{"id":24338,"date":"2015-09-09T16:50:20","date_gmt":"2015-09-09T14:50:20","guid":{"rendered":"http:\/\/revistacultura.ro\/nou\/?p=24338"},"modified":"2015-09-09T16:51:25","modified_gmt":"2015-09-09T14:51:25","slug":"solidaritatea-de-breasla-este-o-dulce-si-paguboasa-iluzie-adrian-dinu-rachieru-in-dialog-cu-titus-crisciu","status":"publish","type":"post","link":"https:\/\/revistacultura.ro\/nou\/solidaritatea-de-breasla-este-o-dulce-si-paguboasa-iluzie-adrian-dinu-rachieru-in-dialog-cu-titus-crisciu\/","title":{"rendered":"\u201eSolidaritatea de breasl\u0103 este o dulce \u015fi p\u0103guboas\u0103 iluzie\u201c. ADRIAN DINU RACHIERU \u00een dialog cu TITUS CRI\u015eCIU"},"content":{"rendered":"

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Titus Cri\u015fciu: C\u00e2nd s-a dedicat sociologul criticii \u015fi istoriei literare?
\nAdrian Dinu Rachieru: T\u00e2rzior, din p\u0103cate. Cum sociologia, abia reabilitat\u0103 (1965), devenise, \u015fi ea, rapid, \u00een trecutul regim, o \u015ftiin\u0163\u0103 apologetic\u0103, m-am refugiat \u00een critica literar\u0103, acolo unde spiritul critic se putea desf\u0103\u015fura (c\u00e2t de c\u00e2t), f\u0103r\u0103 a \u00eembr\u0103\u0163i\u015fa unanimitatea anost\u0103, fals-entuziast\u0103. Iar eseurile adunate \u00een Orizontul lecturii \u201edezv\u0103luiau\u201c \u015fi metoda: critica sociologic\u0103, interesat\u0103 de ceea ce numeam, \u00een 1983, \u201efluctua\u0163ia recep\u0163iei\u201c. Adic\u0103, anun\u0163\u00e2nd o Istorie critic\u0103, sociologia fiind, prin excelen\u0163\u0103, o disciplin\u0103 contextual\u0103.<\/p>\n

T.C.: A\u0163i urmat sociologia \u00een anii socialismului \u015fi a\u0163i absolvit-o chiar \u00een anul de cotitur\u0103 \u00een politica lui Ceau\u015fescu. Ce considera\u0163i c\u0103 merit\u0103 a fi re\u0163inut din acei ani de studiu \u015fi ce trebuie \u00eendep\u0103rtat din g\u00e2ndirea noastr\u0103 ca fiind nociv?
\nA.D.R: Desp\u0103r\u0163irea de trecut presupune selec\u0163ia, nicidecum decretarea neantului valoric. Reamintesc c\u0103 principala func\u0163ie a Sociologiei r\u0103m\u00e2ne cea critic\u0103. Or, \u00een vremea noastr\u0103, degradarea e prea vizibil\u0103. Se vorbe\u015fte de invazia noilor barbari, de \u201edistrugerea Universit\u0103\u0163ii\u201c (prin exilarea umanioarelor), de triumful pragmatismului, de \u201edezvr\u0103jire\u201c. Dar \u015fi de \u201etrezire\u201c, stimul\u00e2nd reflec\u0163ia critic\u0103. Suntem, din p\u0103cate, captivii culturii media, \u00een extensie planetar\u0103. Am scris, pe larg, despre aceste chestiuni \u00een McLumea \u015fi cultura publicitar\u0103 (Artpress, 2008). Cu deosebire comercializarea imaginii face ravagii. Flat\u00e2nd gustul jos \u015fi seduc\u00e2nd prin cultivarea pl\u0103cerii, mass-media livreaz\u0103, \u00een flux, produc\u0163ii escapiste, serializate, imagini emblematice (\u00eendeosebi din lumea frivol\u0103 a starurilor), \u00een fine, produce dezinteres pentru via\u0163a public\u0103, fiind o surs\u0103 major\u0103 de pasivitate. Ma\u015fin\u0103ria people face comer\u0163 cu emo\u0163ii \u015fi sentimente, \u00eencuraj\u00e2nd voyeurismul publicului, gener\u00e2nd efecte uniformizatoare, evazioniste. Star-systemul propune \u201edomnia mercantil\u0103 a VIP-urilor\u201c \u015fi face din starizare o nou\u0103 mitologie. Celebritatea acestor personalit\u0103\u0163i \u201eglamour\u201c le transform\u0103, \u00een febrilul context publicitar, \u00een modele de identificare (atitudini, roluri), de mare succes \u00een imageria public\u0103. Imaginea publicitar\u0103, prin supraexpunere, beneficiaz\u0103 de \u201eaur\u0103 mediatic\u0103\u201c. Certamente, astfel de starlete modelate, chiar mituri sezoniere fiind, produc, prin imperialismul imaginilor, admira\u0163ie imitativ\u0103. Este vorba despre o identitate de pia\u0163\u0103, cum spunea Douglas Kellner, la interferen\u0163a dintre nevoia de divertisment \u015fi calitatea de consumator, conduc\u00e2nd la o nivelare identitar\u0103. Fiindc\u0103 starizarea, manipul\u00e2nd cererea de consum propune suporturi de identificare, conving\u0103toare prin pretinse avantaje simbolice \u015fi sociale, prelu\u00e2nd, f\u0103r\u0103 filtru critic, valori, roluri, comportamente etc.<\/p>\n

T.C.: A\u0163i debutat editorial \u00een 1983, cu Orizontul lecturii (Eseuri de sociologia literaturii). Cum a\u0163i reu\u015fit s\u0103 v\u0103 p\u0103stra\u0163i libertatea interioar\u0103 \u00een acei ani?
\nA.D.R: Sunt, sper, un cititor \u015fi un critic harnic. Amprenta subiectiv\u0103 e inevitabil\u0103. Fiind sociolog, \u00eencerc s\u0103 \u0163in \u00een fr\u00e2u, \u00eens\u0103, subiectivismul, refuz\u00e2nd alinierea, cumetria critic\u0103, opacitatea, politica de cartier (literar); cum tr\u0103iesc \u00een afara vie\u0163ii literare, la oarece distan\u0163\u0103 (benefic\u0103), percep estompat presiunile, zarva, b\u0103t\u0103liile, intoleran\u0163a. \u015ei cred c\u0103 nu exist\u0103 nume intangibile. Un re\u015fi\u0163ean (m\u0103 g\u00e2ndesc, desigur, la Mircea Martin) pleda, cu ani \u00een urm\u0103, pentru o solidaritate de tip deontic \u00een orgolioasa tagm\u0103 a intelectualilor, m\u0103cinat\u0103 de rivalit\u0103\u0163i. Refuz\u00e2nd, adic\u0103, \u201einstitu\u0163ionalizarea subiectivit\u0103\u0163ii\u201c \u015fi derapajele deontologice. Ceea ce se \u00eent\u00e2mpl\u0103 \u00een media (vezi politizarea, \u201edosariada\u201c, avalan\u015fa \u201edeconspir\u0103rilor\u201c) m\u0103 oblig\u0103 s\u0103 recunosc c\u0103, pentru mul\u0163i, d\u00e2nd n\u0103val\u0103 pe frontul mediatic, jurnalismul r\u0103m\u00e2ne o meserie flou, \u00eembr\u0103\u0163i\u015f\u00e2nd mercenariatul. Solu\u0163ia ar fi, desigur, dezvoltarea reflexelor critice, voin\u0163a obiectiv\u0103rii, p\u0103strarea echidistan\u0163ei, reactiv\u00e2nd \u201einstitu\u0163ia respectului\u201c, cum spunea cineva. Nu vi se pare, \u00eens\u0103, c\u0103 plonj\u0103m \u00een Utopie?<\/p>\n

T.C.: Ca scriitor care a debutat \u00eentr-o perioad\u0103 \u00een care exista o solidaritate de breasl\u0103, cum v\u0103 explica\u0163i dispari\u0163ia acesteia, ba \u00eendr\u0103znesc s\u0103 spun exist\u0103 o separare pe grup\u0103ri de scriitori.
\nA.D.R: Solidaritatea de breasl\u0103 este o dulce \u015fi p\u0103guboas\u0103 iluzie. Via\u0163a literar\u0103, spunea cineva, e coralier\u0103. Sunt grupuri, g\u0103\u015fti, tabere \u00een rivalitate. \u00cen necurmat\u0103 g\u00e2lceav\u0103. Am constatat c\u0103 \u00eemi prie\u015fte adversitatea, \u00een sensul c\u0103 te oblig\u0103 s\u0103 cre\u015fti. Altminteri, m\u0103 \u0163in deoparte de at\u00e2tea r\u0103zboaie (inutile, cronofage). C\u0103 n-oi fi vreo b\u00eate noire… Cobor\u00e2nd \u00een viesparul scriitoricesc, s\u0103 ne amintim de sfatul lui Noica, \u00eenv\u0103\u0163\u00e2nd s\u0103 ne \u00eeng\u0103duim.<\/p>\n

T.C.: Din c\u00e2te am observat citindu-v\u0103 cele publicate \u00een reviste precum Convorbiri literare, Contemporanul \u2013 Ideea european\u0103, Cultura, Bucovina literar\u0103, Reflex, Actualitatea literar\u0103, Banat, suplimentul Paralela 45, face\u0163i o critic\u0103 pozitiv apreciativ\u0103. Gre\u015fesc eu sau evita\u0163i deliberat lucr\u0103rile \u00een care a\u0163i desfiin\u0163a subiectul \u015fi ca atare meritele autorului?
\nA.D.R: Nu gre\u015fi\u0163i. Mi s-a repro\u015fat c\u0103 a\u015f fi prea \u00eeng\u0103duitor. Dar, de pild\u0103, o antologie a poe\u0163ilor bucovineni (sau alta dedicat\u0103 basarabenilor) poate fi un m\u0103cel critic? \u00cenainte de a fi \u201eexecuta\u0163i\u201c critic, ei trebuie cunoscu\u0163i, adu\u015fi acas\u0103. La fiecare truditor al scrisului po\u0163i g\u0103si ceva de l\u0103udat, cred. Fiindc\u0103 eu \u00een\u0163eleg exerci\u0163iul critic ca unul admirativ. E drept, critica \u00ee\u0163i procur\u0103 du\u015fmani. Sunt comentatori c\u00e2t\u0103 frunz\u0103 \u015fi iarb\u0103, popul\u00e2nd felurite fi\u0163uici literare. \u015ei care conduc la dizolvarea autorit\u0103\u0163ii, la ruinarea ierarhiei, \u00eenst\u0103p\u00e2nind cea\u0163a axiologic\u0103.
\nT.C.: \u00cen condi\u0163iile unei avalan\u015fe de c\u0103r\u0163i publicate anual, dup\u0103 ce criterii v\u0103 alege\u0163i c\u0103r\u0163ile sau autorii prefera\u0163i despre care scrie\u0163i? V\u0103 \u00eentreb pentru c\u0103 recent i-a\u0163i dedicat un studiu poetului Octavian Doclin.
\nA.D.R: \u015ei nu merita? Adev\u0103rul e c\u0103 lucrez pe termen lung, cu proiecte clar definite. Voluma\u015ful despre Doclin a venit pe nea\u015fteptate; dar vorbesc acolo \u015fi despre al\u0163i poe\u0163i re\u015fi\u0163eni (ora\u015ful cu poe\u0163i, nu?) \u015fi despre c\u00e2teva proiecte (Reflex-ul, de pild\u0103), neap\u0103rat, de elogiat. \u015ei care sper s\u0103 aib\u0103 via\u0163\u0103 lung\u0103.<\/p>\n

T.C.: Sunte\u0163i critic \u015fi istoric literar, dar \u015fi autorul unui roman. Cine pe cine influen\u0163eaz\u0103, criticul pe prozator sau invers?
\nA.D.R: Influen\u0163a e reciproc\u0103. \u015ei, categoric, benefic\u0103.<\/p>\n

T.C.: Apropo de roman, ce se \u00eent\u00e2mpl\u0103 cu trilogia Legea conserv\u0103rii scaunului din care a\u0163i publicat dou\u0103 volume? V\u0103 \u00eentreb pentru c\u0103 recent a\u0163i publicat un prim volum din trilogia Romanul politic \u015fi pactul fic\u0163ional (Junimea, 2015).
\nA.D.R: Am tot am\u00e2nat Revolu\u0163ia SRL, preconizatul volum ultim al trilogiei. Sper s\u0103-l pot \u00eencheia, \u201etopind\u201c Vina \u015fi Frica \u00eentr-un roman masiv, de succes, n\u0103d\u0103jduiesc. Poate \u00een acest an… Dar am pornit \u015fi Romanul politic, carte \u201ede antrenament\u201c pentru sperata Istorie politic\u0103 a literaturi rom\u00e2ne postbelice. \u00cenh\u0103m\u00e2ndu-m\u0103 la maratonul \u201erecitirilor\u201c, am \u00een vedere o Istorie politic\u0103, fire\u015fte, \u00een ram\u0103 sociologic\u0103, dar pe fundament estetic, r\u0103spunz\u00e2nd furiilor revizioniste. Fructific\u00e2nd, negre\u015fit, imensul material acumulat \u00een anii postdecembri\u015fti, scotocind arhivele (inclusiv depozitele CNSAS), recuper\u00e2nd literatura exilului, \u00een\u0163eleg\u00e2nd c\u0103 intervalul comunizant trebuie cercetat etapizat, \u00een func\u0163ie de capricioasa meteorologie politic\u0103. Sc\u0103p\u00e2nd, de pild\u0103, de co\u015fmarul realismului socialist, literatura nu a sc\u0103pat de bruiajul ideologic \u015fi de umbra amenin\u0163\u0103toare a cenzurii. \u00cen fond, revizuirile \u2013 reamintesc un truism \u2013 fac dovada unui metabolism cultural normal. Dar resping, categoric, teza \u201egolului cultural\u201c, a \u201ede\u015fertific\u0103rii\u201c. Ar fi nevoie, aici, de o parantez\u0103, a\u015fa c\u0103 insist. Orice epoc\u0103 este, inevitabil, politic\u0103. Cum societatea rom\u00e2neasc\u0103 a cunoscut repetate \u201erupturi de sistem\u201c, segmentul postbelic \u00eenvedereaz\u0103 o feroce politizare a literaturii \u015fi o falsificare a Istoriei, prin implant ideologic (sovietizare). Recitirea acestei literaturi printr-un dublu examen (estetic \u015fi sociologic) presupune a cerceta contextul (institu\u0163ional \u015fi ideologic), eviden\u0163iind, de pild\u0103, \u201esorbul\u201c realismului socialist \u015fi decesul paradigmei, \u201emica liberalizare\u201c, asaltul protocronist, grefa postmodernist\u0103, rezisten\u0163a canonului, imperativul revizuirilor etc. Dac\u0103 revizuirile \u0163in, cu o anume periodicitate, de un metabolism cultural normal, fractura istoric\u0103 din decembrie \u201989 a iscat, odat\u0103 cu explozia memorialisticii \u015fi fireasca tentativ\u0103 a recuper\u0103rii exilului literar, un adev\u0103rat frison revalorizator-demolator, impus ca un exerci\u0163iu de salubrizare, \u201esataniz\u00e2nd\u201c, sub pecetea colabora\u0163ionismului, nume mari ale literaturii noastre. Bine\u00een\u0163eles, o istorie literar\u0103 nu poate fi conceput\u0103 \u00een absen\u0163a unei percep\u0163ii contextuale. O literatur\u0103 nu se dezvolt\u0103 \u00eentr-un laborator aseptic. \u00cenc\u00e2t, ceea ce \u00eemi propun, deschiz\u00e2nd un vast \u015fantier, prive\u015fte soarta unor scriitori, aparent definitiv clasa\u0163i \u015fi apoi retrograda\u0163i, taxa\u0163i drept \u201eexpira\u0163i\u201c, suspecta\u0163i de \u201eintegrare ideologic\u0103\u201c, produc\u00e2nd o literatur\u0103 infectat\u0103 de virusul comunist. O discu\u0163ie calm\u0103 devine, credem, posibil\u0103, av\u00e2nd ca premis\u0103 (obligatorie!) recitirea c\u0103r\u0163ilor, \u0163in\u00e2nd, uneori, de o literatur\u0103 propagandistic\u0103, alteori de o scriitur\u0103 \u201eacrobatic\u0103\u201c, esopic\u0103, pe \u201ededesupt\u201c, \u00eendatorat\u0103 \u201ecultului \u015fop\u00e2rlei\u201c. O astfel de investiga\u0163ie, discut\u00e2nd acribios cazuri, va eviden\u0163ia bruiajul ideologic al epocii, constr\u00e2ngerile \u015fi umilin\u0163ele, eforturile de a proteja autonomia esteticului, jocurile duplicitare, compromisurile morale, angajamentul, negocierile cu cenzura \u015fi, negre\u015fit, rezisten\u0163a axiologic\u0103, demonstr\u00e2nd c\u0103 segmentul postbelic, \u00een pofida condi\u0163iilor vitrege, impun\u00e2nd servilismul ideologic \u015fi alinierea, nu a fost un de\u015fert cultural! \u015eocul adev\u0103rului integral presupune, f\u0103r\u0103 a trece sub t\u0103cere p\u0103catele ideologice \u015fi morale ale omului, cercetarea prioritar\u0103 a operei, \u00eenregistrarea onest\u0103 a tribula\u0163iilor (op\u0163iuni, ezit\u0103ri, c\u0103deri, retract\u0103ri), refuz\u00e2nd, \u00eens\u0103, o nou\u0103 valorizare politic\u0103, pe tipar maniheic (ca proletcultism \u00eentors pe dos). Cei revizita\u0163i, unii trecu\u0163i \u00een nefiin\u0163\u0103, c\u0103zu\u0163i \u00een uitare, provoc\u00e2nd \u2013 \u00een timp \u2013 o bogat\u0103 flor\u0103 exegetic\u0103, reprezint\u0103 nume care, nicidecum, nu pot fi excomunicate din patrimoniul nostru cultural. \u015ei care probeaz\u0103, indubitabil, o continuitate literar\u0103, omologabil\u0103 valoric, dincolo de diferen\u0163ele de regim politic \u015fi falii genera\u0163ioniste, anul\u00e2nd \u015fi preten\u0163ia hilar\u0103 a unor voci (din noile genera\u0163ii) c\u0103 literatura rom\u00e2n\u0103 ar \u00eencepe la 1990! Inventariind simptomele de patologie literar\u0103 ale intervalului comunizant, respingem \u015fi ipoteza \u201erezerva\u0163iei estetice\u201c, subliniind c\u0103 argumentul, des invocat, al rezisten\u0163ei prin cultur\u0103 r\u0103m\u00e2ne, \u00een multe cazuri, un fragil alibi.<\/p>\n

T.C.: Domnule profesor, tot relativ recent a\u0163i publicat un studiu despre Ion Creang\u0103, dup\u0103 ce \u00eenainte mul\u0163i importan\u0163i critici au scris despre acesta. Ce v-a determinat s\u0103 aborda\u0163i subiectul?
\nA.D.R: Tat\u0103l meu era \u201e\u0163inu\u0163a\u015f\u201e nem\u0163ean. Ar fi, a\u015fadar, (\u015fi) un motiv sentimental. Dar nu uita\u0163i c\u0103 Ion Creang\u0103 poate fi \u201egustat\u201c, cu adev\u0103rat, doar la b\u0103tr\u00e2ne\u0163e… \u015ei r\u0103m\u00e2ne inepuizabil, chiar dac\u0103, \u00een timp, s-au rostit sentin\u0163e definitive.<\/p>\n

T.C.: Din calculele mele face\u0163i parte din Genera\u0163ia \u201980. V\u0103 revendica\u0163i acesteia?
\nA.D.R: Evident. \u015ei preg\u0103tesc Caravana optzeci\u015ftilor, un prim volum dedicat poe\u0163ilor.<\/p>\n

T.C.: Tr\u0103i\u0163i \u00een Banat de mul\u0163i ani \u015fi cunoa\u015fte\u0163i faptul c\u0103 noi, b\u0103n\u0103\u0163enii, suntem orgolio\u015fi. V-a atins \u015fi pe Dvs. m\u00e2ndria b\u0103n\u0103\u0163eanului? Pornind de aici, are voie criticul s\u0103 se pun\u0103 pe sine \u00een valoare mai mult dec\u00e2t pune \u00een valoare textul literar despre care scrie?
\nA.D.R: O, da, nu spunea \u201edivinul critic\u201c c\u0103 b\u0103n\u0103\u0163enii ar fi \u201egasconii\u201c Rom\u00e2niei? L\u0103s\u00e2nd gluma la o parte, a\u015f reaminti c\u0103 efortul de obiectivare ar trebui s\u0103 prezideze orice tentativ\u0103 exegetic\u0103. Din p\u0103cate, deseori, la meridianul balcanic, polemica (p\u0103r\u0103sind ideatica) cade \u00een pamflet, viz\u00e2nd omul. Dar o adev\u0103rat\u0103 neutralitate nu cred c\u0103 e posibil\u0103. Ar fi chiar inuman\u0103, b\u0103nuiesc. Jean Starobinski, \u00een Despre gesturile fundamentale ale criticii, recent ap\u0103rut\u0103, tradus\u0103 de doamna Angela Martin, vorbea de \u201eun travaliu mediator\u201c, ca discurs secund, circular. Criticul, a\u015fadar, s-ar retrage, \u201es-ar stinge \u00een lumina pe care o produce\u201c, refuz\u00e2nd discursul exhibi\u0163ionist-personalist. Dar, pe de alt\u0103 parte, criticii nici n-ar fi \u201ecodo\u015fii literaturii\u201c, cum credea Noica.<\/p>\n

T.C.: Ca universitar a\u0163i parcurs toate treptele ierarhiei academice p\u00e2n\u0103 la cea de profesor \u015fi prorector al Universit\u0103\u0163ii \u201eTibiscus\u201c din Timi\u015foara. Catedra nu v\u0103 sustrage preocup\u0103rilor scriitorice\u015fti?
\nA.D.R: Dincolo de uzura birocratic\u0103 \u015fi \u00eendatoririle profesorale, via\u0163a universitar\u0103 \u00ee\u0163i ofer\u0103 \u015fansa (uria\u015f\u0103!) de a fi \u00een contact cu spiritul t\u00e2n\u0103r. De a-\u0163i p\u0103stra vioiciunea intelectual\u0103, permeabilitatea ideatic\u0103, accept\u00e2nd, odat\u0103 cu tectonica genera\u0163ionist\u0103, \u015fi confruntarea. Fire\u015fte, cu argumentele pe mas\u0103, provoc\u00e2nd dialogul, \u201ecomer\u0163ul\u201c cu idei etc. Ceea ce \u00eemi displace ar fi tocmai autoritarismul. Chiar dac\u0103 vorbim, cu temei, despre o insidioas\u0103 deculturalizare, despre analfabetismul TV (\u015fi, vai, chiar \u015fi cel real), despre asaltul teleintelectualilor (fault\u00e2nd gramatica) \u015fi a vedetelor de mucava (trupolatria), \u00een contextul stariz\u0103rii. Cum lucrez cu o agend\u0103 \u201eferm\u0103\u201c, \u00eemi respect cu stricte\u0163e programul. Nu m\u0103 las \u00eencurcat, \u201esustras\u201c. \u015ei nu uit de un vechi \u00eendemn, pornind de la un dicton latin: s\u0103 nu l\u0103s\u0103m s\u0103 treac\u0103 o zi, f\u0103r\u0103 a trage baremi o linie. Adic\u0103, \u00een \u201etraducere\u201c: a citi \/ a scrie…<\/p>\n

T.C.: Privind \u00een urm\u0103, de\u015fi nu e momentul bilan\u0163ului, ce a\u0163i regreta?
\nA.D.R:\u00a0 Tinere\u0163ea care a zburat, vraful de c\u0103r\u0163i necitite, at\u00e2tea inten\u0163ii nefinalizate. Sau ratate. Fiindc\u0103, spunea cineva, to\u0163i suntem ni\u015fte rata\u0163i, raport\u00e2ndu-ne la ceea ce am fi vrut s\u0103 facem…<\/p>\n

\"rachieru\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

    Titus Cri\u015fciu: C\u00e2nd s-a dedicat sociologul criticii \u015fi istoriei literare? Adrian Dinu Rachieru: T\u00e2rzior, din p\u0103cate. Cum sociologia, abia reabilitat\u0103 (1965), devenise, \u015fi ea, rapid, \u00een trecutul regim, o \u015ftiin\u0163\u0103 apologetic\u0103, m-am refugiat \u00een critica literar\u0103, acolo unde spiritul critic se putea desf\u0103\u015fura (c\u00e2t de c\u00e2t), f\u0103r\u0103 a \u00eembr\u0103\u0163i\u015fa unanimitatea anost\u0103, fals-entuziast\u0103. Iar… Cite\u0219te mai mult »\u201eSolidaritatea de breasl\u0103 este o dulce \u015fi p\u0103guboas\u0103 iluzie\u201c. ADRIAN DINU RACHIERU \u00een dialog cu TITUS CRI\u015eCIU<\/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":[48],"tags":[],"class_list":["post-24338","post","type-post","status-publish","format-standard","hentry","category-dezbatere"],"views":3140,"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\/24338","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=24338"}],"version-history":[{"count":1,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/24338\/revisions"}],"predecessor-version":[{"id":24340,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/24338\/revisions\/24340"}],"wp:attachment":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/media?parent=24338"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/categories?post=24338"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/tags?post=24338"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}