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Cil-Nr-2-19-2012-Vol-Ii.Pdf Literatură şi identitate 1 COMMUNICATION INTERCULTURELLE ET LITTÉRATURE NR. 2 / 2012 Mémoire, littérature et identité VOLUMUL II Configurations littéraires et repères identitaires Coordination: Alina Crihană Nicolae Ioana, Doiniţa Milea, Simona Antofi, Nicoleta Ifrim, Laurenţiu Ichim Institutul European 2013 Prezentul volum cuprinde o selecţie a lucrărilor Workshop-ului Memorie, literatură şi identitate (Galaţi, 28 iunie 2013) şi a lucrărilor Colocviului Internaţional Povestirile vieţii: memorie, istorie şi ficţiuni identitare (Galaţi, 26-27 octombrie 2012). Volumul a fost publicat cu sprijinul financiar al Proiectului TOP ACADEMIC, POSDRU/107/1.5/S/76822, Id proiect: 76822. Contact: Centrul de Cercetare Comunicare Interculturală şi Literatură, Facultatea de Litere, Universitatea „Dunărea de Jos” Str. Domnească, nr. 111, Galaţi; Cod poştal: 800001 Telefon: +40-236-460476; Fax: +40-236-460476 Director: [email protected] Redactor-şef: [email protected] Secretar de redacţie: [email protected] Comitetul de redacţie: [email protected], [email protected], [email protected] Difuzare: [email protected], [email protected] Abonamentele se fac la sediul redacţiei, Str. Domnească, nr. 111, Galaţi, cod 800001, prin mandat poştal pe numele Simona Antofi. Preţurile la abonamente sunt: 3 luni – 30 lei; 6 luni - 60 lei ; 12 luni – 120 lei. Abonamentele pentru străinătate se fac achitând costul la redacţie. După achitarea abonamentului, aşteptăm prin fax sau e-mail adresa dvs. de expediţie pentru a vă putea trimite revista. Literatură şi identitate 3 Cuprins Literatură şi identitate 7 Sur une dystopie totalitaire roumaine cachée sous la 8 défroque d’une fiction identitaire. Le cas de La Bibliothèque d’Alexandrie de Petre Sălcudeanu Carmen Andrei Memorie şi istorie la Paul Ricœur 24 Mihai Androne Profilul identitar al unui unui cavaler reîntors la matcă – 34 Sorin Alexandrescu între discursul critic şi cel autobiografic Simona Antofi Lucian Blaga, Luntrea lui Caron – aventura unei 41 retroficţiuni identitare Marian Antofi Martha Bibescu’s Diary and the Backstage of European 48 History Valeriu Bălteanu Memory and its Fictional Reflections in Vasile Voiculescu’s 53 Narratives Marilena Bobârnilă (Niţă) Edmund de Waal’s History of Touch: The Hare with Amber 62 Eyes. A Hidden Inheritance Ruxanda Bontilă 4 Communication interculturelle et littérature Ipostazele personajului narator-caragialian ca forme ale autoficţiunii caragialiene 78 Oana Andreea Contoman Métamorphoses de la littérature roumaine dans le contexte 86 des influences européennes au XIXe siècle Ana-Elena Costandache De la un infern la altul: Ion Caraion – Ultima bolgie. Jurnal 3 95 Alina Crihană Dimensiunea ontologico-estetică a simbolurilor din poezia 106 lui Grigore Vieru – formă de confesiune lirică Liliana Doscalo Grosu Proiecţii identitare în proza interbelică a Cellei Serghi 115 Elena Filote (Panait) One’s Autobiography, Their Native Place’s Biography 123 Petru Iamandi Ştefan Agopian în memoria textului critic: repere identitare 130 Laurenţiu Ichim „Identităţi în oglindă”: ipostaze identitare în discursul 136 eseistic şi „ego-grafic” postdecembrist Nicoleta Ifrim Despre conservarea/lichidarea memoriei colective şi a 152 conştiinţei identitare Nicolae Ioana Statutul autorului de autoficţiune – între corp textual şi 157 proiecţie ficţională Violeta - Teodora Iorga (Lungeanu) Memorie şi istorie în literatura concentraţionară 165 Viviana Ivlampie Literatură şi identitate 5 Jocurile memoriei în construirea ficţiunilor identităţii: G. 176 Garcia Márquez, A trăi pentru a-ţi povesti viaţa/ Vivir para contarla Doiniţa Milea Memory and Identity: Brian Friel’s Philadelphia, Here I 183 Come! Ioana Mohor-Ivan Publicistica lui Mircea Dinescu – un itinerariu al (anti)me- moriilor unui scriitor 193 Petrica Paţilea (Crângan) Memory, History and Identitary Fictions in Salman 202 Rushdie’s Midnight’s Children Michaela Praisler Identităţi în oglinda miturilor politice în spaţiul european 210 totalitar Livia Silvia Rău (Marcu) Construction de l’identité d’écrivain – une étude sur Marin 217 Preda et Jean-Paul Sartre Raluca Cristina Sarău „Aventura conştiinţei” lui Petru Dumitriu 225 Vasile Spiridon Varia 231 Aromânii şi mişcarea legionară 232 Cătălin Negoiţă Noi roluri şi competenţe ale profesorului în educaţia 246 contemporană Simona Marin 6 Communication interculturelle et littérature 253 Recenzii Herta Müller, Regele se-nclină şi ucide, Editura Polirom, 254 Iaşi, 2005, 227 p., ISBN 973-681-772-5 Oana Magdalena Cenac Date despre autori 257 Literatură şi identitate 7 Literatură şi identitate 8 Communication interculturelle et littérature Sur une dystopie totalitaire roumaine cachée sous la défroque d’une fiction identitaire. Le cas de La Bibliothèque d’Alexandrie de Petre Sălcudeanu Carmen Andrei Résumé : À partir de l’analyse du roman de l’écrivain roumain Petre Sălcudeanu, La Bibliothèque d’Alexandrie [Biblioteca din Alexandria], mon travail touche à une double problématique : proposer des prolégomènes au roman historique roumain de l’« obsédante décennie », afin de nuancer le profil de ce genre éminemment fortuné à l’époque noire des années 1960, époque qui se caractérise par l’avènement de l’idéologie communiste prophétique de souche lénino-stalinienne. Je commenterai également le dialogue intertextuel que ce roman entame avec son modèle Le Pavillon des cancéreux d’Alexandre Soljenitsyne, ainsi que les confluences qui en découlent. Mots-clés : dystopie totalitaire, fiction identitaire, communisme, pastiche, pouvoir légitimateur En 1984, Petre Sălcudeanu (1930-2005) faisait paraître une deuxième édition de son roman La Bibliothèque d’Alexandrie (Biblioteca din Alexandria, 500 pages, abrégé désormais BdA) aux éditions Cartea Românească de Bucarest1, après le succès de la première édition quatre ans auparavant. Après avoir fait des études de philosophie à Bucarest, doublées d’études de lettres et de critique littéraire à Moscou, il devient écrivain et scénariste (d’une quinzaine de films), un familier du milieu littéraire2. Par ailleurs, l’auteur est l’un des membres fondateurs de l’Union des Écrivains Roumains. Avant la publication de La Bibliothèque d’Alexandrie en 1980, il était connu pour ses romans policiers [Détective à quatorze ans (Detectiv la paisprezece ani) ou le cycle « Papi »3), mais la veine du polar ne lui assurait qu’un demi-anonymat. La Bibliothèque d’Alexandrie reçoit la prix de l’Union des Écrivains, jouit d’un certain succès auprès du grand public et de la critique littéraire du temps, dans le sillage d’un autre roman dans le même genre tel que Apprentissage par les balles Literatură şi identitate 9 (Ucenicie printre gloanţe, 1974). Sălcudeanu gardera la même veine dans ses futurs romans historiques tels que La Cène (Cina cea de taină, 1984), Le Jugement Dernier (Judecata de Apoi, 1987), L’Œil et la Mer (Ochiul şi marea, 1989). L’œuvre de cet auteur revêt un aspect paradoxal qui rend controversée sa réception. Il a aussi écrit des romans dédiés au socialisme comme Le Chant ouvrier (Cântecul muncitoresc, 1950), La Rue Lux (Strada Lux, 1962), Pas encore la fin de la semaine (Săptămâna neterminată, 1965). À présent, dans la lumière de nouvelles assises identitaires post totalitaires, il est difficile de décider si ce sont des « péchés de jeunesse » ou des éloges sincères d’une idéologie flamboyante. Best-seller avant la Révolution de 1989, La Bibliothèque d’Alexandrie a été d’emblée comparée à la Montagne magique de Thomas Mann, roman avec lequel dialogue dès l’incipit, mais, toute proportion gardée dans le livre de Sălcudeanu, le sanatorium ne sera pas une imago du monde comme chez Thomas Mann, mais bel et bien l’imago d’une réalité roumaine bien ancrée dans l’Histoire. Ici, tout est possible : les consciences se métamorphosent, la rixe naît de rien, les petits vols sont monnaie courante, les mêmes gens s’avèrent tantôt haineux, tantôt généreux (BdA, p. 479). C’est un sanatorium pour les tuberculeux fortunés, des cadres du parti dans leur majorité, des activistes anciens ou des frais et moulus, récemment parvenus à un titre et à une fonction. Des espions de la police politique sont hospitalisés comme de vrais malades ou des malades imaginaires afin de mieux recenser toutes sortes de délations. Dans ce sens également, on a affaire à un roman politique qui donne « une représentation orientée d’un fragment de réalité »4, où le récit naît d’une aporie et les conflits inévitables et insolubles et non pas à un roman de propagande. En revanche, le parallèle qui s’établit plus facilement est avec Le Pavillon des cancéreux [700 pages, abrégé PdC désormais] d’Alexandre Soljenitsyne, roman publié en 19685 dont Petre Sălcudeanu a vraisemblablement puisé le canevas narratif et historique. Soljenitsyne est une figure de proue de la dissidence, une voix qui a eu le courage de dire la faillite d’une idéologie fondée sur la terreur6. Dans le PdC, il narre quelques journées et le « fatum » des personnages confrontés à la mort, au cancer. L’action se passe en 1955, à l’heure de la déstalinisation où surgit un questionnement douloureux : comment le mensonge idéologique a-t-il réussi à conso- lider la Cause ? La seconde partie du roman vire au débat méta- physique entre deux protagonistes à l’allure de rebelles dosto- 10 Communication interculturelle et littérature ïevskiens, Kostoglotov et Chouloubine. Surnommé « Grandegueule », Oleg Kostoglotov est un héros idéaliste qui revient à la vie et rêve de trouver la plante mystérieuse qui le guérira (une racine qui poussait
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