{"id":41764,"date":"2018-11-02T09:03:54","date_gmt":"2018-11-02T09:03:54","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=41764"},"modified":"2018-11-02T09:03:54","modified_gmt":"2018-11-02T09:03:54","slug":"george-anca-artur-silvestri-de-doua-ori-ocultat","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2018\/11\/02\/george-anca-artur-silvestri-de-doua-ori-ocultat\/","title":{"rendered":"George ANCA: Artur SILVESTRI, de dou\u0103 ori ocult(at)"},"content":{"rendered":"

\"\"<\/a>Ocultul literar, are, sub comunismul t\u00e2rziu, un \u201ccuptor alchimistic\u201d \u00een scriitura lui Artur Silvestri, republicat, \u00een multe c\u0103r\u0163i, dup\u0103 1989, la Carpathia Press, cu minime addenda, dublat \u015fi de proza imobiliarului, un jurnalism literar arborat \u00een avangarda tranzi\u0163iei prelungite. Cl\u0103ditul parc\u0103 nu se putea s\u0103 nu se prelungeasc\u0103 \u00een publica\u0163ii virtuale, reconciliind, odat\u0103 \u00een plus, vechea \u201czicere de coduri\u201d cu \u201ceseismul\u201d noii scriituri specializate, amintindu-i scriitorului \u015fi afaceristului\/bussinesman (\u201ceu nu c\u00e2\u015ftig din c\u0103r\u0163i ci din afacere\u201d) de Vl\u0103dica Antonie Pl\u0103m\u0103deal\u0103, \u201csocotit de biseric\u0103 prea literat \u015fi de litera\u0163i prea bisericesc\u201d.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 De o parte, arhetipul c\u0103lug\u0103rilor sci\u0163i, originismul, rena\u015fterea isihast\u0103, br\u00e2ncovenismul literar, reconquista profetic\u0103 etc., de alt\u0103 parte, retrocedarea secolului, Rom\u00e2nia \u00een anul 2010, exerci\u0163ii de exorcism social, \u0163ara consultan\u0163ilor cu pistolul la br\u00e2u, \u015fase blocuri de 40 de etaje \u00een Her\u0103str\u0103u, \u00een locul Muzeului Satului etc. R\u0103m\u00e2nem, poate, \u00eentre cele dou\u0103 istorii \u2013 a ocupantului, a autohtonului -, flutur\u00e2ndu-ne \u201c\u00eenf\u0103\u0163i\u015fasrea Caesarului ocult, a protectorului tainic din vremea de dincolo de istorie\u201d, dar ne \u015fi retroced\u0103m, dintre \u201cincendiatorii semidoc\u0163i\u201d, retroculturii, \u201ctradi\u0163ie a blestemului antropologic\u201d, sau \u201crom\u00e2nitate de Ahasver\u201d. Ne va fi unind \u201cpatologia ne\u00eencrederii\u201d. \u201cSuntem \u00een spa\u0163iul fenomenului horal<\/strong>\u201d, \u00een Cucuteni, cu Mircea Vulc\u0103nescu \u015fi Romulus Vulc\u0103nescu (acesta r\u0103spunz\u00e2nd, la \u00eendemnul lui Gusti, spa\u0163iului mioritic al lui Blaga cu fenomenul horal). \u015ei cu Petrus Diaconus, \u201cpersonalitate enigmatic\u0103\u201d, \u015fi cu Petre Diaconu, de la P\u0103cui-Vicina.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen fapt, adev\u0103rata literatur\u0103 a lui Artur Silvestri este cea din ocultul imobiliar (altoit pe anteriorul esoterism medievist-matein): \u201cToate otrepele ce trebuiau s\u0103-\u015fi afle locul \u00een \u2018Curtea miracolelor\u2019 dau tonul azi \u015fi instituie o cenzur\u0103 f\u0103r\u0103 precedent prin efectele r\u0103sturn\u0103rii aproape complete de propor\u0163ii naturale. Uciga\u015fi, demolatori \u015fi paricizi, v\u00e2nz\u0103tori de iluzii \u015fi n\u0103scocitori de teme false, t\u0103inuitori \u015fi uneltitori m\u0103run\u0163i, de un l\u0103ut\u0103rism \u015focant prin chiar lipsa de talent \u00een c\u00e2ntatul dup\u0103 ureche, toat\u0103 aceast\u0103 pegr\u0103 de \u015fcoal\u0103 nou\u0103<\/em> constituie o viermuial\u0103 de saturnalie contemporan\u0103 \u015fi de lupanar, unde pare c\u0103 lipsesc numai vr\u0103jitoarele c\u0103l\u0103rind pe m\u0103tur\u0103 spre a avea pictura de extrac\u0163ie infernal\u0103\u201d (Prostologhikon. Vremea clownilor: cum se fabric\u0103 suprarealitatea de ziar<\/em>, 2008, p.4). \u201cPu\u0163ini \u00een\u0163eleg, \u00eens\u0103, c\u0103 pre\u0163ul secret al p\u00e2rjolului de la noi nu este o tem\u0103 ce prive\u015fte banii ci \u00eens\u0103\u015fi via\u0163a noastr\u0103 istoric\u0103, sacrificat\u0103 cu cinism de m\u00e2inile apuc\u0103toare ale c\u0103ror unghii vor trebui t\u0103iate \u00eentr-o zi, al\u0103turi de m\u00e2na toat\u0103 care a apucat\u201d (ibidem, p. 83).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u015ei totu\u015fi, \u00een volumul Loc \u015fi persoan\u0103. Eseuri despre geografia tainic\u0103<\/em>, \u201cUtopia etnografic\u0103\u201d (1988) succede afinitar eseului \u201cDuhul locurilor\u201d (1990), \u00eenapoi, de la Marin Preda la Br\u00e2ncoveanu, via casa, \u201cRe\u015fedin\u0163a de la B\u0103neasa a Mare\u015falului Ion Antonescu s-a \u00een\u0103l\u0163at \u00een 1936 prin os\u00e2rdia arhitectului G.M. Cantacuzino \u015fi datorit\u0103 g\u00e2ndului p\u0103trunz\u0103tor al acestui intelectual a c\u0103rui redescoperire integral\u0103 r\u0103m\u00e2ne de \u00eemplinit. Privit\u0103 mai de departe, casa m\u0103rturise\u015fte urme ce o situeaz\u0103 \u00een prelungirea stilului br\u00e2ncovenesc, reprodus simbolic dup\u0103 sute de ani: pridvorul, ca un foi\u015for de cul\u0103 olteneasc\u0103, masivitatea auster\u0103 \u015fi totu\u015fi somptuoas\u0103, simetriile ce amintesc o voin\u0163\u0103 valah\u0103 de clasicitate<\/strong> ca \u015fi ornamenta\u0163iile \u00een stucaturi aurite ce dau chenarului unei ferestre dinspre r\u0103s\u0103rit o singularitate ne\u00eent\u00e2mpl\u0103toare \u2013 acestea apar\u0163in mai pu\u0163in lumii moderne \u015fi mai mult \u00eenceputului de secol XVIII \u00eenc\u0103 rom\u00e2nesc. Un bazin de form\u0103 dreptunghiular\u0103, cu ape moarte \u015fi invadate de nuferi \u015fi de p\u0103puri\u015f, aminte\u015fte de parcul de la Mogo\u015foaia \u015fi, \u00een totul, plute\u015fte \u2013 peste ape, ierburi \u015fi pietre \u2013 un duh al vremurilor br\u00e2ncovene\u015fti ce \u00eeng\u0103duie asemuiri mai profunde dec\u00e2t simpla examinare arhitectural\u0103\u201d. (Loc \u015fi persoan\u0103<\/em>, p.18-19).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Specularea patetic\u0103 a dimensiunii br\u00e2ncovene\u015fti a modelului rom\u00e2nesc \u2013 \u201cDe fapt, am\u00e2ndoi sunt martirii unei Biserici ce nu s-a \u00eentemeiat\u201d \u2013 <\/strong>fusese precedat\u0103, \u00een alt registru, ocultat tot \u201c\u00een dou\u0103 limbi\u201d, de utopie: \u201c\u00cen definitiv, civiliza\u0163ia este \u00een Deliorman o desf\u0103\u015furare de coduri \u015fi este de la sine \u00een\u0163eles c\u0103 omul vie\u0163uie\u015fte \u00eentr-o lume de semne care adeseori spun repede \u015fi pe c\u0103i nediscursive mai mult dec\u00e2t ajung s\u0103 priceap\u0103 neini\u0163ia\u0163ii. Acestea nu-s doar parimiile de preste an \u015fi nu au cu necesitate con\u0163inut cre\u015ftin, sunt o amestecare de structuri ritualice \u00eentre care nu pu\u0163ine sunt arhaice \u015fi p\u0103g\u00e2ne \u015fi, de aceea, cu osebire vechi. Colindul, plugu\u015forul, \u2018Steaua mascat\u0103\u2019, \u2018clopotele\u2019, \u00eens\u0103 \u015fi \u2018Iord\u0103nitul\u2019 de pe 7 ianuarie, \u2018Gurbanul\u2019 de pe 1 februarie, acestea pun s\u0103 vie\u0163uiasc\u0103 invoca\u0163ii \u015fi retr\u0103iri de drame cu substruc\u0163ie metafizic\u0103 de v\u00e2rste din cele mai diferite \u015fi \u00eenf\u0103ptuiesc, \u00een fond, o sintez\u0103 a componentelor succesive \u00een etnogenez\u0103. Paparudele \u015fi Caloianul stau al\u0103turi aci de L\u0103sata- secului de c\u00e2\u015flegi, c\u00e2nd se strig\u0103 fetele peste sat, \u015fi cu S\u00e2nzienele din ziua de Dr\u0103gaic\u0103, cu L\u0103z\u0103ri\u0163a \u015fi cu C\u0103lu\u015ful jucat de Rusalii, ca form\u0103 de teatru mitic acesta.\u201d (ibid. p.31).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Acest autor nu are nevoie de Tabula Smaragdina, fie \u015fi \u00een traducerea lui Newton, pentru a-\u015fi ermetiza propria recep\u0163ie cosmic\u0103, rom\u00e2neasc\u0103, \u00een dantel\u0103rie de concepte-arcane \u201cacuzabile\u201d de fic\u0163ionism protocronist, iar, la urma urmei \u2013 \u201cG\u00e2nduri de noapte; \u2018case\u2019; tabuuri; copaci; \u015fi un joc de domino (pagini r\u0103zle\u0163e dintr-un jurnal intermitent\u201d : \u201c Exist\u0103 deci o realitate de gesturi, ritualuri \u015fi dispozitive peste care poate trece orice fel de vreme c\u0103ci tot degeaba va fi; acestea nu se includ \u00een memoria individual\u0103 ci stau depuse mult mai ad\u00e2nc, acolo unde nu exist\u0103 timp\u201d (ibid. p. 39)\/\u2026\/\u201dDe fapt, \u015ftergerea casei de pe P\u0103m\u00e2nt<\/em> m-a preocupat \u00een aceste s\u0103pt\u0103m\u00e2ni, mai ales atunci c\u00e2nd, apropiindu-se \u00eencheierea \u2018cl\u0103ditului\u2019 \u015fi casa nou\u0103 devenind o realitate, nu mai exista sc\u0103pare. Exist\u0103 o enigm\u0103 a acestor momente, despre care oamenii se feresc s\u0103 vorbeasc\u0103 de parc\u0103 ar fi totuna cu moartea. Ei nu pronun\u0163\u0103 \u2018numele clipei aceleia\u2019 ci o desemneaz\u0103 prin perifraz\u0103 (\u2018c\u00e2nd o fi s\u0103 fie\u2019) ori prin cuvinte cu aspect simbolic \u00eens\u0103 f\u0103r\u0103 un con\u0163inut l\u0103muritor (\u2018la moment\u2019, \u2018la mutare\u2019, \u2018c\u00e2nd n-o mai fi nevoie\u2019). \u00cen\u0163elese mai bine, acestea arat\u0103 un final, un \u2018sf\u00e2r\u015fit de timp\u2019. \u00cens\u0103 \u00eentr-un fel este \u015fi un \u2018sf\u00e2r\u015fit al timpului colectiv\u2019 ori, mai bine spus, al \u2018timpului ce prive\u015fte un trib\u201d<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Artur Silvestri \u00ee\u015fi autooculteaz\u0103 timpul \u00een form\u0103 de via\u0163\u0103 \u015fi spa\u0163iul \u00een form\u0103 de cas\u0103.<\/p>\n

\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014<\/p>\n

Dr. George ANCA<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Ocultul literar, are, sub comunismul t\u00e2rziu, un \u201ccuptor alchimistic\u201d \u00een scriitura lui Artur Silvestri, republicat, \u00een multe c\u0103r\u0163i, dup\u0103 1989, [&hellip<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-41764","post","type-post","status-publish","format-standard","hentry","category-articole"],"_links":{"self":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/41764","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/comments?post=41764"}],"version-history":[{"count":1,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/41764\/revisions"}],"predecessor-version":[{"id":41766,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/41764\/revisions\/41766"}],"wp:attachment":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/media?parent=41764"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/categories?post=41764"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/tags?post=41764"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}