Din tihna Hu\u015filor, bucur\u00e2ndu-se de \u201ez\u0103bava cetitului\u201c \u015fi f\u0103c\u00e2nd, aparent, figur\u0103 de marginal, vine Theodor Codreanu, critic doctrinar, erudit \u015fi polemic, dur\u00e2nd o oper\u0103 de o mare varietate problematic\u0103, sigilat\u0103, definitiv, de eminescianism. Privind \u00eend\u0103r\u0103t, putem spune c\u0103 Eminescu \u2013 Dialectica stilului (1984) a constituit temelia viitoarelor exegeze, impun\u00e2nd o critic\u0103 ontologic\u0103, nutrit\u0103
\nde arheitatea eminescian\u0103, absorbind \u2013 ca metodologie totalizant\u0103 \u2013 desf\u0103\u015fur\u0103rile sale scriptice, numeroase \u015fi voluminoase, de impresionant\u0103 densitate ideatico-referen\u0163ial\u0103.<\/p>\n
Cum \u201eg\u00e2ndirea \u00een antiteze este veche de c\u00e2nd lumea\u201c, constat\u0103 criticul, invoc\u00e2nd legitimitatea ontologic\u0103, c\u0103r\u0163ile sale dezvolt\u0103 o viziune organicist\u0103, pornind de la un precept eminescian: \u201eantitezele sunt via\u0163a\u201c. Evident, Eminescu, ca \u201esem\u0103n\u0103tor de arhei\u201c, a fost gratificat de adversari cu numeroase etichete \u201epr\u0103p\u0103stioase\u201c, discreditante, poetul \u00eensu\u015fi denun\u0163\u00e2nd realitatea unor antiteze monstruoase \u015fi pled\u00e2nd, pe urmele lui Ion Heliade R\u0103dulescu, pentru \u00eemp\u0103carea lor. Or, dac\u0103 un Cioran, \u00een dezacord cu sine, a c\u0103utat \u201eprimejdia extremelor\u201c (autenticitatea sa fiind contradic\u0163ie), ethosul transmodern cultiv\u0103 o g\u00e2ndire paradoxal\u0103. Transmodernismul, pentru care, de ani buni, pledeaz\u0103 criticul, se fundeaz\u0103 pe antitetic\u0103. Astfel, Theodor Codreanu se lupt\u0103 cu logica maniheist\u0103, blam\u00e2nd corectitudinea politic\u0103, \u00een vog\u0103 \u015fi la noi, fluturat\u0103 ca \u201enou\u0103 sperietoare ideologic\u0103\u201c. Face, totu\u015fi, o concesie \u201ecorec\u0163ilor politici\u201c \u015fi, \u00een Eminescu incorect politic (Editura Scara Print, 2014), adun\u00e2nd \u201etexte risipite\u201c, demonstreaz\u0103 riguros de ce \u201efostul poet na\u0163ional\u201c (cf. Horia-Roman Patapievici) ar fi incorect politic, \u201einactual\u201c, \u201eprimejdios\u201c, cum sus\u0163in demitizatorii \u015fi \u201edilematicii\u201c, lans\u00e2nd \u201eatacuri mirobolante\u201c, propun\u00e2nd antiteze monstruoase, \u00een aversiunea lor declarat\u0103 pentru na\u0163ional. Dilematicii, observ\u0103 sec Theodor Codreanu, refuz\u0103 tocmai \u201ea g\u00e2ndi dilematic\u201c; \u00eembr\u0103\u0163i\u015f\u00e2nd ghilotina ideologic\u0103, \u00eempins\u0103 \u00een epopeea dosariadei, impun noi polariz\u0103ri \u015fi liste, c\u0103z\u00e2nd \u00een revizionism. Cultiv\u00e2nd, adic\u0103, \u201edegringolada antitezelor monstruoase\u201c.
\nNici V. Nemoianu, cu a sa Teorie a secundarului, constat\u0103 \u00eentristat Theodor Codreanu, de\u015fi respingea progresul linear, v\u0103z\u00e2nd, pe linie eminescian\u0103, gesturile creatoare ca \u201efactori de reac\u0163iune\u201c, nu descurc\u0103 \u201ei\u0163ele\u201c; adic\u0103 taina antitezelor. \u201ePariind\u201c pe secundar, devenit \u201earm\u0103 de lupt\u0103 \u00eempotriva na\u0163ionalului\u201c, renumitul hermeneut cade \u00een ideologic, recunosc\u00e2nd ca iluzorie tentativa de a descifra un \u201eangrenaj rela\u0163ional inextricabil\u201c, \u00eenn\u0103molit \u00eentr-un speculativism erudit.
\nCa insa\u0163iabil cititor, profesorul hu\u015fean, mereu atent la \u201eprovocarea valorilor\u201c, a st\u0103ruit asupra proiectului transmodernist, oferindu-ne o carte \u201edin viitor\u201c (Transmodernismul, Editura Junimea, 2005). Altminteri, n-am putea explica dezinteresul pentru acest, cu adev\u0103rat provocator, titlu. \u015etim c\u0103 Theodor Codreanu nu e pe placul eliti\u015ftilor d\u00e2mbovi\u0163eni. C\u0103r\u0163ile sale, masive, riguros articulate, merg \u00een alt\u0103 direc\u0163ie exegetic\u0103. Dar criticul (care e \u015fi prozator; s\u0103 amintim, \u00een treac\u0103t, c\u0103 debuta, \u00een 1981, la Junimea, cu romanul Marele zid, de\u015fi Varvarienii, publicat \u00een 1998, fusese scris anterior) \u00ee\u015fi vede de treab\u0103. Cuprins de frenezie editorial\u0103, acest maratonist al lecturilor, tr\u0103itor la o margine de \u0163ar\u0103, se afl\u0103 \u00eentr-o bun\u0103 rela\u0163ie cu timpul. El transform\u0103 dezavantajul de a fi \u201eprovincial\u201c, departe de culisele \u015fi jocurile g\u0103\u015fcarilor literari, \u00eentr-o mare \u015fans\u0103, pe care a \u015fi fructificat-o. Iat\u0103, redutabilul eminescolog, tip\u0103re\u015fte \u00eentr-un ritm impresionant, colaboreaz\u0103 la numeroase reviste (de la noi \u015fi din Basarabia), plin de bun\u0103voin\u0163\u0103 nu respinge nici asaltul unor condeieri (mai mult sau mai pu\u0163in agresivi), doritori de a-i smulge \u201ebinecuv\u00e2ntarea\u201c. Textele sale, de cert\u0103 subtilitate interpretativ\u0103, propun conexiuni spectaculoase \u015fi ingenioase.
\nS\u0103 ne \u00eentoarcem, \u00eens\u0103, la proiectul transdisciplinar, anun\u0163\u00e2nd intrarea \u00een evul transmodern. Ceea ce ar \u00eensemna, suntem preveni\u0163i, un nou mod de a \u00een\u0163elege lumea. Solomon Marcus observa undeva c\u0103 \u201eprima expunere complet articulat\u0103 a acestei mi\u015fc\u0103ri\u201c ar putea fi de aflat \u00eentr-o carte a lui Basarab Nicolescu (Eds. du Rocher, Monaco, 1996), tradus\u0103 \u015fi la noi (Polirom, 1999), sub titlul Transdisciplinaritatea (Manifest). Mentor al transdisciplinarit\u0103\u0163ii este \u015et. Lupa\u015fcu, cu a sa filosofie neora\u0163ionalist\u0103, ne previne Theodor Codreanu. Convins c\u0103 realismul clasic este dep\u0103\u015fit \u015fi c\u0103 modernitatea este mortifer\u0103, Basarab Nicolescu atr\u0103gea aten\u0163ia asupra nivelurilor diferite de realitate. Revolu\u0163ia cuantic\u0103 ne-a a\u015fezat la o r\u0103scruce a Istoriei; ideologia scientist\u0103, acapar\u00e2nd \u201eobiectivitatea\u201c \u015fi ignor\u00e2nd orice alt\u0103 cunoa\u015ftere, zeific\u00e2nd tehno\u015ftiin\u0163a, pare a uita c\u0103 \u201etotul e pus la punct pentru propria noastr\u0103 autodistrugere\u201c. \u00cenc\u00e2t, o transformare urgent\u0103 a atitudinii noastre, resping\u00e2nd involu\u0163ia \u015fi chiar pericolul dispari\u0163iei speciei, devine posibil\u0103 prin viziunea transdisciplinar\u0103. Intr\u0103m, astfel, \u00eentr-un ,,nou eon\u201c, urc\u00e2nd o alt\u0103 treapt\u0103 gnoseologic\u0103, raport\u00e2ndu-ne, deopotriv\u0103, la scara cuantic\u0103 \u015fi la cea cosmologic\u0103. Transdisciplinaritatea \u00eenseamn\u0103 o cunoa\u015ftere a ter\u0163ului \u015fi este o cale de re\u00eenc\u00e2ntare a lumii; Iar cunoa\u015fterea ter\u0163ului \u00eeng\u0103duie \u2013 pe fundalul unit\u0103\u0163ii cunoa\u015fterii \u2013 o revolu\u0163ie a inteligen\u0163ei, asigur\u00e2nd \u201e\u00eenvierea\u201c subiectului \u015fi \u201etrezirea colectiv\u0103\u201c.
\nAm propus acest ocol pentru a descifra t\u00e2lcurile proiectului transdisciplinar. Fiindc\u0103, e limpede, pe acest suport \u201ecre\u015fte\u201c \u015fi ofensiva transmodernismului. Noul curent (ca nou mod de a privi Universul) pledeaz\u0103 pentru o inteligen\u0163\u0103 \u201el\u0103rgit\u0103\u201c, deschis\u0103 complexit\u0103\u0163ii lumii \u015fi plin\u0103t\u0103\u0163ii fiin\u0163ei. Transdisciplinaritatea se vrea o metodologie a dialogului, nu o ideologie; \u00een consecin\u0163\u0103, con\u015ftientiz\u00e2nd \u201ef\u0103r\u00e2mi\u0163area fiin\u0163ei\u201c, propune leg\u0103turi (fapte, oameni, culturi, religii, discipline), corect\u00e2nd percep\u0163ia fragmentarist\u0103 prin vizitarea formelor de intersec\u0163ie, activ\u00e2nd transculturalul \u201e\u00eentre\u201c. Imaginarul, ne reamintea Basarab Nicolescu, ar fi \u201emotorul ascuns al marilor descoperiri\u201c. Penetr\u00e2nd nivelurile de realitate, ajung\u00e2nd la \u201eun dincolo\u201c, transdisciplinaritatea vrea s\u0103 traduc\u0103 inexplicabilul, actul misterios al scrisului, s\u0103 locuiasc\u0103 \u201et\u0103cerea plin\u0103\u201c, spa\u0163iul \u00eentre cuvinte (cazul transpoeziei lui M. Camus). Evident c\u0103 materia prim\u0103 r\u0103m\u00e2ne limbajul. Dar \u00eenc\u0103 W. Heisenberg, \u00een 1942, vorbea de cele trei regiuni ale realit\u0103\u0163ii (fizica clasic\u0103, fizica cuantic\u0103 \u015fi fenomenele bio-psihice, respectiv experien\u0163ele religioase, filosofice \u015fi artistice). Iar Paul H. Ray invoca, \u00een istoria cultural\u0103, trei tipuri de percep\u0163ie a lumii (tradi\u0163ional, modern \u015fi transmodern, coexist\u00e2nd acum). \u00cen noul principiu al relativit\u0103\u0163ii, Basarab Nicolescu postula c\u0103 niciun nivel de realitate nu are un loc privilegiat pentru a \u00een\u0163elege toate celelalte niveluri. Dac\u0103 transdisciplinaritatea \u00ee\u015fi leag\u0103 \u00eenceputurile (\u00een orizontul anilor \u201970) de numele lui Jean Piaget, Edgar Morin \u015fi Erich Jantsch, cam tot pe atunci descoper\u0103 Theodor Codreanu \u201egermenii transmodernismului\u201c. S-ar p\u0103rea c\u0103 asist\u0103m la \u201e\u00eenfiriparea noii paradigme\u201c, exegetul fiind convins c\u0103 transmodernismul va fi \u201emarca secolului XXI\u201c, chiar dac\u0103 acest concept are o paternitate incert\u0103, e privit cu suspiciune \u015fi \u00ee\u015fi face loc cu dificultate pe scen\u0103. Noul ethos al transdisciplinarit\u0103\u0163ii, a\u015fa cum a fost prefigurat \u00een Carta din 1994, este terenul propice de decolare, invit\u00e2nd la un dialog generalizat. Marea rivalitate prive\u015fte \u201esofistica \u00een jurul postmodernit\u0103\u0163ii\u201c \u015fi, desigur, fulminanta carier\u0103 a conceptului. Theodor Codreanu se r\u0103zboie\u015fte, cheltuind muni\u0163ie (argumente) din bel\u015fug, cu suporterii acestui \u201etermen sofistic\u201c, refuz\u00e2nd net \u201edieta compus\u0103 din postmodernismul cinic\u201c (cf. Camille Paglia). Dar \u201etrece\u201c doct prin Deleuze, Rorty, Foucault, prin ceea ce nume\u015fte \u201epostmodernismul \u00eenalt\u201c (\u00een frunte cu Vattimo, Lyotard, cel care cerea \u201erescrierea modernit\u0103\u0163ii\u201c), pentru a nota c\u0103 problema-cheie este transcenden\u0163a. Nu ignor\u0103 nici semnalele autohtone, fi\u015f\u00e2nd con\u015ftiincios revolu\u0163ia poetic\u0103 optzecist\u0103, noul antropocentrism, paradoxurile postmodernit\u0103\u0163ii rom\u00e2ne\u015fti. Conceptul cu pricina, ating\u00e2nd clasicizarea (epuizarea, de fapt), suport\u00e2nd presiunea altor modernisme (hiper-, para- etc.), a deschis calea transmodernit\u0103\u0163ii, declara ferm criticul. \u015ei observa c\u0103, \u00een 1988, Radu Enescu contrapunea (e drept, f\u0103r\u0103 consecin\u0163e) cei doi termeni.
\n\u00cen h\u0103\u0163i\u015ful noului ev cultural, \u00een plin haosmos, \u00eentr-o lume opac\u0103, cucerit\u0103 de spiritul schizoid, Theodor Codreanu invoc\u0103 salvator antropologia cre\u015ftin\u0103. Teoria post-istoriei i se pare \u201eun g\u00e2nd luciferic\u201c; civiliza\u0163ia minorit\u0103\u0163ilor, stilul de via\u0163\u0103 gay, hedonismul consumist, cultura feelings (Finkielkraut), \u00een fine, utopia Jeunesse (modelul \u201epoporului jeune\u201c) ne arunc\u0103 \u00eentr-o lume care \u015fi-a pierdut transparen\u0163a. Conspect\u00e2ndu-l pe p\u0103rintele St\u0103niloaie, el vrea o lume ca \u201emediu transparent\u201c (lumen) \u015fi depl\u00e2nge decre\u015ftinarea Europei. \u00ce\u015fi leag\u0103, a\u015fadar, toate speran\u0163ele de noua paradigm\u0103 cultural\u0103.
\nCercet\u00e2nd un cople\u015fitor evantai problematic, cartea lui Theodor Codreanu propunea ipoteze \u00eendr\u0103zne\u0163e \u015fi conexiuni \u00eembietoare. Suspectat (de voci c\u00e2rcota\u015fe) c\u0103 patineaz\u0103, enun\u0163iativ, la suprafa\u0163a problemelor, c\u0103 dezvolt\u0103 luxuriant un enciclopedism vagant, criticul este, \u00eenainte de orice, un om foarte informat. O carte grea, a\u015fadar, f\u0103r\u0103 ecou, ocolit\u0103 de zarva mediatic\u0103 \u015fi care, suntem convin\u015fi, va fi redescoperit\u0103 c\u00e2ndva. Fiindc\u0103 trend-ul epocii repudiaz\u0103 modelul unui singur nivel de realitate \u015fi anun\u0163\u0103 ie\u015firea din disciplinaritatea \u00eengust\u0103 (cu reac\u0163iile \u015ftiute ale modernit\u0103\u0163ii: multi- \u015fi interdisciplinaritate). Or, finalitatea transdisciplinarit\u0103\u0163ii const\u0103 \u00een \u00een\u0163elegerea lumii actuale, ne asigur\u0103 Basarab Nicolescu. Iar pasul decisiv spre transmodernism (dar f\u0103r\u0103 a-l numi ca atare) l-a f\u0103cut Primul Congres Mondial al Transdisciplinarit\u0103\u0163ii (Convento de Arrbida, Portugalia, 1994), prilej cu care a fost elaborat\u0103 Carta Transdisciplinarit\u0103\u0163ii (redactat\u0103 de Lima de Freitas, Edgar Morin \u015fi, fire\u015fte, de Basarab Nicolescu). Mul\u0163i oameni de \u015ftiin\u0163\u0103 pledeaz\u0103 azi pentru transgresarea frontierelor \u015fi dialogism, \u00eencerc\u00e2nd o conciliere a literaturii cu \u015ftiin\u0163a (vezi, de pild\u0103, Solomon Marcus, \u00cent\u00e2lnirea extremelor, Editura Paralela 45, Pite\u015fti, 2005). Implicit, pentru l\u0103rgirea conceptului de cultur\u0103, restr\u00e2ns \u2013 nejustificat \u2013 la oferta umanioarelor, prin ruptura, \u00eenc\u0103 suveran\u0103, dintre estetic \u015fi cognitiv. Dar orice mare scriitor, reamintim, desf\u0103\u015foar\u0103 o viziune total\u0103 asupra lumii, \u00eembr\u0103\u0163i\u015f\u00e2nd, pe deasupra severelor decupaje disciplinare, c\u00e2mpul epistemologic \u00een expansiune. \u015ei dorind a pune um\u0103rul, chiar \u015fi f\u0103r\u0103 suportul unei forma\u0163ii \u015ftiin\u0163ifice riguroase, prin intui\u0163ie \u015fi metaforizare, la o mai bun\u0103 \u00een\u0163elegere a lumii. Fiindc\u0103 orice oper\u0103 (major\u0103, bine\u00een\u0163eles) r\u0103m\u00e2ne o \u201emetafor\u0103 epistemologic\u0103\u201c (cf. Umberto Eco).
\nDac\u0103 admitem c\u0103 modernismul a adus suprema\u0163ia majorit\u0103\u0163ilor, afirm\u0103 recapitulativ Theodor Codreanu, iar postmodernismul pe cea a minorit\u0103\u0163ilor, \u201edep\u0103\u015firea ambelor forme de oprimare nu poate fi dec\u00e2t transmodernist\u0103\u201c. \u00cen pragul celor \u015fapte decenii, criticul de la Hu\u015fi (n. 1 aprilie 1945, S\u00e2rbi, j. Vaslui), un str\u0103lucit c\u0103rturar, \u201ebolnav\u201c, \u00eens\u0103, de modestie, construindu-\u015fi opera pe teza arhait\u0103\u0163ii\/metoda arhetipal\u0103, conectat \u015fi receptiv la mi\u015fcarea ideilor (metabolizate ori, dimpotriv\u0103, respinse net), \u00eentrevede \u00een transmodernism \u201efilosofia viitorului\u201c. De\u015fi Theodor Codreanu p\u0103rea convins c\u0103 \u201etoate merg \u00eencet c\u00e2nd e vorba de mine\u201c, cel care, \u00een 1969, debuta \u00een Rom\u00e2nia literar\u0103, se bucur\u0103 acum de o larg\u0103 recunoa\u015ftere (\u00eenceat\u0103, e drept), dovedind, \u00een pofida adversit\u0103\u0163ilor (silen\u0163ioase, \u00eendeosebi), o d\u00e2rzenie r\u0103ze\u015feasc\u0103, cum, inspirat \u015fi exact, observa cineva.<\/p>\n","protected":false},"excerpt":{"rendered":"
Din tihna Hu\u015filor, bucur\u00e2ndu-se de \u201ez\u0103bava cetitului\u201c \u015fi f\u0103c\u00e2nd, aparent, figur\u0103 de marginal, vine Theodor Codreanu, critic doctrinar, erudit \u015fi polemic, dur\u00e2nd o oper\u0103 de o mare varietate problematic\u0103, sigilat\u0103, definitiv, de eminescianism. Privind \u00eend\u0103r\u0103t, putem spune c\u0103 Eminescu \u2013 Dialectica stilului (1984) a constituit temelia viitoarelor exegeze, impun\u00e2nd o critic\u0103 ontologic\u0103, nutrit\u0103 de arheitatea… Cite\u0219te mai mult »Theodor Codreanu \u015fi \u201eTaina antitezelor\u201c<\/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":[13916,8855],"class_list":["post-22945","post","type-post","status-publish","format-standard","hentry","category-cultura-literara","tag-gandirea-in-antiteze","tag-theodor-codreanu"],"views":2140,"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\/22945","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=22945"}],"version-history":[{"count":0,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/22945\/revisions"}],"wp:attachment":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/media?parent=22945"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/categories?post=22945"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/tags?post=22945"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}