicite, mettant l’accent sur l’acte d’énonciation en train de se faire; dans un tel
plan, « les événements semblent se raconter eux-mêmes » (Benveniste 1966 : 214).
L’éthos dans sa perspective praxéologique constitue un des objets d’étude de Jorro
(2006). Elle développe la notion de « l’éthos professionnel» par la mise en acte. Selon elle,
la construction de l’éthos détermine le rapport du sujet dans des expériences concrètes où il
confronte ses valeurs aux valeurs propres à la profession. Ainsi, l’éthos professionnel
émerge dans l’agir à travers la découverte, l’intériorisation et la légitimation de ces valeurs
professionnelles: « cette conception de l’éthos s’approche de ce que d’autres auteurs
nomment soi professionnel ou encore identité professionnelle » (Dobrowolska 2013 : 7).

7. Conclusions

En analysant les blogues présentés, on peut observer l’éthos professionnel que les blogueurs
exposent à travers leurs pages. La majorité des enseignants blogueurs font des références à
leur expérience, en donnant des exemples réels. On peut affirmer que l’identité
professionnelle possède maintenant d’autres moyens de s’exprimer, être « professeur » ne
signifie plus « école »; le métier est complété par d’autres pratiques pédagogiques, en
éliminant les murs et transformant l’Internet dans une « classe virtuelle» où l’élève
« entre » seulement par plaisir – le professeur doit donc l’attirer et le convaincre d’y
revenir.

Bibliographie:

Amossy, Ruth, 2006, L’argumentation dans le discours, Paris, Armand Colin.

Dobrowolska, Dominika, 28-29 novembre 2013, « Éthos comme ingrédient du discours
« réflexif » ou du discours « attendu » des enseignants en formation lors des
entretiens de stage », Colloque Doctoral International de l’éducation et de la
formation, CREN, Universités de Nantes, disponible à l’adresse:
http://www.cren.univ-
nantes.fr/60777669/0/fiche___pagelibre/&RH=1330678200697;
dernière consultation: le 21 janvier 2015
Charaudeau, Patrick, Maingueneau, Dominique, 2002, Dictionnaire d’analyse du discours.
Paris, Seuil.
Charaudeau, Patrick, 2009, Identité sociale et identité discursive. Un jeu de miroir
fondateur de l’activité langagière, Identités sociales et discursives du sujet parlant,
Paris, L’Harmattan.
Chabrol, Claude, Bromberg, Marcel, 1999, « Préalables à une classification des actes de
parole », Psychologie française , 44, 4.
Herrero, Cecilia, 25, 26 et 27 Octobre 2006, « L’éthos discursif de l’énonciateur dans les
titres de la presse française qui jouent avec le détournement d’une expression figée
ou d’un énoncé stéréotypé », Linguistique Plurielle: Valencia, Vol. 2, 211-222;
disponible à l’adresse: http://dialnet.unirioja.es/servlet/articulo?codigo=4031364;
dernière consultation: le 21 janvier 2015
 260

Jorro, Anne, 28 février 2006, « L’agir professionnel de l’enseignant », Conférence au

séminaire de Recherche du Centre de Recherche sur la Formation – CNAM, Paris;
disponible à l’adresse:
https://hal.archives-ouvertes.fr/file/index/docid/195900/filename/CNAM-06.pdf
dernière consultation: le 21 janvier 2015
Kerbrat-Orecchioni, Catherine, 1999, L’énonciation. De la subjectivité dans le langage.
Paris, Armand Colin.
Kerbrat-Orecchioni, Catherine, 2005, Le discours en interaction. Paris, Armand Colin.
Maingueneau, Dominique, « Ethos, scénographie, incorporation ». In Amossy, R. (dir.).
Images de soi dans le discours. 1999, Lausanne / Paris, Delachaux et Niestlé. pp.
75-100.
Soubrié, Thierry, 2008, « Images de soi dans un blog professionnel d’enseignants
stagiaires » ALSIC, 11, 1, 121-149.

Sitographie:

http://www.cafepedagogique.net/lexpresso/Pages/2012/04/19042012_RGoigoux.aspx
http://blogue.marioasselin.com
http://dialnet.unirioja.es/servlet/articulo?codigo=4031364
http://dugi-doc.udg.edu/bitstream/handle/10256/2727/185.pdf?sequence=1
http://www.dictionnaireduweb.com/
 261

,QVHUĠLDDEVROYHQĠLORUGHVWXGLLVXSHULRDUHSH
SLDĠDPXQFLL

Dacian Florea
Universitatea din Craiova

Andra Brezniceanu
Universitatea din Craiova

In the current economic reform, which is in full development and paralleled by the
reform of Romanian educational and learning system, there is a close attention paid
to the school efficiency and progress, as an indicator for the optimization of the
resulting conditions for success in learning. Knowing the prices in the field of work
means to look closely at the problem of work resources and this is what we will try
to focus on through some analyses of the socio-demographical structure of the
human force, the dynamism of the human force (through analyzing its determinant
causes and factors), the links between the demographic phenomena (birth rate,
mortality, migration, structure based on age groups, dependence level etc.) and the
human force occupation.

Keywords: demographic phenomena, human force occupation, migration, field of

work.

1. Introducere

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FDUHDUHRVOXMEăGHFHQWăDUHúDQVHPDLPXOWHVă LDVăGLQVăUăFLH” ( Giddens 2007: 37).

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muncii este cel care face referire la importanĠD SH FDUH DFRUGăULL SHUIHFĠLRQăULL
competenĠHORUSHQWUXFăXQEXQHFKLOLEUXvQWUHFHUHUHDúLRIHUWDGHPXQFăUH]XOWăGLQIDSWXO
FăPXQFLWRULLRFXSăORFXULGHPXQFăDGDSWDWHFDOLILFăULORUúLFRPSHWHQĠHORUORU

1 autor care a studiat globalizarea ca fenomen.

 266

Surse:

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&KLSHD )ORDUH ùWHIăQHVFX )ORULFD FRRUG  &RPEDWHUHD VăUăFLHL úL SURPRYDUHD
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 267

'HVSUHPLJUDĠLDIRUĠHLGH PXQFă

Dacian Florea
Universitatea din Craiova

In the current era, economic globalization phenomena emphasized a process that we

meet increasingly more often: labor migration. This paper attempts to highlight
some aspects of labor migration. Geographic population movements have existed at
all times, following commercial lines and concentrations of resources, but these
labor movements have been organized and regulated differently today. The
legislative context has changed alongside with the political-administrative context,
but the motivational substratum level which is underpinning human choices and
actions has remained the same.

Keywords: demographic phenomena, economic strategies, field of work, human

force occupation, migration.

1. Introducere

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Andreescu, Daniela Nicoleta, Teodorescu, Aurel.2004. (PLJUDĠLD vQ VFRS GH PXQFă D
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2007.

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http://www.ectap.ro/articole/137.pdf
http://www.capital.ro/
http://www.capital.ro/articol/numarul-transferurilor-de-bani-creste-suma-scade-
119870.html
http://www.capital.ro/articol/deficit-record-de-personal-calificat-pentru-romania-
121539.html
http://student.hotnews.ro/stiri-burse_stagii-5057892-student-university-chicago-bursa-
guvernului-romaniei-produs-peste-30-someri-lux.htm
http://www.muncainstrainatate.anofm.ro
http://www.culiuc.com/archives/2008/10
 271

0HWDIRUDMXULGLFă3UHFL]ăULSUHOLPLQDUH

Alina Gioroceanu
Universitatea din Craiova

This paper presents the classic and modern theories within the field of metaphor in
order to apply them in the analysis of judicial and juridical discourse. As many
researchers observed, figurative language is extremely important in legal discourse.
The revolutionary theory of Lakoff and Johnson about conceptual metaphor is
viewed as the crucial point in the contemporary development of nowadays theories. I
consider that an adequate study must be related to some coordinated indicated by
Kövecses (2010): 1) the immediate physical setting; 2) what we know about the
major entities participating in the discourse; 3) the immediate cultural context; 4)
the immediate social setting; 5) the immediate linguistic context itself in a specific
time that a certain metaphor is born and used.

Keywords: discourse, knowledge, legal, linguistics, metaphor.

1. Introducere

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perspectiva asupra conceptuluLHVWHSUHOXDWăFXXQHOHPRGLILFăULvQVWXGLLOHFRQWHPSRUDQHFX
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XQWUDQVIHUGHWUăVăWXULVHPDQWLFH´%LGX-9UăQFHDQXet al. 2001: 308).
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“Metaphor is a major and indispensable part of our ordinary, conventional way of

conceptualizing the world, and that our everyday behavior reflects our metaphorical
understanding of experience” (Lakoff 1993: 203).

Revizitarea limbajului cotidian ca loc de manifestare a metaforei a fost iQLĠLDWă OD

VIkUúLWXO VHFROXOXL WUHFXW LDU VWXGLXO PHWDIRUHL V-D GHSODVDW SRUQLQG GH OD DFHDVWă QRXă
SHUVSHFWLYăúLODQLYHOXOOLPEDMHORUGHVSHFLDOLWDWH
 272

2. Teorii moderne axate pe studiul metaforei

În studiul Methaphors We Live By (1980), /DNRIIúL-RKQVRQSURSXQRQRXăWHRULHSULYLQG

UROXOXL PHWDIRUHL vQ VLVWHPXO QRVWUX FRQFHSWXDO WHRULH FDUH HVWH SUHOXDWă GH]YROWDWă úL
DMXVWDWăvQDERUGăULOHXUPăWRDUHGH-RKQVRQ/DNRII/DNRIIúL7XUQHU
Gibbs (1990, 1992), Steen (1994), Kovecses (2002) etc.
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(“target-GRPDLQ´HPLQDPHQWHDEVWUDFWúLPDL JUHXSHUFHSWLELOÌQWUHDFHVWHGRXăGRPHQLL
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PHWDIRUDQHSHUPLWHVăQHUHSUH]HQWăPGRPHQiul conceptual abstract al dragostei prin apel
OD GRPHQLXO FRQFHSWXDO IDPLOLDU úL FRQFUHW DO FăOăWRULLORU vQGUăJRVWLĠLL VXQW SHFHSXĠL FD
QLúWHFăOăWRULUHODĠLDGHGUDJRVWHFDSHXQYHKLFXOLQWHQĠLDvQGUăJRVWLĠLORUFDSHRGHVWLQDĠLH
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În prezentarea teoriilor contemporane axate pe studiul metaforei, George Lakoff
(1993) distingea între:
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- experimentele psiholingvistice.
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“Metaphors we have and what they mean depend on the nature of our bodies, our
interactions in the physical environment, and our social and cultural practices”
(Lakoff and Johnson 1980: 247).

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pentru alte discipline preocupate de studiul metaforei, precum filosofia, poetica,
psiholingvistica, psihologia, analiza de discurs, comunicarea ori antropologia (cf. Gibbs
 $SOHFDUHD DVXSUD PHWDIRUHL vQ GLVFXUV HVWH FUXFLDOă SHQWUu realizarea obiectivului
lingvisticii cognitive de construire a unei gramatici bazate pe uz, în care elementele lexicale
úLDOWHFRQVWUXFĠLLOH[LFR-gramaticale pot fi motivate cognitiv:
 273

“Attention to metaphor in discourse is crucial for the realization of the cognitive

linguistic objective of constructing a usage-based grammar, in which lexical
elements and other lexico-grammatical constructions maz motivated by metaphor in
thought, or cognition” (Steen et al. 2010: 766).

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PHWDIRULFSHQWUXXQLLXWLOL]DWRULQXHVWHSHQWUXDOĠLL6KRUH&DPHURQ.|YHFses
2005, Steen 2007).
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contextul în care expresiile metaforice apar, respectiv în discurs.
Z. Kövecses (2010), obseUYkQG Fă IRQGDWRULL WHRULHL úL FRQWLQXDWRULL ORU DX LJQRUDW
FkWHYD DVSHFWH UHOHYDQWH FRQVLGHUă Fă WHRULD PHWDIRUHL FRQFHSWXDOH DU WUHEXL PRGLILFDWă
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1992) între domeniul-VXUVă source-domain úL GRPHQLXO-ĠLQWă target-domain), Kövecses
 SULYHúWH FUHDWLYLWDWHD PHWDIRULFă VXE GRXă DVSHFWH UHVSHFWLY FUHDWLYLWDWH ED]DWă SH
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FUHDWLYLWDWHDFXVXUVăLQWHUQăúLFUHDWLYLWDWHDFXVXUVăH[WHUQăvQYUHPHFHvQFDGUXOFHOXLGH-
DOGRLOHDFUHDWLYLWDWHDHVWHDVRFLDWăSULQFRQHFWDUH-înapoi cu sursa:

“‘Source-related’ creativity can be of two kinds: ‘source-internal’ and ‘source-

external’ creativity. Source-internal creativity involves cases that Lakoff and Turner
(1989) describe as elaboration and extending, where unused conceptual materials are
utilized to comprehend the target. For example, given the conventional DEATH IS
SLEEP metaphor, we fiind in Hamlet’s soliloquy ‘To die to sleep? Perchance to
dream!’, where dreaming is an extension of the source domain (Lakoff and Turner
1989). Source external cases of creativity operate with what I called the range of the
target phenomenon, in which a particular target domain receives new, additional
source domains in its conceptualization” (Kövecses 2010: 665).

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know about the major entities participating in the discourse); 3) contextul cultural imediat
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contextul lingvistic imediat (the immediate linguistic context itselfÌQvQFHUFDUHDGHDJăVL
un instrument adecvat pentru selectarea metaforelor, Grupul Pragglejaz, coordonat de G. J.
 274

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“This revaluation has led to new questions about the adequacy of current two-
dimensional models of metaphor in usage that limit their attention to metaphor to
metaphor as a deliberate or non-deliberate rhetorical device is essential in
accounting for the presumed processes of cross-domain mapping and other types of
processing attending the process of metaphor versus simile” (Steen et al. 2010: 790).

&RQFOX]LLSURSXQHUHGHDQDOL]ăDPHWDIRUHLMXULGLFH

Aparatul teoretic dezvoltat în domeniul metaforei a fost aplicat în analiza limbajelor de

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 275

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(2010) poate fi urmat pentru orice tip de discurs, în analiza tipologiei metaforei cognitive
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persuadare.
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Cameron, Lynne, 2003, Metaphor in Educational Discourse, London, Continuum.
Cameron, Lynne, 2007, “Patterns of metaphor use in reconciliation talk”, în Discourse and
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 277

Démarche de classement des emprunts terminologiques

médicaux d’origine française

Corina Lungu
Université de Médecine et Pharmacie de Craiova

Les influences interlinguistiques, d’une part, et l’insuffisance ou le manque de

ressources linguistiques à un certain moment dans les registres de communication
individuels pour gérer les situations de communication sociale, professionnelle et
personnelle, d’autre part, sont autant de facteurs qui ont favorisé l’apparition ou
l’accentuation du phénomène d’emprunt linguistique à d’autres langues. Partie d’une
étude plus ample sur la question de l’emprunt des termes d’origine française dans le
vocabulaire médical roumain, l’objectif de cet article est celui de présenter une
méthode de classement de ces termes selon trois critères considérés importants pour
l’accomplissement de la recherche terminologique: 1) le critère étymologique; 2) le
critère de la filière; 3) le degré de spécialisation. Prenant comme point de départ
l’édition 2010 du dictionnaire spécialisé roumain (DM - Dictionar Medical, Rusu,
9 (GLWXUD 0HGLFDOă (GLWLD D ,9-a), nous avons sélectionné les termes médicaux
d’origine française afin d’esquisser un classement par rapport aux critères
mentionnés ci-dessus et pour révéler la richesse typologique des emprunts français
en roumain. Pour une description plus rigoureuse et pour avoir plus d’informations,
nous avons aussi recourt aux dernières éditions d’un dictionnaire générale et un
dictionnaire de néologismes (DEX – 'LFĠLRQDUXO H[SOLFDWLY DO OLPELL URPkQH
$FDGHPLD5RPkQă(GLWXUD8QLYHUV(QFLFORSHGLF*ROG(GLĠLDD,,,-a, 2009; MDN
– 0DUHOHGLFĠLRQDUGHQHRORJLVPH0DUFX)(GLWXUD6DHFXOXP(GLĠLDa X-a, 2008)
de la langue roumaine afin d’illustrer la situation la plus actuelle liée à la pénétration
des termes français dans le langage médical roumain. Le classement des termes
médicaux met en évidence, par les biais des exemples, la diversité des étymons
français et des filières de pénétration, en corrélation avec la préoccupation commune
des linguistes et des terminologues qui ont essayé de trouver des règles et des
critères de classification et normalisation des unités terminologues médicaux. Cet
article cherche ainsi à offrir des solutions à la communauté scientifique médicale et
linguistique pour dépasser les difficultés liées à la terminologie médicale en termes
de formation, évolution et contribution au système terminologique du domaine.

Mots clé: critères de classification, emprunts, termes médicaux.

1. Introduction

Au dernier siècle, les sciences médicales ont amplement évolué, développant de nombreuses
spécialités et des compétences nouvelles. Grâce au progrès de la science et de la technologie
en général, plusieurs dispositifs et de nouvelles méthodes de diagnostic ont été inventées, à
 278

savoir la tomographie informatique, la mammographie, la laparoscopie, l’endoscopie, la

colonoscopie, l’échographe, l’image par résonance magnétiques, etc. Aussi, de nouvelles
maladie sont apparues (le sida, la grippe aviaire, etc.) et toutes ces choses et phénomènes
devaient être nommées et propagées - communiquées et vulgarisées - parmi les scientifiques,
mais aussi parmi les gens du commun. En conséquence, de nouveaux mots – termes médicaux
– ont dû être formés, calqués ou prises d’une langue à l’autre.
En médecine, comme dans de nombreux domaines scientifiques ou techniques, le
partage des connaissances entre les différentes langues constitue le principal moyen qui
assure la dynamique linguistique et qui influence le développement du langage spécialisé
(médical). On parle ainsi d’un échange linguistique particulièrement efficace et utile, qui
permet l’accès à une grande quantité d’informations et une meilleure compréhension du
milieu professionnel ou personnel. Les nouvelles technologies de laboratoire médical, les
nouvelles maladies, les remèdes, les médicaments et les substances récemment découvertes
entraînent continuellement l’apparition de nouvelles unités terminologiques spécialisées.
Les linguistes reconnaissent d’ailleurs que tout contact entre deux ou plusieurs
langues détermine inévitablement des interférences linguistiques représentées par le
phénomène de l’emprunt lexical. Compte tenu de l’importance et du rôle marquant de la
langue française dans l’enrichissement du vocabulaire roumain général, mais notamment
des vocabulaires de spécialité, notre analyse porte sur les emprunts lexicaux d’origine
française dans le domaine médical, où la problématique de la formation des termes
spécialisés et leur intégration dans la structure linguistique réceptrice s’avère très complexe.
Indépendamment des procédés de passage et d’adaptation de l’unité empruntée,
l’emprunt lexical est sans aucun doute la solution la plus fiable pour dépasser la difficulté
soulevée par « la pénurie lexicale », étroitement liée à l’évolution rapide que connaissent le
monde et la société.

2. Définition du concept d’emprunt linguistique

L’interaction entre les langues se manifeste sous des formes multiples et variées. La
conséquence principale du contact linguistique individuel ou collectif - entre au moins deux
systèmes différents - est représentée par l’emprunt d’un certain nombre de mots d’une
langue, désignant des réalités nouvelles pour les locuteurs de la langue d’accueil. Les
emprunts peuvent être des mots indépendants, des expressions et parfois des éléments de
flexion ou de sons distincts.
Motivé par les influences interlinguistiques, d’une part, et les contextes ou les
circonstances extralinguistiques favorables, d’autre part, l’emprunt lexical représente
« l’acte par lequel une langue accueille un élément d’une autre langue » ou bien « un
élément (mot, tour) ainsi incorporé » (Le Petit Robert) et constitue un des moyens les plus
rapides et pratiques d’enrichissement lexicale. Généralement, la plus grande influence est
exercée par les langues de circulation internationale, dominantes du point de vue culturel et
scientifique, qui s’imposent ou contribuent largement à la formation ou l’enrichissement
des autres langues.
Selon Paris (1900 : 294-307), l’emprunt atteste d’une part, l’existence des lacunes
dans une langue, et représente, d’autre part, un témoignage de sa capacité à accueillir de
nouvelles idées ou de nouveaux éléments de culture. De ce point de vue, le roumain
confirme les caractéristiques d’une langue « hospitalière » (Lombard 1967 : 17), pour
laquelle les emprunts constituent une source inépuisable permettant de le nuancer, de le
moderniser et de lui conférer parfois une caractéristique internationale.
 279

La définition du Dictionnaire de linguistique, édité sous la direction de Dubois,

désigne l’emprunt strictement comme l’échange ou le transfert linguistique d’un « parler »
vers un autre « parler », d’une langue « prêteuse » ou « fournisseuse » vers une langue
« emprunteuse »:

« Il y a emprunt quand un parler A utilise et finit par intégrer une unité ou un trait
linguistique qui existait précédemment dans un parler B et que A ne possédait pas;
l’unité ou le trait emprunté sont eux-mêmes appelés emprunts » (Dubois et all.
1973 : 188).

Jean Dubois, que nous avons mentionné ci-dessus, penchait ainsi en faveur de la
subordination de l’emprunt à son manque dans le système de la langue d’accueil. Le
transfert linguistique d’une langue « prêteuse » ou « fournisseuse » vers une langue
réceptrice ou « emprunteuse » nous permet de la sorte d’indiquer l’origine immédiate des
éléments reçus.
D’autre part, (Labatut 1983 : 41) compare simplement deux unités linguistiques
communes entre deux langues, proposant la définition suivante:

« Pour identifier un emprunt, il faut comparer deux lexèmes de deux langues

différentes: ainsi tout lexème commun est nécessairement un emprunt ».

En tant qu’élément linguistique, « l’emprunt sous-entend le passage d’un élément

(expression ou contenu ou les deux) d’une langue à une autre » (Humbley 1974 : 52) et peut
apparaître à tous les niveaux de la langue (phonique, morphologique, syntaxique), sous
différentes formes. Il s’agit, par conséquent, d’un processus réalisé par l’intégration du mot
provenant de la langue « source » dans une autre langue « cible » (Klouckova 2005 : 24),
témoignant de cette manière du contact entre les langues et participant à la dynamique
linguistique et au développement du lexique. La langue réceptrice bénéficie ainsi du statut
et de la richesse sémantique de la langue source, les concepts empruntés s’intégrant dans
son système morphosyntaxique et suivant le processus d’assimilation et d’adaptation aux
nouveaux codes linguistiques.

3. Classification des emprunts au français dans le lexique médical roumain

Pour la langue roumaine, le français demeure une filière importante d’insertion de la

terminologie néologique, y compris celle du langage médical, qui réunit un grand nombre
de termes spécialisés. Toute recherche effectuée sur les emprunts au français ou à d’autre
langue suppose qu’on soit en mesure de les observer et les illustrer, d’où l’intérêt de
délimiter et d’exposer une hiérarchisation.
Cette partie de la présente étude porte attention au repérage et à la quantification des
emprunts au français dans le lexique médical roumain ainsi que sur la mise au point d’un
classement des termes médicaux d’origine française selon le critère étymologique, le critère
de la filière et par rapport au degré de spécialisation.
Le point de départ de notre analyse est le dictionnaire spécialisé médical (DM), un
dictionnaire qui, en plus du vocabulaire des termes médicaux mis à jour et complété par
rapport à l’évolution de la science médicale, contient des informations sur les tendances
actuelles dans l’évolution de la terminologie médicale, un vaste guide étymologique et une
sélection rigoureuse d’abréviations, symboles et acronymes.
 280

3.1. Classification par rapport au critère étymologique

L’étude et le « dépouillement » des dictionnaires de spécialités nous ont permis d’illustrer

l’origine des termes médicaux et de réaliser la classification selon le critère étymologique
des unités terminologiques officielles, sans tenir compte du fait que le nombre des termes
d’origine française du domaine médical est bien plus élevé dans le langage courant.
Du point de vue étymologique, nous avons identifié des termes médicaux à
étymologie uniquement française et des termes à étymologie multiple. Parmi les emprunts
à étymologie uniquement française, caractérisés par peu de changements phonétiques ou
morphologiques dans le passage du français au roumain, on retient:
- des noms désignant:
- des maladies/affections: acromegalie (<fr. acromégalie); agranulocitoza (<fr.
agranulocytose); amelopatie (<fr. amélopathie); EOHIDULWă (<fr. blépharite); bradichinezie
(<fr. bradykinésie); bradifazie (<fr. EUDG\SKDVLHEURQúLWă(<fr. bronchite); etc.
- des parties du corps humain: abdomen (<fr. abdomen); DOYHROă (<fr. alvéole); DPLJGDOă
(<fr. DP\JGDOHDUWLFXODĠLH(<fr. articulation); colon (<fr. colon);
- des objets/instruments médicaux: DOH]ă (<fr. alèse); bisturiu (<fr. bistouri); bizou (<fr.
biseau); chiureta (<fr. curette); etc.
- méthodes d’exploration: bronhografie (<fr. bronchographie); bronhoscopie (<fr.
bronchoscopie); etc.
- des remèdes: DQHXULQă (<fr. aneurine); DQWLEURQúLWLF (<fr. antibronchitique);
anticoagulant (<fr. anticoagulant); antidiabetic (<fr. antidiabétique); antiemetic (<fr.
antiémétique); barbituric (<fr. barbiturique); bandaj (<fr. bandage); FDúHWDIUFDFKHW;
FDWDSODVPă(<fr. cataplasme); etc.
- des spécialisations/spécialistes de la médecine: alergologie (<fr. allergologie);
alergolog (<fr. allergologue); anatomie (<fr. anatomie); anatomist (<fr. anatomiste);
angiologie (<fr. angiologie); angiolog (<fr. angiologue); anesteziologie (<fr.
anesthésiologie); anesteziolog (<fr. anesthesiologue); chirurgie (<fr. chirurgie); etc.
- des adjectifs: antiplachetar (<fr. antiplaquettaire); bacterian (<fr. bactérien);
bactericid (<fr. bactéricide); bicuspid (<fr. bicuspide); brahicefal (<fr. brachycéphale);
EURQúLWLF(<fr. bronchitique); bulbar (<fr. bulbaire); cardiac (<fr. cardiaque); etc.
- des verbes: absorbi (<fr. absorber); anestezia (<fr. anesthésier); cauteriza (<fr.
cautériser); circula (<fr. circuler); etc.
Les termes à étymologie multiple représentent l’autre catégorie d’unités
terminologiques pénétrées en roumain, ayant pour étymologie plusieurs langues.
Dans la littérature de spécialité, le concept d’étymologie multiple s’applique pour les
mots qui peuvent avoir plusieurs étymons possibles et qui pourraient s’expliquer par
l’influence d’au moins deux langues. Le domaine médical abonde en termes de ce type dont
la filière de pénétration est due non seulement au français, mais aussi à d’autres langues où
circule le même néologisme. Dans notre corpus, la première source indiquée dans le cas des
étymologies multiples est le français en combinaison avec le latin savant, le grec ou les
langues romanes (l’italien) et non romanes (l’allemand, l’anglais, etc.) Nous allons
présenter ces termes en tant que tel, selon les informations fournies par les dictionnaires
inclus dans l’étude:
acuitate (<fr. acuité) [du fr. acuité, du lat. acutus DVFXĠLW@
alfa-blocant (<fr. alpha-bloquant) [du fr. bloquant, de l’hollandais bloc = tronc
d’arbre coupé; Į = première lettre de l’alphabète grec];
antiplachetar (<fr. antiplaquettaire) [du gr. anti = contra, du fr. plaquette, de
l’hollandais plaken = a cârpi, a petici];
 281

balonare (<fr. ballonnement) [du fr. ballonnement, de l’italienne pallone = minge

mare];
bandaj (<fr. bandage) [du fr. bandage, de la langue des Francs établis en Gallia –
binda; de l’allemand Binden; de l’anglais to bind = a lega];
EDQGHOHWă UHDFWLYă IU EDQGHOHWWH UpDFWLYH >du fr. bandelette, de la langue des
Francs établis en Gallia – binda; de l’allemand Binden; de l’anglais to bind = a
lega; du fr. réactive du lat. DFWLYXV DFWLYGHODDJHUH DDFĠLRQD@HWF

La plupart des emprunts terminologiques sont entrés dans le lexique médical

roumain soit avec des petits changements orthographiques ou de la prononciation, soit en
gardant leur forme originale, en raison du caractère international des termes spécialisés en
général.

3.2. Classification par rapport au critère de la filière

Selon ce critère de classification, nous avons différencié les emprunts directs et les
emprunts indirects. Les termes de la première catégorie proviennent directement de la
langue française, tandis que les emprunts indirects incluent les termes médicaux par le biais
de la langue française et que le français a emprunté à son tour à d’autres langues.
Les emprunts médicaux directs sont représentés par les termes créés à l’origine en
français pour dénommer un concept ou une notion médicale et qui ont pénétré ensuite en
roumain, conservant le plus souvent la forme et le sens identiques ou presque identiques à
la langue d’origine (le français). On les retrouve en grand nombre dans la terminologie
médicale roumaine, leur sélection étant faite sur la base des dictionnaires spécialisés et
généraux, comme suit:

bain – marie < fr. bain – Marie; bovarism s.n. < fr. bovarysme
burbion s.n. < fr. bourbillon; FDúHWăVI< fr. cachet
choc en dôme < fr. choc en dôme; clivaj s.n. < fr. clivage
curie s.m. < fr. curie; GHVFHPHWLWăVIIUGHVFHPpWLWH
durilon s.n. < fr. s.m. durillon; folie du doute < fr. folie du doute
froteurism s.m. < fr. frotteurisme; javelizare s.f. < fr. javellisation
milicurie s.m. < fr. millicurie; molet s.n. < fr. mollet
pascal s.m. < fr. pascal; UHúXWăVI< fr. rechute; WXúHXVQ< fr. toucher; etc.

3.3. Classification par rapport au degré de spécialisation

Toute terminologie, y compris celle médicale, inclut, d’une part, des termes spécialement
créés pour désigner un concept spécialisé 1, et d’autre part des termes adaptés à un lexique
spécialisé, par l’extension du sens des mots provenant du lexique commun. Tous ces mots
non spécialisés sont « prises » par les spécialistes d’un domaine d’activité – connaisseurs
des grandes langues de diffusion mondiale et lecteurs de grandes quantités de textes
spécialisés dans d’autres langues que celle maternelle – qui leur attribue une signification
particulière en fonction des besoins de communication. Le lexique médical roumain
comporte des termes qui ont acquis des sens nouveaux, spécialisés, qui n’ont pas encore été
enregistrées dans les dictionnaires généraux de la langue, mais qui figurent quand même

1Termes strictement spécialisés ou ultraspécialisés qui peuvent renvoyer à un syndrome, une maladie,
un virus, aux méthodes de diagnostique et de traitement ou toute découverte dans le domaine médical.
 282

dans les dictionnaires spécialisés.

Selon le critère du degré de spécialisation, les termes médicaux roumains empruntés
au français peuvent être repartis en deux catégories: termes spécialisés ou ultra spécialisés
et termes issus du lexique commun.
Les emprunts lexicaux comprenant des termes spécialisés ou ultra spécialisés sont
généralement plus nombreux que ceux issus du lexique commun de la langue source. Il
s’agit des termes d’origine française avec un sens spécialisé, créés dans la langue d’origine,
à savoir le français, pour designer un concept appartenant strictement au domaine médical.
Le sens spécialisé était autonome, indépendant, préservé encore après la pénétration du
terme d’origine française dans la terminologie médicale roumaine. Parmi les termes inclus
dans cette catégorie nous exposons ci-dessous quelques exemples:

DPHORJHQH]ăIUDPpORJHQqVHDPHORSDWLHVIIUDPpORSDWKLH
crosectomie s.f. < fr. crossectomie; FXOGRFHQWH]ăVI< fr. culdocentèse;
ergosterol s.m. < fr. ergostérol; JLDUGLD]ăVI< fr. giardiase;
nocardia < fr. nocardia; nocardLR]ăVI< fr. nocardiose;
RQLFRJULIR]ăVIIURQ\FKRJU\SKRVHRUJHOHWVQIURUJHOHW
surjet s.n. < fr. surjet; úDQFUXVQ< fr. chancre;
telecurieterapie s.f. < fr. télécuriethérapie; etc.

En ce qui concerne la deuxième sous-catégorie d’emprunts, à travers l’analyse de

notre corpus, nous avons identifié des termes issus de la langue générale dont la
signification s’est spécialisée et sont passés dans le vocabulaire du domaine médical.
Le processus de terminologisation est en constante expansion, car les langues de
spécialité mobilisent continuellement pour l’usage les connaissances de la langue générale.
Pour cette partie de l’étude, nous avons étudié les entrés du DEX afin d’éclaircir le/les sens de
la langue générale, ensuite nous avons examine la définition du DM, révélant ainsi le/les sens
spécialisés. À travers la comparaison des définitions des termes choisis, nous avons constaté
un sens spécialisé dans le domaine médical pour plusieurs unités terminologiques, utilisés
pour accomplir une opération langagière spécifique au sein du domaine spécialisé. Nous
avons ainsi différencié des termes simples provenant lexique courant et des termes complexes
(syntagmes terminologiques) qui ont dans leur structure au moins un mot appartenant au
lexique usuel. L’étiquette de terme simple désigne les unités lexicales composées d’une seule
entité graphique. Ce groupe comporte les termes formés d’une seule base:

DJUDIăIUagrafe; bloc < fr. bloc; bujie < fr. bougie; colier < fr. collier; FURVă<
fr. crosse; etalon < fr. étalon; IDQWă < fr. fente; ORMă  ORJH PDQHYUă  IU
manœuvre; mesager < fr. messager; mesaj < fr. message; mulaj < fr. moulage;
QDYHWă< fr. navette; pavilion < fr. pavillon; etc.

ainsi que les dérivés, à savoir les termes formés d’un radical et d’un ou plusieurs
morphèmes dérivationnels:
avivare < fr. avivement; bibloc < fr. bibloc; reactivare < fr. réactivation;
termocuplu s.n. < fr. thermocouple; etc.

Le terme complexe désigne les termes constitués de plusieurs entités graphiques dont une,
au moins, appartient au lexique usuel. Ce cas de figure est plus fréquent en terminologie
que dans la langue générale et il donne lieu à des syntagmes terminologiques:
EDULHUăDOYHRORFDSLODUăIUEDUULqUHDOYpROR-FDSLOODLUHEDULHUăKHPDWRHQFHIDOLFă
 283

< fr. barrière hémato-encéphalique; bloc neuromuscular < fr. bloc

QHXURPXVFXODLUHFDORWăFUDQLDQă< fr. calotte crânienne; FDSVXOă7HQRQ< capsule
de Tenon; dom pleural < fr. dôme pleural; HSXUDUH H[WUDUHQDOă < fr. épuration
extrarénale; franje sinoviale < fr. franges synoviales; PDWLWDWHFDUGLDFăIU. matité
cardiaque; mesaj hormonal < fr. message hormonal; etc.
La terminologie médicale se caractérise ainsi par une dynamique qui se reflète à la
fois dans l’inventaire et les significations des termes. À l’intérieur des lexiques spécialisés,
les termes provenant du lexique commun ne se retrouvent pas dans une seule spécialité,
mais dans un nombre important de spécialités, possiblement dans toutes. L’interférence des
significations spécialisées avec le/les sens de la langue générale représente une difficulté
lors du décodage exact des termes et rend plus importante l’utilisation de dictionnaires.
La classification que nous avons proposée à travers cet article permet une
perspective claire des phénomènes interlinguistiques au niveau du système linguistique
d’accueil. À cet égard, nos exemples révèlent la forte influence du français sur la
terminologie médicale roumaine qui représente un domaine en expansion linguistique
continue, ouvert vers le nouveau.

4. Conclusions

Résultante logique du contact de langues et du bilinguisme, l’emprunt de certains mots, la

prise et l’utilisation de nouvelles significations et surtout la « migration » des termes du
lexique spécialisé vers le lexique commun soumet les locuteurs aux « pressions » lexicales
intenses et complexes (Bidu – 9UăQFHDQX : 10). Il s’agit ainsi d’un processus qui fait
apparaître des transformations, ainsi que l’adaptation de l’unité linguistique empruntée aux
règles de prononciation, d’orthographe ou de sens de la langue réceptrice des emprunts.
L’extension des frontières du savoir dans les différents domaines de spécialité a été
accompagnée par la création d’une vaste terminologie nécessaire pour décrire les
découvertes et pour exprimer de nouveaux concepts développés au cours de l’évolution.
L’emprunt est justifié normalement par un « besoin de dénommer exactement un produit
d’origine étrangère, ou une réalité typique d’un pays lointain » (Picoche 2001 : 340).
La terminologie, en tant que telle, « contribue activement à la production,
l’accumulation, la synthèse et la généralisation des connaissances sur l’essence des choses,
des phénomènes et des processus de la nature, de la société et de la pensée » (Berejan
2000 : 21). La terminologie médicale et pharmaceutique représente seulement quelques
microsystèmes qui ont émergé du grand « chapitre » de la terminologie scientifique, sur
ODTXHOOHRQDEHDXFRXSLQVLVWpDXFRXUVGHVGHUQLqUHVGpFHQQLHV)ODLúHU : 9).
On constate que le nombre actuel de termes médicaux, comme celui des autres
langues spécialisées, augmente considérablement, car le roumain dispose de différents
moyens d’enrichissement du vocabulaire en général, et du vocabulaire spécialisé, en
particulier. L’emprunt des termes scientifiques aux terminologies internationales est
envisagé comme la solution la plus simple, mais aussi la plus productive, car ainsi on
neutralise partiellement les différences interlinguistiques.
En raison de la nécessite de diffuser ou de vulgariser un certain contenu notionnel
qui n’existe pas dans la langue réceptrice, les textes spécialisés roumains abondent dans les
emprunts. Il s’agit des expressions, syntagmes ou termes pris et adaptés à la nouvelle
structure phonétique et grammaticale. Autres fois, les emprunts sont nécessaires pour
faciliter la compréhension d’un nouveau terme, qui n’est pas encore pleinement implanté
dans l’usage, ou pour établir l’équivalence entre celui-ci et sont correspondant utilisé dans
 284

la littérature de spécialité étrangère. Une fois assimilé et intégré, l’emprunt commence son
« existence » sémantique et morphologique indépendante par rapport à la langue source,
pouvant générer des dérivés et/ou des composés ou enrichir la signification.
En termes de conclusion, nous pouvons affirmer que le système terminologique
médical est confronté à deux tendances existantes actuellement: d’une part, la préservation
d’un nombre très restreint de termes anciens qu’on peut utiliser dans le discours, et d’autre
part l’apparition des unités terminologiques nécessaires pour des objectifs de désignation
des réalités nouvelles ou des innovations dans le domaine constituant notre point d’intérêt.
Le lexique médical manifeste la tendance vers l’internationalisation, tout comme la science
en général, et l’orientation vers l’acquisition de nouvelles informations nécessaires à la
recherche approfondie. Le renouvellement de la terminologie scientifique médicale est donc
un phénomène naturel, étroitement lié au progrès de la recherche théorique et pratique.

Références :

Berejan, Silviu, 2000. ,QFOXGHUHDWHUPHQLORUúWLLQĠLILFLúLWHKQLFLvQGLFĠLRQDUHOHJHQHUDOH. În

7HUPLQRORJLDvQ5RPkQLDúLvQ5HSXEOLFD0ROGRYD, Clusium. 69-71.
Bidu – 9UăQFHDQX $QJHOD FRRUG (QH &ODXGLD 6ăYXOHVFX 6LOYLD 7RPD $OLce, 2000.
Lexic comun, lexic specializat%XFXUHúWL(GLWXUD8QLYHUVLWăĠLLGLQ%XFXUHúWL10
Cabré, M. T., 1998. La terminologie: Théorie, méthode et applications, Ottawa, Paris, Les
presses de l’Université d’Ottawa, Armand Colin.
Dubois et all., 1973. Dictionnaire de linguistique, Paris, Larousse.
)ODLúHU 0DULDQD  &RQVLGHUDĠLL DVXSUD VWUXFWXULL WHUPLQRORJLFH PHGLFDOH úL
IDUPDFHXWLFHvQOLPEDURPkQă۹n: 7HUPLQRORJLDPHGLFDOăvQOLPEDURPkQă6WXGLL
úLDUWLFROH,DúL Editura Demiurg.
Humbley, J., 1974. Vers une typologie de l’emprunt linguistique. In: Cahiers de lexicologie.
25, 2. Didier Erudition. 46-70.
Klouckova, Marie (2005). Questions de terminologie en éducation spécialisée. Thèse de
doctorat. Brno.
Labatut, Roger, 1983. Les emprunts du peul à l’arabe. In « Langue arabe et langues
africaines». Paris.
L’Homme, M.C., 2004. La terminologie: principes et techniques, Montréal: Les Presses de
l’Université de Montréal.
Lombard, A., 1967. « Latinets oden i oster » in: Filologiskt arkiv, 12, Lund. 17.
Lombard, A., 1969. Le vocabulaire d’emprunt. Questions de principes, in ACIL X, 1.
Marcu, F., 2008. 0DUHOHGLFĠLRQDUGHQHRORJLVPH0'1(GLWXUD6DHFXOXP(GLĠLDD;-a
Picoche, Jacqueline; Marchello-Nizia, Christiane, 2001. Histoire de la langue française. 5e
éd. révisée et cor. Paris: Nathan.
Rusu, Valeriu, 2010. 'LFĠLRQDU0HGLFDO(DM(GLĠLDD,9-DUHYL]XLWDúLDGăXJLWă(GLWXUD
Medicală, %XFXUHúWL
Temmerman, R., 2000. Towards new ways of terminology description. The sociocognitive
approach, Amsterdam / Philadelphia, John Benjamins.
 285

Figuri de stil utilizate în discursul jurnalistic

Elena Rodica Opran

Universitatea din Craiova

This article aims at identifying different figures of speech such as substitution,

arrangement, repetition, addition and omission, which are part of the structure of
press titles, based on a comparative analysis of a series of expressive examples
selected from press titles published by the newspapers included in our corpus – Le
Monde and $GHYăUXO, between 2011 and 2013.

Keywords: euphemism, figurative language, journalism, metonymy, title.

1. Metonimia – ILJXUăGHVXEVWLWXĠLH

2 ILJXUă IUHFYHQW vQWkOQLWă vQ FRPXQLFDUH úL PDL DOHV vQ GLVFXUVXO MXUQDOLVWLF LPSOLFLW vQ
WLWOXULOH GH SUHVă HVWH metonimia )UHFYHQĠD DFHVWHLD VH GDWRUHD]ă vQ VSHFLDO IDSWXOXL Fă HD
FRUHVSXQGH XQRU QHFHVLWăĠL GH HFRQRPLH úL SHUWLQHQĠă HVHQĠLDOH PDL DOHV vQ FD]XO XQRU
FRWLGLHQHGHLQIRUPDĠLH
'HILQLĠLD OXL 0DUF %RQKRPPH LQVLVWă SH LGHHD GH VXEVWLWXĠLH ÄXQ WUDQVIHUW
sémantico-référentiel affectant le mot ou le syntagme” (Bonhomme 1998). Analizând
DFHDVWăGHILQLĠLH0LFKHOOH/HFROOHFRQVLGHUăFăQRĠLXQHDGHVXEVWLWXĠLHQXSRDWHVăDFRSHUH
SHGHSOLQQLFLXUPDHOHPHQWXOXLWURSLFSăVWUDWăvQHQXQĠQLFLDUDSRUWXOXLWURSLFvQVXúLGH
exemplu, un UDSRUW GH WLSXO VHGLXO LQVWLWXĠLHL FRQGXFăWRUXO LQVWLWXĠLHL 3ULQ XUPDUH
FHUFHWăWRDUHD SURSXQH R QRXă GHILQLĠLH D PHWRQLPLHL SH FDUH R FRQVLGHUă ÄXQ JOLVVHPHQW
dénotationnel dans une relation de contiguïté” (Lecolle 2001: 153-170VXEVWLWXĠLDQHILLQG
GHFkW R VLWXDĠLH H[WUHPă 0HWRQLPLD HVWH SULQ XUPDUH vQ SHUVSHFWLYD DFHVWHL GHILQLĠLL XQ
IHQRPHQ DVRFLDWLY XúRU UHSHUDELO vQ RULFH WLS GH GLVFXUV 7UDQVIHU GH QXPH VHPQLILFDQW
SULQFRQWLJXLWDWHGHVHQVPHWRQLPLDSRDWHILVSDĠLDOăWHPSRUDOăRULFDX]DOă
ÌQ WLWOXULOH GH SUHVă VFKHPD UHFXUHQWă SH FDUH DP LGHQWLILFDW-o este utilizarea unui
nume de loc pentru a trimite metonimic la un alt referent. Astfel, un nume de loc poate
desemna un eveniment, un grup de indivizi: echipe sportive, laboratoare sau întreprinderi,
RFXSDQĠLL XQXL VSDĠLX 0LFKHOOH /HFROOH FRQVLGHUă Fă DFHVW IHQRPHQ JHQHUDO LD R DOXUă
VLVWHPDWLFăvQSUHVDVFULVăúLFăDVLVWăPODRDGHYăUDWăLQWUDUHvQUXWLQăDDVRFLDĠLHLQXPHGH
ORFLQVWLWXĠLH
6LWXDĠLDFHDPDLGHVvQWkOQLWăvQWLWOXULOHGLQFRUSXVXOQRVWUXDIRVWDFHHDDXWLOL]ăULL
QXPHORU GH FDSLWDOă D QXPHORU GH ĠăUL VDX D VHGLLORU XQRU LQVWLWXĠLL SHQWUX D GHVHPQD XQ
UHIHUHQWPHWRQLPLFUHSUH]HQWDWFXSUHFăGHUHGHSHUVRDQHVDXGHLQVWDQĠHJXYHUQDPHQWDOH
$PLGHQWLILFDWDVWIHODVRFLDĠii metonimice de tipul:
x GHQXPLUHGHĠDUăLQVWDQĠHJXYHUQDPHQWDOH
Otages: La France durcit sa doctrine (LM, 19.03.2013);
Israël veut classer le dossier du « prisonnier X » et ses questions restées sans
 286

réponse (LM, 22.02.2013);

5XVLDQXGăGRLEDQLSH&(DO (A, 22.01.2013);
&LSUXOHJDWDVă-úLSRDUWHFUXFHDSkQăODFDSăW(A, 20.03.2013);
0DUHD%ULWDQLHYUHDVăOHJDOL]H]HFăVăWRULLOHJD\(A, 06.02.2013);
x denumire GHĠDUăQXPHGHSHUVRDQă
9HQH]XHODEDWH68$ODIUXPXVHĠH (Miss Venezuela, Miss SUA) (A, 08.11.2011);
x denumire GHFDSLWDOăLQVWDQĠHJXYHUQDPHQWDOH
Berlin pressé de tous côtés de dire oui à l’augmentation du pare-feu européen (LM,
28.02.2013),
En Syrie, Damas met en scène un référendum et poursuit la répression (LM,
28.02.2013),
La livre chute, Londres ne s’en plaint pas (LM, 21.02.2013),
Pékin face au dilemme nord-coréen (LM, 28.02.2013),
Athènes rêve d’une coulée verte pour lutter contre la pollution et les embouteillages
(LM, 10-11.03.2013),
Accord de libre-échange avec Washington: Berlin enthousiaste, Paris réservé (LM,
15.02.2013),
Le plan de Paris pour armer l’opposition syrienne (LM, 20.03.2013),
0RVFRYDSULYHúWHVSUH$VLD(A, 19.02.2013),
&UL]DSROLWLFăvQGHSăUWHD]ă&KLúLQăXOGH8((A, 20.02.2013);
x denumire GHFDSLWDOăLQVWLWXĠLH
GuvernXO3RQWDvúLGăFRULJHQĠHOHOD%UX[HOOHV(A, 23.04.2013),
Sans garantie de Bruxelles [a Comisiei Europene] Dexia risque la faillite (LM,
02.03.2012),
La France soumise au verdict de Bruxelles (LM, 15.02.2013),
Bruxelles presse la France d’accélérer les réformes (LM, 22.02.2013);
x denumire DVHGLXOXLLQVWLWXĠLHLLQVWLWXĠLDIXQFĠLD
Stolojan: Nu voi participa la alegerile pentru Cotroceni SHQWUX IXQFĠLD GH
SUHúHGLQWHDO5RPkQLHLAel, 23.05.2013),
5RPkQLL FUHG Fă ,VăUHVFX úL 3RQWD VXQW FHL PDL SRWULYLĠL pentru Cotroceni (Ael,
SHQWUXIRWROLXOIXQFĠLDGHSUHúHGLQWHDO5RPkQLHL
Pour L’Élysée et le gouvernement les vacances d’été seront minimalistes”(pentru
SUHúHGLQWHOH)UDQĠHLSHQWUXPHPEULLDSDUDWXOXLSUH]LGHQĠLDOLMel, 1.06.2013),
Bercy presse Rio Tinto de décider de l’avenir de son usine savoyarde (LM,
1.03.2013),
Matignon avance l’agenda budgétaire (LM, 19.02.2013).

2. Litota, eufemismul – figuri de atenuare

$OăWXULGHPHWDIRUăúLGHPHWRQLPLHOLWRWDúLHXIHPLVPXOVXQWILJXULGRPinante pe care le-

DPLGHQWLILFDWvQFRQVWUXFĠLDWLWOXULORUGHSUHVăVXSXVHDQDOL]HL
Litota, vQ RSLQLD OXL 0D]DOH\UDW úL 0ROLQLp HVWH R ILJXUă PLFURVWUXFWXUDOă 1 care
ÄFRQVWăvQDVSXQHFkWPDLSXĠLQúLDIDFHVăVHvQĠHOHDJăFkWPDLPXOW´'(;

1 Figurile PLFURVWUXFWXUDOHSRW IL L]RODWH SHXQ HOHPHQW SUHFLV DO GLVFXUVXOXL GLVSDU VDX VH PRGLILFă

GDFăVHVFKLPEăHOHPHQWHOHIRUPDOHVHVHPQDOHD]ăGHODVLQH>«@SRWILLQWHUSUHWDWHvQIXQFĠLHGHXQ
context restrâns.
 287

De exemplu, în titlul citat mai jos,

Pour L’Élysée et le gouvernement les vacances d’été seront minimalistes (LMel,
1.06.2013),
DILUPDĠLD © OHV YDFDQFHV G¶pWp VHURQW PLQLPDOLVWHV ª SRDWH IL FRQVLGHUDWă R OLWRWă VHQVXO
acesteia putând fi interpretat ca: GDWRULWăFUL]HLSUHúHGLQWHOH)UDQĠHL úL PHPEULLDSDUDWXOXL
SUH]LGHQĠLDOSUHFXPúLJXYHUQXO)UDQĠHLQXYRUSXWHDVăvúLSHUPLWăVăLDRYDFDQĠăGHYDUă
SUHOXQJLWă /LWRWD VH UHJăVHúWH IUHFYHQW vQ GLVFXUVXO MXUQDOLVWLF PDL DOHV JUDĠLH FDSDFLWăĠLL
sale, cD úL D HXIHPLVPXOXL GH D SHUPLWH IRUPXOăUL SROLWLF FRUHFWH GH D FRQIHUL HOHJDQĠă
stilului unui articol sau al unui titlu.
6SUH GHRVHELUH GH OLWRWă eufemismul este reprezentat de un „cuvânt sau expresie
FDUH vQ YRUELUH VDX vQ VFULV vQORFXLHúWH XQ FXYkQt sau o H[SUHVLH QHSOăFXWă MLJQLWRDUH
QHFXYLLQFLRDVăVDXREVFHQăUHVSHFWkQGSDUDOHOLVPXOGHVHQV´ (DEX 2012: 364).
0ROLQLpGHILQHúWHHXIHPLVPXOFDSH

„R ILJXUă FDUH VH ED]HD]ă SH R FDUDFWHUL]DUH LQWHQVLYă vQ GLVFXUV HVWH R ILJXUă
PDFURVWUXFWXUDOă 1, pHQWUX Fă HD HVWH LQWHUGHSHQGHQWă GH vQúLúL WHPHQLL FDUH R
IRUPHD]ă (D FRQVWă vQWU-R DWHQXDUH D H[SUHVLHL vQ UDSRUW FX LQIRUPDĠLD YHKLFXODWă
(XIHPLVPXOHVWHHYLGHQWOHJDWGHPDULOHWDEXXULDOHVFDWRORJLHLDOHVH[XDOLWăĠLLúLDOH
PRUĠLL GDU HVWH XWLOL]DW vQ DUJXPHQWDUH VDX vQ IXFĠLXQH GH ILHFDUH GDWă FkQG HVWH
RSRUWXQă PDVFDUHD SULQ DWHQXDUH VDX QXDQĠDUH D XQHL UHDOLWăĠL RDUHFDUH UHFHSWRULL
DVFXOWăWRUL VDX FLWLWRUL ILLQG WRWGHDXQD VXVFHSWLELOL GH D vQĠHOHJH FRUHFW VDX QX
mesajul, ceea ce constituie, de fapt, interesul acestei figuri macrostructurale”
(Molinié 1992: 143-144).

7LWOXO GH SUHVă HVWH GH IRDUWH PXOWH RUL FRQVXPDWRU GH HXIHPLVPH DFHVWHD GkQG
SRVLELOLWDWHDHPLĠăWRUXOXLMXUQDOLVWGHDVSXQHFHHDFHFUHGHIăUăDOH]DUHIHUHQWXO

Après quarante ans de bons et loyaux services, la pin-up du « Sun » pourrait être
remerciée (LM, 13.02.2013)

este un titlu eufemistic, « pourrait être remerciée ª DWHQXHD]ă LGHHD FRQFHGLHULL $FHDVWă
IRUPXOă DUH vQVă GRDU R VXEWLOă WHQWă LURQLFă DGHYăUDWD GLPHQVLXQH LURQLFă FRQVWkQG vQ
trimiterea la activitatea jurnalistei la tabloidul The Sun DGHVHD OD OLPLWD PRUDOLWăĠLL úL D
OHJDOLWăĠLL
De altfel, majoritatea titlurilor eufemistice pe care le-am identificat în corpusul
QRVWUXQXvQGHSOLQHVFGHFkWIXQFĠLDGHED]ăGHDWHQXDUHDHXIHPLVPXOXL

S-a stins « regina » Irina Petrescu (A, 20.03.2013),

³'RDPQDGH)LHU´DLQWUDWvQOHJHQGă(A, 09.04.2013),
« The Lady of the Organ » n’est plus (LM, 1.03.2013).
0DUF%RQKRPPHFRQVLGHUăFăUHXúLWDXQXLHXIHPLVPGHSLQGHGHFapacitatea sa de a trece
QHREVHUYDW'LQSXQFWXOVăXGHYHGHUHH[LVWăFHOSXĠLQWUHLVWUDWHJLLGHPDVFDUHDHXIHPLVPXOXL
EUXLDMXOUHIHUHQĠLDOFDUHVHUHIHUăODUHIHUHQWXOYL]DWPDVFDUHDGLVFXUVLYăFXDMXWRUXOPDLPXOWRU
procedee (obiectivare, generalizDUHúLUHODWLYL]DUHDGLVFXUVXOXLúL« la routinisation cognitive » a
eufemismului (care-LSHUPLWHVăVHVHGLPHQWH]HvQH[SUHVLLVWHUHRWLSH

1 Figurile macrostructurale nu sunt izolaELOHSHXQHOHPHQWSUHFLVDOGLVFXUVXOXLQXGLVSDUGDFăOLVH

PRGLILFăHOHPHQWHOHIRUPDOHQXVHVHPQDOHD]ăGHODVLQH>@QXSRWILLQWHUSUHWDWHGHFkWvQIXQFĠLHGH
un context extins.
 288

$WXQFL FkQG HQXQĠăWRUXO GRUHúWH Vă LQVWDXUH]H R YL]LXQH RSWLPLVWă úL VROLGDUă FX R
UHDOLWDWH SUREOHPDWLFă FD vQ cazul persoanelor cu handicap, de exemplu), eufemismul
GHYLQHXQLQVWUXPHQWGHFRH]LXQHVRFLDOă'DUHXIHPLVPXOSRDWHVăILHúLXQLQVWUXPHQWGH
PDQLSXODUHGDFăUHXúHúWHVăÄDGRDUPă´RSLQLDSXEOLFăODQHYRLHBonhomme 2012: 73-88).
Într-un titlu de tipul
Les emplois d’avenir peinent à démarrer, surtout dans les zones urbaines sensibles
(LMel, 29.05.2013)
sintagma zones urbaines sensibles este un eufemism care se poate traduce prin „zone
XUEDQH FX SUREOHPH´ Ä]RQH XUEDQH GLILFLOH´ 6LQWDJPD IRORVLWă IRDUte des, în diverse
contexte, de-DOXQJXOWLPSXOXLDGHYHQLWXQORFFRPXQDOGLVFXUVXOXLGHVSUHGLILFXOWăĠLOHFX
FDUH VH FRQIUXQWă DQXPLWH ]RQH XUEDQH DVWIHO vQFkW DVSHFWXO VăX EDQDO úL JHQHUDO IDFH FD
HXIHPLVPXO Vă WUHDFă DSURDSH QHREVHUYDW $YHP GH D IDFH vQ DFHVW FD] FX R UHXúLWă D
eufemismului, în termenii lui Bonhomme.
([LVWăvQVăIRDUWHPXOWHVLWXDĠLLvQWLWOXULOHGHSUHVăvQFDUHHXIHPLVPXOSRDWHILIRDUWH
XúRU L]RODW SH XQ VHJPHQW GH GLVFXUV HO DWUăJkQG DWHQĠLD vQ PRG GHRVHELW DVXSUD
fenomenului SXVvQGLVFXĠLH$VWIHOvQWLWOXO
Quand le maire d’Osaka juge «nécessaires» les «femmes de réconfort» (LMel,
18.05.2013),
H[SUHVLDLQVROLWăfemmes de réconfort DWUDJHLPHGLDWDWHQĠLDFLWLWRUXOXLDVXSUDHXIHPLVPXOXL
$FHVWD VXEOLQLD]ă R UHDOLWDWH WUDJLFă FHD D WLQHUHORU DVLDWLFH vQ PDMRULWDWH GH RULJLQH
FRUHHDQă IRUĠDWH Vă VH SURVWLWXH]H vQ WLPSXO Uă]ERLXOXL SHQWUX VROGDĠLL DUPDWHL LPSHULDOH
MDSRQH]H ÌQ RSLQLD QRDVWUă GHúL vQFHDUFă Vă DWHQXH]H R UHDOLWDWH EUXWDOă úL Vă PHQDMH]H
sensibilitatea cititoUXOXLDFHVWHXIHPLVPDUHúLXQHIHFWFRQWUDUFHOXLVFRQWDWHOH[KLEăFKLDU
HVHQĠDDFHOHLUHDOLWăĠLFDUHVHYUHDDWHQXDWă'HDVHPHQHDWHQGLQĠDGHDMXVWLILFDQHFHVLWDWHD
H[LVWHQĠHLWLQHUHORUSURVWLWXDWHHYLGHQĠLD]ăGRULQĠDSULPDUXOXLRUDúXOXL2VDNDGHD manipula
RSLQLDSXEOLFăúLGHDWHQXDúRFXOFUHDWGHDWLWXGLQHDFULWLFăDSUHVHL
8Q DOW H[HPSOX LOXVWUHD]ă FODU WHQGLQĠD GH D WUDQVIRUPD HXIHPLVPXO vQWU-un
instrument de manipulare a opiniei publice, de a deforma realitatea printr-un discurs
„cosmetizat”. În titlul
Ne dites plus «fracturation», mais «massage de la roche» (LMel, 23.01.2013)
VLQWDJPDHXIHPLVWLFămassage de la roche GHVFULHLQWHQĠLDVXVĠLQăWRULORUH[SORDWăULLJD]HORU
GH úLVW GH D DWHQXD GLVFXUVXO DVXSUD PHWRGHORU GH H[SORDWDUH GH D YRDOD JUDĠLH
eufemismului, riscurile presupuse de metodele dure de exploatare (fracturarea rocilor)
SHQWUX PHGLX 7LWOXO DUWLFROXOXL DWUDJH DWHQĠLD DVXSUD DFHVWXL WLS GH GLVFXUV FDUH SRDWH
GHWXUQDDWHQĠLDRSLQLHLSXEOLFHúLGHIRUPDUHDOLWDWHD

3. Figuri de repeWLĠLHILJXULGHDPSOLILFDUHILJXULGHRSR]LĠLH

6SUHGHRVHELUHGHILJXULOHDQDOL]DWHDQWHULRUILJXULOHGHUHSHWLĠLHúLGHRSR]LĠLHDXRSRQGHUH
PXOWPDLUHGXVăGDUQXVXQWPDLSXĠLQLPSRUWDQWHvQUHGDFWDUHDWLWOXULORUGHSUHVă$VWIHO
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 290

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Bonhomme, Marc, 1998, „Les tropes revisités par la pragmatique: Bilan critique”, în M.
Ballabriga (dir.), Sémantique et rhétorique, Toulouse, Editions Universitaires du
Sud, collection Champs du signe.
Bonhomme, Marc, 2012, „La réception de l’euphémisme: entre réussite et échec
interactif ”, în Bonhomme, M., De la Torre M., Horak, A. (éds.), Études
pragmatico-discursives sur l’euphémisme. Estudios pragmático-discursivos sobre
el eufemismo, Peter Lang.
'LFĠLRQDUXO H[SOLFDWLY DO OLPELL URPkQH  %XFXUHúWL (GLWXUD 8QLYHUV (QFLFORSHGLF
Gold.
Lecolle, Michelle, 2001, „Métonymie dans la presse écrite: entre discours et langue”, în
Tranel (Travaux neuchâtelois de linguistique).
Mazaleyrat, Jean; Molinié, Georges, 1989, „Vocabulaire de la stylistique”, Paris, PUF, art.
Microstructurale.
Molinié, Georges, 1992, Dictionnaire de rhétorique, Paris, Le livre de poche.
 291

Media Exposure Behavior toward ASEAN Community

of People: A Case Study of Bangkok

Mr. Singh Singkhajorn

Bansomdejchaopraya Rajabhat University

The objectives of this research were (1) to study the media exposure behavior
toward ASEAN Community of people and (2) to study problems, difficulties and
suggestions regarding media exposure behavior toward ASEAN Community of
people. Bangkok was selected as the research area. This survey research was
conducted upon 1 ,1 98 people living in Bangkok by using the designed
questionnaires. The gathered data were analyzed by using computer program, and
reported into frequency and percentage.

Keywords: ASEAN Community, Bangkok, behavioral, media exposure.

1. Introduction

The year 2015 is a time for Thailand to adjust and prepare for readiness in being a part of
ASEAN Community composed of 10 member countries which are Philippines, Singapore,
Malaysia, Brunei, Vietnam, Laos, Myanmar, Cambodia and Thailand. ASEAN stands for
the Association of Southeast Asian Nations. The main framework is One Vision, One
Identity, One Community. ASEAN Community comprises 3 pillars, namely (1) ASEAN
Security Community (ASC), (2) ASEAN Economic Community (AEC) and (3) ASEAN
Socio-Cultural Community (ASCC). The main objective of ASEAN is to accelerate
economic, socio - cultural, technological and administrative cooperation of all member
states, promote peace and security in the ASEAN region, and enhance cooperation between
ASEAN and other international organizations. In this regard, mass media as social institute
should take an important role to support and prepare for people’s readiness in all aspects by
educating and building right understand towards ASEAN news.
The Association of Southeast Asian Nations, or ASEAN, was established on 8
August 1967 in Bangkok, Thailand, with the signing of the ASEAN Declaration (Bangkok
Declaration) by the Founding Fathers of ASEAN, namely Indonesia, Malaysia, Philippines,
Singapore and Thailand. Brunei Darussalam then joined on 7 January 1984, Vietnam on 28
July 1995, Lao PDR and Myanmar on 23 July 1997, and Cambodia on 30 April 1999,
making up what is today the ten Member States of ASEAN.
The ASEAN Communication Master Plan (ACMP) provides the framework to
communicate messages about the character, structure and overall vision of ASEAN and the
ASEAN Community to key audiences including local communities of ASEAN Member
States (AMS), women and children, youth, governments, businesses, Civil Society
Organisations (CSOs), influencers, media and global audiences. The ACMP is also guided
by source materials, in particular the “Surveys on ASEAN Community Building Efforts
 292

2012” (The Survey) and the existing Communication Plans of ASEAN’s three Community
Pillars. Details of source materials are provided in Appendix. The ACMP articulates an
overarching message for ASEAN as “ASEAN: A Community of Opportunities.” This
message identifies ASEAN as a community that aims to instil a sense of belonging and
identity among its citizens, and that brings new opportunities to the people of ASEAN and
the broader global community. The overarching message also provides the connectivity to
aid the coherence and convergence of ASEAN’s three Community Pillars and the
implementation of their own communications initiatives.
The ACMP’s communication strategies depend on individual application in each
AMS, using appropriate resources, channels and languages for effective outreach,
particularly among rural audiences. This trend will accelerate and ASEAN needs to be able
to communicate more effectively, both to the ASEAN Community and globally, using these
techniques. Added emphasis will be placed in this area. Despite expanding online users,
television remains the choice platform for delivery of messages due to its ability reach the
mass. According to Nielsen 2013 data, television, magazine and newspaper advertisements
continue to be among the most-trusted forms of advertising in Southeast Asia with 78% in
Philippines, 74% in Indonesia, 72% in Thailand and 70% in Malaysia. TV, radio and
newspapers are the key channels for the ACMP’s communications during 2014-2017,
although the continually growing usage of internet anticipated during this three-year period
is also taken into account as an important medium of message delivery.
The launch of the ASEAN Community in 2015 and the 50th Anniversary in 2017 of
ASEAN’s founding are important milestones for community building and provide a basis
for communication planning. Nowadays, Communication plays both directly and indirectly
an important role in our daily life. It is considered as a basis of every social and political
movement. The effective communication is a tool for people to achieve their goal. As
Media Exposure, the Receiver expected revealing mass media consumption to meet their
demand. And this could lead to change some attitude or behavior. However, the selective
mass consumption is depended upon receiver’s need or motivation, as the individual has
different purpose and intention for their media exposure. In this paper mass media refers to
various media broadcasting to public and is remembered, selected, gathered, and motivation
interpreted in order to understand things around.
However, these days, the significant question coming up is as people expose more
information about ASEAN community, what kind of media is the most accepted from
receivers. According to above history and problem, the researcher is interested into study
people behavior for Media Exposure on ASEAN community of Bangkok people.

1.1. Purpose

1.1.1. Media exposure behavior on ASEAN community of Thai people.

1.1.2. Problems, difficulties, and suggestions towards media exposure behavior on ASEAN
of Bangkok people.

1.2. Methodology

This survey research aims to study the behavior of media exposure toward ASEAN
Community of people. Bangkok was selected as the area of this study. People living in
Bangkok were sampling group. The data collection was conducted within the various spots
of Bangkok by using 1198 questionnaires. It took 15 days for collecting data, from 1 -15
May 2013. Target group was 5,673,560 people living in Bangkok (data retrieved from the
 293

Office of Central Registrar, the Department of Provincial Administration, the number of

populations separated into Bangkok and other province, 31 December 2012). Sampling
group was limited by using Taro Yamane’s (Yamane, 1973) with 95% confidence level.
After calculated the sample size by substituting the numbers into the Yamane formula, the
numbers of sample was 1,111 persons. In order to obtain reliable of data, however the
samples of this research were 1,198 persons. The researcher had applied the multi-stage
sampling approach for this research. There were 3 steps including stratified sampling,
simple random sampling and convenience sampling respectively.
Questionnaires, written documents, textbooks and other related researches were
important tools for this study. The questionnaire was created based on the research
framework. It was consisted of both quantitative and qualitative questions divided into 3
sections: demographic information, media exposure behavior toward ASEAN Community
and the question focusing on problems, difficulties and suggestions regarding media
exposure toward ASEAN Community of people living in Bangkok. This research was
conducted by the researcher and 10 collaboration members. 1,198 survey sheets were
distributed and collected back by the research team members. Also the face-to-face
interview was conducted during 1st-15th May 2013. The collected quantitative data were
analyzed by using computer program. The results were in the form of descriptive statistic
describing the frequency, average and percentage explaining the basic information of
sampling group regarding geography and media exposure behavior.

2. Discussion

This research entitled Media exposure behavior toward ASEAN Community: A Case Study
of Bangkok found that the most accepted media channels/means by Bangkok people were:
Television, newspaper, Internet, Magazine, radio broadcast, Poster/ Promotion bill broad,
Public relation document, ASEAN seminar, and ASEAN exhibition respectively.

Furthermore, the frequency of media exposure on ASEAN of the sample group was
1-2 days a week. In addition, television has been the most preferable and acceptable media
channel to expose to ASEAN news. There were also newspapers, internet, PR documents,
 294

ASEAN magazine, radio broadcast, Poster and ASEAN seminar, respectively. The study of
problems and difficulties effecting exposing media reflected that the first reason was having
no time at 60.4%, the second seemed inattentive at 21.7%, 15.4% of respondents
considered impractical and 2.5% of respondents stated other reasons.
The study of Media exposure behavior on ASEAN of Bangkok revealed that the
majority of sample group have exposed ASEAN news through television the most.
Newspapers and internet were the second and third respectively. The reason of this might
be because television could diffuse the information to receiver faster and more frequently
than other media. Moreover, television could broadcast both motion picture and sound in
the same time. Therefore, it is easy for receivers to understand the core content. The results
found were in accordance with the decision-making process of Philip Kotler (2000) This
consciousness gives birth to a set of psychological processes that gets combined with
certain consumer characteristics to result in decision processes and purchase decisions. The
most important environment for marketers is economic environment of the market. Choice
is the most fundamental problem of life in economic environment stating that people have
always decided to choose different alternatives for taking acting in their daily life. In this
regard, receivers would show their media exposure according to the limited information and
circumstances (Kotler 2000: 47). This is also related to the Diffusion of Innovation theory
(Roger 1973: 31) Diffusion of innovations is a theory that seeks to explain how, why, and
at what rate new ideas and technology spread through cultures. Everett Rogers, a professor
of communication studies, popularized the theory in his book Diffusion of Innovations; the
book was first published in 1962, and is now in its fifth edition (2003). Rogers argues that
diffusion is the process by which an innovation is communicated through certain channels
over time among the participants in a social system. The origins of the diffusion of
innovations theory are varied and span multiple disciplines. Rogers proposes that four main
elements influence the spread of a new idea: the innovation itself, communication channels,
time, and a social system. This process relies heavily on human capital. The innovation
must be widely adopted in order to self-sustain. Within the rate of adoption, there is a point
at which an innovation reaches critical mass. The categories of adopters are:
innovators, early adopters, early majority, late majority, and laggards. Diffusion manifests
itself in different ways in various cultures and fields and is highly subject to the type of
adopters and innovation-decision process mentioned that people who would accept the
diffusion of innovations have been classified according to their social adoption process.
This acceptance process has depended on communication channel of one group used for
communicating to another. Accordingly, innovations have been communicated through
different channel and could take some times to integrate into social members. In this theory,
there have been 4 social elements consisted of innovation, communication channel, time
and social system. The importance was critical mass referring to the smallest numbers of
technology acceptance or innovation which have continued to react between innovation and
technology acceptance. Once the technology has been accepted enough, it could maintain
its status in the society (Roger 1973: 53).
According to the suggestions of ASEAN department, the Ministry of Foreign Affairs
should more carefully select right media channel in order to educate right target audiences
about ASEAN Community. Moreover, mass media organizations should promote and
support people to be well up in ASEAN Community. Finally, the factor driving media
exposure behavior of people should be studied seriously.
 295

4. Conclusion

In conclusion, media exposure behavior toward ASEAN of Bangkok people found that the
most accepted media channels were television, newspaper, internet, Magazine, radio
broadcast, Poster/ Promotion bill board, Public relation document, ASEAN seminar, and
ASEAN exhibition respectively. In terms of television, the most accepted channel was
Channel3. The most accepted newspaper was Thairath. The most accepted radio station was
Radio Thailand. It could be assumed that television has provided both pictures and sounds
which was easy for audiences to understand the situation than other media channel. For
newspaper, it could be widely reached by target group as well as be read over again in the
case of more information required. Besides, nowadays people can access the internet more
easily than in the past. However, poster/ public relation bill board, public relation
documents, ASEAN seminar and Exhibition were highly invested by both government and
public sectors, but they seemed less effective among Bangkok people in terms of
acceptance of media exposure.

References :

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Communications. Pearson Education Inc.London England.
Kotler, P. 2000. Marketing management. 10th ed. Upper Saddle River, NJ: Prentice-Hall.
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Martin Emmer, Jens Wolling and Gerhard Vowe. 2012. “Changing political communication
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journal of communication research; 37(3):233-252.

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http://www.asean.org/
 297

Olfaction and Metaphor: Perfume Advertising and

Marketing in the Virtual Space

$OLQDğHnescu
University of Craiova

The main objective of this paper is to analyze the main aspects of the olfactory
metaphor in online perfume advertising reviews and to identify its main
characteristics in specialized perfume discourse. Considering as a starting point the
approach whose overall view is guided by conceptual metaphor theory, we will
identify, analyze and classify the main elements of the metaphorical schema
associated with the olfactory metaphor related to fragrance perception and
description. We will illustrate this category by examples taken from a corpus of
excerpts of French online perfume discourse.
Managing the issue of perception and description of fragrance in the online
environment allows us an orientation of the research by multiple approaches of the
semantics of perfume-speak: the recognition of essential aspects of perfume
imaginary in French, with an emphasis on the olfactory metaphor in our research
corpus; the analysis of sensory impressions and representations about fragrance.
Our main aim is to classify conceptualizations of perfume notes into several
categories, following the model inspired by the research of Lakoff and Johnson
(Metaphors we live by, 1980).

Keywords: advertising, conceptual metaphors, marketing, odour, olfactory metaphor,

perfume reviews, perception, senses, virtual space.

1. Introduction

Odours, fragrances and their perception have so far been approached from a psychological,
sociological, biological, anthropological, medical, economic, architectural and semantic
perspective. It is this last perspective we would like to focus on and from a cognitive-
semantic perspective, metaphor and olfactory metaphor prove to be a creation of new
imagistic semantic contents, a verbal materialization of certain mental processes into
everyday language, of mechanisms of thinking that permit the representation, the
expression and the organization of abstract cognitive contents. In this way, conceptual
metaphors allow the structuring and restructuring of our common conceptual system and
their study making use of current semantic theories allows the orientation of research based
on the approach of the metaphor as problem of thought, while the main framework of
analysis is the cognitive one, since the “metaphor is a major and indispensable part of our
ordinary, conventional way of conceptualizing the world”, and since “our everyday
behavior reflects our metaphorical understanding of experience” (Lakoff: 1993: 203-204
following Reddy, 1979: 286-287). The understanding of everyday language as locus of
 298

manifestation of the metaphor began at the end of the 20th century and the study of the
metaphor focused, starting from this new perspective, on specialty languages: medical
language, juridical language, language of perfumery and fragrance and so on.
The cognitive metaphor is a surface manifestation of latent, underlying conceptual
relationships which is materialized at the level of speech, and represents a projection of the
way in which the speaker can operate with abstract concepts, hardly cognoscible, by
comparison to the empiric world, through direct experience.
The corpus chosen for the study of figurative language used by online advertising
reviews about perfume and fragrance in French is analyzed starting from an approach
whose perspective is directed by conceptual metaphor theory. The main objective is to
analyze the main aspects of the olfactory metaphor in this discourse. We will illustrate this
category by examples taken from a corpus of excerpts of online perfume discourse and
online perfume advertising reviews such as: madame.lefigaro.fr, www.letemps.ch,
www.courreges.com, www.beaute-test.com 1.
Tackling the issue of perception and description of perfume in online fragrance
reviews allows us an orientation of the research by several approaches of the semantics of
perfume-speak: the recognition of essential aspects of perfume imaginary, with a focus on
the olfactory metaphor in our research corpus; the analysis of sensory impressions and
representations about fragrance.
Authors and researchers (Howes: 2002, Velasco-Sacristán & Fuertes Olivera: 2006)
have stated that conceptual metaphors are prevalent in perfumery and fragrance discourse.
In order to explain the wide range of sensations and perceptions in perfumery and fragrance
discourse, several metaphorical extensions are used and these depend on different source
domains such as human footprint, a creation of the mind and so on.
Velasco-Sacristán and Fuertes Olivera (2006: 218-220) assert that olfactory
metaphors do not appear alone in print ads for perfume, but that the advertiser manages to
use olfactory and olfactory-mixed metaphors, as part of the overall underlying advertising
communication, even in the virtual space.
We selected the media genre of online perfume advertising and reviewing as
primary source of information about sensory perceptions related to olfactory cognition
since almost all the excerpts of online fragrance advertising reviews in our corpus provide
descriptions of all sensory experiences – that is taste, smell, vision and touch, which permit
holistic remarks on the comprehension and perception of the experience of perfume on the
basis of all four.

2. Olfaction and Metaphor: Olfactory Metaphors in Online French Perfume

Advertising Reviews

Particular conceptual metaphors have been identified as characteristic of specialized

discourses. While the primary categories of conceptual metaphors identified in the language
of perfume reviewing in English are – 1) PERFUMES ARE LIVING BEINGS, 2)
PERFUMES ARE CLOTHES, 3) PERFUMES ARE BUILDINGS, our corpus-based
research aims to demonstrate that other peculiar metaphors can be recognized in online
French perfume (advertising) reviews and the metaphorical extensions which are employed
depend on striking source domains such as human footprint, a creation of the mind, a

1Within the corpus of examples we will use the following abbreviations: MLF for madame.lefigaro.fr,
LT for www.letemps.ch, CR for www.courreges.com, BT for www.beaute-test.com.
 299

foundation tinged with melancholy and so on.

In an interview given for Le Temps (LT), Thierry Wasser, the famous nose of
Guerlain, confesses that

« Le parfum ne se construit pas par strates, il s’explique par strates. Lorsque

j’imagine une odeur, je me moque de savoir où est la tête, le cœur, le fond. […] Il y
a des parfumeurs effectivement qui, un peu à l’ancienne, écrivent leurs formules par
groupes d’évaporation. Bizarrement moi, c’est mon côté suisse, je les lis par ordre
alphabétique. De la même façon que vous, vous écrivez, j’écris, mais mes mots sont
des odeurs. Un parfum, vous le construisez de la même façon sauf que vous, vous
avez une grammaire, moi pas. Il n’y a aucune règle dans le parfum. C’est
empirique » (Wasser : 2014).

The category of metaphorical expression which we encounter in the example above can be
classified under PERFUMES ARE BUILDINGS and it refers to a perfume’s body,
composition and structure in terms of properties and actions of building and of architectural
traits. The architectural representation of fragrance is suggested by reference to the action of
building a structure; yet, for Thierry Wasser, it is not sufficient to explain the perfume’s
structure through the layers on which it is built, it is better to state that a perfume “can be
explained through its layers”. He contends that a fragrance is a product of one’s own
imagination and when one imagines an odour, he does not relate precisely to the architectural
structure of a perfume (top, heart or base/foundation); on the contrary, it is by relationship to
the materials more or less volatile out of which the perfume is made and by relationship to
this volatility or the persistence of these materials that we can conceive the three-layered
structure of a fragrance. What is particularly stunning about the metaphorical schema in the
example above is that the four-patterned metaphorical design usually containing four
architectural sub-divisions compresses into a three-patterned design where the first two sub-
divisions combine with each other (structure and material): Thierry Wasser conceives the
three-layered structure of a fragrance by relationship to the type of material:

Metaphorical design Perfume element Linguistic metaphor

Structure & Perfume’s a perfume’s foundation and base, roof

structure & and top or top and base
Material
Type of material/
ingredients

Texture and shape Type of texture

and textures of
perfume building

Composition and function Perfume

construction

While old-fashioned perfumers continue to create formulas by groups of evaporation, the

Swiss-born perfumer “reads” them alphabetically. That is how the architectural metaphor is
enriched with another metaphorical extension where the source domain is human
 300

handwriting. Creating a perfume becomes synonym with writing, writing with words which
are odours; a perfume turns into a written composition of odours. The perfume is
consequently built with fragranced words which do not observe a specific grammar; with
olfactory compositions and structures, there are no grammar rules. It all relates to the direct
experience of the perfumist.
The artistic director and new nose of Guerlain further envisages perfume as a
”creation of the mind”, as a state of mind, as a point of view, as an illusion, as vision or
fidgment of the imagination, as intellectual concept or theoretical vision. He grasps it as
completely abstract, as a “creation of the mind placed in a phial”:

« En fait, on pourrait dire, et là je cite Jacques Guerlain, « qu’un parfum réussi

correspond au rêve initial. » Une idée est emprisonnée dans votre tête et pour
l’exprimer, vous écrivez une formule. Quand vous sentez ce qui revient du
laboratoire, parfois il y a des surprises. Donc on passe un temps énorme à faire en
sorte que le résultat corresponde totalement au « rêve initial. » Malheureusement
aujourd’hui, chaque fois que vous faites un parfum, il faut l’expliquer. Mais c’est
complètement abstrait, c’est une vue de l’esprit qui est mise dans un flacon. C’est
pour cela qu’on a inventé un vocabulaire » (Wasser : 2014).

Moreover, he contends, the notes are mixed into an olfactory composition whose layers are
uncovered one after another, like dance movements. The seemingly undifferentiated
striding into space of olfactory molecules parallels dancing movements of an individual
who moves forward, sideways, backward with ease and with a certain purpose. These
dance-like movements of notes into space help discriminate the odours of the fragrance one
after another and seem to free the olfactory composition from any strict constraints and
demands, allowing it to briefly live in a space and to map a multiplicity of spatial
trajectories, turning the perfume into a “living product” which moves into space and
survives into space for a certain time.

« Pour L’Homme idéal, je dirais qu’en tête je sens l’amande amère et la bergamote.
Et après cinq minutes apparaît la fleur d’oranger. Encore après on se dit: «Tiens il y
a du cuir et du patchouli »… Mais toutes ces notes-là font partie d’un tout, ce ne
sont pas des strates qu’on découvre les unes après les autres, c’est une danse. C’est
un produit vivant le parfum, ça bouge » (Wasser : 2014).

In an online advertising and reviewing for Séville à l’Aube by l’Artisan Parfumeur

on beaute-test.com, we encounter another example of architectural design for the olfactory
metaphor: the perfume’s foundation is tinged with melancholy and its base turns dense.
While one of the olfactory notes of the architectural structure echoes the top lavender notes,
it “vibrates harmoniously” with the incense of Somalia in order to give to the fragrance
composition a “spiritual intensity”. In this case, we are confronted with a synaesthetic
metaphor which shapes the perceptual way of smelling in relation to other modes of
perception, rendering fragrance description richer. The synaesthetic metaphor shows us that
smelling perfume relies upon a human experience involving simultaneously two or more
senses: smelling and hearing. This metaphor supposes a “cross-sensory” and multi-sensory
mapping where hearing becomes involved in the construction and shaping of smell. That is
why perfume smelling is metaphorically conveyed as listening to vibrant euphonious music
notes, and illustrated by metaphorical expressions in the French register: notes (notes), echo
 301

(écho), harmony (harmonie), vibration:

« Teinté de mélancolie, le fond du parfum devient dense grâce à la présence de la

lavande Luiseiri de Séville, aux notes ciste, ambrées et résineuses. Elle fait écho aux
notes de tête lavandées et vibre en harmonie avec l’encens de Somalie pour donner
une intensité spirituelle à l’ensemble du parfum » (BT 2012).

In an interview given by six noses to Marion Louis and Julie Gillet published in Madame
Le Figaro under the title « Les parfums de l’amour », feelings get associated with perfume.
Love smells of vanilla for Thierry Wasser, while for Michel Almairac, love smells of cumin
and cedar. Perfume can also prove to be an anti-aphrodisiac when it turns into a mood-killer
and passion-killer; it becomes a turn-off when it smells of leek, dirty hair, or when it is an
odour which does not let the skin breathe and vibrate. For the nose Daniela Andrier, love
smells of the man she loves and perfume turns into a first name, 100% associated to the
person who wears it.
A peculiar olfactory image is to be found in an online advertisement for Empreinte
by Courrèges. We easily discover the metonymical implications of the body – part of the
body based expressions in French: associated with palm’s fingers or with toes, perfume is
referred to as an (olfactory) fingerprint or footprint –“(as the human footprint left on the
Moon in 1969) […] there is the moving fingerprint of a woman’s (fragrance) trail, a woman
who reveals her warm and sensual presence:

« A l’origine était Empreinte de Courrèges...

Il y eut celle qui fut imprimée sur la Lune l’été 69. Cette vision renversante inspira
André Courrèges, qui donna ce nom à son tout premier parfum, Empreinte de
Courrèges, devenu mythique.
Il y a l’Empreinte non moins émouvante du sillage d'une femme, qui révèle sa
présence chaleureuse et sensuelle » (CR 2015).

Conclusions

We can conclude that that the olfactory metaphors illustrated in online perfume advertising
reviews do not only uncover the way specialists conceptualize scent and fragrance, but that
they also constitute an effective means for rendering the intricate sensory experience of
sensing and smelling perfume.
The current research consists in a corpus analysis of the range and occurrences of
olfactory metaphor associated with perfume and sensing perfume in French online
discourse. This analysis reveals the lexical richness in French and it also makes us become
aware that the metaphoric configuration of perfume and perfume perception in online
French advertising reviews emphasizes the high frequency of the architectural metaphor,
without excluding other mental images of fragrance, peculiar images, such as that of
perfume as a fingerprint/footprint or creation of the mind, that rather rely upon the
conceptualization of perfume smelling and sensing as a system of complex experiences and
sensations, implying the mastership of visual, olfactory, gustative and tactile mental
imagery.
 302

Sources:

http://madame.lefigaro.fr/beaute/parfums-de-lamour-050212-213529
http://www.letemps.ch/Page/Uuid/44f9f208-248a-11e4-9a79-
d749102b8541/Thierry_Wasser_Un_parfum_cest_une_vue_de_lesprit_mise_dans_un_flacon
http://www.courreges.com/parfums/
http://www.beaute-test.com/
Pages last consulted on the 14th of April, 2015.

References:

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Howes, David, 2003. Sensual Relations. Engaging the Senses in Culture and Social Theory.
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Lakoff, G. and Turner. M. 1989. More than Cool Reason: A Field Guide to Poetic
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Lakoff, G. 1987. Women, Fire and Dangerous Things: What Categories Reveal about
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Lakoff, G. and Johnson, M.. 1980/2003. Metaphors We Live By. Chicago: Chicago
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Low, G., Todd, Z., Deignan, A. and Cameron, L. (Eds.). 2010. Researching and Applying
Metaphor in the Real World. Amsterdam & Philadelphia: John Benjamins.
(De) Mandy, Aftel. reprint 2004. Essence and Alchemy: A Natural History of Perfume,
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Velasco-Sacristán, Marisol and Fuertes-Olivera, Pedro. 2006. “Olfactory and Olfactory-
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https://www.pinterest.com/quiltsbyvalerie/metaphors-in-design-architecture/
http://www.academia.edu/1402884/Architecture_The_Making_Of_Metaphors.
 303

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Keywords: text, IntraText, Bible online, lexicometry, textometry, hypertext.

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SUHWH[W´ 0DFDYHL RQOLQH VWXGLXO QRVWUX VH ED]HD]ă SH GDWHOH RIHULWH GH XQ VLWH FX
FUHGLELOLWDWHFDUHFKLDUDVWDDIăFXW– a segmentat textele, deci le-a scos din context, anume
SHQWUXDOHYL]XDOL]DúLDOHDQDOL]DúLDOHvQĠHOHJHPDLELQH
&RQVLGHUDWă úL IăUă IRUPDWXO RQOLQH XQ WH[W FHOHEUX FRQFHSXW KLSHUWH[WXDO vQ
FRQFHSĠLDJHQHWWLDQă*HQHWWHFXOHJăWXULLQWHUQHGHODXQYHUVHWODDOWXOGHODRFDUWH
ODDOWDVFULVGHPDLPXOĠLDXWRULDYkQGLQWHUSUHWăULQXPHURDVe de-a lungul istoriei), Cartea
&ăUĠLORU WUH]HúWH vQ FRQWLQXDUH DFHODúL LQWHUHV FRQVWDQW &HUFHWăWRULL WH[WXOXL ELEOLF FDUH
UHFXUJ OD VHUYLFLLOH LQIRUPDWLFLL úL DOH WHKQRORJLHL LQIRUPDĠLHL UHFXQRVF Fă ÄvQ FDSXO
comentatorilor Bibliei s-DSăVWUDWGLQWRWGHDXna hipertextul – DGLFăWH[WXOFXWRDWHLQGLFDĠLLOH
LQWHUHVHFĠLLOHOHJăWXULOH3HQWUXHLDFHVWWH[WHUDÄGXPQH]HLHVF´(Ʉɧɨɪɢɧɚ). Fiind un
IHQRPHQÄSOXULVHPLROLQJYLVWLF´*DUULF/RQJKLGDWRULWăIRUPDWXOXLK\SHUWH[WXDO
analiza textului Bibliei poate da în timp real rezultate cu o exactitate incomparabil mai mare
GHFkWvQFD]XOQXPăUăWRULORUHIHFWXDWHPDQXDO

$QDOL]DWH[WRPHWULFăDWH[WXOXLBibliei: câteva statistici

Textometria vQVHDPQă ÄPăVXUDUHD WH[WHORU´ LDU vQ VHQV PDL vQJXVW Xn instrument pentru
PăVXUDUHD OH[LFXOXL WH[WHORU GUHSWSHQWUX FDUH HVWH QXPLWă úL lexicometrie (Emonot 2012)
« La lexicologie est l’étude scientifique du vocabulaire d’un texte. Lorsque cette étude
scientifique d’un texte est faite avec l’outil informatique, on parle alors de lexicométrie. »

1 Ä/D R FRQVXOWDUH FKLDU úL VXSHUILFLDOă D ELEOLRJUDILHL GH VSHFLDOLWDWH VH SRDWH FRQVWDWD SUH]HQĠD vQ

UkQGXO VSHFLDOLúWLORU D FHO SXĠLQ GRXă PDUL FXUHWH GH RSLQLH XQXO FRQIRUP FăUXLD %LEOLD DSDUĠLQH
OLWHUDWXULL úL XQ DOWXO GXSă FDUH Biblia este OLWHUDWXUă´ -LQJD RQOLQH Ä$VLPLODWă LQLĠLDO OLWHUaturii
sacre, Biblia DVHUYLWPXOWăYUHPHGUHSWUHSHUSHQWUXOLWHUDWXUDVHFXODUăILLQGX-LFXVLJXUDQĠăSkQăúLvQ
]LOHOH QRDVWUH XQXO GLQWUH L]YRDUHOH SULQFLSDOH GH LQVSLUDĠLH 7UHSWDW HD D FRQWULEXLW OD FULVWDOL]DUHD
XQXLVSLULWFULWLFúLvQWU-un sensSXWHPVSXQHFăSULQPXOWLWXGLQHDGHWHPHPRWLYHJHQXULDUKHWLSXUL
ILJXULSXVHODGLVSR]LĠLDDUWLúWLORUFKLDUDJHQHUDWOLWHUDWXUăúLHOHPHQWHGHFRQúWLLQĠăOLWHUDUă´ibidem).
 306

(*DOLDQDRQOLQHDVHYHGHDúLVLWH-ul Textométrie, online). 7UDGLĠLRQDOHOHXQLWăĠLGHHYDOXDUH

VWDWLVWLFă D WH[WHORU VH vPERJăĠHVF DFWXDOPHQWH vQ HSRFD WHKQRORJLLORU GLJLWDOH FX QRL
PRGDOLWăĠL GH PăVXUDUH D WH[WXOXL HOHFWURQLF QXPăUXO GH XWLOL]DWRUL QXPăUXO GH DFFHVăUL
QXPăUXO GH YL]XDOL]ăUL QXPăUXO GH GHVFăUFăUL QXPăUXO GH UHXWLOL]ăUL QXPăUXO GH
aprecieri (like-XULQXPăUXOGHGLVOLNH-XULQXPăUXOGHVHPQHQXPăUXOGHOLQNXULQXPăUXO
GH HPRWLFRDQH QXPăUXO GH VSDĠLL GLVWDQĠD GLQWUH WH[WH GLVWDQĠD LQWHUWH[WXDOă OXQJLPHD
WH[WXOXLIUHFYHQĠDWH[WXOXLIUHFYHQĠDWULPLWHULORUODWH[WWLWOXFXYLQWH-cheie, rezumat etc.),
IUHFYHQĠDWULPLWHULLODDXWRUXOWH[WXOXLIUHFYHQĠDWULPLWHULLODELEOLRJUDILDWH[WXOXLIUHFYHQĠD
FLWăULLXQXLFLWDWIUHFYHQĠDPRGLILFăULORUFLWDWHORUYLWH]DFXFDUHFUHVFFLWăULOHDFFHVăULOH
GHVFăUFăULOHHWF
6SHFLDOLúWLLFDUHDQDOL]HD]ăBiblia DXUHPDUFDWvQQXPHURDVHUkQGXULFăDFHVWWH[WDUH
R PDJLH D OLWHUHORU úL D FLIUHORU LQH[SOLFDELOă SH OkQJă DUPRQLD úL SRHWLFXO FUHDWH GH
repetivitatea numelor, locurilor, mesajelor (cuvintelor, textelor) (Wendland 2010). Cui se
GDWRUHD]ă DFHVW IDSW GDFă QX FXYLQWHORU" &H QH VSXQ VWDWLVWLFLOH úL QH VSXQ HOH RDUH FHYD"
Biblia (Vechiul úL Noul Testament) are în total circa 3.500.000 de caractere (semne).
Conform statisticilor de pe IntraText, cele cca 25.930 de cuvinte, se întâlnesc în 905.948 de
RFXUHQĠHXWLOL]ăULPRUIRORJLFH/XQJLPHDPHGLHDFXYkQWXOXL e de 7,82 caractere (semne).
Lungimea PHGLH D RFXUHQĠHL DSDULĠLHL H GH 4,3 caractere (semne). În tabelul 1 sunt
SUH]HQWDWHFXYLQWHOHFXFHDPDLvQDOWăIUHFYHQĠă

7DEHOXO)UHFYHQĠDXQRUFXYLQWHvQWH[WXOBibliei

Nr. Cel mai frecvent cuvânt în Biblie Statistici de pe site-ul IntraText

1. Cel mai frecvent cuvânt úL (GHRFXUHQĠH
2. &HDPDLIUHFYHQWăSUHSR]LĠLH de (24202 de RFXUHQĠH
3. &HDPDLIUHFYHQWăQHJDĠLH nu (10193 de RFXUHQĠH
4. Cel mai frecvent nume propriu Domnul (5451 de RFXUHQĠH
5. Cel mai frecvent nume comun poporul (1350 de RFXUHQĠH
6. Cel mai frecvent substantiv Domnul (5451 de RFXUHQĠH
7. Cel mai frecvent verb (a) zis (4172 de RFXUHQĠH
8. Cel mai frecvent adjectiv mare (1371 de RFXUHQĠH
9 Cel mai frecvent adverb DúD (2030 ori)
10. &HOPDLIUHFYHQWDUWLFROKRWăUkWJ-d.) lui (18036 de RFXUHQĠH
11. &HOPDLIUHFYHQWSURQXPHKRWăUkW el (5400 de RFXUHQĠH
12. Cel mDLIUHFYHQWSURQXPHQHKRWăUkW toate (2801); tot (2433); WRĠL (1808); WRĠLL (48); totul (84)
13. Cel mai frecvent numeral trei 609 RFXUHQĠH

1RWă dLQ OLSVă GH VSDĠLX RSHUăP DLFL FX VWDWLVWLFL JURVVR PRGR IăUă D VFRDWH GLQ
QXPăUXO WRWDO H[FHSĠLLOH FDUH QX VH SRWULYHVF FX VWDWLVWLFLOH RIHULWH DXWRPDW 3HQWUX R
VWDWLVWLFăPDLH[DFWăHVWHQHYRLHGHDQDOL]HPLQXĠLRDVHSHWH[W

Textul biblic face referLUHODOXFUXULRELHFWHúLIHQRPHQHJOREDOHOXDWHvQWRWDOLWDWHD

lor (un deictic personal): toate poruncile; WRĠL SHúWLL PăULL; tot SăPkQWXO; tot poporul; tot
omul; tot lucrul; tot cuvântul… Deicticele temporale cele mai frecvente sunt: acum úL
atunci GHLFWLFHOHVSDĠLDOHacolo úLaici (314); deicticele modale: DúD (2030 ori)
úLastfel (251):

5 Facerea (9:2): ce se PLúFă pe SăPkQW úL WRĠL SHúWLL PăULL; FăFL toate

1 Facerea (1:6): GHVSDUWă ape de ape! ùL a fost DúD. ~
200 Ioil (4:10): popoarele din jur, úL DGXQDĠL-Yă aici! - Acolo, FRERDUă, Doamne,
30 Facerea (29:35): QăVFXW un fiu úL a zis: „cum voi OăXGD pe Domnul!”
 307

Cuvintele-FKHLH VHPQLILFDWLYH WHRQLPHOH FX IUHFYHQĠD FHD PDL PDUH VXQW

Domnul, Dumnezeu, Israel, fiul, regele, poporul, pamântul, Iisus, numele, ĠDUD, inima,
Moise, cuvântul, Ierusalim, WDWăO, oameni, Hristos, apa, sfânt, duhul etc. (Tab. 2):

7DEHOXO)UHFYHQĠDXQRUFXYLQWH-FKHLHúLDGHULYDWHORUDFHVWRUDvQWH[WXOBibliei

domn dumnezeu Israel fiul regele poporul SăPkQWXO

37 Domn 3312 2669 Israel 1942 fiii 690 rege 159 popoare 795 pamânt
5451 Dumnezeu 60 Israele 251 fiu 1789 221 1235
Domnul 1295 121 2375 regele popoarele pamântul
3367 Dumnezeul Israelul fiul 848 111 10
Domnului 589 3 Israelului 51 fiule regelui popoarelor pamântule
724 dumnezeului 99 fiului 415 popor 455
Doamne 162 1350 pamântului
dumnezeule poporul
591
poporului

Unul din teonimele Bibliei – cuvântul-cheie Domnul  GH RFXUHQĠH DSDUH vQ
ILHFDUH DO GRLOHD HQXQĠ vQVRĠLW GH FHOăODOW QXPH propriu – Dumnezeu (3312): Domnul
Dumnezeu (Gânsac 2011). Alte teonime sunt: Iisus  úL Hristos (584) (mai ales în
vPELQăULOHIisus Hristos, Domnul Iisus Hristos úLDomnul nostru Iisus Hristos); Fiul (2375);
7DWăO (715); Duhul (423) Sfânt (492) (ex.: Duhul Sfânt; locul cel sfânt; ORFDúXO sfânt).
1RWă vQ DFHVWH VWDWLVWLFL QX LQFOXGHP GHULYDWHOH úL  VDX IRUPHOH PRUIRORJLFH
precum: sfânta (144); sfântul (53); sfântului (50) etc. – IDSWFDUHRULFXPQXVFKLPEăSUHD
PXOWFODVDPHQWXOJHQHUDOvQIXQFĠLHGHRFXUHQĠH
)UHFYHQĠD OH[HPHORU GLQ FkPSXO VHPDQWLF DO YRUELULL VSXQHULL ]LFHULL URVWLULL HWF
GHQRWăLPSRUWDQĠDORJRVXOXLúLDDFWXOXLGHFRPXQLFDUHvQGLVFXUVXOUHOLJLRVlimba / OLPEă
RFXUHQĠHlimbi (24); limbii (19); limbile (22); limbilor (8); grai / graiul (143 + 18
RFXUHQĠHgraiului (1), graiuri (3), graiurile (21), graiurilor (1); vorba / YRUEă (RFXUHQĠH
+ vorbe (35), vorbele (51), vorbelor (4).
,PSRUWDQĠD OH[HPXOXL Cuvântul / cuvânt în textul Bibliei HVWH LQGLVFXWDELOă
FHUFHWăWRULLDXUHPDUFDWvQPDLPXOWHUkQGXULFDOLWDWHDVDGHFRQFHSWIXQGDPHQWDOIăUăFD
DFHDVWăDILUPDĠLHVăVHUHGXFăODXQWUXLVP– Teleoaca 2014): cele 851 + GHRFXUHQĠH
WRDWH GHULYDWHOH VDOH DWHVWă XQ QXPăU PDUH GDFă OH FRPSDUăP FX FRQFHSWH SUHFXP 7DWăO
(715) sau Duhul  /D DFHVW QXPăU VH PDL DGDXJă cuvintele (556), cuvântului (21),
cuvinte (34), cuvintelor (32), cuvântat (6); cuvântarea (5); FXYkQWăUL (3); cuvânta (3);
FXYkQWăULOH (2); FXYkQWăULORU (1); cuvântare (1); FXYkQWăWRU (1); cuvâtul (1) (HURDUHWHKQLFă
(total 1773) DVHYHGHDúL$QH[DFXWRDWHvPELQăULOHúLH[SUHVLLOHvQFDUHVHvQWUHEXLQĠHD]ă
lexemul dat):

1 Facerea (15:1): 'XSă acestea, fost-a cuvântul Domnului FăWUH Avram,

2 Facerea (15:4): ùL vQGDWă s-a IăFXW cuvântul Domnului FăWUH el úL a zis:
3 Facerea (26:5): Avraam, WDWăO WăX, a ascultat cuvântul Meu úL a Să]LW poruncile
4 Facerea (41:39): dar tu peste casa mea. De cuvântul WăX se va poYăĠXL tot poporul
5 Facerea (44:2): ùL a IăFXW acela GXSă cuvântul lui Iosif, cum poruncise
6 Facerea (47:29): Iosif a zis: „Voi face GXSă cuvântul WăX!” 1 ~

1 http://www.intratext.com/IXT/RUM0001/_FF7.HTM
 308

ÌQ FHHD FH SULYHúWH IUHFYHQĠD XQRU HQXQĠXUL vQ WH[WXO %LEOLHL FHO PDL vQWkOQLW GLQWUH
DFHVWHD HVWH FRQIRUP DQDOL]HORU QRDVWUH HVWH XUPăWRUXO A zis Domnul FăWUH… úL / sau
DFHODúL enXQĠFXYHUEXOLQYHUVDWZis-a Domnul FăWUH… LQYHUVLXQHDUHVSHFWLYăVHvQWkOQHúWH
în textul analizat de 116 ori: zis-a).

14 Facerea (3:13): 13. ùL a zis Domnul Dumnezeu FăWUH femeie:

15 Facerea (3:14): 14. Zis-a Domnul Dumnezeu FăWUH úDUSH:
16 Facerea (3:21): 21. Apoi a IăFXW Domnul Dumnezeu lui Adam úL femeii
17 Facerea (3:22): 22. ùL a zis Domnul Dumnezeu: ,DWă Adam s-a
18 Facerea (3:23): 23. De aceea l-a scos Domnul Dumnezeu din JUăGLQD cea
19 Facerea (4:4): JUăVLPHD lor. ùi a FăXWDW Domnul spre Abel úL spre darurile
20 Facerea (4:6): 6. Atunci a zis Domnul Dumnezeu FăWUH Cain:
21 Facerea (4:9): 9. Atunci a zis Domnul Dumnezeu FăWUH Cain:
22 Facerea (4:10): 10. úL a zis Domnul: Ce ai IăFXW? Glasul sângelui
23 Facerea (4:13): 13. ùL a zis Cain FăWUH Domnul Dumnezeu: „Pedeapsa mea
24 Facerea (4:15): 15. ùL i-a zis Domnul Dumnezeu: „Nu DúD, ci tot
25 Facerea (4:15): „se va pedepsi”. ùL a pus Domnul Dumnezeu semn lui Cain,
31 Facerea (6:12): 13. Atunci a zis Domnul Dumnezeu FăWUH Noe 1

1 Facerea (1:3): 3. ùL a zis Dumnezeu: „6ă fie OXPLQă! ”

2 Facerea (1:6): 6. ùL a zis Dumnezeu: „6ă fie o WăULH”
3 Facerea (1:9): 9. ùL a zis Dumnezeu: „6ă se adune apele”
4 Facerea (1:11): 11. Apoi a zis Dumnezeu: „6ă dea SăPkQWXO”
5 Facerea (1:14): 14. ùL a zis Dumnezeu: „6ă fie OXPLQăWRUL”
6 Facerea (1:20): 20. Apoi a zis Dumnezeu: „6ă PLúXQHapele”
7 Facerea (1:22): binecuvântat Dumnezeu úL a zis: „3UăVLĠL-YăúL Yă vQPXOĠLĠL”
8 Facerea (1:24): 24. Apoi a zis Dumnezeu: „6ă VFRDWă SăPkQWXO”
9 Facerea (1:26): 26. ùL a zis Dumnezeu: „6ă facem om GXSă..
10 Facerea (1:29): 29. Apoi a zis Dumnezeu: „,DWă, Yă dau7
8 Facerea (22:6): UăVSXQV: „Ce este, fiul meu? Zis-a Isaac: „,DWă, foc úL lemne 2
9 Facerea (24:32): voi spune la ce am venit”. Zis-a Laban: „Spune! ” ~
10 Facerea (27): úL i-a zis: „Fiul meu!” Zis-a acela: „,DWă-Pă! ” 3 ~

692 Ioan (1:1): 1. La început era Cuvântul úL Cuvântul era la Dumnezeu

693 Ioan (1:1): început era Cuvântul úL Cuvântul era la Dumnezeu úL Dumnezeu
694 Ioan (1:1): Dumnezeu úL Dumnezeu era Cuvântul. ~
695 Ioan (1:9): 9. Cuvântul era Lumina cea DGHYăUDWă
696 Ioan (1:14): 14. ùL Cuvântul S-a IăFXW trup úL S-a VăOăúOXLW
697 Ioan (4:37): în aceasta se DGHYHUHúWHFXYkQWXO&ă unul este VHPăQăWRUXO
698 Ioan (4:39): au crezut în El, pentru cuvântul femeii care PăUWXULVHD:
699 Ioan (4:41): mai PXOĠL au crezut pentru cuvântul Lui, ~
700 Ioan (4:42): Credem nu numai pentru cuvântul WăX, FăFL noi vQúLQH am
701 Ioan (5:24): zic YRXă: Cel ce DVFXOWă cuvântul Meu úL crede în Cel ce M-a
702 Ioan (5:38): 38. ùL cuvântul Lui nu VăOăúOXLHúWH în voi,
703 Ioan (6:60): auzind, au zis: Greu este cuvântul acesta! Cine poate Vă-l
704 Ioan (8:31): El: 'DFă YHĠL UăPkQH în cuvântul Meu, VXQWHĠL cu DGHYăUDW 1

1 http://www.intratext.com/IXT/RUM0001/L.HTM
2 http://www.intratext.com/IXT/RUM0001/Q.HTM
3 http://www.intratext.com/IXT/RUM0001/N3.HTM
 309

236 Iesirea (32:30): Iar a doua zi a zis Moise FăWUHpopor: „$ĠL IăFXW SăFDW
237 Iesirea (32:33): 33. Zis-a Domnul FăWUHMoise: „Pe acela care a
238 Iesirea (33:1): 1. Apoi a zis Domnul FăWUHMoise: „Du-te de aici tu
239 Iesirea (33:11): vQVă JUăLD cu Moise IDĠă FăWUHIDĠă, cum ar JUăL cineva
240 Iesirea (33:12): 12. Atunci a zis Moise FăWUHDomnul: „,DWă, Tu îmi spui:
241 Iesirea (33:14): 14. ùL a zis Domnul FăWUHel: „Eu Însumi voi merge
242 Iesirea (33:15): 15. Zis-a Moise FăWUHDomnul: „'DFă nu mergi Tu
243 Iesirea (33:17): 17. ùL a zis Domnul FăWUHMoise: „Voi face úL ceea
244 Iesirea (33:19): 19. Zis-a Domnul FăWUHMoise: „Eu voi trece pe
245 Iesirea (34:1): 1. Zis-a Domnul FăWUHMoise: „&LRSOHúWH GRXă table” 2

În exemple precum: Zis-a Domnul Dumnezeu FăWUH úDUSH:… (Facerea, 3:14) sau
Atunci a zis Domnul FăWUH Moise:… (Iesirea, 10:12) vRP REVHUYD IUHFYHQĠD vQDOWă D
SUHSR]LĠLHLFăWUH(2052) (Tabelul 3), UHJLPSUHSR]LWLRQDOVROLFLWDWvQVSHFLDOGHFăWUHYHUEHOH
dicendi (Tabelul 4):

Tabelul 3. 3UHSR]LĠLLOHvQWH[WXOELEOLF

de în pe la cu din pentru GXSă FăWUH într

u
24202 17930 15897 11420 11039 8707 5789 2951 2052 883

ÌPELQăULOHIRUPDWHFXOH[HPXOcuvânt + SUHSR]LĠLLOH vQODGHGLQSHQWUXFăWUH

/ întru / împotriva HWFDWHVWăúLHOHRIUHFYHQĠăGHOXDWvQFDOFXO

5 Numerii (23:5): Iar Domnul a pus cuvânt în gura lui Valaam

16 2 Regii (19:42): trebuia Vă spunem cel dintâi cuvânt pentru întoarcerea regelui?
10 Iosua (21:44): UăPDV neîmplinit nici un cuvânt din toate cuvintele cele
57 Iezech (33:1): Fiul omului, URVWHúWH cuvânt FăWUH fiii poporului WăX
60 Iezech (36:5): focul zelului Meu am rostit cuvânt împotriva celorlalte popoare.

9RP REVHUYD GH DVHPHQHD SUH]HQĠD SUHSR]LĠLHL întru SH OkQJă VXEVWDQWLYXO
cuvântulSUHFXPúLSHOkQJăYHUEXOFRPSXVa binecuvânta.

850 1 Ioan (1: 10): úL cuvântul Lui nu este întru noi. ~~

3 Facerea (12: 3): voi blestema; úL se vor binecuvânta întru tine toate neamurile.

Tabelul 4. )UHFYHQĠD verbelor dicendi în textul biblic

(A) zice (A) spune $JUăL (A) vorbi (A) rosti

4172 zis 318 spune 442 grait 141 vorbit 78 rostit
1583 zice 142 spun 224 JUăLHúWH 70 YRUEHúWH 17 rosti
783 zicând 137 spXQă 143 grai 60 vorbesc 13 URVWHúWH

Total 7483 Total 784 Total 1145 Total 519 Total 133

1 http://www.intratext.com/IXT/RUM0001/4B_2.HTM
2 http://www.intratext.com/IXT/RUM0001/1J.HTM
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1RWă GLQOLSVăGHVSDĠLXvQVWDWLVWLFLOHGDWHQXVHLQFOXGúLFHOHODWHIRUPHPRUIRORJLFH
GRDU WRWDOXO RFXUHQĠHORU ORU 3HQWUX D YL]XDOL]D vQWUHDJD OLVWă D VH DFFHVD UXEULFLOH
respective: Table of Contents | Words: Alphabetical – Frequency – Inverse – Length –
Statistics | Help | IntraText Library

Teoria acteloUGHYRUELUHDXVWLQLDQă$XVWLQH[SOLFăIRDUWHELQHFXPHQXQĠXULOH

performative de tipul a declara, a proclama etc. instituie o realitate. În discursul biblic,
DFHDVWD PRGDOLWDWH GH ÄD IDFH OXFUXUL FX YRUEH´ VH UHPDUFă PDL DOHV SULQ YHUEXO a zice, a
spune, a fi, a face vQHQXQĠXULGHWLSXOùL a zis Dumnezeu: „6ă fie OXPLQă! ùL a fost OXPLQă”.
Astfel, actul prin FDUHURVWLUHDOXL'XPQH]HXGHYLQHIDSWăVHSURGXFHQXPDLSULQSDUWLFLSDUHD
&XYkQWXOXLODDFWXOFUHDĠLHLD]LVúLV-DIăFXWV-a împlinit / s-a întâmplat). În triada A ZICE –
A FACE – $),H[LVWăRFODUăFRUHVSRQGHQĠăLQFOXVLYODQLYHOXORFXUHQĠHORUOriFHDFWVăYkUúLW
de Dumnezeu în textul biblic este considerat ca unul de instituire, deci de facere, de fire /
ILLQĠDUHvQILLQĠDUHKHLGHJJHULDQăDFWHúLFXYLQWHFDUHDXIRVWSUHOXDWHGHWUDGLĠLDOLWXUJLFăVL
WUDQVSXVHvQSUDFWLFăvQDQXPLWHDFWHFXOWLFH(Streza online). 3ULQYRUEDVSXVă, omul va avea
SXWHUHD URVWLQG Vă DGXFă OD vQGHSOLQLUH FHHD FH VSXQH
“Ci Cuvântul acesta este foarte aproape de tine; el este în gura ta úL în inima ta, ca Vă-l faci.”
(Deuter 30: 14).
'HRVHELW GH UHOHYDQWă HVWH XWLOL]DUHD verbului a rosti (rostirea lui Dumnezeu) în
DFHODúLHQXQĠGLPSUHXQăFXYHUEXOa zice, FHHDFHvQVHDPQăFăa rosti are alt sens decât cel
GHVSXQHUHDGLFăGHSURQXQĠDUH– este vorba de rostuire (orânduire), DFWXOSULQFDUHYRLQĠD
6D GHYLQH IDSWă SDUWLFLSDUHD vQ YL]LXQH DXVWLQLDQă D FXYkQWXOXL &XYkQWXOXL OD DFWXO
FUHDĠLHLIăSWXLULL RULFH OXFUX LD ILLQĠă vQ FKLDU FOLSD FkQG 'XPQH]HX O-D URVWLW 'XSă &
Noica, „lRJRV vQVHPQD úL FXYkQW úL UDĠLXQH úL VRFRWHDOă úL UDSRUW úL GHILQLĠLH úL URVW /D
rândul ei, rostire DUSXWHDDFRSHULREXQăSDUWHGLQHFKLYRFXOIHFXQGDOOXLORJRVGHOD flatus
vocis SkQăODrostul ultim al lumii. De aceea: La început a fost Cuvântul ar putea mai bine fi
redat prin: La început a fost Rostirea DGLFă SXQHUHD vQ URVW URVWXLUHD OXFUXULORr.” (Noica
1987: Ä$URVWLURVWXLHúWHDúDGDUURVWXO´LGHP

4 Numerii (23:6): el Duhul Domnului úL úL-a rostit cuvântul VăX, zicând: ~

5 Numerii (23:18): 18. Iar el úL-a rostit cuvântul VăX úL a zis:
6 Numerii (24:3): 3. ùL úL-a rostit el cuvântul VăX, zicând: 1

5. Concluzii

'DWRULWă IRUPDWXOXL K\SHUWH[WXDO FX OLQNXUL Biblia SRDWH IL DQDOL]DWă PDL UDSLG FX
H[HPSOHOH H[FHSWDELOH úL UHXWLOL]DELOH LQVWDQWDQHX DYkQG OD vQGHPkQă GDWH VXILFLHQW GH
H[DFWH$FHVWHDSRWILXúRUDFFHVDWHYHULILFDWHúLVLVWHPDWL]DWH1XGRDUOH[LFRORJLDELEOLFă
0XQWHDQX   FL vQ JHQHUDO OLQJYLVWLFD WH[WXDOă KHUPHQHXWLFD VWXGLLOH DSOLFDWLYH
pe text ar DYHD GH FkúWLJDW UHFXUJkQG OD GDWHOH VWDWLVWLFH RIHULWH GH WHKQRORJLL úL SURJUDPH
GHGLFDWH 7H[WRPHWULD SXQH vQ HYLGHQĠă UHJXODULWăĠLOH FDUH VH PDQLIHVWă vQ WH[WXO VFULV vQ
VSHĠă vQ FHO GLJLWDOL]DW )UHFYHQĠD DQXPLWRU FXYLQWH-FKHLH DUDWă LPSRUWDQĠD ORU vQ WH[WXO úL
FRQWH[WXO GDW SUHFXP úL SRVLELOLWDWHD FD DFHVWHD SULQ OHJăWXUL LQWUD- úL LQWHUWH[WXDOH SULQ
UHSHWLWLYLWDWH FRQWLQXă vQ DFHODúL VDX vQ DOWH WH[WH Vă PDQLIHVWH FDOLWDWHD GH ÄGLVFXUV
repetat”, transformându-VH vQ PHWDIRUH úL VLPEROXUL GLQ FDUH VH DOLPHQWHD]ă vQWUHDJD
OLWHUDWXUăGLVFXUVXORUDOGLVFXUVXOSXEOLFLVWLFHWF

1 http://www.intratext.com/IXT/RUM0001/VS.HTM
 311

5HIHULQĠH

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*KLEDQ ,RDQ &ULVWLDQ 7UăXúDQ-0DWX ùWHIDQ  Ä5HĠHOH GH DQDOL]ă D UHODĠLLORU GH
intertextualitate”, &RQIHULQĠD 1DĠLRQDOă de ,QWHUDFĠLXQH Om-Calculator (RoCHI
2012), V. Posea, G.S. Cojocar (eds.), 55-64.
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(accesat 13 martie 2015).
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http://www.intratext.com/IXT/RUM0004/_P1.HTM (accesat 13 martie 2015).
Lebart, L., Salem, A., 1994, Statistique textuelle, http://issuu.com/sfleury/docs/st-1994-
lebart_salem/1?e=1010051/2683332 (accesat 10 martie 2015)
Mosconi, Marino, 2003, „Un sito di grande utilità: www.intratext.com”, Quaderni di diritto
ecclesiale, 4, 16, 432-439.
http://www.quadernididirittoecclesiale.org/images/2003/2003_4g.pdf (accesat 27 februarie
2015).
Munteanu, Eugen, 2008, /H[LFRORJLH ELEOLFă URPkQHDVFă %XFXUHúWL +XPDQLWDV
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a.pdf (accesat 13 martie 2015).
Noica, Constantin, 1987, &XYkQW vPSUHXQ΁ GHVSUH URVWLUHD URPkQHDVF΁, Cartea
5RPkQHDVFӽ
Pincemin, Bénédicte, 2011, „Sémantique interprétative et textométrie (Version abrégée)”,
Corpus, nr. 10, 259-269, http://corpus.revues.org/2121 (accesat 13 martie 2015).
Streza, Ciprian. 8Q H[HUFLĠLX GH OLWXUJLFă FRPSDUDWă $QDOL]D FXYLQWHORU GH LQVWLWXLUH GLQ
cele patru versiuni ale anaforalei Sfântului Vasile cel Mare;
http://www.revistateologica.ro/articol.php?a=3476 (accesat 10 martie 2015).
7HOHRDFD 'DQLHOD /XPLQLĠD  0HWDOLWHUDWXUă úL LQWHUWH[WXDOLWDWH vQ WH[WXO ELEOLF;
http://www.poezie.ro/index.php/essay/14051770/Metaliteratur%C4%83_%C5%9Fi_
intertextualitate_%C3%AEn_textul_biblic (accesat 9 martie 2015).
Teodor Macavei, 1995, „Cele mai frecvente erori de interpretare a Bibliei (2VFXUWăGHILQLUH
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7UăXúDQ-0DWX ùWHIDQ De la logic la dialogic.
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 313

La vulgarisation économique et ses marques

identitaires1

Maria-0ăGăOLQD8U]LFă3RLDQă
Université de Craiova

The purpose of the present article is to identify the forms of social identities that
make their appearance on the discursive background of a corpus made of ten articles
belonging to the scientific vulgarization in the domain of the economic discourse
and which were published between 1969 and 1970 in the magazine L’Actualité
économique. Our aim is to focus on the social and discursive identity markers of the
participants that appear in the discourse, from a methodological perspective of the
discourse analysis and more precisely of the specialized discourse.
We have distinguished two types of markers of social and discursive identity of the
popularizer (the linguistic impersonal formulas and the utilization of “inclusive
we”), which have been fully exemplified in the studied corpus and which lead to the
idea that there are different degrees of popularization in the scientific texts.

Keywords: discourse analysis, identity, specialized discourse, scientific

vulgarization / popularization.

1. Introduction

Cette recherche a comme but de montrer les identités sociales qui font leur apparition sur la
scène discursive d’un corpus formé de dix articles de vulgarisation scientifique dans le
domaine de l’économie, publiés entre 1969 et 1970 dans la revue L’Actualité économique.
Nous voulons déterminer les marques identitaires sociales et discursives des participants
qui apparaissent dans le discours étudié en fonction du contexte dans lequel s’insère le
discours et d’une perspective méthodologique de l’analyse du discours, plus précisément du
discours de spécialité. Le cadre théorique de ce travail est constitué par l’analyse
sémiolinguistique du discours (Charaudeau 2002 ; 2009), mais aussi par les articles de D.
Jacobi (1985 ; 1986) et de L. Berruecos (2009).
La vulgarisation scientifique est classiquement considérée comme une activité de
diffusion, vers l’extérieur, des connaissances scientifiques déjà produites et circulant à
l’intérieur d’une communauté plus restreinte; cette diffusion se fait hors de l’institution
scolaire-universitaire et ne vise pas à former des spécialistes, c’est-à-dire à étendre la
communauté d’origine (Authier 1982 : 34).

1 NOTE: Cet article est paru grâce à l’aide financière partielle obtenue par le contrat
POSDRU/159/1.5/S/133255, le projet stratégique ID 133255 (2014), cofinancé par le Fonds Social
Européen, à travers le Programme Opérationnel Sectoriel pour le Développement des Ressources
Humaines 2007-2013.
 314

Nous nous sommes arrêtés à un corpus formé par dix articles de la presse
économique qui appartiennent au discours économique pour un public hétérogène, comme
le dit Catherine Resche qui pose dans le titre même de son article (« The Economist :
discours de spécialité économique ou discours sur l’économie ?) un problème qui touche la
distinction entre le « discours économique » et le « discours sur l’économie ». En effet, C.
Resche se demande si dans les rubriques de la revue il est possible de distinguer entre le
discours journalistique et un « discours pseudo-économique », qui va du discours des
experts au discours plus général, semi-spécialiste, avec un certain degré de vulgarisation,
toujours parce que la politique de la revue « ne prétend, à aucun moment, se limiter à la
sphère de la théorie économique, et il est évident qu’en tant qu’organe de presse, il ne
s’adresse pas prioritairement à un public d’experts. » Cette affirmation nous sert pour
mieux placer notre corpus dans le contexte visé, celui du discours vulgarisé. Ce qu’elle
déclare sur The Economist peut être mis en relation avec l’Actualité économique, la revue
qui constitue notre corpus 1.
Une constatation utile pour l’élaboration de notre corpus est que pendant que The
Economist est une revue pour le grand public, comme le retient C. Resche, L’Actualité
Economique, par contre, vise un public hautement spécialisé. Cela a des conséquences sur
les caractéristiques du discours spécialisé proposé par la revue.
Le discours de vulgarisation présente, sûrement, des marques d’identité, mais il faut
admettre que ce concept est difficile à définir, de part sa position au croisement des
sciences sociales et humaines. Mais toute approche doit tenir compte de la notion d’identité.
En suivant le chemin ouvert par P. Charaudeau et D. Maingueneau, nous ajoutons à cette
notion celles de « sujet et d’altérité » (2002 : 299). L’identité discursive est ainsi associée à
l’identité du sujet énonciateur « qui peut être décrite à l’aide de catégories locatives, de
modes de prise de parole, de rôles énonciatifs et de modes d’intervention » (2002 : 300).
C’est à partir de ces éléments qui peuvent se constituer en facteurs de différenciation que
l’étude de différents types de discours s’avère non seulement intéressante, mais utile pour
cerner leurs marques identitaires. La question principale se présente comme suit : Quelles
particularités identitaires puissent exister dans le cas du discours de vulgarisation
économique ?
Une première constatation qui semble pertinente dans notre cas est que le corpus
analysé, formé par des articles avec un haut degré de scientificité montre, par contre, un
degré de vulgarisation assez faible. Cela est le résultat des rapports qui s’instaurent entre le
sujet parlant et l’élément autre, rapports que nous avons considérés comme définitoires
pour distinguer les marques identitaires du discours de vulgarisation économique et sur
lesquels nous nous focalisons dans ce qui suit, en ménageant un sous chapitre pour les
marqueurs identitaires du discours économique et en insistant sur deux faits linguistiques :
les formules impersonnelles et le « nous inclusif ».

1 « L’Actualité économique est une revue scientifique de langue française vouée à la diffusion de
nouvelles connaissances en science économique et en finance. Fondée en 1925 par l’École des
Hautes Études Commerciales (HEC Montréal), la revue est depuis 1973 sous la responsabilité
éditoriale de la Société canadienne de science économique (SCSE). L’association de la revue à une
société savante telle la SCSE avait pour but d'en accentuer le caractère scientifique et d’en faire
une véritable revue de recherche. L’Actualité économique se veut un moyen de diffusion privilégié
en Amérique du Nord et en Europe pour les économistes et les spécialistes de la finance qui
désirent publier des textes en français. »
 315

2. Le discours de spécialité et la vulgarisation scientifique

Le discours de spécialité, ou le discours scientifique, signifie toute sorte de communication

d’un spécialiste qui a comme destinataire un autre spécialiste, une communication sur le
même niveau, avec des actants de même rang. Les messages qu’ils envoient un à l’autre
sont décodables en utilisant le même code, la même langue, la même terminologie qu’ils
maîtrisent et sont capables d’utiliser. Daniel Jacobi (1985) appelle ce type de discours « le
discours source, ésotérique et légitime ».
Le processus de vulgarisation peut être défini selon les grands dictionnaires de
langue française, comme une action de diffuser, de mettre à la portée du plus grand nombre,
des non-spécialistes des connaissances, des idées des produits techniques et scientifiques.
En pratique et surtout en particulier, cette action peut être traduite comme l’adaptation, une
reformulation des notions, des connaissances, d’un discours spécialisé afin de les rendre
compréhensibles aux personnes non-spécialistes. De plus, cette reformulation consiste
généralement à débarrasser le discours de spécialité des difficultés spécifiques et des
caractères techniques afin de le rendre accessible au grand public.
Pour le rendre plus accessible, nous allons présenter des idées reçues sur le
processus de vulgarisation, et celles-ci, trouvées sur un site qui essaye d’expliquer ce
processus, sont: « Vulgariser, c’est comme parler à un enfant », « La science et la technique
ne parlent qu’une seule et même langue », « Culture et vulgarisation ne vont pas de
pair… », « Vulgariser n’est pas nécessaire entre spécialistes d’un même domaine »,
« Vulgariser n’est pas du domaine des sciences: il est nécessaire de rester parmi ceux qui
possèdent la connaissance » et la liste peut continuer en constatant que la vulgarisation
n’est pas considérée une action très favorable. Daniel Jacobi à son tour, en continuant cette
idée, fait la différence entre « un objet pur et idéal (le discours scientifique) et tout un
cortège de reflets plus pales, vulgaires (les discours non scientifiques) » (1985).
D’autre côté, en parlant des aspects plus spécifiques, sémiotique et lexique de ce
processus, D. Jacobi constate que la vulgarisation scientifique est « une traduction de la
langue savante en langue vulgaire (ou commune plus précisément) » (1985) encore même,
toute sorte de paraphrase, de reformulation du discours scientifique avec le but d’être
transformé en utilisant une terminologie adéquate pour le public commun. C’est ainsi que le
concept du « troisième homme » s’est popularisé comme résultat de cette transformation
qui mène à une meilleure communication; cet acteur de la scène discursive devient ainsi le
médiateur qui s’interpose entre le spécialiste et le public. Dans un article fondateur pour les
études sur la V.S., A. Moles et J. Oulif (1967) utilisent aussi le concept de « médiation
culturelle » et aussi le rôle important du « troisième homme », ayant avant tout un intérêt
historiographique.
La V.S. est donc, un outil par lequel, afin d’éduquer, de transmettre des
connaissances importantes, parfois vitales, on transforme les concepts d’un discours par des
moyens linguistiques.

3. La notion du « sujet parlant ». Identité sociale et discursive

Les nouveaux représentants de l’École française d’analyse du discours, P. Charaudeau et D.

Maingueneau (2002 : 555-556) utilisent les deux les mêmes concepts pour parler de
l’expression grammaticale du sujet parlant. Afin de les classer les auteurs proposent de les
distinguer selon les critères suivants, qui d’ailleurs s’entrecroisent:
a. l’opposition entre locuteur externe / interne au discours ;
 316

b. l’opposition production / réception.

À la suite de cette classification, les linguistes mentionnés arrivent à la conclusion

que l’opposition entre locuteur externe/interne au discours repose sur l’hypothèse selon
laquelle « tout sujet parlant est susceptible d’avoir deux types d’identité : une identité
sociale et une identité discursive » (Charaudeau, Maingueneau 2002 : 556). Comme P.
Charaudeau (2009) l’estime dans une autre étude, pour comprendre les effets de discours
d’un acte de communication il faut d’abord observer les identités sociales et discursives des
sujets du langage, tout en considérant la relation qui s’établit entre elles. Le concept
d’identité, traité principalement en phénoménologie, est considéré – toujours par P.
Charaudeau – le fondement qui permet

« au sujet de prendre conscience de son existence qui se constitue à travers la prise

de conscience de son corps (un être-là dans l’espace et le temps), de son savoir (ses
connaissances sur le monde), de ses jugements (ses croyances), de ses actions (son
pouvoir de faire) » (2009 :15).

En suivant la même lignée nous arrivons à la constatation que l’identité est le

résultat d’un mécanisme complexe au terme duquel se construisent des traits d’identité. Ces
identités sont construites à travers des actes de discours et servent souvent à réactiver
l’identité sociale. Et P. Charaudeau (2009 : 19) nous offre les composantes de l’identité du
sujet communiquant : « de données biologiques (« on est ce qu’est notre corps »), de
données psychosociales qui sont attribuées (« on est ce que l’on dit que vous êtes »), de
données construites par notre propre comportement (« on est ce que l’on prétend être ») ».
Toutes ces composantes se ramènent à deux catégories : identité sociale et identité
discursive.
La particularité de l’identité sociale est « d’être reconnue par les autres »
(Charaudeau 2009 : 19), en étant ce qui fonde le sujet « en légitimité » et cette légitimité
représente le mécanisme par lequel on reconnaît un sujet par d’autres sujets. L’identité
sociale, en partie déterminée par la situation de communication, doit répondre à la question
: « Je suis là pour quoi dire, en fonction du statut et du rôle qui m’est assigné par la
situation ? » (idem : 20-21). Par contre, l’identité discursive répond à la question « Je suis là
pour comment parler ? » ce qui lui confère un double enjeu, celui de la crédibilité et celui
de la captation. Afin d’être cru par rapport à sa sincérité et à son image de lui-même qu’il
doit défendre, il faut adopter plusieurs attitudes : de neutralité, de distanciation,
d’engagement aussi qu’une attitude démonstrative.

4. Marqueurs identitaires dans le discours économique. Analyse du corpus

4.1. La vulgarisation et ses particularités identitaires

La scène du discours de vulgarisation scientifique est un espace de rencontre entre trois

types d’énonciateurs : le scientifique, le vulgarisateur ou le journaliste scientifique (L.
Berruecos 2004), les deux derniers apparaissant lorsqu’il s’agit de publications non
institutionnelles : c’est le médiateur ou « le troisième homme », concept proposé par D.
Jacobi (1982), un porte parleur dont les sociologues, psychologues, linguistes, philosophes,
didacticiens et sémioticiens ont essayé d’en revendiquer le rôle.
Dans ce processus de vulgarisation, ce sont les identités du sujet énonciateur et du
 317

public auquel la publication est destinée qui se construisent, dans le cadre de l’élucidation
d’un certain lexique spécialisé en reformulant le discours de base, le discours primaire.
Cette hétérogénéité discursive permet de délimiter l’identité du public destinataire. En
utilisant un discours de spécialité et implicitement un lexique scientifique, le public
destinataire se situe du côté des connaisseurs, cela implique qu’il a un certain degré de
connaissances et marque donc son appartenance « réelle ou imaginaire » (Charaudeau
1992 : 107) à un certain groupe des scientifiques. Comme le signale P. Charaudeau
(idem : 108) « la vulgarisation est l’activité du langage qui cherche, précisément, à éviter
l’hermétisme des sociolectes (tout en utilisant, par ici, par là, quelques mots magiques pour
tenter de produire un effet de fascination) . »
Même encore plus, dans la vulgarisation, on rencontre les identités de l’énonciateur,
du récepteur (public destinataire) qui ne sont pas les seuls éléments qui se construisent,
comme l’affirme L. Berruecos (2009 : 147), car la « vulgarisation se tisse comme une sorte
de « chaîne » ou « treillis discursif » , en liant ce « troisième homme », la voix parfois
subtile et impersonnelle du vulgarisateur, des autres éléments de l’énonciation.
On peut arriver à la conclusion que cette hétérogénéité discursive concerne l’identité
de tous les participants au discours de reformulation impliqué par la vulgarisation. Afin de
comprendre ces effets de discours nous allons observer les identités sociales et discursives
des sujets du langage et nous allons prendre en considération les relations qui s’établissent
entre elles.

4.2. Les identités sociales et discursives du vulgarisateur et du public destinataire

Dans les dix articles analysés, tous concernant le domaine économique et tous tirés de
nombreux numéros parus entre 1969-1970 dans une même revue de spécialité économique,
apparaissent aussi bien des scientifiques que des vulgarisateurs.
À partir des observations des études réalisées sur les identités des vulgarisateurs et
des scientifiques par L. Berruecos (2009) nous constatons aussi qu’en général, le
vulgarisateur « disparaît pratiquement de la scène discursive en utilisant des formules
impersonnelles » (Berruecos 2009 : 147). Toutefois, dans les séquences où il fait son
apparition, il utilise la première personne du pluriel, le nous inclusif, une sorte de stratégie
de capter le public avec ce pronom personnel qui a soit une valeur de politesse (de sorte que
l’idée présentée est celle de l’écrivain à côté des autres scientifiques), soit une valeur
exhaustive (en comprenant que l’écrivain n’est pas seul, c’est tout le monde qui pense de la
même façon). Parfois, la seule identité qui apparaît est celle de l’homme en général.
Comme nous pouvons voir dans les interprétations de L. Berruecos (idem : 148-
149), le vulgarisateur est parfois inclus, parfois exclus du monde scientifique et dans ces
cas « le nous est le bénéficiaire ou la victime de la réalité, de la fantaisie ou de la science. »
Le vulgarisateur utilise souvent le lexique de spécialité, scientifique sans le modifier. Dans
ce cas le degré de vulgarisation de l’article peut être questionnable, douté et difficile à
repérer. Cette utilisation du lexique de spécialité situe le public destinataire à un certain
niveau de connaissances. C’est plutôt notre cas, car dans la Politique éditoriale de la revue,
il est mentionné qu’elle est destinée à un « public informé. » Cela rend une appartenance du
vulgarisateur, réelle ou imaginaire, à un certain groupe d’experts et de cette manière il a un
effet d’autorité sur un public non informé, profane dans le domaine économique. Comme le
signale (Charaudeau 1992 : 108), « la vulgarisation est l’activité du langage qui cherche,
précisément, à éviter l’hermétisme des sociolectes (tout en utilisant, par ici, par la, quelques
mots magiques pour tenter de produire un effet de fascination. » Il s’agit aussi comme
l’auteur suggère, d’un clin d’œil d’un tiers, le scientifique qui peut approuver ou non ce qui
 318

est dit. Néanmoins, l’identité du scientifique s’observe tout au long du discours, seulement
et uniquement par l’utilisation du langage scientifique, sans le reformuler, ce qui nous rend
à relever l’identité du public destinataire. Si nous revenons au nous inclusif, cette utilisation
identifie dans le même groupe le vulgarisateur et le public destinataire et, comme L.
Berruecos (2009 : 148) l’affirme, ils sont qualifiés d’une manière subjective en leur
attribuant des sentiments comme la surprise, l’étonnement, le manque d’information ou
même d’éducation, comme il était précisé aussi dans une idée reçue sur le terme
« vulgarisation. »

4.3. Analyse du corpus

Dans notre corpus, l’énonciateur est un scientifique vulgarisateur, nous rappelons le fait que
les articles étudiés font partie d’une revue de spécialité, avec un faible degré de
vulgarisation. Tenant compte de cela, on reconnaît facilement une stratégie de captation en
utilisant le nous inclusif, que le scientifique vulgarisateur emploie pour s’attacher au groupe
des spécialistes et qui a une valeur sémantique de « tout le monde » :
a. Nous avons utilisé une grande partie des statistiques qu’elle a préparées. (AE,
1969, no. 2, vol. 45 : 218)
b. Nous pouvons dire alors, qu’au sens purement quantitatif, l’objectif économique
est aussi la croissance de tous les agrégats du P.N.B. (AE, 1969, no. 2, vol. 45 : 219)
c. Nous avons donc exprimé la formation du capital en fonction du temps et du niveau
d’output. (AE, 1969, no. 2, vol. 45 : 222)
d. La formation brute de capital fixe comprend normalement la variation du stock. Ici
nous l’avons incluse dans trois postes d’investissement. (AE, 1969, no. 2, vol. 45 : 222)
e. Nous croyons que la moyenne des coefficients techniques de ces trois tableaux
nous permet de travailler avec une hypothèse de constance, du moins à court terme.
(AE, 1969, no. 2, vol. 45 : 222)
À part des exemples mentionnés (a-e), nous observons que certains éléments
discursifs nous permettent d’inclure le scientifique-vulgarisateur au monde ésotérique des
spécialistes et où ce nous inclusif est « le bénéficiaire de la science » (Berruecos 2009 :
148). Seulement dans cet article nous avons trouvé une utilisation fréquente du nous
inclusif (20 fois) et même encore plus fréquente du pronom impersonnel on (48 fois),
toujours comme dans les exemples qui suivent:
f. Le projet de réforme apporte quatre principaux éléments nouveaux sur lesquels
nous ferons porter notre appréciation du double point de vue de l’équité et de
l’efficacité: [...]. (AE, 1969, no. 3, vol. 45 : 401)
g. Nous ne sommes pas en mesure de critiquer cette évaluation dont la méthode n’a
pas été publiée. (AE, 1969, no. 3, vol. 45 : 414)
h. Jusqu’ici, nous avons vu que l’université à un produit et, par conséquent, une
fonction de production mal définie, des coûts relatifs croissants et des objectifs
ambigus. (AE, 1969, no. 3, vol. 45 : 494)
i. Les pouvoirs publics ont donc subi passivement les caractéristiques de l’université
que nous avons examinées plus haut. (AE, 1969, no. 3, vol. 45 : 495)
j. L’étude du «Rapport du sous-comité des budgets universitaires de fonctionnement
au Comité ad hoc du financement des institutions universitaires», date du 25 février
1969, montre qu’on n’a pas encore développé au Québec de règles précises
d’allocation des budgets aux universités. (AE, 1969, no. 3, vol. 45 : 494)
k. On fait donc l’hypothèse d’un coût marginal nul, pour une augmentation de
11p.c.des effectifs étudiants. (AE, 1969, no. 3, vol. 45 : 495)
 319

l. On observe, cependant, une catégorie de professeurs qui ont tendance à privilégier la

préparation des cours: ce sont les jeunes professeurs. (AE, 1969, no. 3, vol. 45 : 496)
Nous pouvons constater que dans l’article de G. Bélanger du numéro 3, vol.
45/1969, l’auteur n’utilise que deux fois le nous inclusif, il préfère la formule impersonnelle
on, au dehors de laquelle il peut se cacher, la seule identité qui apparaît étant celle de
l’homme en général, se rattachant ainsi au groupe des scientifiques.
Dans un autre article du 1970, on note le même emploi fréquent du nous inclusif,
étant le seul sujet personnel à part le pronom adverbial on qui est rencontré très rarement :
a. Nous espérons ainsi pouvoir apporter quelque lumière dans le débat sur le « défi
américain» [...] (AE, 1970, no. 4, vol. 45 : 639)

b. Si l’on se rappelle que les coefficients mesurant les effets de la variable pays au
tableau 7 se rapportent à la différence, entre le taux de croissance des entreprises
localisées dans un pays en particulier et celles dès États-Unis; on note
premièrement que ces coefficients sont surtout positifs de 1957 à 1962 et surtout
négatifs de 1962 à 1967. (AE, 1970, no. 4, vol. 45 : 653)

À partir des exemples étudiés, nous arrivons à la conclusion que les auteurs utilisent
dans la plus part un lexique de spécialité, tandis que les thèmes proposés ne les rendent pas
trop scientifiques, d’où le degré de vulgarisation qui est difficile à repérer et souvent
questionnable. Presque dans tous les cas étudiés le vulgarisateur disparaît de la scène
discursive et se cache sous les formules impersonnelles (le nous inclusif ou le pronom
adverbial on) qui sont fréquemment utilisées dans tous les articles qui forment le corpus. En
employant le nous inclusif, l’auteur fait appel à une sorte de stratégie de capter le public
avec ce pronom personnel qui a soit la valeur de politesse et de modestie (de sorte que
l’écrivain pense comme les scientifiques), soit une valeur exhaustive (l’écrivain n’est pas
seul, c’est tout le monde qui pense comme lui).

5. Conclusions

En guise de conclusion, nous aimerions revenir sur l’idée que le corpus analysé, formé par
des articles avec un haut degré de scientificité montre, par contre, un degré de vulgarisation
assez faible. Nous avons considérés les rapports qui s’instaurent entre le sujet parlant et
l’élément autre comme définitoires pour distinguer les marques identitaires du discours de
vulgarisation économique. Nous constatons que le vulgarisateur qui est un scientifique-
vulgarisateur se dissimule de la scène discursive en employant des formules
impersonnelles. Toutefois, son identité se relève lorsqu’il est inclus ou exclus des groupes
bien définis: celui des scientifiques et celui du public destinataire. En utilisant la première
personne du pluriel, le nous qui n’est pas un nous exclusif (le nous utilise par l’auteur
comme marque de la modestie), mais un nous inclusif, le scientifique – vulgarisateur fait
appel a une stratégie de captation, car ce nous inclusif a la valeur sémantique de « tout le
monde », d’où on peut surprendre finalement l’identité de l’homme en général. Encore de
plus, les articles étudiés utilisent un discours de spécialité et implicitement un lexique
scientifique, c’est ainsi que le public destinataire se trouve du côté des connaisseurs et cela
marque donc son appartenance réelle à un certain groupe des scientifiques.
 320

Sources :

Tae-Ho Yoo, 1969, « Les objectifs économiques et leurs conséquences sur les secteurs
économiques. Le cas de la Corée », L’Actualité économique, 45, 2, 218-239.
Maurice Torrelli, 1969, « La C.E.E. et l’aide au développement: renouvellement de la
Convention de Yaoundé », L’Actualité économique, 45, 2, 240-266.
Diallo Maka, 1969, « Les banques centrales et le développement économique africain »,
L’Actualité économique, 45, 2, 299-325.
Jean-Luc Migué et Gérard Bélanger, 1969, « Le livre blanc sur la fiscalité », L’Actualité
économique, 45, 3, 401-420.
Gérard Bélanger, 1969, « L’université, une perspective économique », L’Actualité
économique, 45, 3, 488-498.
Stephen Hymer et Robert Rowthorn, 1970, « Les entreprises plurinationales et l’oligopole
international : le défi non américain », L’Actualité économique, 45, 4, 639-678.
Pierre Harvey, 1970, « Planification économique et syndicalisme dans le Québec : les
attitudes », L’Actualité économique, 46, 1, 5-14.
Stephen Hymer, 1970, « L’économie de la Côte de l’Or et du Ghana », L’Actualité
économique, 46, 1, 15-66.
Denys Delage, 1970, « Les structures économiques de la Nouvelle-France et de la
Nouvelle-York », L’Actualité économique, 46, 1, 67-118.

Références :

Authier-Revuz, J., 1982, « La mise en scène de la communication dans des textes de

vulgarisation scientifique », In: Langue française, 53, 34-47.
Berruecos, L., 2009, « La science et ses acteurs : identités dans la vulgarisation
scientifique », In : Identités sociales et discursives du sujet parlant, Paris,
L’Harmattan, Charaudeau, P. (dir.), pp. 145-166.
Charaudeau, P., & Maingueneau, D., (éds.), 2002, Dictionnaire d’analyse du discours,
Paris, Éditions du Seuil.
Charaudeau, P. (dir.), 2009, Identités sociales et discursives du sujet parlant, Paris,
L’Harmattan.
Jacobi, Daniel, 1986, Diffusion et vulgarisation: itinéraires du texte scientifique, Paris,
Annales littéraires de l’université de Besançon, Les belles lettres.
Moles, Abraham et Oulif, Jean, 1967, « Le troisième homme – Vulgarisation scientifique et
radio », In : Diogène, 58, 29-40.
Resche, Catherine, 2009, « The Economist: discours de spécialité économique ou discours
sur l’économie ? », ILCEA [Enligne], 11 | 2009, mis en ligne le 30 avril 2009,
dernière consultation le 20.01.2015. URL: http://ilcea.revues.org/64, dernière
consultation le 20 janvier 2015.
 321

List of Contributors
Poliana Banu PhD candidate is a teacher at the Theologic Adventist Highschool. She has
participated in many national and international conferences. Her interests are:
literary communication, poetics and linguistic poetics.

https://www.linkedin.com/pub/poliana-banu/a0/554/909

Florina-Maria %ăFLOă is a doctor lecturer in the Department of Romanian Studies

(specialised in Romanian language study) of the Faculty of Letters, History and
7KHRORJ\WKH:HVW8QLYHUVLW\RI7LPLúRDUD$PRQJKHUDUHDVRILQWHUHVWWKHUHDUH
Lexicology, Morphology, Syntax, Discourse Analises. Her preoccupations regarding
the syncronic study of the Romanian language have concluded into several volumes:
2PRQLPLDvQOLPEDURPkQă3ULYLUHPRQRJUDILFă 7LPLúRDUD(GLWXUD([FHOVLRU$UW
2007), Întâlnire cu $OPăMDQD. Lexicologie – JUDPDWLFă – VWLOLVWLFă – recenzii –
eseuri 7LPLúRDUD (GLWXUD ([FHOVLRU $UW  and Cultivarea limbii române. I.
ProEOHPH GH PRUIRORJLH ,, 3UREOHPH GH VLQWD[ă úL GH YRFDEXODU 7LPLúRDUD
Editura Excelsior Art, 2012), as well as into numerous studies, articles, reviews,
essays published in collective volumes and cultural magazines from Romania and
abroad like Comunicare, identitate, comparatism, Qvaestiones Romanicae, „Journal
RI 5RPDQLDQ /LWHUDU\ 6WXGLHV´ Ä$QDOHOH 8QLYHUVLWăĠLL GH 9HVW GLQ 7LPLúRDUD´
Ä$QDOHOH 8QLYHUVLWăĠLL ©'XQăUHD GH -RVª GLQ *DODĠL´ Ä3KLORORJLFD %DQDWLFD´ 6KH
participated at various national and international scientific and cultural
PDQLIHVWDWLRQV IURP &KLúLQăX 1RYL 6DG 6]HJHG %XFXUHúWL &UDLRYD %DLD 0DUH
Cluj-Napoca, Târgu-0XUHú7LPLúRDUD

e-mail: florina_bacila@yahoo.com

Alina-Diana Bratosin is a Ph.D. candidate at the University of Bucharest, with a thesis in

pre-modern Japanese and Chinese aesthetics. Her research interests are in aesthetics,
typology of culture and philosophy of culture.

e-mail: alina.bratosin30@yahoo.com

Andra Brezniceanu is an assistant PhD at the Faculty of Law and Administrative

Sciences, University of Craiova. She has participated in many national and
international conferences. Her interests are: human rights, legal communication,
juridical protection.

e-mail: andra.brezniceanu@yahoo.com

Beatrice Diana Burcea is a B.A. of the University of Craiova. Since 1998 she teaches
Romanian Language and Literature within „Dr. loan Mesota" National College of
Bra§ov. In 1994 she graduated from the thoroughgoing studies in Romanian
linguistics and in 2013 from a master in literature within the University of Craiova.
Since 2013 she is a Ph.D. student of the University of Craiova with the thesis
 322

Enunciation in the Romanian Postmodern Poetry. She published articles in four

collective volumes of didactic interest at Paralela 45 and Sigma, in 1999, 2011 and
2013.

e-mail: diana_burcea@yahoo.com

Aliona Busuioc KDV EHHQ D OHFWXUHU DW 860) ³1LFRODH 7HVWHPLĠDQX´ VLQFH  6KH
teaches Romanian language and medical terminology to groups of English speaking
students, first and second years of study, faculties of Medicine, Stomatology and
Pharmacy. Her main field of activity is didactics of Romanian as foreign language
for A1-A2 / B1-B2 levels and for both specialized terminology formation with
specific objectives, medical language and modern Teaching / Learning / Evaluating
activities according to new standards. The activity is focused on communicative
aspects and on efficient and active teaching. The aim of teaching Romanian to
medical students is obtaining of Romanian language knowledge and improvement of
oral and written communicative skills. She has co-authored an audio course
(dialogues with medical specialists). She has been a member of the methodical
commission of departments of Foreign languages and Romanian language and
medical terminology. She has participated at different national and international
conferences with such subjects as: Controversies in Romanian language correctness;
Grammar mistakes; Interactive learning; Some aspects of communication; Reading
skills; Linguistic diversity; Specialized language for medical students.

e-mail: alionabusu@gmail.com

Diego Oswaldo Camacho Vega is a Postdoctoral Fellow at Université Pierre et Marie

Curie. He graduated bachelor studies in Psychology at Autonomous University of
Baja California, Maxico. He has expertise in social psychology, developmental
psychology and media psychology.

e-mail: diego.camacho@uabc.edu.mx

Irina Elena Catrinescu is a Ph.D. student at the Doctoral School of Modern Literature,
University of Oradea. The title of her Ph. D. thesis is An Dialogic Approach to
*DEULHOD $GDPHúWHDQX¶V 1RYHOV She graduated from the Faculty of Letters,
8QLYHUVLW\ RI :HVW 7LPLúRDUD LQ WKH OLQJXLVWLF DQG FRPPXQLFDWLRQ GRPDLQV 6KH
holds a M.A. degree in language and communication fields: The Structure and
Evolution of Actual Language. She teaches Romanian Literature at the Al. I. Cuza
1DWLRQDO&ROOHJHLQ3ORLHúWL6KHUHJXODUO\SXEOLVKHVDUWLFOHVDQGSUHVHQWSDSHUVRQ
comunication, semiotics, pragmatics, narrative issues at CCD Prahova’ Scientific
Bulletin.

e-mail: catrinescui@yahoo.com

(PLQD &ăOSăQăúDQ is an assistant at the Faculty of Letters, History and Theology, The
West University of Timisoara. She defended her Ph.D. thesis, A Debatable
Modernity: Marin Sorescu’s Prose, in 2012. Her areas of interest include:
Contemporary Romanian, Discourse Analysis, Stylistics and Semiotics. She
participated at national and international conferences and she published articles,
reviews, event chronicle in periodicals and collective volumes such as: AUC,
 323

Timi‫܈‬oara; Comparativism, Identity, Communication, Philologica Banatica

Quaestiones Romanicae, Almajana.

e-mail: astarteea@yahoo.com

Argentina Chiriac is the Head of the Department of Romanian Language and Medical
7HUPLQRORJ\RI6WDWH8QLYHUVLW\RI0HGLFLQHDQG3KDUPDF\Ä1LFRODH7HVWHPLĠDQX´
Chisinau, the Republic of Moldova. She graduated in Philological Sciences –
Romanian Language and Literature in 1991. She also graduated in Law Sciences –
Constitutional and Administrative Law in 2005. Since 1993 she has been teaching
the Romanian Language to foreign students at the Department of Romanian
Language and Medical Terminology of State University of Medicine and Pharmacy
Ä1LFRODH 7HVWHPLĠDQX´ 6LQFH 14 she has been the Head of the Department.
Argentina Chiriac is a specialist in Pedagogy and Education. She is a PhD of
Pedagogy. Her PhD thesis The concept of intercultural education in the procces of
university education is a research into intercultural education. During her activity
she got involved toghether with the staff of the department as well as associate
partners in different projects from Romania like: Take Care and Palliative Care. She
published more than 40 scientific articles at different conferences, 17 of which are
International Conferences. She is the author of the monography Intercultural
education in academical studies, and joint author of two textbooks: /LPED5RPkQă
Limbaj medical, State University of Medicine and Pharmacy “Nicolae TestemiĠDQX´,
2012; /LPEDURPkQă/LPEDM3URILOPHGLFDO (cu suport JUDPDWLFDOúLGHFXOWLYDUHD
limbii), State University of Medicine and Pharmacy “Nicolae TestemiĠDQX´, 2003.

e-mail: argentina.chiriac@usmf.md

$GULDQD 1LFROHWD &RFvUĠă is a Ph.D. student at the Faculty of Journalism and

Communication Studies, University of Bucharest. She is also a communication and
public relation professional with a large experience is the field, including social
media, creative content writing and strategic thinking. She holds a Master Degree in
Managerial Communication and Public Relations and her academic areas of interests
include: religious anthropology, communication and public relations, corporate
social responsibility and leadership.

e-mail: cocirta_adriana@yahoo.com

Silvia Maria Comanac (Munteanu) is is a Ph.D. Candidate at “Stefan cel Mare”

University of Suceava, Faculty of Letters and Communication Sciences. Her Ph.D.
thesis is entitled From the abyssal being to the fictional paper beings in Mircea
Cartarescu's work. Her academic interests include psychoanalysis, hermeneutics,
postmodernism, Mircea Cartarescu, literary criticism. The latest publications are:
The spider – a post-modern archetype în Mircea Cartarescu’s Travesti (Târgu
0XUHú  Ville de Bucarest – matrice existencielle de l’identité communiste
dans le romain Orbitor, de Mircea Cartarescu *DODĠL
.
e-mail: yonk_1174@yahoo.com
 324

(OHQD *HRUJLDQD &RQGRLX 9LQWLOă is a Ph.D. student at University of Craiova. She

graduated the Faculty of Letters, University of Sibiu. Among her areas of interest
are: French language and literature, history and linguistic. She published in the area
of French grammar and Romanian literature and she participated at national and
international scientific manifestatioQLQ6LELX,DúLDQG&UDLRYD

e-mail: georgiana.vintila@hotmail.com

Steliana-Maria Deaconu has participated in many national and international conferences.

Her interests are: literary communication, poetics, linguistic poetics, cognitive
semantics applied on literary corpus.

https://www.facebook.com/stelianad

Zlatina Dimova is a lecturer at the Department of Social Sciences and Business English
Language Training in Trakia University, Bulgaria, where she teaches English for
Special Purposes to students of Economics, Veterinary Medicine and Agriculture.
She has a master degree in English Philology and Economics. Her areas of interest
are: Bulgarian, cognitive linguistics, linguistic anthropology, ethnolinguistics,
Content and Language Integrated Learning, English for Special Purposes, creative
and knowledge management. She participated in four conferences in Bulgaria, Spain
and in Romania.

email: znati_1971@abv.bg

9LFWRULĠD (QFLFă is a Ph.D. student of the University of Bucharest and also a researcher
supported by the European grant POSDRU/159/1.5/S/140863, Project ID 140863
(2014), co-financed by the European Social Fund within the Sectorial Operational
Program Human Resources Development 2007 – 2013”. She teaches to a
highschool. In 2011, she published a monograph devoted to the Romanian dramatist
Victor Ion Popa, „Take, Ianke ‫܈‬i Cadîr: Identities in Mirror”, with a forword by prof.
univ. dr. Marina Capbun (University „Ovidius”, Constan‫܊‬a). Next year, she was the
first author in the three-authors book „Workbook - worksheets for 8th grade”,
prefaced by prof. dr. Tatiana Dorobeti (CCD Constan‫܊‬a). She works now on a thesis
intitled „ContribuЮLL IHPLQLQH OD SUR]D SRVWPRGHUQă URPkQHDVFă 6LPRQD 3RSHVFX
Ruxandra Cesereanu, Mariana Codru‫܊‬, Florina Ilis, Diana Adamek)”, supervised by
SURI XQLY GU )ORULQ 0LKăLOHVFX 8QLYHUVLW\ RI %XFKDUHVW 6KH DWWHQGHG PDQ\
conferences, symposiums, colloquies in Romania and not only. In November 2014
she was a Research Academic Visitor at the University of Reading, UK, English
Literature Department, supervised by dr. Nicola Abram.

e-mail: victoriaenc2012@gmail.com

Adela Corina Fekete is a mediator and a teacher at Ioanid primary school and
kindergarten. She has participated in many national and international conferences.
Her interests are: literary communication, didactics, primary school pedagogy.

https://ro.linkedin.com/pub/adela-corina-fekete/95/2b0/749
 325

Dacian Florea Dacian Stelian Florea is Master Student at the Faculty of Social Sciences,
University of Craiova, Romania. He works in Psychotherapy in the Romanian
Association of Classical Psychodrama Bucharest.

e-mail: dacianamalia@yahoo.com

ùWHIDQ)LULFăis an assistant, Ph.D. at the Faculty of Letters, University of Bucharest. He

defended his thesis „Autenticitatea”. TeoriL úi aplicDĠLL vQ SUR]D URPkQHDVFă
LQWHUEHOLFă in January 2014. His areas of interest include Romanian literature in a
European context (influences, interferences, ”echoes”), individual / national
identities in the interwar / contemporary cultures, autofiction, contacts between
literary and cultural studies. He took part in various national and international
colloquia and conferences, published articles in several scientific journals and
collective volumes, while contributing essays and reviews for such cultural
magazines as aLtitudini, Caiete critice, Observator cultural.

e-mail: stefanfirica@yahoo.com

Tatiana Fluieraru born in 1960, Associate professor with the Department of Letters,
Faculty of Political Sciences, Letters and Communication, Valahia University of
TârgovLúte. Ph.D in letters with the thesis Michel Tournier ou la fluidité du monde -
étude sur l’inversion et l’altération dans l’œuvre de Michel Tournier, published in
2003. Author of the study L’inachevèment. Scarron, Marivaux, Diderot, also
published in 2003. Translation of the French chroniclers of the fourth crusade,
Geoffroy de Villehardouin and Robert de Clari. Preparing a study on the evolution
of the myth of Philoctetes (Philoctète, évolution d’un mythe – the Middle Ages-
18th century) and a Romanian translation of a French medieval romance, Les
proesses et vaillances du preux Hercule, by Raoul Lefèvre.

e-mail: fluierarutatiana@yahoo.co.uk

Alina Gioroceanu is a senior lecturer Ph.D. in the Department of Romanian Language,

Romanian Literature, Science of Education, Communication and Journalism at The
Faculty of Letters, University of Craiova, where she teaches Romanian grammar.
She has also a degree in law and she practices as a judge at Bailesti Law Court.
Among her areas of interest are: Romanian grammar, etymology, terminology,
pragmatics, discourse analyses, civil and criminal law. She published books in the
area of Romanian linguistics such as Terminologia greco-latina in romana actuala.
Glosarul termenilor greco- latini, Dicjionarul invers al limbii romane actuale (in
collaboration), Curs de sintaxa a limbii romane actuale and, in the last years, she
focuses on analyzing pragmatics and grammar of law discourse. She participated at
national and international scientific manifestatLRQ LQ &UDLRYD ,Dúi, 3ORLHúWL
%XFXUHúWL7DUJX0XUHú, Bulgaria and Poland.

e-mail: alina.gioroceanu@gmail.com
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Mihaela Hristea holds a Ph. D. in Philology from January 2013 with the thesis: The
reception of Heinrich Heine in Romanian literature. She graduated the Faculty of
Letters, Romanian language and literature – German language and literature at
University of Bucharest. She also graduated the Master courses Educational
Management at the National Academy of Political Sciences and the ones of
Translations of Specialised Discourse, Technical Documentation, a programme
conducted by the Faculty of Foreign Languages and Literatures at “Spiru Haret”
University of Bucharest. The current activity is teaching of the German language at
the National College “I.L&DUDJLDOH´DQGDWWKH+LJK6FKRRO³$OH[DQGUX9ODKXĠă´
in Bucharest.

e-mail: hristeamihaela 47@yahoo.com

Florinel Augustin Ilie, PhD candidate is a B.A. (1994) of the Faculty of Letters, University
of Craiova. Since 1999 he teaches Romanian language and literature at „Constantin
Branconveanu” High School, Bucharest. In 2010 he graduated a M.A. with the
dissertation Architectural structures in Imperial Rome and the power message.
Since 2013 he is a Ph.D. candidate at the same university; his doctoral thesis is
entitled Transpersonal poetic communication. He published articles in three
collective volumes of didactic interest at Paralela 45 and Sigma, in 1997, 1999,
2000.

e-mail: florinelaugustin.ilie@yahoo.com

Roxana Ilie is a B.A. of the Faculty of Letters, University of Craiova. She has participated
in many national and international conferences. Her interests are: literary
communication, German literature, poetry, poetics.

https://www.facebook.com/profile.php?id=100000440567450&fref=ts

Iuliana-Adelina Iliescu’s career started as a teacher in Secondary Schools in Orsova. She

is a junior assistant in the Department of Romanian Language at the Faculty of
Letters, University of Craiova, where she teaches Romanian grammar. She
graduated the Faculty of Classic Languages, University of Timisoara and the Faculty
of Letters, University of Craiova. Among her areas of interest are: Romanian
grammar, etymology, lexicology, morphology, Latin and Greek terminology. She
attended national and international scientific manifestations in Craiova, Pitesti,
Sibiu, Baia Mare.

e-mail: iliescuadelina@yahoo.com

Corina Lungu is a Ph.D. candidate at University of Craiova, Romania. She teaches

medical French at University of Medicine and Pharmacy of Craiova. Her doctoral
thesis relates to the specific terminology of the medical field. The research is titled
Neologisms of French origin in the Romanian medical terminology. Her interests
regard the following research fields: medical terminology; didactic of French for
specific purposes. The latest publications follow the same fields of interest and
include: Medical vocabulary and human anatomy. Exercises book I (2010),
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Particular purposes and strategies of teaching medical terminology during specialty

French course (2013).

e-mail: corinastef@gmail.com

Elena Mateiu (Manole) is a Ph.D. student at the Doctoral School of Letters, University of
Bucarest. She graduated French and Romanian language and literature at the
University of Bucarest, Faculty of Letters. She has a M.A. Romanian Literature
studies at the same University. She is interested in areas such as: Romanian
literature, postmodernism, autobiographic literature. The title of his Ph.D. thesis is
“The Biographemes of Livius Ciocârlie”.

e-mail: elenamateiu@gmail.com

Gabriela Mihalache is Ph.D. at the Faculty of Letters, University of Bucharest. She

defended her thesis Eugen Ionescu/Eugène Ionesco. De la teatrul suprarealist la
teatrul postdramatic in July 2013. Her areas of interest include theatre, stage
theories and contacts between theatrical and cultural studies. She took part in various
national and international colloquia and conferences, published articles in several
scientific journals and collective volumes, while contributing essays and reviews for
such cultural magazines as aLtitudini, Teatrul azi, Observator cultural.

e-mail: alina_g_mihalache@hotmail.com

Hossein Moradi is an Assistant Professor at Islamic Azad University, Karaj, Iran. He has
participated in many national and international conferences. His interests are:
literary communication, ethics of writing, English literature.

http://ir.linkedin.com/pub/dir/Hossein/Moradi

Irena Myzeqari Ph.D. candidate works as a teaching assistant at the European University
of Tirana. Her field of study is gender communication and discourse analysis and
she is currently following her PhD at the Faculty of Social Sciences at the same
university. Mrs. Myzeqari has worked for three years as a lecturer at the University
of Durres, where she also received her BA degree in Foreign Languages. She has
also been a fellow of the “Leadership Development Program”, an academic program
organized by the College of Europe and the European Fund for the Balkans. She is
an active member of different youth organizations, such as Cultural Innovations
Network and has actively been involved in several civil society initiatives.

e-mail: irena.myzeqari@uet.edu.al

Elena Opran is an assistent at the Faculty of Letters, University of Craiova. She defended
her Ph.D. thesis, A semio-linguistic analysis of headlines, in 2013. The latest
international conferences was Comparativism, Identity, Communication (CIC 2014,
Craiova). The latest publications refer to speech acts in news headlines and the press
title typologie from a syntactical point of view. She published 2 DQDOL]ă
VHPLROLJYLVWLFă D WLWOXOXL GH SUHVă, Craiova, Universitaria, and %XFXUHúti,
 328

Prouniversitaria, 2014, which incorporates her Ph.D. thesis, and coordinated the
volum Neutrosophy, paradoxism and communication, Craiova, Sitech, 2014.

e-mail: elena_bratu2006@yahoo.com

Liliana Panciuc is an English teacher at State University of Medicine and Pharmacy

“Nicolae Testemitanu”. She graduated in English-Romanian Philology from State
Pedagogical University “Ion Creanga”, Chisinau, Republic of Moldova in 2002.
Since 2002 she has been working as a teacher at the Department of Foreign
Languages at State University of Medicine and Pharmacy “Nicolae Testemitanu”.
She is the Editorial Board Member within the Department of Foreign Languages. In
2008 she was the Project Manager of the Lab Equipment Project. Since 2010 she has
been the Project Manager being responsible for implementing the European
Curricula at the Department of Foreign Languages. She is the author of some articles
on didactic, methodological and linguistic issues.

e-mail: liliana.panciuc@usmf.md

Paula Pascaru is a Ph.D. Student at the University of Bucharest. She has participated in
many national and international conferences. Her interests are: literary
communication, poetry, identity theory and research.

e-mail: pascarupaula@yahoo.co.uk

Aleksandar Risteski is a Ph.D. student at the Doctoral School of Letters, University of

Craiova. He is a graduated philologist of English and Portuguese language and
literature. He has a M.A. in Anglo-American studies at the University of Constanta,
“Ovidius”. His areas of interest are sociology, literature, language and translations.
The title of his Ph.D. thesis is The Literary connection between the UK and Europe.

e-mail: aleksandarrstsk@yahoo.com

Singh Singkhajorn is an assistant professor at Bansomdejchaopraya Rajabhat University,

Thailand. He has participated in many national and international conferences. His
interests are: media studies, media exposure behaviour analysis.

https://twitter.com/singhbsru

Adela-Marinela Stancu’s career started as Ph.D. student at the University of Craiova. In

present she is Associate Professor in the Department of Romance and Classical
Languages at the Faculty of Letters, University of Craiova, where she teaches
French grammar. She graduated the Faculty of Letters and History, University of
Craiova. Among her areas of interest are: French grammar, etymology, lexicology,
morphology. She attended national and international scientific manifestations in
Craiova, Pitesti, Sibiu, Baia Mare.

e-mail: adelast104@yahoo.com

Dorina Nela Trifu is a Ph.D. candidate, second year, at the Faculty of Letters, University
of Bucharest. She is interested in studying the evolution and development of
 329

Romanian literature, especially of the postmodern one. The title of the PhD thesis is
Rodica Ojog – %UDúRYHDQX- detective novel. Dorina Nela Trifu participated in the
International Conference Identity Highlights in the European Context (Pitesti, June
2014), the International Conference Comparatism, Identity, Communication (CIC
2014 Craiova). She has published or is to publish several articles included in the
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Craiova, Tîrgu- 0XUHúDQG1RYL6DG6HUELD

http://traducatori.biz/Traducator-autorizat-Trifu-Dorina-Nela

$OLQDğHQHVFXis a Senior Lecturer Ph.D. at the Faculty of Letters, University of Craiova,

Romania. Her postdoctoral research focused on the perception and representation of
space in postmodern Francophone literature. Her areas of interest include
contemporary French and Francophone literature, semiotics of space, discourse
analysis, anthropology of supermodernity, intercultural communication, mass
communication. She is a member of AEEF {European Association of Francophone
Studies) and AFJSC (Association of Trainers in Journalism and Communication).

e-mail: alinatenescu@gmail.com

Elena Ungureanu is a senior researcher at the Institute of Philology of the Academy of

Sciences of Moldova and at the Institute of Development Informational Society; she
defended her Ph.D. thesis in 1999. Her research areas include: semiotics, text
grammar and pragmatics; spelling, stylistic and poetics, Internet language;
lingvosemiotics of intertext and hypertext. She is the author of two monographs
(Elemente pentru o teorie a atributivităĠii, Chiúinău, 2002; Dincolo de text:
hypertextul, Chiúinău, 2014), co-authored two dictionaries (DicĠionar ortografic
úcolar. Cu elemente de punctuate, ChiúLQău, 2007; Mic dicĠionar de termeni
lingvistici, ChiúLQău, 2008) and one practicum, in 2006. About 70 articles were
published in scientific journals in Moldova, Romania, Russia. She participated in
about 20 conferences and seminars in Moldova and abroad. In addition, she is a
member of the Profile Seminar of the Institute of Philology of the Academy of
Sciences of Moldova.

e-mail: elena_u_67@yahoo.com

Maria-0ăGăOLQD8U]LFă3RLDQăis a Ph.D. candidate at the Faculty of Letters, University of

Craiova. She graduated the Faculty of Letters (English and French) and the Faculty of
Law, University of Craiova. She has a M.A. in Espaces francophones. Diversité
linguistique et culturelle at the Faculty of Letters, University of Craiova and a M.A. in
Contrastive European Studies at the Faculty of European 6WXGLHV %DEHú-Boliay
University, Cluj-Napoca, together with a Master I in Political Studies at the University
of Marne-la-Vallée, Paris, France. She has been teaching French and English for more
than 10 years, at present at the National Pedagogical ColleJH ³ùWHIDQ 9HORYDQ´
Craiova. She has participated in more than 15 national and international conferences,
and she has more than 15 articles published in specialised reviews. Her interests are:
discourse analysis, sociolinguistics, translation, literary pragmatics.

e-mail: madatranslator@yahoo.com; mmadalina_urzica@yahoo.fr

 330

(XJHQLD=JUHDEăQ LVDWHDFKHUDWWKH1DWLRQDO&ROOHJH&Ä=LQFD*ROHVFX´3LWHúWL$UJHú
She has participated in many national and international conferences. Her interests
are: literary communication, rhetoric, discourse analysis.

https://www.facebook.com/public/Eugenia-Zgreaban
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