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The Aesthetics of Paradoxism
 
 
 
 
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Ion Pachia-Tatomirescu  
  
 
  
 
  
The Aesthetics of Paradoxism  
  
 
  
The generation of the poetic resurrection and of Paradoxism has established a new aesthetics, a new literary trend on the horizon of the European metaphorical knowledge. This involves Paradoxism whose aesthetics has crystallised itself as a reaction against the social paradoxes existing in Romania during the communist-totalitarian regimes, the tragic-existentialist limits of the ens throughout history, or the reification of the human being, as well as against the cliché literature, serving the dictatorial regimes, against “the Marxist-Leninist dialectics / philosophy”, against the literary / philosophical trends before 1960 / 1964: “the socialist realism”, “the socialist humanism” (“in the service of shaping the Romanian homo sovieticus ”) etc.  
  
 
  
The aesthetics of Paradoxism has been asserting the following principles:  
  
 
  
1) conjugating – in lyric, epic / dramatic moods – the existentialist paradoxism of humanity;  
  
 
  
2) dynamiting the myths (the fundamental ones in particular), sublimating / refining mythemes, revealing a “new demiurgic view”, in which Man is placed at the centre of “the geneses” / “the universes” (the cosmos), while the lyric (epic / dramatic) protagonist substitutes or places the Demiurge (the Almighty / the Omniscient God, the Fundamental Divinity) on the backseat;  
  
 
  
3) the rebellion / “the resurrection” of the signifier against the signified, “with a propensity for the signifier as the generator of the signified, stating, in a “Biblic”, “anti-Marxist” manner, that Matter is born from the Word / Logos, since the word itself is “Matter” (informatter as a matter of fact) and has a structure similar to that of the atom, «reiterating the structure of matter» (Nichita Stănescu);  
  
 
  
4) “breaking” the infinity of the tragic-existentialist limits through the power of the metaphor (synesthesy) / symbol (vision), using even the Non-Word – if the word is “attached” to matter, then antimatter is inevitably “associated” with the Non-Word –, causing poetic thinking “to leap” from the (dichotomic) linear into the (“dissipative”, but “vectorised”) nonlinear / polydimensional structures;  
  
 
  
5) bringing out a new geography / cosmography of the Romanian poetry / literature and a new autochthonism into relief, since it is well-known that autochthonism constitutes itself into the strongest and most original direction towards universality within a national literature and also that, solely by means of autochthonism, “an inner republic” becomes a spiritual republic “projecting itself into universality”, granting the chances of “self-assertion” to all spiritual areas (both “large” and “small”), thereupon resulting the harmonious variety of the Logos, passing through rhythmic “grafts”, through moments of flourishing and reflourishing on the gold section determined by the symmetrical relationship between tradition and innovation, being primarily noticeable by means of objectifying “the imaginary” and mirroring the situations / tensions within the new (political, socioeconomic, cultural / civilising, etc.) realities of the world, the new scientific “truths” (“pulsating” on the horizon of the metaphorical knowledge, consequently “propelling” this horizon), towards “the sight of the Being”;  
  
 
  
6) developing the mother tongue as “a sacred language”, as an “indestructible” / “invulnerable”, “inalienable”, “incontestable” and “unquestionable” spiritual “vehicle” of a people’s existence throughout history, fighting against the “exploitation” of a national language by “the imperial” languages, militating against “the monopolistic” study of the Russian language in schools / faculties (in Romania, as well as in other socialist countries, the Russian language became compulsory in 1948, being taught from the 4th grade of the primary school to the 3rd year in faculties, thus being “learnt” for 10 years); the Paradoxist-resurrection representatives consider the mother tongue – the sacred Pelasgo-Daco-Thracian, that is the Wallachian / Romanian Language – as our Motherland in the Logos («The Romanian language is my Motherland» – Nichita Stănescu);  
  
 
  
7) polydimensioning / “disseminating” the poetic ego to the scale of the entire macrocosm / microcosm and developing the holopoem, the field of lyrosophy being, undoubtedly, the macrocosm and the microcosm in which the poet reestablishes the lofty redeeming spirit of the worlds / the universes;  
  
 
  
8) “unreservedly” employing the viable classical, modern, and ultramoderm literary structures which have distinguished themselves at various times in our literature from its origins to the present, creating new structures, be it necessary, alongside with observing equilibrium, the sacred relationship between traditionalism and modernism from within all literary genres / species;  
  
 
  
9) promoting the blank / free verse – in case it renders service to emphasising an unmistakable authentic, “original” spiritual relief – together with the fixed-form poetry, both “classical” and the newly created “standard form”, if it reverberates with the contemporary taste, the spirit, the spiritual / literary space more profoundly, involving revitalising the most refined prosodic techniques and elements from the aesthetics of all previous / synchronic literary trends, their resurrection – where change or even the revolutionising course of action is requested –, nevertheless only with a view to catharsis;  
  
 
  
10) extending poetry / the arts in scientific spaces, “without frontiers”, in order to serve the advancement of the metaphorical knowledge, breaking the limits, “magnetising”, entailing the horizon of scientific knowledge;  
  
 
  
11) refining the signifier-the signified relationship into “the absolute wedding” of the “three-dimensional” / “polydimensional” Words with the “corresponding” non-Words, to achieve “the absolute”, the pure poetry;  
  
 
  
12) achieving “the higher leap” from poetry as cosmic sensuality / sexuality, or as an abyssal orgasm of the matter, to poetry as the sublime “science” of erotic-photonic mood / emission into the relief of catharsis.  
  
 
  
 
  
The main representatives (50) of the Romanian Paradoxism are George Alboiu, Ioan Alexandru, Slavco Almajan, Aurel Antonie, A. E. Baconsky, Cezar Baltag, Ion Băieşu, Şt. Bănulescu, Ana Blandiana, Mihai Bogdan-Dascălu, Nicolae Breban, Emil Brumaru, Augustin Buzura, Theodor Codreanu, Mircea Ciobanu, Crişu Dascălu, Leonid Dimov, Mircea Dinescu, Anghel Dumbrăveanu, Geo Dumitrescu, Şerban Foarţă, Ion Gheorghe, Grigore Hagiu, Mircea Iorgulescu, Mircea Ivănescu, Ileana Mălăncioiu, Gabriela Melinescu, Ion Miloş, Ion Mircea, Fănuş Neagu, Ion Pachia-Tatomirescu, Alexandru Papilian, Miron Radu Paraschivescu, Adrian Păunescu, Constantin M. Popa, Vasile / Vasko Popa, Adrian Popescu, Dumitru Radu Popescu, Adrian Dinu Rachieru, Ioanid Romanescu, Eugen Simion, Marin Sorescu, Nichita Stănescu, Vl. Streinu, Arcadie Suceveanu, Mircea Tomuş, Constantin Ţoiu, Eugen Uricaru, Mihai Ursachi, Grigore Vieru et al.  
  
 
  
(Cf. PTPer-1966, 14; PTScr-1985, 40 sqq.; PTNSP-1989, 11 – 14; PTNSP-1994; PTBomb, 125 – 156 / 1997; PTES, 105 – 115 / 1999; PTNSP-2000; PTDelrc, 298 – 301 / 2003; PTGrp, 229 – 261 / 2005; PTDfr, 6 – 13; PTPag-I, 9 ‒ 11)  
  
 
  
Translated into English by prof. Gabriela Pachia.  
  
 
  
BIBLIOGRAFIA „siglată“ (The Bibliography in Sigles / La bibliographie des sigles):  
  
 
  
  • PTBomb = Ion Pachia-Tatomirescu, Bomba cu neuroni (The Neuron Bomb / Bombe à neurones), Timişoara, Editura (Publishing House / Maison d’Édition) Aethicus (ISBN 973-97529-8-5), 1997, pp. 125 – 156.
  • PTDelrc = Ion Pachia-Tatomirescu, Dicţionar estetico-literar, lingvistic, religios, de teoria comunicaţiei... (Dictionary on Aesthetics, Literature, Linguistics, Religion, and the Theory of Communication... / Dictionnaire esthétique-littéraire, linguistique, religieux, de la théorie de la communication...), Timişoara, Editura (Publishing House / Maison d’Édition) Aethicus (ISBN 973-97530-8-6), 2003.
  • PTDfr = Ion Pachia-Tatomirescu, Despre fructul curcubeului / On the Fruit of the Rainbow (Sur le fruit de l’arc-en-ciel), Timişoara, Editura (Publishing House / Maison d’Édition) Aethicus (ISBN 973-85262-4-8), 2007.
  • PTES = Ion Pachia-Tatomirescu, Fulgerul sferic / Éclair sphérique (The Globe Lightning), Timişoara, Editura (Publishing House / Maison d’Édition) Aethicus (ISBN 973-97530-1-9), 1999.
  • PTGrp = Ion Pachia-Tatomirescu, Generaţia resurecţiei poetice... (The Generation of Poetic Resurrection / La génération de la résurrection poétique), Timişoara, Editura (Publishing House / Maison d’Édition) Augusta (ISBN 973-695-198-7), 2005 (pagini:496).
  • PTNSP-1989 = Ion Pachia-Tatomirescu, Nichita Stănescu: pattern lirosofic şi paradoxism ontologic al limbii (Nichita Stănescu: The Lyrosophic Pattern... / Nichita Stănescu: le patterne lyrosophique...), în Caietul Nichita Stănescu“ (Le cahier / Notebook Nichita Stănescu”), Timişoara, Editura (Publishing House / Maison d’Édition) Centrul de Creaţie şi Cultură Timiş, 1989, pp. 11 – 14.
  • PTNSP-1994 = Ion Pachia-Tatomirescu, Nichita Stănescu şi paradoxismul (Nichita Stănescu and the Paradoxism / Nichita Stănescu et le paradoxisme), ediţia I: Timişoara, Editura (Publishing House / Maison d’Édition) Arutela, 1994.
  • PTNSP-2000 = Ion Pachia-Tatomirescu, Nichita Stănescu şi paradoxismul (Nichita Stănescu and the Paradoxism / Nichita Stănescu et le paradoxisme), ediţia a II-a, augmentată, Timişoara, Editura (Publishing House / Maison d’Édition) Aethicus (ISBN 973-97530-4-3), 2000.
  • PTPag-I = Ion Pachia-Tatomirescu, Pagini de istorie literară valahă de mâine (Pages d’histoire littéraire valaque à l’avenir / Pages of Tomorrow’s Wallachian Literary History), vol I, Timişoara, (Publishing House / Maison d’Édition) Waldpress (ISBN 978-606-614-091-1 / ISBN 978-606-614-114-7), 2014.
  • PTPer-1966 = Ion Pachia-Tatomirescu, Peristylium – holopoemul (Peristylium – The Holopoem / Le Holopoème), în revista Ramuri (Craiova), III, nr. 10 (27), 15 septembrie 1966, p. 14 (Miron Radu Paraschivescu, în rămuristul supliment literar, Povestea vorbii, nr. 7 / 1966).
  • PTScr-1985 = Ion Pachia-Tatomirescu, Fragmente din Scrisoarea-răspuns a unui poet anonim către domnul Cantemir, sau Enciclopedicus“, 24 ianuarie 1985, Tibissiara > Timişoara, Dacia / România (Fragments from The Reply Letter of an Anonymous Poet to Mr Cantemir or Encyclopaedicus”, 24th January 1985, Tibissiara > Timişoara, Dacia / Dacoromania / Fragments d’une lettre-réponse – par un poèt anonyme à Monsieur Dimitrie Cantemir ou bien Encyclopédicus, le 24 janvier 1985, Tibissiara > Timişoara, Dacia / Daco-Roumanie), în revista Convergenţe Româneşti / Romanian Convergences / Convergences Roumaines / Rumänische Konvergenzen (Londra), nr. 5 / mai 1985, pp. 40 – 42.
Cf. http://confluente.org/ion_pachia_tatomirescu_1515468244.html ; http://confluente.org/ion_pachia_tatomirescu_1515556035.html  
  
Referinţă Bibliografică:
The Aesthetics of Paradoxism / Ion Pachia Tatomirescu : Confluenţe Literare, Ediţia nr. 2568, Anul VIII, 11 ianuarie 2018.

Drepturi de Autor: Copyright © 2018 Ion Pachia Tatomirescu : Toate Drepturile Rezervate.
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