{"id":36811,"date":"2018-03-20T11:36:43","date_gmt":"2018-03-20T11:36:43","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=36811"},"modified":"2018-03-20T11:36:43","modified_gmt":"2018-03-20T11:36:43","slug":"george-anca-diana-si-paunul","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2018\/03\/20\/george-anca-diana-si-paunul\/","title":{"rendered":"George ANCA: Diana \u0219i p\u0103unul"},"content":{"rendered":"

\"\"<\/a>Schopenhauer is German \u2013 Organi-cultural deviance \u2013 Sodoma postmodern\u0103 -The Corruption of Puritan Society \u2013 George \u2013 DIANA SI PAUNULCorruption in TDOM<\/em><\/strong><\/p>\n

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ATAC<\/strong><\/p>\n

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(atac) M\u0103 visez \u00eentors \u00een Rom\u00e2nia, \u00eentr-o cas\u0103 asemeni celei de aici, reparat\u0103. Rudele m\u0103 privesc, \u00eemi spun c\u00e2te ceva. Nu puteam ajunge de ieri p\u00e2n\u0103 azi, nu sunt cu voi, trebuie s\u0103 visez \u2013 niciun r\u0103spuns, r\u0103ceal\u0103, Viorica, Jenica, v\u0103 spun c\u0103 nu m-am desp\u0103r\u021bit de Nana \u0219i Nansi \u2013 ea tocmai plecase s\u0103 fac\u0103 yoga. Guru-ul \u00eenva\u021b\u0103 violent rom\u00e2ne\u0219te.<\/p>\n

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O boare. Timar Pur, cu Nana. Cump\u0103r\u0103m s\u0103pun, ciclete. Plou\u0103. \u00cenaint\u0103m. Acas\u0103 toarn\u0103 \u0219i fulger\u0103. Nansi ne d\u0103 s\u0103 m\u00e2nc\u0103m. Cur\u00e2nd c\u0103dem \u00eembiba\u021bi de muson.<\/p>\n

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Trebuie s\u0103 deschid cursurile. Studen\u021bii, risipi\u021bi printre etaje. O comisie asist\u0103. C\u00e2\u021biva s-au str\u00e2ns \u00een sal\u0103. \u00cemi spun \u00een minte fraze ad\u00e2nci, de efect. Am deschis cursul. Oare castelul din fundul m\u0103rii al milionarului va fi fiind la fel de umid? Ai mei vor recita \u2013 \u00eenceputul teatrului de limb\u0103 rom\u00e2n\u0103 al Universit\u0103\u021bii din Delhi \u2013\u00a0Peste v\u00e2rfuri,\u00a0La steaua, Facerea rigvedic\u0103 \u00een rom\u00e2n\u0103, cor, rom\u00e2n, apoi\u00a0Eu nu strivesc corola de minuni a lumii\u00a0de Blaga, \u00een englez\u0103,\u00a0P\u0103unul\u00a0de Barbu \u2013 rom\u00e2n\u0103, hindi,\u00a0Shatranj\u00a0de Sorescu, hindi,\u00a0Cartea\u00a0de Anca, punjabi. C\u00e2nt\u0103re\u021bi de sitar \u0219i veena. Studen\u021bii se \u00eenscriu la universitate, pl\u0103tesc taxa, dar renun\u021b\u0103, ating\u00e2ndu-\u0219i scopul de a ob\u021bine permise de autobuz.<\/p>\n

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William Wordsworth dacuri subcere\u0219ti Mai supravie\u021buim Pe columna traian\u0103 o zi un mileniu rena\u0219tem musonice ploi \u00eenotul \u00een timp o cetate rena\u0219tem nor de l\u0103custe Reumatism, tuberculoz\u0103. Cutremure, ucideri, rug\u0103ciuni ciclon de acte tributare.<\/p>\n

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Pot fi atacat \u00een strad\u0103. This lecturer?<\/p>\n

Programul Eminescu. Anima\u021bie.<\/p>\n

Statuia lui Vivekananda se inaugureaz\u0103 ast\u0103zi<\/p>\n

Speech cu Sangasen Singh (I think that<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Schopenhauer is German) \u2013 \u0219eful Deptt.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Buddhist Studies, despre Eminescu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Salutat de Panka. Warmly.<\/p>\n

Afluen\u021b\u0103 de vehicule pe Chhatra Marg.<\/p>\n

A r\u0103s\u0103rit soarele firbinte.<\/p>\n

Ieri am privit dou\u0103 veveri\u021be copii.<\/p>\n

Rullerul a observat c\u0103 am scris<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0poezii contra unora. Lui?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u201edar\u0103 pe calea ce-ai deschis<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0n-oi merge niciodat\u0103\u201d. Apoi al doilea<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0ruller, la infinit, aceea\u0219i.<\/p>\n

C\u0103rticica de conversa\u021bii va fi \u00een draci.<\/p>\n

Eu nu strivesc corola de minuni a lumii.<\/p>\n

Eu \u00eensumi \u00een panjabi.<\/p>\n

Muzic\u0103 de veena la universitate.<\/p>\n

Xenofobie cu u\u0219ile \u00eenchise.<\/p>\n

S\u0103-i scriu lui Marin Preda, nu lui<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0R\u00e2peanu.<\/p>\n

Nansi reprezint\u0103 Rom\u00e2nia. Rom\u00e2nia o<\/p>\n

retrage pe Nansi, India-bursa, m\u00e2ine-poi-<\/p>\n

m\u00e2ine. Ne vedem infama\u021bi de fama\u021bi<\/p>\n

Zah\u0103r, biscui\u021bi, chibrituri. Signal.<\/p>\n

M\u00e2nc\u0103rimi \u00een pizd\u0103.<\/p>\n

Co\u0219mare muncitore\u0219ti, sub dictat.<\/p>\n

Alternative \u00eensenin\u0103rii \u0219i abisuri.<\/p>\n

Degradare metaforic\u0103, retorismul<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0umilului, scopitului, cumintelui.<\/p>\n

M\u00e2ntuire prin muzic\u0103, isterie, murire.<\/p>\n

Nu te las, vreme de apoi, s\u0103 m\u0103 a\u0219tep\u021bi.<\/p>\n

Evanghelia dup\u0103 mine ba eu dup\u0103<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0evanghelie.<\/p>\n

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Predau rom\u00e2na \u00een draci. Redus num\u0103rul de \u021big\u0103ri din lips\u0103 de bani. Negresele au ap\u0103rut \u00een sariuri la Gandhi Bhavan. \u0218i iraniencele. Disputa grupurilor.\u00a0Scrisoarea I\u00a0este tradus\u0103 \u00een punjabi, malayalam \u0219i telugu. Au sosit \u201eambasadorii\u201d, anun\u021b\u0103 Nana \u2013 CR \u0219i nea I. Ceva reviste \u0219i tachin\u0103ri, de ce nu m\u0103 duc pe acolo. \u00cei ofer pliante, \u00eemi spune s\u0103 i le duc \u021ba\u021bei Leana \u2013 adaug\u0103, de la noi din sat, a, pentru mine doamna Leana, m\u0103car schimb numele-n Maria. Invita\u021bii la expozi\u021bia de pictur\u0103 rom\u00e2neasc\u0103 \u2013 o deschide P.C. Chunder \u2013 \u0219i la recep\u021bia din Imperial Hotel. Vrea s\u0103-l vedem acas\u0103, nu pl\u0103tesc scuter. \u0218efii mari sunt \u00een concediu, mai a\u0219tept\u0103m dup\u0103 bilete. Nansi face greva studiilor.<\/p>\n

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Se va t\u0103ia strofa din \u201eDiana\u201d, ca \u0219i\u00a0\u201eP\u0103unul\u201d. \u00ce\u0219i ridic\u0103 schizofrenia la rang de reprezentativ\u0103, nu au alt rost dec\u00e2t s\u0103 \u00eempiedice absolut orice cuv\u00e2nt autentic \u00een cultura rom\u00e2neasc\u0103. E greu de spus ce-i trage la fund iremediabil, o societate de o iner\u021bie dus\u0103 la sublim? \u201eMuncim de diminea\u021ba p\u00e2n\u0103 seara, facem \u0219i munca portarului\u201d, \u00eei spun c\u0103 aia nu e munc\u0103 \u0219i \u201es\u0103 faci bine s\u0103 ajungi cel mai mare diplomat\u201d.<\/p>\n

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Nansi are intui\u021bia c\u0103 mi se vor face insinu\u0103ri \u0219i pentru\u00a0First Romanian, chiar \u00eemi sugereaz\u0103 s\u0103 nu m\u0103 mai omor pentru carte. M\u0103car Geza m\u0103 acuz\u0103 c\u0103 eu sunt cel ce zice c\u0103 e bine, totul, la noi, c\u0103 a\u0219 fi na\u021bionalist, m\u0103 iscode\u0219te dac\u0103 mi-a\u0219 permite s\u0103 s\u0103 fiu \u00eempotriva lui, m\u0103rturisind c\u0103 el m-a lucrat pentru c\u0103 nu \u00eel rugasem \u00eenainte s\u0103 m\u0103 sus\u021bin\u0103 \u2013 se pronun\u021b\u0103 c\u0103-l neglijam. Spune bazaconii despre toat\u0103 lumea, polonezul cump\u0103r\u0103 \u00eennebunit, terorizat, predecesorul s\u0103u s-a f\u0103cut vinovat de tantra, plus c\u0103 a mai \u0219i crescut \u00een cas\u0103 de orfani.<\/p>\n

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Examenele la care sunt supu\u0219i suplimentar fa\u021b\u0103 de mine, m\u0103 denot\u0103 indirect cumva deasupra, \u00eentr-o sfer\u0103 proprie. Uneori am impresia c\u0103 anumi\u021bi, \u00eenainte de a da cu piatra, arunc\u0103 o scuz\u0103. Lupta mea e totu\u0219i moral\u0103. Virulen\u021ba, dac\u0103 bate \u00een retorism de poezie, \u00een melos. N-am idee special\u0103 despre divinitate, dar aceasta, se poate crede, \u00eemi \u021bine uneori partea, c\u00e2t s\u0103 nu mor de ru\u0219inea injectat\u0103 pe toate filierele \u00een jurul existen\u021bei noastre.<\/p>\n

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A\u0219a c\u0103 trogloditismul cinic, \u00een hait\u0103, de cocote f\u0103r\u0103 \u0219tampil\u0103 \u00een condicu\u021be, c\u0103zute pe chestia asta \u00een abstinen\u021b\u0103 de nevoie, refulat\u0103 \u00een m\u00e2nc\u0103torie \u0219i copit\u0103, n-are dec\u00e2t s\u0103-mi par\u0103 providen\u021bial. A fi \u00eempiedicat s\u0103 tr\u0103i\u0219ti, mai treac\u0103-mearg\u0103, ajunge \u00een firea degener\u0103rilor, ceva mai r\u0103u, f\u0103r\u0103 nume, ofensator p\u00e2n\u0103 \u00een r\u0103runchii istoriei, asta dezarmeaz\u0103. Nu e de l\u0103sat pe m\u00e2ine nici r\u0103zbunarea, ce ni se dore\u0219te, s-ar spune holera \u00een fiece or\u0103, spre a fi poate l\u0103sa\u021bi s\u0103 putrezim near\u0219i, neraporta\u021bi, ne\u0219ter\u0219i din gelatina de h\u00e2rtie a ordinii.<\/p>\n

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\u00a0Ajungem\u00a0\u00a0la Spitalul Sf. \u0218tefan. Lume amabil\u0103. Doctorul foarte t\u00e2n\u0103r, din Orissa, \u00eemi spune despre Jaganath Puri, eu de Alecu Ghica. Radiograma trebuie citit\u0103 m\u00e2ine de un al treilea senior doctor. T\u00e2rziu, Nansi \u00ee\u0219i aminte\u0219te c\u0103 a mai avut am\u00e2ndou\u0103 picioarele \u00een ghips c\u00e2nd era copil. Pare veche, \u00eemi spune ast\u0103zi dr. Joseph despre fisur\u0103. E o entors\u0103, va purta dou\u0103 s\u0103pt\u0103m\u00e2ni plaster.<\/p>\n

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Cur\u00e2nd, el se angajase \u00eentr-o opera\u021bie. Culoare pline de pacien\u021bi, \u00eenso\u021bitori, surori sub\u021biri \u0219i cumsecade ori importante. Ghipsul pus. \u00cenapoi acas\u0103. M\u00e2ncare chino-italo-tibetan\u0103, numai cu macaroane \u0219i ou\u0103. Fierb apa, laptele d\u0103-n foc. Vremea se schimb\u0103. Nu ne intereseaz\u0103 din nou nimic. Nici yoga, nici M.Phil, nici D. Litt., nici porc\u0103ria diplomato-antidemocratic\u0103 \u0219i antiuman\u0103, nici localnicii cu via\u021ba, clevetitorii ori poe\u021bii lor.<\/p>\n

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Mi-e somn. Nu pot tr\u0103da. \u021a\u00e2n\u021barii iau furnica uria\u0219\u0103 drept Gulliver. Ratarea se bazeaz\u0103, \u00een ce are sublim, pe sensibilitate, iar \u00een uzan\u021ba ei de grup pe agresivitatea nulit\u0103\u021bii, neantul activ proferat de \u0218ora, prima categorie opun\u00e2ndu-se tuturor celorlalte. Nu e o criz\u0103 a individului c\u00e2t o suprema\u021bie a vidului. A fi o personalitate \u00eenseamn\u0103 tr\u0103irea \u00een moarte impus\u0103. \u0218i c\u00e2te precepte buddhiste inoperante.<\/p>\n

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Nu \u0219tim, adev\u0103rat, absolut nimic ce ne a\u0219teapt\u0103. Ne obsedeaz\u0103 pierderile netipice. Suntem doar pe drumul nostru. Picherii \u00eenarma\u021bi ne scot din s\u0103rite \u0219i at\u00e2t. O umilin\u021b\u0103 cerebral\u0103, cre\u0219tin\u0103. Comer\u021buri cu ne\u00eentrerupte accidente mici, plus ritual \u2013 mi-e\u0219ti surat\u0103 p\u00e2n la moarte? – sunt moart\u0103 p\u00e2n la moarte. Nu vom mai avea deodat\u0103 de ar\u0103tat dec\u00e2t spre noi \u00een\u0219ine.<\/p>\n

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Coinciden\u021bele \u00eembog\u0103\u021besc subsolul universului. Moartea ne va fi coincident\u0103. Horoscoapele nu sunt f\u0103r\u0103 \u0219anse. Intr\u0103m \u00een co\u0219mare mai tasate. Str\u00e2ngem din\u021bii proste\u0219te ru\u0219ina\u021bi. Corpurile ne devin expresii disidente. Disper\u0103rile de \u00eemprumut consoleaz\u0103. Ofensatorii inspir\u0103 mil\u0103 \u2013 parc\u0103 totu\u0219i putem s\u0103 b\u0103g\u0103m, la r\u00e2ndu-ne, pe toat\u0103 lumea \u00een pizda m\u0103-sii.<\/p>\n

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Ce c\u00e2rpaci e un ortoped \u0219i acoper\u0103 un mit. De ce n-am acoperi \u0219i noi c\u00e2rpele \u00een care suntem \u00eencerca\u021bi? Scutecarii n-au stof\u0103. Step de idei accidentat \u0219i el. Dezbinul materialist ordinat ne intimideaz\u0103… Sunt timid\u0103, \u00eencepe s\u0103 recunoasc\u0103 \u0219i Nana, singurul nostru st\u0103p\u00e2n \u0219i bucurie.<\/p>\n

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Socoteasc\u0103 interna\u021bionalii, \u00een re\u021beaua de scabroase supersti\u021bii, bife de p\u0103cate imposibile, ba vom colabora baudelairean d\u00e2ndu-le descrierea excitant\u0103 a ceea ce ei necunosc\u00e2nd pun \u00een coada unor cumin\u021bi, one\u0219ti \u0219i mistici pr\u0103p\u0103di\u021bi cu art\u0103 \u00een nas, f\u0103r\u0103 batist\u0103 \u00een buzunarele rupte, cusute, rupte. Vor fi destui s\u0103 ne aminteasc\u0103 atribuindu-ni-le propriile lor pehliv\u0103nii, reful\u0103ri, proletcultisme.<\/p>\n

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Ce puteam face dec\u00e2t s\u0103-i cred pe al\u021bii mai intelectuali g\u00e2ndindu-i pe-ai no\u0219tri mai tr\u0103d\u0103tori. Le spui ce e cu tine \u0219i \u021bi-o taie c\u0103 au auzit ei de la prieteni ca Orlov a\u0219a \u0219i a\u0219a, \u00eei la\u0219i s\u0103 moar\u0103 pro\u0219ti, \u021bipi c\u0103 te dai la fund de zile mari pe care le maimu\u021b\u0103resc abject. Acest sistem de impoten\u021b\u0103 a l\u0103sat satele goale \u0219i s-a f\u0103cut oficiu diplomatic.<\/p>\n

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C\u0103-i ofenseaz\u0103 Eminescu, Br\u00e2ncu\u0219i, Blaga, ce tradi\u021bie re\u00eencarneaz\u0103, ce perpetuitate \u00een dedublarea unei societ\u0103\u021bi pe capul unui popor c\u00e2ntat \u00een trompete ne\u00eenregistrate? O bl\u00e2nde\u021be de ironie generalizat\u0103, o \u00eencruci\u0219are turmentat\u0103 de m\u00e2ini \u00een fa\u021ba l\u0103rgirii \u0219i trecerii timpului, un turism prin via\u021b\u0103, istorie \u0219i antifapte, o v\u00e2njoas\u0103 \u2013 cotropitoare din r\u0103d\u0103cin\u0103 \u2013 triste\u021be, \u00eennobilat\u0103 de disperare mioritic\u0103.<\/p>\n

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Literatura e meserie absurd\u0103: o scrii \u00een via\u021b\u0103 \u0219i se recunoa\u0219te postum. De-aia lucrez \u00een tren, s\u0103 v\u00e2nd la cobor\u00e2re. De n-a\u0219 g\u0103si gara goal\u0103. Mai bine de un editor de mersul trenurilor sau de o fat\u0103 de la manuscrisele clasicilor. C\u0103l\u0103toria lungindu-se, \u00eencep s\u0103 m\u0103 tem oricum. M\u0103 apuc de aforisme ca s\u0103 nu cad pe terasament.<\/p>\n

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\u00a0\u00a0\u00a0Un indian care \u00eenva\u021b\u0103 cu obstina\u021bie rom\u00e2ne\u0219te, via yoga, aduce revela\u021bia universalismului anticomparatist, oric\u00e2t similitudinile sanscrito-rom\u00e2ne l-ar stimula. Rom\u00e2na inspir\u0103 o for\u021b\u0103 spiritual\u0103 \u0219i vibratorie nedisimulat\u0103 de gramatici \u0219i fonetici, inaccesibil\u0103 diplomatismului alingv \u0219i acefal, greu de \u00een\u021beles de colocutori, colocatari \u0219i contemporani.<\/p>\n

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ORGANI-CULTURAL DEVIANCE<\/strong><\/p>\n

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Organi-cultural deviance\u00a0is a recent philosophical model used in academia and corporate criminology that views\u00a0corporate crime<\/a>\u00a0as a body of social, behavioral, and environmental processes leading to deviant acts. This view of corporate crime differs from that of Edwin Sutherland(1949), who referred to corporate crime as\u00a0white-collar crime<\/a>, in that Sutherland viewed corporate crime as something done by an individual as an isolated end onto itself. With the Organi-cultural deviance view, corporate crime can be engaged in by individuals, groups, organizations, and groups of organizations, all within an organizational context. This view also takes into account micro and macro social, environmental, and personality factors, using a holistic systems approach to understanding the causation of corporate crime.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

The term derives its meaning from the words\u00a0organization\u00a0(a structured unit) and\u00a0culture\u00a0(the set of shared attitudes, values, goals, and practices). This reflects the view that corporate cultures may encourage or accept deviant behaviors that differ from what is normal or accepted in the broader society. Organi-cultural deviance explains the deviant behaviors (defined by societal norms) engaged in by individuals or groups of individuals.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

Because corporate crime has often been seen as an understudy of common crime and criminology, it is only recently that the study of corporate crime been included in coursework and degree programs directly related to criminal justice, business management, and organizational psychology. This is partly due to a lack of an official definition for crimes committed in the context of organizations and corporations.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

The social philosophical study of common crime gained recognition through\u00a0Cesare Beccaria<\/a>\u00a0during the 18th century, when Beccaria was heralded as the Father of the Classical School of Criminology.[citation needed<\/a>]<\/em><\/p>\n

\u00a0<\/em><\/p>\n

However,\u00a0corporate crime<\/a>\u00a0was not officially recognized as an independent area of study until\u00a0Edwin Sutherland<\/a>\u00a0provided a definition of\u00a0white collar crime\u00a0in 1949. Sutherland in 1949, argued to the American Sociological Society the need to expand the boundaries of the study of crime to include the criminal act of respectable individuals in the course of their occupation.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

In 2008, Christie Husted found corporate crime to be a complex dynamic of system-level processes, personality traits, macro-environmental, and social influences, requiring a holistic approach to studying corporate crime. Husted, in her 2008 doctoral thesis,\u00a0Systematic Differentiation Between Dark and Light Leaders: Is a Corporate Criminal Profile Possible?, coined the term\u00a0organi-cultural deviance\u00a0to explain these social, situational and environmental factors giving rise to corporate crime.<\/em><\/p>\n

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SODOMA POSTMODERN\u0102<\/strong><\/p>\n

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Aceasta Sodoma postmoderna – Radu Aldulescu Proorocii Ierusalimului, Editura Redactiei Publicatiilor pentru Strainatate, Bucuresti, 2004, 312 p. Proza lui Radu Aldulescu se apleaca asupra unui univers mai putin familiar literaturii romane, cel al periferiei, al marginalitatii. Sonata pentru Acordeon (debut, 1993) si Amantul Colivaresei (1994), pentru a nu aminti decit doua dintre romanele sale, cele mai bune de altfel, ne infatiseaza lumea mahalalelor bucurestene (din Ferentari sau Dudesti): o lume sordida, mizera, care se zbate pentru supravietuire, cu relatii tumultuoase si complicate; o lume cu iubiri ambigue, ce pot fi luate foarte usor drept altceva si care se faneaza la fel de usor. Totusi, dincolo de pitorescul acestei lumi pestrite, dincolo de un anume exotism, problema majora pe care o pun romanele lui Radu Aldulescu este in primul rind cea a relatiei cu ceilalti. Personajele sale incearca din rasputeri sa faca fata acestui angrenaj monstruos care se numeste relatii umane. Ele stiu intuitiv, fara sa-l fi citit pe Sartre, ca infernul e celalalt, dar, pe parcurs, incearca sa-l imblinzeasca si sa se imblinzeasca. Infringere sau intelepciune? Greu de spus. Cert este insa ca proza lui Radu Aldulescu se apropie cu o oarecare tandrete, fara edulcorare si moralisme de prisos, de un celalalt impins spre periferie, privit cu aroganta sau suspiciune, intrucit refuza sa faca jocul societatii, sa accepte un model impus de la centru. Marginalii acestia dispretuiti se gasesc insa mai aproape de curgerea vietii si intrucitva mai liberi. Gresesc, tradeaza si sint tradati, iubesc si uneori chiar ucid, dar exista totusi o onestitate frusta fata de viata ce le-a fost daruita, onestitate care-i salveaza de la degradarea umana totala. Proorocii Ierusalimului, aparut in 2004, la Editura Redactiei Publicatiilor pentru Strainatate (extrem de prost redactata cu numeroase scapari de culegere), se inscrie in oarecare masura in trena acestor romane, cu mentiunea ca, de data aceasta, autorul vizeaza o lume in tranzitie, Romania de dupa caderea comunismului, dupa confiscarea Revolutiei, dupa esecul din Piata Universitatii. Prin comparatie cu celelalte romane, lumea aceasta apare, in mod paradoxal, mai sumbra si mai lipsita de speranta decit oricind. O lume atinsa de coruptie politica, morala si erotica, o lume incinsa de zeci de cercuri ale infernului, o lume gestanta, care nu izbuteste totusi sa nasca, o lume ce aminteste de Povestea porcului. Pedepsita pentru curiozitatea sa, sotia printului este incinsa cu noua cercuri si blestemata sa nu poata naste decit atunci cind mina sotului se va intinde iertator si izbavitor asupra pintecului ei. Izbavirea de aceasta sarcina pare sa se lase indelung asteptata, coborirea, scufundarea in infernul patimilor pare sa nu cunoasca iesirea la lumina. Cititorul pare, la rindul sau, condamnat sa rataceasca la nesfirsit prin bolgiile pacatului. – Sub semnul decadentei, al putreziciunii si al imbuibarii De altfel, deruta si confuzia sint sugerate chiar de firul epic atit de incilcit, care aduna laolalta spatii diverse: cel romanesc, cel german si francez, cu multiplele lor ramificatii de mediu. Punctul de coeziune se afla in intilnirea lui Doru (Dorulet) cu Ierusalim (copilul vindut unor traficanti de carne vie si intors in tara, dupa multe peripetii, buclucuri si suferinte, sub numele de Duna Petre\/Petrica). Intilnirea matinala din apartamentul de bloc muncitoresc da tonul povestirii intortocheate si intretaiate. Vom trece astfel de la saracia satelor Gitejei si Ciopleni, al caror motto sau vaiet este rostit de Culaita: Ie lumea amarita, la traficantii de carne vie din Romania si din alte parti, imbuibati si inraiti (Edi, Marta, Burhusi, nasul Oprescu), la emigrantii parveniti si la politia corupta, pentru care opinia publica e numai o chestie siciitoare acolo, oricum neputincioasa atita timp cit moravurile sint cu desavirsire corupte. Aflata sub semnul decadentei, al putreziciunii si al imbuibarii, aceasta Sodoma postmoderna perverteste toate relatiile umane: Ierusalim, Robert si Claudiu ajung sa le spuna parinti proxenetilor cu apucaturi demente (Marta, mamica lor cea isterica, Edi si Burhusi, niste sadici pusi pe capatuiala, care-si cresteaza odraslele cu cutitul daca nu-si fac normele la cersit); cei trei copii traficati au o relatie bolnavicioasa cu Marta, la fel Ierusalim cu pedofilul Frderic, urmasul lui Lautrec, atins de cancer osos (o subliniere prea evidenta). Proorocirea acestei lumi intoarse pe dos de catre Nojita, batrinul rudar, cucernic si betiv, care-l da pe Ierusalim de linga el si reluarea ei vaicareata pe parcursul romanului dau o nota prea apasat simbolica, o nota stinjenitoare, care pare sa spuna ca autorul n-are destula incredere in capacitatea de interpretare a cititorului. Totusi, aceasta urmarire incordata a atingerii unor semnificatii, aceasta simbolistica la vedere cedeaza de cele mai multe ori in fata unui narator cu adevarat inzestrat, care reuseste sa-si contureze destul de firesc universul fictional. Descrierea mediilor interlope si a lumii necajite a muncitorilor (Magdalena, Rebeca) sau a satenilor saraciti, precum Culae, pe care numai natura si bunul Dumnezeu ii salveaza de la foamete (Ce dracu n-o fi asa bun de foame, cumnate? Atitea ierburi si verzituri si poame cite a lasat Dumnezeu pe pamint. O luam de primavara cu urzicile de pe sant si p-orma cu stevia si loboda si macrisu [] si p-orma prunele si merele) sint cit se poate de izbutite. In ce priveste personajele, naratorul le insoteste fara sa le critice, le acompaniaza cu acel tu incarcat de tandrete, care a adus atitea schimbari de la Butor incoace, se insinueaza in gindurile si sufletul lor, cautind sa afle intelegere chiar si fata de comportamente reprobabile. Apropierea este atit de mare, incit genereaza o confuzie, o indistinctie de-a dreptul inconfortabila. Binele si raul se intrepatrund intr-atit, incit lumea devine o amestecatura monstruoasa, din a carei urzeala complicata nu ai cum sa scapi. Binele si raul nu exista in stare pura, nu poate fi distilat, extras sub forma unei esente. Personajul care raspunde cel mai bine acestei etici amestecate este Frderic, in care iubirea parentala pentru Ierusalim si iubirea vinovata nu pot fi separate, el fiind amant si parinte totodata. – Abandonarea stilului dezinvolt din primele romane Relatiile umane nu mai stau demult sub semnul puritatii, al limpezimii, sub semnul a ceea ce ne-am obisnuit sa numim normalitate. Contaminarea si vicierea lor au atins zonele unde se presupune ca e de gasit puritatea maxima: copilul (de indata ce apare in scena, Ierusalim poarta pecetea decaderii sale: Blond, imbujorat, de o frumusete nerusinata, cu o insolenta provocatoare pulsindu-i in privirea ochilor albastri) si proorocii nelegiuiti, care se adapa cu ape otravite. In ciuda acestei lumi corupte, ratacind intr-o vesnica tranzitie, in ciuda acestor relatii nefiresti, simbolistica strinsa a romanului ne conduce spre o oarecare speranta. Doru se va casatori in cele din urma cu mamica sa grasulie si cicalitoare, iar din unirea aceasta searbada se va naste Mirel, cel adus cu atita greutate pe lume. Chinurile facerii Magdalenei amintesc iarasi de printesa blestemata sa nu poata naste. Magdalena sta zile in sir in spital, fara sa-si poata aduce pe lume copilul, pina cind o asistenta se indura de ea si-i provoaca nasterea. O facere grea, poate innoitoare, caci Mirel nu are nimic din frumusetea obraznica a lui Ierusalim, ci pare sa fie pur si simplu un copil cuminte. Transparenta prea mare a semnificatiilor dauneaza insa romanului, ca si tonul egal de compasiune a naratorului fata de personajele sale, care se transforma intr-un zumzet, intr-un refren murmurat in surdina. Autorul pare sa fi uitat pentru moment stilul dezinvolt din primele sale romane, naratiunea pregnanta, suficienta siesi, care nu are nevoie de parabole pentru a se sustine, el pare sa se tina indeaproape de un proiect, de o viziune mai ampla, care ajunge pina la urma sa-l aserveasca si nu sa-l deserveasca. referat de Doina IOANID www.studentie.ro – 2005<\/p>\n

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THE CORRUPTION OF PURITAN SOCIETY<\/strong><\/p>\n

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When reading The Scarlet Letter, I noticed that throughout the novel Hawthorne relentlessly ridicules the Puritan way of life. In the first chapter of TSL, he shows that the Puritans failed right from the get go by recognizing it \u201camong their earliest practical necessities to allot a portion of the virgin soil as a cemetery, and another portion as the site of a prison.\u201d And it only goes downhill from here. The women gathered outside the prison, waiting to see Hester Prynne punished, are described by Hawthorne as having a \u201crotundity of speech\u201d and a self-righteous attitude. Here is just one of the many examples of the horrible things these women say about Hester: \u201d If the hussy stood up for judgment before us five\u2026would she come off with such a sentence as the worshipful magistrates have awarded? Marry, I trow not!\u201d Even the Puritan women, women that are supposed to live with humility and grace according to Puritan doctrine, are just as tainted and corrupted as the men punishing Hester. Although she is considered an outcast by society, her needle-work had a huge impact in Puritan society. She stitched gloves for magistrates, clothing for the dead and the mourning, linens for babies, scarves for soldiers, the list goes on and on. Commenting on this Puritan hypocrisy, Hawthorne writes:<\/p>\n

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\u201cVanity, it may be, chose to mortify itself, by putting on, for ceremonials of pomp and state, the garments that had been wrought by her sinful hands\u2026But it is not recorded that, in a singular instance, her skill was called in aid to embroider the white veil which was to cover the pure blushes of a bride. The exception indicated the ever relentless vigor which society frowned upon her sin.\u201d<\/p>\n

Hawthorne\u2019s commentary on the Puritan way of life shows that the Puritans don\u2019t even have the moral strength to completely ostracize an individual from society. Their failure to follow through with their punishments also shows a fundamental weakness in Puritan society: that their corruption prevents Puritans from even following their own moral code or laws.<\/p>\n

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Literary Analysis of Corruption in The Duchess Of Malfi (by John\u00a0Webster)<\/p>\n

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November 22, 2017November 22, 2017<\/a>thinkthoughtstaught<\/a><\/p>\n

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\u2018\u2026 a prince\u2019s court<\/p>\n

Is like a common fountain, whence should flow<\/p>\n

Pure silver drops in general, but if\u2019t chance<\/p>\n

Some cursed example poison\u2019t near the head,<\/p>\n

Death and diseases through the whole land spread.\u2019<\/p>\n

In the light of this comment, discuss the presentation of corruption in The Duchess of Malfi.<\/p>\n

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Corruption in The Duchess of Malfi (TDOM) is presented in the secular world as a form of greed, arrogance and craze, in the religious world which does not uphold religious values such as integrity as much as they are expected to, and in the world of marriage which is supposed to be pure and sacred. Corruption is pervasive and influential, where the influence can be passed from top down, from leaders to their followers or any other people.<\/p>\n

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Corruption in TDOM is presented in the secular world as a form of greed, arrogance and craze. This can be seen through Ferdinand, who is described by Delio in his commentary of other characters by saying, \u201cthe law to him \/ Is like a foul black cobweb to a spider\u201d. This metaphor compares Ferdinand to a spider, where the \u201claw\u201d is his \u201ccobweb\u201d. Ferdinand manipulates the law just like how any spider would weave its cobweb to its own advantage of catching prey. Ferdinand\u2019s prey are those who got caught in his manipulations, and like a spider, he would \u201cfeed off\u201d his prey by making use of them for his selfish reasons. In this way, Ferdinand is described as a predatory creature, manipulating the law, which is meant to serve justice, to benefit himself. This juxtaposition of comparing the law to a cobweb weaved by a spider goes to show how corrupt even the judicial system is, and emphasises that corruption is pervasive. Then, Ferdinand compares his courtiers to his \u201ctouchwood\u201d, to \u201ctake fire when I give fire\u201d. This shows how Ferdinand\u2019s courtiers are expected by Ferdinand to do whatever he pleases, and nothing based on what pleases themselves. He is in turn showing off his power by depicting his courtiers as his \u201ctouchwood\u201d, showing how he exploits his position as the leader of a country, due to his arrogance. By telling his courtiers this, it also serves to ingrain in their minds a sense of loyalty, a reminder to them that they must always do what he does, or what he wants them to do, especially since the courtiers all kept quiet after this short speech by Ferdinand. A leader of a country is expected to be serve the needs of others and help the country, instead of relishing in the fact that he himself is the leader and trying to control others with his power, emphasising how corrupt the court and courtiers are. Later on in the play, Ferdinand\u2019s actions of corruption hints to his madness as well, when he found out the Duchess\u2019 delivery of her first born, he flips, \u201cApply desperate physic! \/ We must not now use balsamum, but fire, \/ The smarting cupping glass, for that\u2019s the mean \/ to purge infected blood\u201d. His over-reaction to the news of the Duchess, where he uses words like \u201cdesperate\u201d, \u201cfire\u201d, \u201cpurge\u201d, \u201cinfected\u201d, are strong words that show his extreme distress, internal violence, and overestimation of the situation as extremely detrimental and warranting extreme actions against the \u201cinfected\u201d or impure and polluted Duchess. This implies how badly Ferdinand wants to have control over the situation, which suggests obsessiveness and thus madness. His desire to control, manifests from his corruption of his position as a leader, and as the twin brother of the Duchess. This goes to show how extreme corruption may lead to craze. As the leader of a country is corrupt, his followers or his people are also likely to be, \u201cSay then my corruption \/ grew out of horse dung\u201d. In this quote, Bosola pities or looks down on himself for being corrupted, as he talks about it in \u201chorse dung\u201d, a filthy and smelly thing to be associated to, implying that he himself knows he is corrupt, and the corruption was ignited partially because he met Ferdinand, who tempted him with gold. The Duchess herself, though generally virtuous, is not excluded from corruption, albeit mildly. Just before the time when she wants to propose to Antonio, she instructs Cariola, \u201cplace thyself behind the arras, \/ Where thou mayst overhear us\u201d. Since the Duchess does not tell Antonio about the presence of Cariola, and that she will \u201coverhear\u201d or in other words \u2013 spy on them, even during the proposal and his acceptance of it. Antonio is put in a position of inferiority, and there is a sense of him being kept in the dark and thus in some way manipulated or deceived by the Duchess, such that he does not get to decide for his actions based on what is truly going on, or the facts of the situation. The Duchess may not have had bad intentions, but her insistence of keeping Cariola hidden from Antonio at first is an act of manipulation of Antonio. Even the purest character in the novel is tainted with this corruption, emphasising how corrupt the secular world really is. Therefore, corruption is presented in the secular world, as a form of greed, arrogance and craze.<\/p>\n

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Corruption in TDOM is presented in the religious world as well, which does not uphold religious values such as integrity, as much as the people in the religious world are expected to. The Cardinal is the main figure of corruption in the religious world, where he is described by Antonio in his commentary as a person, \u201cwhere he is jealous of any man he lays worse plots for them than ever was imposed on Hercules\u201d. This metaphor or juxtaposition of comparing the Cardinal\u2019s punishments towards other people against him to the punishment \u201cimposed on Hercules\u201d, where Hercules is known for his multiple gruelling and inhumane labours as punishment for killing his family, shows how wicked the Cardinal may be in punishing. Furthermore, the punishments are not directed toward those who had gone astray from religiosity, but merely toward those whom the Cardinal does not like. A Cardinal, a religious figure, is expected to be holy, forgiving, and pure in temperament. Nevertheless, the Cardinal does not fit into any one of them, the punishments created by him are more than inhumane, and directed towards people who may not have done anything particularly wrong to warrant such punishment. This emphasises the irony of the Cardinal, as a religious figure, and yet of satanic demeanour. The Cardinal does not uphold chastity as well, as he tells Julia, \u201cI pray thee kiss me\u201d. A Cardinal would usually instruct others to kiss his ring instead, as a sign of respect for him and his religion. However, the Cardinal asked a female to \u201ckiss [him]\u201d, and he uses the words \u201cpray thee\u201d, which is supposedly meant for holy uses only. Even though the Cardinal is expected to stay chaste as a religious leader, he does not, and not only that, he insults his own religion by using a sacred word like \u201cpray\u201d in such a sexual action, which is forbidden. This shows how the Cardinal himself is corrupt in his religion, and in using his power as a leader of the church to instruct how others should treat him, for his own personal sexual benefit. The fact that Julia is really having an affair with the Cardinal, shows how the Cardinal is able to influence others under his power, to become corrupt as well, as Julia should have known very well that a Cardinal is supposed to be kept chaste. Also, at the end of the play, the Cardinal tries to pray, \u201cbut the devil takes away my heart \/ for having any confidence in prayer\u201d. The basic thing any religious person should be able to do and can do is to pray. The Cardinal, a religious leader of great position in the church is not even able to do that, as he claims \u201cthe devil\u201d took away that ability. The association of the devil to him itself is a sign of how the Cardinal is associated with evil, emphasising his ultimate corruption even as a religious leader. Hence, if even the religious leader of great position in the church is corrupt, and that the Cardinal is proven to have the ability to influence others under him, it is very likely that almost the entire religious world may be corrupt as well.<\/p>\n

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Corruption in TDOM is presented in the world of marriages, which is supposed to be sacred and pure between every couple. Julia has a relationship with another man even though she is married, \u201cwhat trick didst thou invent to come to Rome \/ Without thy husband\u201d. The use of words \u00a0such as \u201ctrick\u201d, \u201cinvent\u201d \u00a0and \u201cwithout thy husband\u201d, by the Cardinal to Julia shows how Julia is manipulative in her marriage to her husband \u2013 Castruchio, who still has no idea she is committing adultery. She does not only have an affair with the Cardinal, but with Bosola as well, \u201cSure your pistol holds \/ Nothing but perfumes or kissing comfits\u201d. This metaphor or juxtaposition from Bosola to Julia, comparing her pointing of a pistol at him to \u201ckiss[es]\u201d, shows how the aura Julia is giving off is sexual in nature. The fact that she uses a pistol to woo Bosola and him recognising that shows another level of adultery, where she commits emotional adultery, as she woos him with a sense of humour or emotional intimacy. A marriage is supposed to be sacred, pure and only between two people. Marriage is supposed to uphold honesty, love, and respect between the two. However, by committing adultery with other men, Julia is not loving and respecting her husband as she should, as she is only supposed to give her body and emotional or intimate life to her husband alone. So, by doing this, she is belittling her husband, and corrupting the marriage. On top of that, when asked by Bosola if she is willing to betray the Cardinal, someone whom she has an affair with, she says \u201ccunningly\u201d, without any hesitation. Instead of merely saying yes, Julia chooses to use a word to agree with Bosola that is so corrupt and wicked, such that she portrays how she desires to do harm to someone she supposedly loves, or had an affair with. This goes to show how incapable Julia is in truly loving anyone, and that her marriage with Castruchio may very well just come to nothing. The fact that the Cardinal is Julia\u2019s first man to have an affair with, shows how the Cardinal, a leader in the religious world, has the ability to influence others. In this case, the leader \u2013 the Cardinal, had influenced Julia to be wicked and corrupt, such that it even backfires on himself, that she is betraying him because of her corruption. Thus, the multiple scenes in TDOM depicting the corruption of marriage emphasises its sheer corruption and absurdity.<\/p>\n

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All in all, corruption in TDOM is presented in the secular world as a form of greed, arrogance and craze, in the religious world which does not uphold religious values such as integrity as much as they are expected to, and in the world of marriage which is supposed to be pure and sacred. Corruption is pervasive and influential, where the influence can be passed from top down, from leaders to their followers or any other people.<\/p>\n

——————-<\/p>\n

George ANCA<\/strong><\/p>\n

Bucure\u0219ti<\/strong><\/p>\n

vineri, 16 martie 2018<\/strong><\/strong><\/p>\n

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