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17 Modalităţi De Valorificare a Lecturilor Suplimentare

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17 Modalităţi De Valorificare a Lecturilor Suplimentare Analele Universităţii “Constantin Brâncuşi” din Târgu Jiu, Seria Ştiinţe ale Educaţiei, Nr. 3/2015 MODALITĂŢI DE VALORIFICARE A HOW TO CAPITALIZE ON LECTURILOR SUPLIMENTARE ÎN ADDITIONAL READING TO ENRICH VEDEREA ÎMBOGĂŢIRII ŞI AND TONE THE LANGUAGE IN NUANŢĂRII LIMBAJULUI LA ELEVII PRIMARY SCHOOL PUPILS DIN CICLUL PRIMAR Luminiţa Popescu Luminiţa Popescu Ion Popescu-Brădiceni Ion Popescu-Brădiceni Abstract: Lectura este o dimensiune Abstract: Reading is an indisputable dimension of indiscutabilă a fiinţei umane. Prin ea intrăm în the human being. By it we get in or out of time. sau ieşim din timp. Dimensiunile se substituie Dimensions substitute for each other, correspond, unele altora, îşi corespund, se contopesc deseori. often merge. Reading is - (meta) didactic speaking Lectura reprezintă – (meta)didactic vorbind - - the main form in which the reception of the principala formă în care se organizează literary work is organized. With her, any child or receptarea operei literare. Cu ea, orice copil sau adolescent advances, with or without his will, in adolescent avansează, cu sau fără voia sa, în the fantastic poetics. Does it differ from lyrical or poeticul fantastic. Se diferenţiază acesta de cel hermeneutic? Marin Beşteliu's question seems liric sau hermeneutic? Întrebarea lui Marin natural. Nicolae Manolescu himself sets his way Beşteliu pare firească. Nicolae Manolescu însuşi first under the miraculous sign of his childhood. îşi aşază drumul cel dintâi sub semnul miraculos The atmosphere would have been extremely al copilăriei sale. Atmosfera i se va fi părut mysterious. extrem de misterioasă. Keywords: lecture, language, theory Cuvinte cheie: lectură, limbaj, teorie An Introduction To Reading Theory And O introducere în teoria şi practica lecturii Practice Pledoarie pentru un lector ideal A Plea For An Ideal Lecturer 1. Raportul echilibru-structură 1. Balance-structure ratio Dimpreună cu Marin Beşteliu pledăm Together with Marin Beşteliu we advocate for pentru eliminarea prejudecăţii că între the elimination of the prejudice that there are fantastic şi poetic ar exista diferenţe radicale. radical differences between fantastic and Adrian Marino, de pildă, înclină către o poetic. Adrian Marino, for example, is identitate creatoare dintre spiritul fantastic şi inclined towards a creative identity between cel poetic, care se bazează indiscutabil pe un the fantastic and the poetic spirit, which is anumit tip de raport - raportul fantastic. indisputably based on a certain type of report O primă asemănare între poetic şi - the fantastic report. fantastic o identificăm în convertirea realului A prime resemblance between poetic and în mister prin raporturile inedite dintre fantastic we identify in the conversion of real imagini şi simboluri. Şi totuşi, pe chiar into mystery through the novel relations teritoriul acestei similitudini, se iveşte o Annals of the „Constantin Brâncuşi” University of Târgu Jiu, Education Sciences Series, Issue 3/2015 17 Analele Universităţii “Constantin Brâncuşi” din Târgu Jiu, Seria Ştiinţe ale Educaţiei, Nr. 3/2015 primă diferenţiere: în poetic ne confruntăm between images and symbols. And yet, on the cu statutul imaginii artistice, pe când în very territory of this similarity, there is a first fantastic luăm în atenţie grupul de imagini, differentiation: in poetic we are confronted de elemente componente. „Imaginile with the status of the artistic image, while in alăturate în stilul poetic, funcţionând în acest fantastic we take into consideration the group raport, au tendinţa realizării unei coerenţe la of images, component elements. "Images in nivelul ansamblului, pe când în fantastic ele the poetic style, working in this report, tend to încremenesc în opoziţie ireconciliabilă". achieve consistency at the level of the Lămurind astfel chestiunea, Marin ensemble, while in fantastic they cling to Beşteliu punctează: „Fantasticul nu poate irreconcilable opposition." subzista decât în ficţiune; poezia nu poate fi Thus clarifying the matter, Marin Beşteliu fantastică, pentru că - nu-i aşa? - fantasticul points out: "The fantastic can only survive in implică ficţiune". Iar Adrian Marino fiction; Poetry can not be fantastic, because - conchide: „În realitate, fantasticul nu-şi poate is not it? - fantastic involves fiction. "And lua zborul decât din mijlocul fanteziei, Adrian Marino concludes:" In fact, the singura care-l produce, legitimează şi impune fantastic can only take flight out of fantasy, ca produs estetic specific". the only one that produces it, legitimizes and „Totuşi, refuză poezia imposes itself as a specific aesthetic product. reprezentarea, ficţiunea?" - ne incită " teoretic acelaşi Marin Beşteliu. Ideea de "Still, it refuses poetry representation, operă totală, unică, ignoră asemenea piedici fiction?" - the same Marin Beşteliu is vizând monumentalitatea spectaculară. theoretically inspiring us. "The idea of a total, Determinantă pentru calitatea de fantastic unique opera neglects such obstacles to este în ultimă accepţiune vigoarea spectacular monumentality." The decisive tensionării efortului de iluminare într-o factor for fantastic quality is ultimately the creaţie epico-dramatică. Această categorie a vigor of tensioning the enlightenment effort in poeticului, inclusă în aceea a fantasticului - a creation This category of the poetic, se deosebeşte de poeticul-liric sau cel included in the one of the fantastic - differs hermeneutic. Acesta din urmă are from the poetic-lyrical or the hermeneutic, particularităţi „ce-l individualizează în which has particularities "that distinguish it special din perspectiva lectorului"1. from the perspective of the lector" 1. Atitudinea acestui lector faţă de The attitude of this lecturer towards the raportul echilibru - ruptură reintroduce balance-to-balance ratio reintroduces the acelaşi criteriu tiranic al realităţii psihologice same tyranic criterion of the psychological a creaţiei. Cităm din Adrian Marino: reality of creation. We quote from Adrian „Decalajul plăcut, confortabil, acceptat ca Marino: "The pleasant, comfortable gap, firesc, obiect de satisfacţie inedită devine accepted as natural, the object of «poetic». Decalajul tulburător care ne unprecedented satisfaction becomes" poetic ". «alarmează» privit ca anormal sau The disturbing gap that "alarms" us as an inexplicabil, obiect de perplexitate au iritare abnormal or inexplicable object of perplexity interioară, devine «fantastic»2. S-ar putea has inner irritation becomes "fantastic" 2. One crede că fantasticul e domeniul conflictelor might think that the fantastic is the field of ireductibile generatoare de teroare, că irreducible conflicts that generates terror, that prezenţa sa zguduie orice certitudine. its presence shakes any certainty. „În această împrejurare, - opinează "In this circumstance, - Adrian Marino argues Adrian Marino - ceea ce ne invadează este - what invades us is the feeling of senzaţia de inexplicabil, straniu, mister, inexplicable, strange, mystery, assimilated to asimilat unei primejdii potenţiale, iminente; a potentially imminent danger; What will rule Annals of the „Constantin Brâncuşi” University of Târgu Jiu, Education Sciences Series, Issue 3/2015 18 Analele Universităţii “Constantin Brâncuşi” din Târgu Jiu, Seria Ştiinţe ale Educaţiei, Nr. 3/2015 ceea ce ne va stăpâni, în următorul moment, us in the next moment will be fear, fear. And vor fi frica, spaima. Şi la fel ca poeticul este just as the poetic is the projection of proiecţia viselor de împlinire şi a stărilor fulfillment dreams and ecstatic states. The extatice. Cele două interpretări nu reprezintă two interpretations do not fully represent the pe-de-ntregul adevărul căci trecerea de la truth, since the transition from poetic to poetic la fantastic, pe durata aceleiaşi lecturi fantastic during the same reading (Titan de (Titanul de Jean Paul Richter sau Corbul de Jean Paul Richter or Edgar Allan Poe) proves Edgar Allan Poe) se dovedeşte a fi extrem de to be extremely unstable. The same text can instabilă. Acelaşi text poate deveni pe rând become either simultaneous and poetic, but ori simultan şi poetic, dar şi fantastic. also fantastic. So when a text we like to read, Aşadar, când un text ne place la lectură, we are seduced to define it as poetic; But suntem seduşi în a-l defini ca poetic; când when it surprises us violently or frightens us însă ne surprinde violent sau ne înspăimântă we almost hear it involuntarily as fantastic; îl receptăm aproape involuntar ca fantastic; But also under this form, the text fascinates us dar şi sub această formă, textul ne fascinează and thus the poetic-fantastic dissociation şi astfel disociaţia poetic-fantastic dispare. disappears. "Art is a myth that unifies" - „Arta e un mit care unifică"- reflectează metin-synthetically Marin Beşteliu - and in it meta-sintetic Marin Beşteliu - şi în el s-au has concentrated and coagulating and now all concentrat şi se coagulează şi actualmente the creative availability obliging our spirit toate disponibilităţile creatoare obligând thirsty for clarity and ordering to always be a spiritul nostru însetat de claritate şi ordonare hazard in this chaos of generous and In the să fie mereu hazardat în acest haos al dăruirii happy Babel. " generoase şi în cel al Babelului fericit”. 2. Towards a theory of (re) reading 2. Către o teorie a (re)lecturii Is a pure critique of reading perfectly well E oare perfect întemeiată o pură founded? Gaston Bachelard tried to convince critică a lecturii? Gaston Bachelard a încercat us in putting
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