{"id":19801,"date":"2014-06-26T12:05:42","date_gmt":"2014-06-26T10:05:42","guid":{"rendered":"http:\/\/revistacultura.ro\/nou\/?p=19801"},"modified":"2014-06-26T12:05:42","modified_gmt":"2014-06-26T10:05:42","slug":"literatura-postmoderna-o-literatura-controversata","status":"publish","type":"post","link":"https:\/\/revistacultura.ro\/nou\/literatura-postmoderna-o-literatura-controversata\/","title":{"rendered":"Literatura postmodern\u0103,  o literatur\u0103 controversat\u0103"},"content":{"rendered":"<p><em><strong>Din momentul \u00een care, dup\u0103 1944, \u00een Occidentul american \u015fi \u00een cel european s-a vorbit despre o istorie, o societate, o politic\u0103, o democra\u0163ie, o cultur\u0103, o \u015ftiin\u0163\u0103, o filosofie postmoderne, cercet\u0103torilor din domeniul culturii li s-a p\u0103rut firesc s\u0103 transfere termenul de \u201epostmodern\u201d \u015fi asupra artei \u015fi, desigur, asupra literaturii. A\u015fa se face c\u0103 ast\u0103zi se discut\u0103 \u00een mod curent despre literatura postmodern\u0103 sau, mai bine spus, postmodernist\u0103, o literatur\u0103 care, dac\u0103 \u00eei urmeaz\u0103 celei moderne \u015fi poart\u0103 alt nume, \u00eenseamn\u0103 c\u0103 este generat\u0103 de un alt canon literar dec\u00e2t cel modern.<\/strong> <\/em><br \/>\nNumele de \u201eliteratur\u0103 postmodern\u0103\u201d (\u201epostmodernist\u0103\u201d) i-a revenit mai \u00eent\u00e2i literaturii americane de dup\u0103 al Doilea R\u0103zboi Mondial. Dar \u015fi literaturii occidentale europene, \u00eendeosebi literaturii engleze \u015fi irlandeze.<br \/>\n\u00cen anii 1959 \u015fi 1960, \u00een America se vorbea despre postmodernism ca despre \u201eo deviere minor\u0103 de la marea mi\u015fcare modernist\u0103\u201d, iar \u00een anii \u201980 postmodernismul literar este numit, pe r\u00e2nd, avant-gardism, neo-avant-gardism \u015fi chiar modernism\u2026, spune Ihab Hassan \u00een \u00eencheierea, numit\u0103 \u201ePostfa\u0163\u0103 1982: Spre un concept de postmodernism\u201d, la cea de-a doua edi\u0163ie, din 1982 (\u00een Caiete critice nr. 1-2\/1986, p. 181), a volumului The Dismemberment of Orpheus: Toward a Postmodern Literature, ap\u0103rut ini\u0163ial \u00een anul 1971. Hayden White, profesor de literatur\u0103 comparat\u0103 la Stanford University, ne asigur\u0103 c\u0103 postmodernismul literar american s-a impus \u00een anii \u201960-\u201980 (\u201eModernismul american, postmodernismul \u015fi avangarda\u201d, \u00een Modernism \u015fi antimodernism, coordonator: Sorin Antohi, Editura Cuv\u00e2ntul, 2008).<br \/>\nLiteratura postmodernist\u0103 s-a dovedit a fi c\u00e2t se poate de controversat\u0103, asupra ei emi\u0163\u00e2ndu-se cele mai diverse, stranii \u015fi contradictorii opinii. \u201eSingura condi\u0163ie ferm\u0103 de \u00eenregimentare printre postmoderni\u015fti r\u0103m\u00e2ne con\u015ftiin\u0163a unui autor c\u0103 este Postmodern \u015fi dorin\u0163a sa de a se situa \u015fi a produce sub acest semn\u201d, spune, de exemplu, \u00een anul 1986, Breon Mitchell, profesor de literatur\u0103 comparat\u0103 \u015fi germanistic\u0103 la Indiana University, Bloomington (Samuel Beckett \u015fi controversa postmodernismului, \u00een Caiete critice nr. 1-2\/1986, p. 24). Astfel, romanul Numele trandafirului nu e considerat postmodernist pentru c\u0103 demonstreaz\u0103 anumite tr\u0103s\u0103turi specifice literaturii postmoderniste, ci pentru c\u0103 \u201e\u015ftim bine c\u0103 Eco \u00ee\u015fi deap\u0103n\u0103 povestea \u00een deplin\u0103 con\u015ftiin\u0163\u0103 a \u00abapartenen\u0163ei\u00bb sale la postmodernism.\u201d (ibid.).<br \/>\n\u015ei totu\u015fi noi nu avem de unde s\u0103 \u015ftim \u00een ce anume const\u0103 \u201econ\u015ftiin\u0163a apartenen\u0163ei\u201d a lui Eco \u015fi a altor o mie de scriitori contemporani la postmodernism, pentru ca, pornind de aici, s\u0103 afl\u0103m ce anume ar putea s\u0103 \u00eensemne literatura postmodernist\u0103, \u00een cazul \u00een care men\u0163inem ideea lui Mitchell. Dac\u0103 \u201etoat\u0103 lumea e de acord c\u0103 s-a petrecut o schimbare major\u0103, c\u0103 Modernismul a ajuns la sf\u00e2r\u015fit \u015fi c\u0103 a sosit o er\u0103 nou\u0103, postmodernist\u0103\u201d (ibid.), dup\u0103 cum sus\u0163ine acela\u015fi Mitchell, atunci \u201etoat\u0103 lumea\u201d ar trebui s\u0103 spun\u0103 totu\u015fi \u00een ce anume const\u0103, din punct de vedere literar, estetic, \u201eschimbarea major\u0103\u201d adus\u0103 de postmodernism\u2026<br \/>\nExist\u0103 \u00eens\u0103 \u015fi cercet\u0103tori literari care se \u00eencumet\u0103 s\u0103 defineasc\u0103 noua direc\u0163ie literar\u0103 \u015fi, \u00een felul acesta, s\u0103 limpezeasc\u0103, c\u00e2t de c\u00e2t, apele. Ba chiar constat\u0103m c\u0103 postmodernismului literar i se dau mai multe defini\u0163ii, parte din ele contradictorii. Malcom Bradbury, romancierul \u015fi profesorul de Studii Americane \u015fi Creative Writing de la Universitatea East Anglia, recunoa\u015fte \u00een prelegerea Postmodernismul, romanul \u015fi lumea mediatic\u0103 a televiziunii, sus\u0163inut\u0103 la Seminarul Stuttgart, numit Sf\u00e2r\u015fitul postmodernismului: noi direc\u0163ii (1991), c\u0103 ideea sa despre postmodernism difer\u0103 substan\u0163ial de modul \u00een care acest curent literar este \u00een\u0163eles de colegii s\u0103i de seminar John Barth, Ihab Hassan, William Gass, Raymond Federman: \u201eceea ce am de spus eu \u00eensumi este probabil contrapunctual, foarte posibil adversativ, raportat la comentariul celorlal\u0163i vorbitori\u201d (revista Vatra nr. 9-10\/2011).<br \/>\nO observa\u0163ie asem\u0103n\u0103toare o face \u015fi scriitorul \u015fi teoreticianul englez John Barth \u00een anii \u201980, care se distan\u0163eaz\u0103 \u015fi el de modul \u00een care un alt grup de cercet\u0103tori notorii \u2013 Alter, Graff, Hassan \u2013 \u00een\u0163eleg postmodernismul. El nu admite, de pild\u0103, c\u0103 tot postmodernismul literar este \u00eentocmai a\u015fa cum \u00eel consider\u0103 ace\u015fti critici, adic\u0103 un fel de \u201edecaden\u0163\u0103 palid\u0103 \u015fi stoars\u0103\u201d (Literatura Re\u00eennoirii: Fic\u0163iunea postmodernist\u0103, \u00een Caiete critice nr. 1-2\/1986, p. 166).<br \/>\nPe de alt\u0103 parte, \u00een timp ce unii critici consider\u0103 c\u0103 postmodernismul succed\u00e3 modernismului \u015fi c\u0103 el are, \u00een consecin\u0163\u0103, un alt canon\/ concept dec\u00e2t acesta, Matei C\u0103linescu apreciaz\u0103 \u00een anul 1987 c\u0103 \u201epostmodernismul este o fa\u0163\u0103 a modernit\u0103\u0163ii\u201d (Cinci fe\u0163e ale modernit\u0103\u0163ii, p. 259), c\u0103 este o fa\u0163\u0103 a literaturii moderne, iar nu o literatur\u0103 \u00eentemeiat\u0103 pe un alt canon. De\u015fi \u201es-a format un corpus de scrieri (\u2026) receptate de obicei ca postmoderne\u201d, acesta \u201enu se constituie totu\u015fi \u00eentr-un nou canon\u201d (ibid.,<br \/>\np. 147), \u00eentr-un nou concept fa\u0163\u0103 de cel modern, pentru c\u0103 \u00eentre operele acestui corp exist\u0103 diferen\u0163e structurale \u015fi stilistice evidente, spune Matei C\u0103linescu. S\u0103 credem, \u00een consecin\u0163\u0103, c\u0103 exist\u0103 mai multe concepte de literatur\u0103 postmodernist\u0103?<br \/>\n\u201e(\u2026) exist\u0103 divergen\u0163e serioase chiar \u00een interiorul teoriei postmoderne\u201d, spune Terry Eagleton \u00een Teoria literar\u0103, exprim\u00e2nd \u00een acest fel convingerea mai multor critici \u015fi teoreticieni care cerceteaz\u0103 literatura postmodern\u0103. \u201eTermenul \u2013 de postmodernism \u2013 a fost at\u00e2t de des folosit \u00eenc\u00e2t pricinuie\u015fte mai multe probleme dec\u00e2t solu\u0163ioneaz\u0103\u201d, apreciaz\u0103 Richard Rorty \u00een Pragmatism \u015fi filozofie post-nietzschean\u0103, II, Editura Univers, Bucure\u015fti, 2000, p. 10.<br \/>\nDiferen\u0163ele substan\u0163iale dintre operele numite (totu\u015fi) \u201epostmoderniste\u201d (\u201epostmoderne\u201d) conduc la teorii diferite\/ divergente asupra acestei literaturi \u015fi a canonului ei. Lipsa de consens a defini\u0163iilor sau a aproxim\u0103rilor conceptuale date \u00een general literaturii postmoderniste de c\u0103tre cercet\u0103tori ca Mitchell, Atler, Graff, Linda Hutcheon, Ihab Hassan, Barth, Gass, Federman, Bradbury, Terry Eagleton, Caramello, Newman, Scarpetta, Brian McHale, Matei C\u0103linescu etc. nu ar trebui s\u0103 ne \u00eengrijoreze totu\u015fi chiar at\u00e2t de mult, pentru c\u0103 \u00eentre cei care \u00een\u0163eleg diferit exist\u0103 at\u00e2t critici care \u00een\u0163eleg deformat literatura postmodern\u0103, c\u00e2t \u015fi critici care o \u00een\u0163eleg a\u015fa cum este ea \u00eentr-adev\u0103r, iar noi, care nu suntem str\u0103ini de aceast\u0103 literatur\u0103, putem s\u0103 judec\u0103m autenticitatea sau lipsa ei de autenticitate. Dar fire\u015fte c\u0103 judecata pe care o facem depinde de propria competen\u0163\u0103 \u015fi c\u0103, \u00een lipsa competen\u0163ei, putem ajunge \u015fi noi la puncte de vedere eronate.<br \/>\nO alt\u0103 problem\u0103 pe care o ridic\u0103 literatura postmodernist\u0103 este aceea dac\u0103 ea mai poate fi numit\u0103 literatura \u201eacestor zile\u201d, a\u015fadar \u201econtemporan\u0103\u201d. Dac\u0103 \u00een anul 1991, la Seminarul Stuttgart, se vorbea deja despre \u201esf\u00e2r\u015fitul postmodernismului\u201d \u015fi chiar despre noile direc\u0163ii literare ivite dup\u0103 el, \u00eenseamn\u0103 c\u0103 literatura postmodernist\u0103 a \u015fi disp\u0103rut din peisajul literar contemporan\u2026 \u00censeamn\u0103 c\u0103 exist\u0103 posibilitatea ca literatura postmodern(ist)\u0103, cu care mul\u0163i scriitori \u015fi critici din afara Americii de Nord \u2013 rom\u00e2ni de pild\u0103 \u2013 se socotesc \u00eenc\u0103 contemporani, s\u0103 fi devenit \u00eentre timp un fel de \u201eliteratur\u0103 a trecutului\u201d, iar practican\u0163ii \u015fi teoreticienii ei de azi s\u0103 fie dep\u0103\u015fi\u0163i de evenimente\u2026<br \/>\nMoartea postmodernismului pare s\u0103 fie dovedit\u0103 \u015fi de apari\u0163ia pe scena cultural\u0103 a altor isme\u2026, care \u00ee\u015fi caut\u0103 fiin\u0163a \u015fi \u00ee\u015fi disput\u0103 \u00eent\u00e2ietatea. \u00cen partea introductiv\u0103 a volumului Transmodernismul (Princeps Edit, Ia\u015fi, 2011, ed. a II-a), Theodor Codreanu \u00eenregistreaz\u0103, al\u0103turi de transmodernism, o serie de concepte precum \u201ehipermodernism, paramodernism, new modernity, globmodernism, geomodernism, post-postmodernism, postmodernism premodern etc.\u201d, care ar reprezenta tot at\u00e2tea direc\u0163ii culturale sau moduri de a surprinde realitatea cultural\u0103 contemporan\u0103. Din toat\u0103 aceast\u0103 b\u00e2iguial\u0103 conceptual\u0103 post-postmodern\u0103, doar conceptul de transmodernism are \u015fansele de a se impune, ne asigur\u0103 Codreanu. Numele noii epoci culturale este cel de transmodernism.<br \/>\nDe\u015fi sunt date care ne-ar \u00eendrept\u0103\u0163i s\u0103 calific\u0103m literatura postmodern(ist)\u0103 drept o literatur\u0103 care \u015fi-a \u00eencheiat existen\u0163a \u00een Occident, cred c\u0103 va fi totu\u015fi util, instructiv s\u0103 cunoa\u015ftem literatura de care unii scriitori abia s-au desp\u0103r\u0163it, \u00een timp ce al\u0163ii \u2013 de pild\u0103, scriitorii rom\u00e2ni \u2013 o mai practic\u0103 \u00eenc\u0103\u2026 \u00centru cunoa\u015fterea literaturii postmoderniste (postmoderne) ar trebui ca, pe de o parte, s\u0103 priz\u0103m noi \u00een\u015fine aceast\u0103 literatur\u0103, iar pe de alt\u0103 parte, s\u0103 cercet\u0103m studiile unor critici \u015fi teoreticieni despre care, tr\u0103ind ei \u00een spa\u0163iul cultural \u00een care literatura postmodernist\u0103 a luat fiin\u0163\u0103, ne \u00eenchipuim c\u0103 au \u00een\u0163eles-o mai bine.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Din momentul \u00een care, dup\u0103 1944, \u00een Occidentul american \u015fi \u00een cel european s-a vorbit despre o istorie, o societate, o politic\u0103, o democra\u0163ie, o cultur\u0103, o \u015ftiin\u0163\u0103, o filosofie postmoderne, cercet\u0103torilor din domeniul culturii li s-a p\u0103rut firesc s\u0103 transfere termenul de \u201epostmodern\u201d \u015fi asupra artei \u015fi, desigur, asupra literaturii. A\u015fa se face c\u0103&hellip;&nbsp;<a href=\"https:\/\/revistacultura.ro\/nou\/literatura-postmoderna-o-literatura-controversata\/\" rel=\"bookmark\">Cite\u0219te mai mult &raquo;<span class=\"screen-reader-text\">Literatura postmodern\u0103,  o literatur\u0103 controversat\u0103<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8],"tags":[6636,3599],"class_list":["post-19801","post","type-post","status-publish","format-standard","hentry","category-cultura-literara","tag-literatura-europeana","tag-literatura-postmoderna"],"views":5643,"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/19801","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/comments?post=19801"}],"version-history":[{"count":0,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/19801\/revisions"}],"wp:attachment":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/media?parent=19801"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/categories?post=19801"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/tags?post=19801"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}