{"id":22735,"date":"2024-02-25T23:39:20","date_gmt":"2024-02-25T20:39:20","guid":{"rendered":"https:\/\/ziarulderimnic.ro\/?p=22735"},"modified":"2024-02-25T23:41:10","modified_gmt":"2024-02-25T20:41:10","slug":"spatii-culturale-nr-3-7","status":"publish","type":"post","link":"https:\/\/ziarulderimnic.ro\/?p=22735","title":{"rendered":"Spa\u021bii culturale nr. 3 (7)"},"content":{"rendered":"<p><em><strong>Poezie din lumea persan\u0103 veche<\/strong><\/em><\/p>\n<p><strong>Daq\u012bq\u012b<\/strong><\/p>\n<p>(Ab\u016b Mans\u016br Muhammad ibn Ahmad Daq\u012bq\u012b)-<br \/>\n(935\/942-976\/980)<\/p>\n<p>Se \u015ftiu pu\u0163ine despre via\u0163a lui. Ab\u016b Mans\u016br<br \/>\nMuhammad ibn Ahmad Daq\u012bq\u012b Tusi (935\/ 942 \u2013 976\/<br \/>\n980), cunoscut ca Daq\u012bq\u012b (\u00eent\u00e2lnit \u015fi \u00een formele: Dakiki,<br \/>\nDaghighi), a fost un poet de factur\u0103 zoroastrian\u0103. Se crede<br \/>\nc\u0103 ar fi de loc din Tus (sau Toos, Tous; ora\u015f str\u0103vechi din<br \/>\nprovincia Khorasan, aproape distrus de o\u015ftile lui Genghis<br \/>\nHan \u00een 1220; se spune c\u0103 aici ar fi murit califul Harun al-<br \/>\nRashid; aici s-au n\u0103scut multe personaje importante,<br \/>\ndintre care: Firdousi, Asadi Tusi, Nizam al-Mulk, Al-<br \/>\nGhazali, Nasir al-Din al-Tusi \u015f.a.) sau Balkh (str\u0103vechiul<br \/>\nBactra, locul unde se spune c\u0103 s-a n\u0103scut Zarathustra), azi<br \/>\n\u00een Afghanistan. Dup\u0103 ce a scris peste 100 de pagini<br \/>\ndespre crezul lui Zarathustra a fost ucis (dup\u0103 unii, de<br \/>\nun sclav al s\u0103u, turc).<br \/>\nCuplete ale lui au fost incluse de Firdousi \u00een Shah Name<br \/>\n(opiniile difer\u0103: dup\u0103 unii c\u00e2teva, dup\u0103 al\u0163ii cam 1000,<br \/>\npoate chiar mai multe).<br \/>\nCuv\u00e2ntul \u201edaqiq\u201d are dou\u0103 \u00een\u0163elesuri \u00een arab\u0103: \u201ef\u0103in\u0103\u201d<br \/>\n(daqiqi ar putea fi negustor de f\u0103in\u0103), sau \u201eprecis, exact\u201d<br \/>\n&#8211; probabil de aici ar putea veni acest pseudonim, dat\u0103<br \/>\nfiind \u015fi scrupulozitatea cu care poetul verifica acurate\u0163ea<br \/>\nsensurilor\/ limbajului poemelor sale.<br \/>\nDup\u0103 Ahmad Tam\u012bnd\u0101r\u012b (A History of Persian<br \/>\nLiterature. Schools, styles and literary Genres, The Center<br \/>\nfor International-Cultural Studies, Tehran, Alhoda<br \/>\nInternational Publishers, Iran, 2002), \u00een poezia lui<br \/>\n\u00eent\u00e2lnim vechi idei iraniene, un filon epic, dar a acordat<br \/>\naten\u0163ie \u015fi panegiricelor. Avea \u00eenclina\u0163ie pentru lirism \u015fi<br \/>\ngazel. Tam\u012bnd\u0101r\u012b consider\u0103 c\u0103 din punct de vedere al<br \/>\ncalit\u0103\u0163ii literare nu folosea instrumentele retorice (uzuale<br \/>\natunci), nu avea puterea expresiv\u0103 pe care o avea<br \/>\nFirdousi, dar lirismul lui estompeaz\u0103 din sl\u0103biciunile<br \/>\nepicului. Iat\u0103 dou\u0103 rubaiate atribuite lui Daq\u012bq\u012b:<br \/>\n*<br \/>\nOchii t\u0103i, \u00een care se termin\u0103 toate certurile lumii<br \/>\nBuzele tale rubinii, din care curge apa vie\u0163ii<br \/>\nEle mi-au uscat at\u00e2t de tare trupul \u00eenc\u00e2t<br \/>\n\u00centr-un nor de colb prin el m\u0103tur\u0103 \u0103st v\u00e2nt<br \/>\n*<br \/>\nDin toate cele bune ori rele de pe lume<br \/>\nDoar patru lucruri lui Daqiqi \u00eei sunt de ajuns<br \/>\nBuzele ro\u015fu-colorate, al harpei pl\u00e2ns<br \/>\nCrezul zoroastrian \u015fi vinul ro\u015fu-s\u00e2nge<br \/>\n(traducere \u015fi prezentare: Marius Chelaru)<br \/>\nMarcel Mure\u015feanu, \u00eentr-o toamn\u0103, la Buz\u0103u<\/p>\n<p><strong><br \/>\nMaia Cristea-Vieru<\/strong><\/p>\n<p><strong>Ursul de lan\u0163<\/strong><\/p>\n<p>Duminic\u0103, mai pe la pr\u00e2nz,<br \/>\nc\u00e2nd mult\u0103 lume dormita,<br \/>\n\u00een chio\u015fcuri, sub umbrare,<br \/>\nera adus de lan\u0163<br \/>\n\u00eentr-o asurzitoare h\u0103rm\u0103laie,<br \/>\nun urs b\u0103tr\u00e2n.<br \/>\nNu \u015ftiu de unde ap\u0103rea,<br \/>\n\u00eel anun\u0163au schel\u0103l\u0103ind,<br \/>\nl\u0103tr\u00e2nd \u015fi m\u00e2r\u00e2ind,<br \/>\ndin dosul por\u0163ii, c\u00e2inii.<br \/>\nUrsarul oache\u015f<br \/>\nstriga \u00een gura mare<br \/>\n\u015fi zorn\u0103ia un taler<br \/>\ncu clopo\u0163ei de tinichea.<br \/>\nS\u0103rmanul urs<br \/>\nse leg\u0103na \u00een ritm<br \/>\njuc\u00e2nd \u00een pas greoi<br \/>\npe labele de dinapoi.<br \/>\nA\u015fa g\u0103tit cu funde<br \/>\nputeai s\u0103 crezi c\u0103-i bucuros<br \/>\nc\u0103-l admir\u0103m<br \/>\ndar ochii plictisi\u0163i \u015fi tri\u015fti<br \/>\ncereau parc\u0103-ndurare.<br \/>\nS\u0103 fie liber printre brazi,<br \/>\ns\u0103 morm\u0103ie cu poft\u0103 \u00eentr-un zmeuri\u015f<br \/>\n\u015fi nicidecum l\u0103trat de c\u00e2ini<br \/>\n\u015fi de un lan\u0163 t\u00e2r\u00e2t<br \/>\nprin mahalale.<br \/>\nUn br\u00e2u de frunze<br \/>\nSe-aud b\u0103t\u0103i din palme,<br \/>\nalai de voci c\u00e2nd agitate,<br \/>\nc\u00e2nd mai calme.<br \/>\nCopiii din vecini<br \/>\ncu ap\u0103 ud\u0103<br \/>\no mic\u0103 tuciurie paparud\u0103.<br \/>\nNu s-o acopere, ci s\u0103 ne-amuze,<br \/>\npe corpul ne-mplinit \u015fi gol<br \/>\npoart\u0103 un br\u00e2u de vrejuri<br \/>\n\u015fi de frunze.<br \/>\nInvoc\u0103 ploaia,<br \/>\ntremur\u0103,<br \/>\njoac\u0103 bolborosind ceva\u2026<br \/>\nsau, poate c\u00e2nt\u0103.<br \/>\nPe cer un fulger s-a \u00eendurat<br \/>\n\u015fi-a desenat din linii fr\u00e2nte<br \/>\nun scurt zigzag,<br \/>\nca-n diagramele de toamn\u0103<br \/>\n\u015fi norii din f\u00e2nt\u00e2ni cere\u015fti<br \/>\nc\u00e2t de cur\u00e2nd peste p\u0103m\u00e2nt<br \/>\ng\u0103le\u0163i pline r\u0103stoarn\u0103.<br \/>\nPitore\u015fti<br \/>\nDin ani de mult trecu\u0163i<br \/>\nca-ntr-un cuplet de operete<br \/>\naud \u015fi v\u0103d<br \/>\nc\u00e2teva gra\u0163ioase siluete<br \/>\nce c\u00e2nt\u0103 \u015fi \u00ee\u015fi r\u0103spund.<br \/>\nCurioase, negricioase fe\u0163e,<br \/>\nbolborosesc cuvinte ne-n\u0163elese<br \/>\n\u015fi-n c\u00e2ntece se-nv\u00e2rt<br \/>\ncu rochiile-n zdren\u0163e,<br \/>\nn\u0103scocesc ritmuri \u015fi caden\u0163e.<br \/>\nOprite-apoi s\u0103 se-odihneasc\u0103<br \/>\nvor s\u0103-\u0163i spoiasc\u0103 o tingire,<br \/>\ns\u0103-\u0163i fac\u0103 vr\u0103ji pentru iubire<br \/>\nori cu ghiocul<br \/>\ns\u0103-\u0163i spun\u0103 soart\u0103 \u015fi norocul.<br \/>\nC\u0103r\u0103midarii<br \/>\nAdeseori spre asfin\u0163it<br \/>\nd\u0103dea n\u0103val\u0103 din brut\u0103rii,<br \/>\npe str\u0103zi, prin cartierele s\u0103race<br \/>\naburul cald al p\u00e2inii<br \/>\niar din cuptor se-mpr\u0103\u015ftia<br \/>\nmiros de p\u00e2ine ce se coace<br \/>\nSe \u00eentorceau atunci din dep\u0103rt\u0103ri<br \/>\nc\u0103r\u0103midarii.<br \/>\nCu puradeii ag\u0103\u0163a\u0163i de g\u00e2tul lor, pirandele<br \/>\ncu bani str\u0103lucitori \u00een p\u0103r<br \/>\nde grab\u0103 le ie\u015feau \u00een cale<br \/>\nt\u0103r\u0103g\u0103n\u00e2nd c\u00e2te-un alint<br \/>\ncu glasul r\u0103gu\u015fit<br \/>\n\u015fi tonuri cobor\u00e2te guturale.<br \/>\nDin praf \u0163\u00e2\u015fneau deodat\u0103<br \/>\nvreo c\u00e2\u0163iva \u0163\u00e2nci<br \/>\nstrig\u00e2nd c\u0103 vine tata&#8230;.<br \/>\niar vocea lui se concentra \u00eentr-un oftat<br \/>\n\u015fi-o vag\u0103 \u00eentrebare<br \/>\nCe-ai \u00eenfocato, de ce pl\u00e2ngi?<br \/>\nia, uite ce-\u0163i aduce, de prin Dr\u0103gaic\u0103, tata.<br \/>\nT\u0103r\u00e2mul anilor frumo\u015fi<br \/>\nMemoria se-ntoarce adeseori<br \/>\ncu c\u00e2t mai urci<br \/>\ntot c\u0103ut\u00e2nd cu mintea un liman,<br \/>\nmai reg\u0103se\u015fti c\u00e2te un Om,<br \/>\npoate e primul t\u0103u \u00eenv\u0103\u0163\u0103tor<br \/>\nDuceai cu tine-n clas\u0103<br \/>\n\u00een fiecare zi t\u0103bli\u0163a,<br \/>\nburetele curat \u015fi un condei.<br \/>\nSe minuneaz\u0103 cei de azi c\u0103 noi<br \/>\nn-am folosit ca ei<br \/>\nordinatorul.<br \/>\nLa poarta \u015fcolii, r\u0103bd\u0103tor<br \/>\na\u015fteapt\u0103 covrigarul&#8230;.<br \/>\nPe um\u0103r un \u015firag de \u00eempleti\u0163imirosul<br \/>\nlor ne-nv\u0103luie<br \/>\n\u00cen co\u015f sunt cornuri mari cu mac,<br \/>\nalvi\u0163\u0103 \u015fi cor\u0103bioare<br \/>\nFugim \u00een clas\u0103, s-a sunat<br \/>\n\u015fi pedagogele-s neiert\u0103toare.<\/p>\n<p><strong><br \/>\nAida Hancer<\/strong><\/p>\n<p>aceasta este criza \u00een care m-a n\u0103scut mama mea<br \/>\nvoi ve\u0163i face glume ve\u0163i spune<br \/>\nc\u0103 nu po\u0163i s\u0103 te na\u015fti<br \/>\ntu poet \u00eentr-o lume pe jum\u0103tate consumat\u0103<br \/>\ndar realitatea \u00ee\u015fi casc\u0103 gura<br \/>\n\u00eenspre chipul meu frumos \u015fi-i vezi gingia roz<br \/>\n\u015fi z\u00e2mbetul acela de sticl\u0103 murdar\u0103<br \/>\nrealitatea prive\u015fte prin geamurile universit\u0103\u0163ii<br \/>\nte conduce pe sc\u0103ri<br \/>\n\u00ee\u0163i spune \u00eenchin\u0103-te mie \u015fi<br \/>\nnu vei fi l\u0103sat s\u0103-\u0163i love\u015fti piciorul de vreo piatr\u0103<br \/>\ndar tu \u00eentinzi m\u00e2na<br \/>\na\u015ftep\u0163i o schimbare<br \/>\ntr\u0103darea se d\u0103 \u00een spectacol \u00een zilele mele<br \/>\na\u015ftep\u0163i ca prietenii s\u0103i<br \/>\ns\u0103 ias\u0103 ca \u015ferpii c\u00e2nd ai nevoie de ei<br \/>\ns\u0103 mearg\u0103 \u00een urma ta \u015fi s\u0103<br \/>\nias\u0103 din gurile lor o larm\u0103<br \/>\ncare s\u0103 acopere g\u0103l\u0103gia g\u00e2ndurilor tale<br \/>\ntu mergi spre metrou<br \/>\nei \u00eenc\u0103 de la roman\u0103 \u015ftiu c\u0103<br \/>\nte vor tr\u0103da<br \/>\nc\u0103 vor face un semn lupilor \u015fi apoi<br \/>\nse vor ridica la cer<br \/>\natunci tu singur<br \/>\nn-ai s\u0103 mai po\u0163i s\u0103 te rogi<br \/>\npentru aproapele t\u0103u<br \/>\naproapele t\u0103u va fi lup \u015fi va fi<br \/>\n\u00een gura r\u0103nii tale<br \/>\neu nu mai am timp s\u0103 m\u0103 rog<br \/>\nculeg\u0103torii de rodii<br \/>\n\u015ftiu mi-a fost sete \u015fi apa a fost inventat\u0103 acum<br \/>\nfoarte mult timp<br \/>\neu locuiesc aici \u00eentre fascina\u0163ia ma\u015finii<br \/>\n\u015fi culeg\u0103torii de rodii<br \/>\nprive\u015fte m\u00e2inile mele<br \/>\ncum pot s\u0103 creasc\u0103 din ele unghii<br \/>\ncum se poate ca nici un fir de s\u00e2nge s\u0103 nu caute aerul<br \/>\n\u015fi totul s\u0103 fie at\u00e2t de armonios<br \/>\ntotul s\u0103 se sufoce \u00een spatele pielii?<br \/>\n\u015ftiu culeg\u0103torii vor sp\u0103la fructele<br \/>\n\u00een cada mea<br \/>\ns\u0103 las u\u015fa deschis\u0103<br \/>\nmi-a fost sete \u015fi-am vrut s\u0103 beau<br \/>\ncu toate organele<br \/>\ndar nimic nu se deschide \u00een ascuns<br \/>\nnici m\u0103car un por<br \/>\nnici m\u0103car u\u015fa atunci c\u00e2nd e \u00eentuneric<br \/>\n\u015fi gura ta g\u00e2nde\u015fte<br \/>\nla rodii<br \/>\niat\u0103 prada mea<br \/>\ncu s\u00e2nge de rodie<br \/>\niar eu \u00eemi mestec opera<br \/>\ns\u00e2rguincios<br \/>\npoliticos<br \/>\ncafea cu rom<br \/>\nbuzele supte ca ni\u015fte baloane<br \/>\ndezumflate cre\u0163e ro\u015fii<br \/>\nochii t\u0103i sunt ciuda\u0163i<br \/>\nexperiment\u0103m pl\u0103cerea<br \/>\nde a-l citi pe jaques prevert<br \/>\nceea ce vreau s\u0103-\u0163i spun este<br \/>\nc\u0103 se las\u0103 peste ora\u015f noaptea cu aripi<br \/>\nputernice<br \/>\n\u00eenfipte ca ni\u015fte g\u00e2turi de argint oxidat<br \/>\n\u00een porii lumii<br \/>\n\u015fi c\u0103<br \/>\nz\u00e2mbetul \u00eeng\u0103duitor e ca un deget uscat<br \/>\nap\u0103s\u00e2nd pupila albastr\u0103 a unui ochi larg deschis<br \/>\nca s\u0103 m\u0103 lini\u015ftesc mi-am apropiat scaunul de fereastr\u0103<br \/>\nsub fereastr\u0103 se \u00een\u015fir\u0103 prosoapele<br \/>\ntuturor experien\u0163elor noastre<br \/>\nburetele care p\u0103streaz\u0103 mirosul pielii mele<br \/>\nude fragmente de piele firme de cosmetice<br \/>\nurme de mohair<br \/>\n\u015fi sare<br \/>\ncu alte cuvinte \u015fi tu te \u00eempr\u0103\u015ftii pe toate lucrurile tale<br \/>\nacesta este tremurul meu de sear\u0103<br \/>\n\u00een fa\u0163a c\u0103ruia nu spui nimic<br \/>\nnoaptea \u00ee\u015fi ascunde gura ei<br \/>\nro\u015fie sub aripa dreapt\u0103<br \/>\nse culc\u0103 \u015fi ea<br \/>\ncu noi to\u0163i p\u00e2n\u0103 diminea\u0163\u0103 altfel<br \/>\nnu va mai exista<br \/>\nPsalm<br \/>\nEu n-am lini\u015fte p\u00e2n\u0103 c\u00e2nd n-o s\u0103 \u0163\u00e2\u015fneasc\u0103<br \/>\nDin tine lumina ca un smoc de vipere gata s\u0103 \u00eendure<br \/>\nBeau un icetea \u00een cinstea ta<br \/>\nGlumesc cu prietenii de peste hotare<br \/>\nC\u0103 va veni \u015fi ziua c\u00e2nd \u00eempreun\u0103 vom lucra la<br \/>\ncastelul de nisip \u00eenceput<br \/>\nC\u00e2nd mama va fi str\u00e2ns rufele<br \/>\nDe pe s\u00e2rmele noastre \u015fi-ale vecinilor<br \/>\nInima va bate la u\u015fi insistent ca martorii lui iehova<br \/>\nKafka se va poc\u0103i Eu n-am lini\u015fte<br \/>\np\u00e2n\u0103 c\u00e2nd ochii t\u0103i mari nu vor pocni de-at\u00e2ta floare<br \/>\na con\u015ftiin\u0163ei dragostea mea<br \/>\nBeau un icetea \u00een cinstea ta Glumesc<br \/>\nf\u0103r\u0103 cale de-ntoarcere<\/p>\n<p><strong><br \/>\nmarianei marin<\/strong><\/p>\n<p>drag\u0103 poet\u0103,<br \/>\ndisperarea mea s-a cumin\u0163it \u015fi-mi z\u00e2mbe\u015fte<br \/>\ndin cartea ta. de fapt eu dorm cu<br \/>\nsingurul t\u0103u volum de poezii sub pern\u0103<br \/>\npoate groaza s\u0103 intre ca un ho\u0163 printre principii<br \/>\ns\u0103 devin\u0103<br \/>\no spun cu m\u00e2ndrie<br \/>\nadev\u0103ratul motiv al mor\u0163ii mele viitoare<br \/>\ndar tu nu ai avut alt\u0103 grij\u0103<br \/>\ndec\u00e2t scrisul \u015fi manipularea<br \/>\nmu\u015fchilor faciali ai cititorului t\u0103u<br \/>\nai f\u0103cut abstrac\u0163ie de liberul arbitru<br \/>\nal fiec\u0103ruia \u015fi ne-ai<br \/>\nf\u0103cut o lume de tri\u015fti de sinuciga\u015fi<br \/>\nde apartamente ferecate<br \/>\nla etajul 10 aproape de soare<br \/>\ndeschide-\u0163i inima abia acum<br \/>\nsuntem sinceri cu tine<br \/>\nabia acum disperarea ta ne atinge ca mierea<br \/>\nne linge cuminte pe frunte<br \/>\nindiferen\u0163a ta e o b\u0103taie din aripi<br \/>\ndup\u0103 ce tai capul g\u0103inii \u015fi ea zboar\u0103<br \/>\nl\u0103s\u00e2nd urme de s\u00e2nge \u015fi poft\u0103<br \/>\n\u00een gura t\u0103ietorului<br \/>\nai fost ie\u015firea noastr\u0103 de incendiu<br \/>\ndrag\u0103 poet\u0103<br \/>\nc\u00e2nd lini\u015ftea atunci noi<br \/>\nabia acum dup\u0103 ce petrecerea<br \/>\ncare nici asta n-a fost<br \/>\nse \u00eenchide \u015fi chelnerul moare<br \/>\nabia acum tac b\u0103rba\u0163ii<br \/>\n\u015fi mamele lor cu mai mare \u00eenfl\u0103c\u0103rare<br \/>\npl\u00e2ng<br \/>\nc\u0103 dup\u0103 legea lui Dumnezeu<br \/>\nele cu r\u0103nile lor<br \/>\nnu mai \u00eentorc pe nimeni din drum<br \/>\nabia acum<br \/>\nse lini\u015fte\u015fte pe strad\u0103 o lupt\u0103<br \/>\nabia acum iese luna<br \/>\nde dup\u0103 Ambian\u0163a<br \/>\n\u015fi pe u\u015fa ei scrie<br \/>\nspa\u0163iu de \u00eenchiriat<br \/>\nabia acum ne \u00eenstr\u0103in\u0103m noi pe noi<br \/>\n\u015fi al\u0163ii \u00eentreg cartierul nostru<br \/>\nfiindc\u0103 noi n-am muncit<br \/>\nf\u0103cut nimic<br \/>\npentru ca locul pe care ne-am n\u0103scut<br \/>\ns\u0103 ne \u0163in\u0103 ca un pl\u0103m\u00e2n<br \/>\ns\u0103 ne ridice s\u0103 ne coboare<br \/>\ns\u0103 ne lase cu ochii \u00een soare<br \/>\nabia acum<br \/>\ndup\u0103 ce mor\u0163ile noastre nu mai sunt noi<br \/>\n\u015fi nu mai dau de g\u00e2ndit<br \/>\ntac b\u0103rba\u0163ii<br \/>\n\u015fi \u00eel vedem pe Dumnezeu \u00een genunchi<br \/>\npe o und\u0103 radio<br \/>\naproape<br \/>\nacum tac b\u0103rba\u0163ii c\u00e2nd lini\u015ftea<br \/>\na \u00eenceput<br \/>\nScenia 18<br \/>\nla un moment dat se creeaz\u0103 un gol \u00een stomac<br \/>\n\u015fi vrei s\u0103-l bagi acolo pe Dumnezeu<br \/>\ninevitabil chiar \u00eel aduni din toate cotloanele casei tale<br \/>\npentru c\u0103 noi credem c\u0103<br \/>\ndragostea trece prin stomac<br \/>\nde undeva \u0163\u00e2\u015fne\u015fte o lumin\u0103 foarte urban\u0103<br \/>\n\u015fi-atunci ca un robot desenat pe carton<br \/>\n\u00eemi iau \u00een serios rolul de ma\u015fin\u0103<br \/>\nde aur ziua diamant noaptea<br \/>\n\u015fi m\u0103 apropii de tine<br \/>\neu ce s\u0103 fac<br \/>\nc\u00e2nd nu am stomac c\u00e2nd oasele mele<br \/>\nnu trosnesc cu zgomot<br \/>\n\u015fi lini\u015ftea este bunul meu de pre\u0163 \u015fi de schimb<br \/>\n\u00een momente de glorie<br \/>\n\u015fi tata a fost ma\u015fin\u0103 \u015fi mama<br \/>\nundeva \u00een anii \u015faizeci ani c\u00e2nd<br \/>\nregatul nostru familia noastr\u0103 abia se \u00eentemeia<br \/>\n\u015fi \u00een mijlocul lui pe un covora\u015f<br \/>\nvizitatorii \u00ee\u015fi \u015ftergeau picioarele<br \/>\nde unde o lumin\u0103 foarte urban\u0103<br \/>\nse suprapune peste dragostea mea<br \/>\ncare nu-i desigur o icoan\u0103 sau alt\u0103<br \/>\nmetod\u0103 de maltratare a libert\u0103\u0163ii<br \/>\ng\u00e2ndirii mele<br \/>\ndragostea mea vorbe\u015fte cu dragostea altora<br \/>\ndespre vreme<br \/>\nla un moment dat se creeaz\u0103 un gol \u00een stomac<br \/>\npe care dac\u0103 l-a\u015f p\u0103r\u0103si<br \/>\nmi-a\u015f pierde numele<br \/>\neu locuiesc aici<br \/>\n\u00eentre fascina\u0163ia ma\u015finii \u015fi Dumnezeu<br \/>\nAnyela<br \/>\nde ce ar vrea via\u0163a asta<br \/>\ns\u0103-mi joace o fest\u0103 acum<br \/>\nc\u00e2nd dup\u0103 19 ani se r\u0103stoarn\u0103 lumina<br \/>\n\u015fi-i v\u0103d scheletul iar carnea ei<br \/>\nmai mult at\u00e2rn\u0103 dec\u00e2t coboar\u0103 din os<br \/>\ndirect \u00een gura de leu<br \/>\na h\u0103rm\u0103laiei zilnice<br \/>\nfiindc\u0103 tu \u015ftii c\u0103 sora ta se \u00eenal\u0163\u0103<br \/>\nprecum un zid de ispitire<br \/>\n\u00eentre tine \u015fi Dumnezeu<br \/>\nea danseaz\u0103 deasupra min\u0163ii tale<br \/>\nca 10 lepro\u015fi vindeca\u0163i<br \/>\nnimic din carnea mea<br \/>\nnu e valabil<br \/>\nprivesc cu ochii de pop\u0103<br \/>\nmi\u015fcarea damei<br \/>\nfac o rug\u0103ciune<br \/>\nvreau ca sora mea s\u0103 tr\u0103iasc\u0103<br \/>\na\u015fa<br \/>\nca o n\u0103luc\u0103 pe-un turn<br \/>\ncare zv\u00e2cne\u015fte m\u0103rgele<br \/>\nde ce ar vrea via\u0163a asta<br \/>\ns\u0103 intre \u00een mine mai mult<br \/>\ndec\u00e2t i s-a dat<br \/>\ncu toat\u0103 dragostea ei<br \/>\ncu lam\u0103 dubl\u0103<br \/>\ndac\u0103 sora mea<br \/>\nnu e o femeie simpl\u0103<br \/>\ns\u00e2ngerie<br \/>\ncineva m\u0103 love\u015fte<br \/>\ncineva \u00eemi caut\u0103<br \/>\nochiul<br \/>\ncu dalta<\/p>\n<p><strong><br \/>\nVALERIA MANTA T\u0102ICU\u0162U<\/strong><br \/>\n<a href=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2023\/02\/valeria-taicutu.jpg\" data-rel=\"lightbox-image-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" data-src=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2023\/02\/valeria-taicutu.jpg\" alt=\"\" width=\"295\" height=\"481\" class=\"alignnone size-full wp-image-20304 lazyload\" data-srcset=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2023\/02\/valeria-taicutu.jpg 295w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2023\/02\/valeria-taicutu-184x300.jpg 184w\" data-sizes=\"(max-width: 295px) 100vw, 295px\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" style=\"--smush-placeholder-width: 295px; --smush-placeholder-aspect-ratio: 295\/481;\" \/><noscript><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2023\/02\/valeria-taicutu.jpg\" alt=\"\" width=\"295\" height=\"481\" class=\"alignnone size-full wp-image-20304\" srcset=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2023\/02\/valeria-taicutu.jpg 295w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2023\/02\/valeria-taicutu-184x300.jpg 184w\" sizes=\"(max-width: 295px) 100vw, 295px\" \/><\/noscript><\/a><\/p>\n<p><strong>Erezie \u015fi personalism<\/strong><\/p>\n<p>\u00centr-o povestire care ironizeaz\u0103 metehnele prozatorilor<br \/>\ndin ultimele decenii, personajul, un profesor cu nume<br \/>\nobi\u015fnuit, cu existen\u0163\u0103 banal\u0103 \u015fi con\u015ftient de linearitatea<br \/>\nacestei existen\u0163e, viseaz\u0103 s\u0103 scrie o carte. Una prin care s\u0103<br \/>\npropun\u0103 ceva nou, mai interesant dec\u00e2t \u201eexperimentele lui<br \/>\nMichel Butor cu persoana a doua\u201d ori opurile laurea\u0163ilor<br \/>\nNobel pentru literatur\u0103. Domnul George Panait are cultur\u0103,<br \/>\ngust \u015fi un aparat critic bine pus la punct: \u201eDup\u0103 p\u0103rerea sa,<br \/>\nesen\u0163ial pentru o proz\u0103 \u2013 schi\u0163\u0103, povestire, nuvel\u0103, roman \u2013<br \/>\neste ca \u00een cuprinsul ei, \u00een diegesis adic\u0103, s\u0103 se \u00eent\u00e2mple ceva.<br \/>\nTeoria sa este c\u0103 autorii de azi nu pot s\u0103 scrie de prea<br \/>\nde\u015ftep\u0163i. Ei se chinuiesc pe sute de pagini s\u0103 demonstreze<br \/>\nce vast\u0103 cultur\u0103 au asimilat, c\u00e2t de bine st\u0103p\u00e2nesc felurite<br \/>\ntehnici de scriere, c\u0103 sunt la curent cu perspectivele, cu<br \/>\nintersect\u0103rile vocilor \u2013 auctorial\u0103 plus celelalte \u2013 \u015fi alte<br \/>\nasemenea chestii sofisticate, \u00eenc\u00e2t se trezesc c\u0103 pun punctul<br \/>\nfinal f\u0103r\u0103 ca m\u0103car un eveniment c\u00e2t de c\u00e2t notabil s\u0103 se fi<br \/>\ndesf\u0103\u015furat\u201d (\u201eJoi, 28 februarie\u201d, p. 28). Radu Voinescu<br \/>\nadopt\u0103 \u00een aceast\u0103 povestire formula naratorului omniscient,<br \/>\n\u201ecu microfon \u00een capul personajului\u201d, \u015ftiind absolut tot ce \u015ftie<br \/>\nacesta \u015fi ceva pe deasupra, fiindc\u0103 profesorul de istoria<br \/>\nliteraturii, \u00een c\u0103utare de formule noi \u015fi percutante, dornic s\u0103<br \/>\nscrie \u201eO zi din via\u0163a lui George Panait\u201d \u015fi s\u0103 revolu\u0163ioneze<br \/>\nproza, va rata cel mai serios subiect de roman: propria<br \/>\nmoarte, care se va produce banal \u015fi stupid.<br \/>\nVolumul \u201eErezii pioase\u201d (Editura Emia, Deva, 2005),<br \/>\nsurprinde prin modul cum \u00eembin\u0103 nara\u0163iunea pur\u0103 cu<br \/>\ncapcanele teoretice, fiecare povestire p\u0103r\u00e2nd a fi scris\u0103 \u00een<br \/>\npalimpsest, at\u00e2ta vreme c\u00e2t, \u00een stratul ei de ad\u00e2ncime, se<br \/>\ndescifreaz\u0103 \u2013 nu \u00eentotdeauna cu u\u015furin\u0163\u0103 \u2013 idei despre<br \/>\nproz\u0103, despre tehnicile narative, despre structura \u015fi rolul<br \/>\npersonajului etc.<br \/>\n\u00cen inten\u0163ia poetului, prozatorului \u015fi criticului literar Radu<br \/>\nVoinescu, volumul de \u201eErezii\u201d trebuia s\u0103 marcheze nu numai<br \/>\no schimbare de sens \u00een proza rom\u00e2neasc\u0103, printr-o revolu\u0163ie<br \/>\ncuminte, de catifea, ci \u015fi o cotitur\u0103 \u00een modul de abordare<br \/>\ncritic\u0103 a prozei. Sunt inserate \u00een povestiri pasaje care amintesc<br \/>\nde refugiul \u00een alexandrinism al scriitorilor rom\u00e2ni, de parada<br \/>\nde erudi\u0163ie, rafinament, de caracterul subtil \u015fi uneori ezoteric<br \/>\nal artei noastre, dar \u015fi de \u00eentoarcerile la clasicism \u015fi<br \/>\nromantism, de aventura optzecist\u0103, de postmodernism \u015fi de<br \/>\nmulte alte experien\u0163e artistice autohtone sau universale. Cu<br \/>\ntoate acestea, nu s-ar putea spune c\u0103 autorul nostru este<br \/>\nsolidar cu vreun \u2013ism din cele \u00een\u015firate. Dimpotriv\u0103, el<br \/>\n\u00eencearc\u0103 s\u0103 impun\u0103 un nou \u2013ism, respectiv \u201epersonalismul\u201d<br \/>\nca modalitate de a rezolva problemele de retoric\u0103, dar \u015fi pe<br \/>\ncele privind statutul personajului, rolul lui \u00een vectorizarea<br \/>\ndiscursului, rela\u0163ia cu naratorul \/ cu vocea auctorial\u0103 etc.<br \/>\nNoul concept ar \u00eensemna, \u00een mare, centrarea pe persoan\u0103, dar<br \/>\nnu pe ceea ce are ea unic, irepetabil, de excep\u0163ie, \u00een m\u0103sur\u0103 so<br \/>\nsitueze \u00een centrul universului. De altfel, Radu Voinescu a<br \/>\nprecizat \u00een c\u00e2teva r\u00e2nduri c\u0103 antropocentrismul, a\u015fa cum \u00eel<br \/>\n\u00een\u0163eleg postmoderni\u015ftii, nu este \u00een m\u0103sur\u0103 s\u0103 rezolve nimic<br \/>\nnici la nivelul discursului, nici \u00een planul ontologic al<br \/>\npersonajului. Totodat\u0103, este refuzat\u0103 \u015fi introducerea<br \/>\npersonalismului \u00een c\u00e2mpul lexical al biografismului (de tip<br \/>\noptzecist), prefer\u00e2ndu-se o abordare ce poate fi rezumat\u0103<br \/>\nprintr-o apoftegm\u0103 a medicilor: \u201enu exist\u0103 boli, ci bolnavi\u201d.<br \/>\nCu alte cuvinte, tipurile, tipologia, generaliz\u0103rile privind<br \/>\ncondi\u0163ia uman\u0103, \u00eencerc\u0103rile de a introduce personajul \u00eentr-o<br \/>\nschem\u0103 recognoscibil\u0103, de a invoca genul proxim \u015fi diferen\u0163a<br \/>\nspecific\u0103 sunt simple aventuri care nu duc nic\u0103ieri. Nu exist\u0103<br \/>\nistorii care se repet\u0103, nu exist\u0103 personaje de excep\u0163ie, eroii au<br \/>\nmurit de mult, iar literatura actual\u0103, pentru a supravie\u0163ui,<br \/>\ntrebuie s\u0103 accepte personalizarea ca formul\u0103, altfel proza va<br \/>\nsf\u00e2r\u015fi prin a deveni ilizibil\u0103, f\u0103r\u0103 impact asupra cititorului<br \/>\nobi\u015fnuit, cel f\u0103r\u0103 de care c\u0103r\u0163ile mor \u00een rafturi.<br \/>\nPersonajul din \u201ePerfec\u0163iunea\u201d (unde se folose\u015fte acea<br \/>\npersoan\u0103 a doua at\u00e2t de drag\u0103 lui M. Butor), de exemplu,<br \/>\ntrece printr-o criz\u0103 existen\u0163ial\u0103. Pentru a-l \u00een\u0163elege, nu este<br \/>\nneap\u0103rat\u0103 nevoie de empatie, (adic\u0103 de raportarea<br \/>\nexperien\u0163ei lui la experien\u0163a ta uman\u0103), sau de comparatism<br \/>\n(raportarea scriiturii \u015fi a personajului la altele similare),<br \/>\npentru simplul motiv c\u0103 nu aceasta conteaz\u0103. Cel care<br \/>\nconstruie\u015fte discursul \u00een povestire este o persoan\u0103, nu un<br \/>\npersonaj, pentru c\u0103 \u015fi temele existen\u0163iale sunt personalizate.<br \/>\nPersoana care nareaz\u0103 \u00eent\u00e2mpl\u0103ri \u015focante (\u00een fond avem dea<br \/>\nface cu relatarea unui pedofil) nu-\u015fi abordeaz\u0103 existen\u0163a<br \/>\ndin perspectiv\u0103 moral\u0103 ori religioas\u0103. Pentru ea important\u0103<br \/>\neste perfec\u0163iunea unei rela\u0163ii, modul \u00een care poate fi demiurg<br \/>\nal propriului univers \u015fi mai pu\u0163in contraven\u0163iile, p\u0103catul,<br \/>\nsanc\u0163iunea etc. \u015ei prima parte a volumului, dinadins<br \/>\nintitulat\u0103 \u201eIstorii profane\u201d, abund\u0103 \u00een astfel de situa\u0163ii \/ idei.<br \/>\nDe remarcat povestirea \u201eFloarea-soarelui\u201d, unde plasarea \u00een<br \/>\nspa\u0163iul rural permite o sinestezie de tip modern: dragostea<br \/>\nmatern\u0103 devine con\u015ftient\u0103 de sine prin raportarea (aproape<br \/>\nproustian\u0103) la o imagine vizual-olfactiv\u0103, care va declan\u015fa<br \/>\n\u00eentotdeauna fluxul memoriei involuntare. Povestirea<br \/>\n\u201eSacrificiul\u201d face leg\u0103tura cu cea de-a doua parte a<br \/>\nvolumului, \u201eErezii pioase\u201d, \u015fi este interesant\u0103 pentru<br \/>\nimaginea holografic\u0103 a persoanei. Eugenia Voivozeanu,<br \/>\nprofesoara asasinat\u0103 \u00eentr-un t\u00e2rg de provincie, \u00ee\u015fi parcurge<br \/>\npropriul traseu sacrificial, a\u015fa cum, potrivit mitologiei<br \/>\ncre\u015ftine, au f\u0103cut Iisus \u015fi apostolii. De altfel, cel care va citi<br \/>\n\u201eY.H.W.H\u201d va constata c\u0103 Radu Voinescu \u00eel transform\u0103 \u015fi<br \/>\npe Dumnezeu \u00eentr-o persoan\u0103. \u015ei aceasta pentru c\u0103:<br \/>\n\u201ePersonalismul literar se face martorul eforturilor fiin\u0163ei<br \/>\numane c\u0103tre perfec\u0163iune, dar \u015fi al condi\u0163iei sale tragice, al<br \/>\nsemnelor pe care cerul le ofer\u0103 muritorilor, dar \u015fi al mu\u0163eniei<br \/>\n\u015fi indiferen\u0163ei sale. Pentru personalismul literar, Dumnezeu<br \/>\n\u00eensu\u015fi, \u015fi orice divinitate, devine personaj. Erezie? Poate. \u00cen<br \/>\norice caz, pioas\u0103\u201d (p.169).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Poezie din lumea persan\u0103 veche Daq\u012bq\u012b (Ab\u016b Mans\u016br Muhammad ibn Ahmad Daq\u012bq\u012b)- (935\/942-976\/980) Se \u015ftiu pu\u0163ine despre via\u0163a lui. Ab\u016b<\/p>\n","protected":false},"author":18,"featured_media":10070,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"colormag_page_container_layout":"no_sidebar_content_centered","colormag_page_sidebar_layout":"no_sidebar","_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"ngg_post_thumbnail":0,"video_url":"","footnotes":""},"categories":[7,328],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/22735"}],"collection":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/users\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=22735"}],"version-history":[{"count":1,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/22735\/revisions"}],"predecessor-version":[{"id":22736,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/22735\/revisions\/22736"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/media\/10070"}],"wp:attachment":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=22735"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=22735"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=22735"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}