{"id":346,"date":"2008-12-06T16:39:49","date_gmt":"2008-12-06T14:39:49","guid":{"rendered":"http:\/\/egophobia.dap.ro\/?p=346"},"modified":"2008-12-06T16:39:49","modified_gmt":"2008-12-06T14:39:49","slug":"urechea-stanga-a-modernismului","status":"publish","type":"post","link":"https:\/\/blog.egophobia.ro\/?p=346","title":{"rendered":"Urechea st\u00e2ng\u0103 a modernismului"},"content":{"rendered":"<p><span style=\"AR-SA;\" lang=\"RO\">\u201e\u2026<em>con la mitad de la oreja<\/em>\u2026\u201d DQ, I, 9.<\/span><\/p>\n<p><span style=\"AR-SA;\" lang=\"RO\"><span style=\"AR-SA;\" lang=\"RO\"><a href=\"www.vggallery.com\/painting\/p_0527.htm\" target=\"_blank\">Figura<\/a> lui van Gogh este oglindit\u0103, nu \u015ftiu de ce, astfel \u00eenc\u00e2t \u00ee\u0163i d\u0103 impresia c\u0103 urechea pe care \u015fi-a mutilat-o ar fi cea dreapt\u0103. <a href=\"www.safran-arts.com\/42day\/art\/art4mar\/vangogh\/selfearg.html\" target=\"_blank\">Imaginea<\/a> este corectat\u0103 prin eliminarea efectului de oglindire din reprezentarea de sine a chipului s\u0103u, astfel \u00eenc\u00e2t urechea cu adev\u0103rat mutilat\u0103 devine cea st\u00e2ng\u0103. <!--more--> \u015ei \u00eenc\u0103 un am\u0103nunt extrem de interesant: ambele urechi, at\u00e2t cea fic\u0163ional\u0103, c\u00e2t \u015fi cea real\u0103 sunt t\u0103iate \u00een dou\u0103 jum\u0103t\u0103\u0163i practic egale, cu deosebirea notabil\u0103 c\u0103 urechii fic\u0163ionale jum\u0103tatea sec\u0163ionat\u0103 nu-i este precizat\u0103, put\u00e2nd fi at\u00e2t cea de jos, c\u00e2t \u015fi cea de sus, pe c\u00e2nd urechii reale i se indic\u0103 foarte clar jum\u0103tatea d\u0103ruit\u0103 unei prostituate: cea de jos, lobul urechii. Urechea fic\u0163ional\u0103 este obiectul unei ac\u0163iuni active, iar urechea real\u0103 este subiectul unei ac\u0163iuni pasive. Cele dou\u0103 urechi, una fictiv\u0103 \u015fi cealalt\u0103 real\u0103, prima fiind mutilat\u0103 indeterminat \u015fi a doua \u2013 determinat, una suferind o t\u0103iere activ\u0103, iar cealalt\u0103 \u2013 o t\u0103iere pasiv\u0103, prima auzind sunetul sec\u0163ion\u0103rii de la dep\u0103rtare, a doua \u2013 de aproape, ajung s\u0103 simbolizeze dou\u0103 tipuri diferite de cultur\u0103: una, rezem\u00e2ndu-se pe verosimil \u015fi pe real, de\u015fi e fic\u0163ional\u0103, chiar ar putea s\u0103 reprezinte predispozi\u0163ia epistemologic\u0103 spre cunoa\u015ftere specific\u0103 modernismului, iar cealalt\u0103, baz\u00e2ndu-se pe imaginar \u015fi pe introspec\u0163ie maladiv\u0103, fie \u015fi real\u0103, ar putea foarte bine s\u0103 reprezinte predispozi\u0163ia ontologic\u0103 spre \u00een-fiin\u0163are specific\u0103 postmodernismului (Brian McHale). Faptul c\u0103, \u00een ambele cazuri, urechea mal-tratat\u0103 \u015fi, \u00een consecin\u0163\u0103, mal-figurat\u0103 (\u00een urma unei trans-figur\u0103ri at\u00e2t fizice, c\u00e2t \u015fi simbolice) este cea st\u00e2ng\u0103, m\u0103 face s\u0103 m\u0103 g\u00e2ndesc la posibilitatea ca acest lucru s\u0103 reprezinte latura negativ\u0103 a modernismului, \u00een \u00een\u0163elesul lui etimologic de modernism <em>sinistru<\/em>. \u00cen\u0163eleg, desigur, prin \u201elatur\u0103 negativ\u0103\u201d capacitatea modernismului de a nega absolut totul, pornind de la tr\u0103s\u0103turile lui constitutive (Hugo Friedrich) \u015fi termin\u00e2nd cu \u00eens\u0103\u015fi esen\u0163a \u015fi chiar tradi\u0163ia sa \u00een definitiv a-, sau anti-modern\u0103. Prin contaminare logic\u0103, \u015fi modernitatea a devenit negativ\u0103 atunci c\u00e2nd a laicizat \u00eentreaga lume tradi\u0163ional\u0103, d\u00e2ndu-i alt caracter \u015fi alt\u0103 func\u0163ionalitate \u015fi chiar substituind-o cu o alt\u0103 lume, aparent alta, dar \u00een mod fundamental aceea\u015fi, numai c\u0103 altfel \u201elumeificat\u0103\u201d (Blumenberg), dar \u015fi atunci c\u00e2nd s-a rupt definitiv \u015fi ireconciliabil de eonul lumii tradi\u0163ionale, lu\u00e2nd cu sine, \u00een clipa cezurii, \u015fi posibilitatea ultim\u0103 de re-alipire la ea (Blumenberg). De aici \u015fi p\u00e2n\u0103 la decuplarea lumii postmoderne de lumea modern\u0103, de care vorbe\u015fte Habermas, nu a mai fost dec\u00e2t un pas, \u015fi acela relativ u\u015for de imprimat pe nou formatele, \u00een eonul modernit\u0103\u0163ii, lumi recent desp\u0103r\u0163ite: lumea modern\u0103 de lumea postmodern\u0103. Revenind la urechea st\u00e2ng\u0103 a modernismului, este clar faptul c\u0103 elementul ini\u0163iator al cezurii este laicizarea lumii cu preten\u0163ia nedisimulat\u0103 de a crea, prin laicizare, dou\u0103 lumi din una, una care s\u0103 p\u0103streze tensiunile ei latente \u015fi deci negative \u00eenainte de fractur\u0103, \u015fi cealalt\u0103 care s\u0103-i depoziteze pulsiunile frem\u0103t\u00e2nde \u015fi deci pozitive de dup\u0103 fractur\u0103. Laicizarea \u015fi \u00eencununarea ei, decuplarea chiar \u015fi de principiile fondatoare ale laiciz\u0103rii, este, de fapt, abandonarea cavalerismului \u00een favoarea spiritului pragmatic care i-a luat locul. \u015ei cavalerismul este inversul laiciz\u0103rii, \u00een sensul \u00een care primul termen tinde spre lumea tensiunilor latente, iar cel de-al doilea termen tinde spre lumea pulsiunilor frem\u0103t\u00e2nde.<\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201e\u2026con la mitad de la oreja\u2026\u201d DQ, I, 9. Figura lui van Gogh este oglindit\u0103, nu \u015ftiu de ce, astfel \u00eenc\u00e2t \u00ee\u0163i d\u0103 impresia c\u0103 urechea pe care \u015fi-a mutilat-o ar fi cea dreapt\u0103. Imaginea este corectat\u0103 prin eliminarea efectului de oglindire din reprezentarea de sine a chipului s\u0103u, astfel \u00eenc\u00e2t urechea cu adev\u0103rat mutilat\u0103 [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[295],"tags":[719,196],"class_list":["post-346","post","type-post","status-publish","format-standard","hentry","category-jurnal-eidotomic","tag-jurnal-eidotomic","tag-patrick-calinescu"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/blog.egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/346","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.egophobia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.egophobia.ro\/index.php?rest_route=\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=346"}],"version-history":[{"count":0,"href":"https:\/\/blog.egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/346\/revisions"}],"wp:attachment":[{"href":"https:\/\/blog.egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=346"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=346"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=346"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}