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EXPRESIVITATEA ELEMENTELOR LATINEŞTI ÎN COMUNICAREA ŞTIINŢIFICĂ Elena VARZARI Creativitatea Limbajului, Ca Parte Component

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EXPRESIVITATEA ELEMENTELOR LATINEŞTI ÎN COMUNICAREA ŞTIINŢIFICĂ Elena VARZARI Creativitatea Limbajului, Ca Parte Component EXPRESIVITATEA ELEMENTELOR LATINEŞTI ÎN COMUNICAREA ŞTIINŢIFICĂ Elena VARZARI Creativitatea limbajului, ca parte componentă a creativităţii umane, este un subiect despre care se discută mult, mai ales după ce R.Jakobson, la o conferinţă pe tema stilului din cadrul Universităţii Indiana, în 1958, a propus bine-cunoscutul model al comunicării, care impune, odată cu studierea limbajului, şi o cercetare atentă a funcţiei poetice a acestuia. Este general acceptat că una dintre formele creativităţii lingvistice în comunicare o reprezintă strategiile ludice care actualizează mijloacele expresive ale limbii, chiar dacă adesea prin astfel de strategii se face apel la fapte de limbă ce încalcă norma lingvistică. Supus pe parcursul câtorva decenii unor abordări nu doar lingvistice (D. Crystal, P. Guiraud, V. Sannikov), ci şi culturale (J. Huizinga), fi- losofice (L. Wittgenstein), psihologice (E. Berne), sociologice (E.Gof- fman) etc., ludicul este interpretat, în linii mari, ca având funcţii creatoare de cultură şi fiind un element indispensabil în constituţia eului. De regulă, lingviştii îl asociază experimentului şi îl pun în rela- ţie cu echivocul lexical, răsturnarea semantică, transgresarea standar- delor gramaticale, incompatibilitatea sintactică, anomalia, posibili- tăţile retorice etc. Mai nou, din moment ce se recunoaşte că „utilizarea creativă a limbajului este un fenomen cotidian, comun; nu este o capacitate a unor oameni excepţionali, ci o capacitate excepţională a tuturor oamenilor” [1, p.13], se operează o distincţie între un discurs ludic (predilect umoristic, direcţionat spre obţinerea unor efecte comice) şi un discurs utilitar căruia i se imprimă o anumită tonalitate ludică, în funcţie de intenţiile autorului care manipulează procedeele expresive ale limbii. Tonalitatea ludică, ca tip comunicativ, alături de tonalităţile informativă, fatică, oficială, ideologică, agresivă, ezoterică ş.a., este văzută drept o modalitate de marcare emoţională, apreciativă, stilistică 7 a unor enunţuri ce urmează a fi interpretate ambivalent de către un receptor cooptat la realizarea „jocului” comunicativ [2, p. 71]. În discursul nonludic, exceptându-l pe cel injonctiv şi pe cel oficial-administrativ, intenţiile ludice ale locutorilor (de divertisment, de autoafirmare, de captare a atenţiei etc.) se pot realiza la diferite niveluri şi prin intermediul unor variate mijloace. Aspectul care ne va interesa în continuare este valorificarea creativă a relaţiilor lingvo- ulturale oferite limbilor moderne de fondul paremiologic latinesc. Caracterizate prin concizie, autosemantism, caracter didactic- moralizator, adâncime filosofică etc., maximele şi expresiile latineşti au căpătat o largă utilizare în toate limbile europene actuale, reprezentând nişte enunţuri universale cu semnificaţii generalizatoare sau metaforice. Deşi unele au o vechime de peste două milenii, iar altele îşi trag originea încă din opera homerică (aşa-numitele „Epea Pteroenta”), beneficiind de o răspândire impresionantă încă din Antichitate, ele au început să fie studiate abia după publicarea primei ediţii a cărţii lui Georg Büchmann Geflügelte Worte (1864). În categoria paremiilor latineşti, de altfel foarte numeroasă şi eterogenă, au fost incluse diferite enunţuri sapiențiale: expresii frazeologice, cuvinte înaripate, zicători, proverbe, maxime, aforisme etc., toate interpretate ca fenomene corelate ce comentează, evaluează sau fixează cunoştinţe, având rol preponderent mnemonic. Datorită posibilităţilor de condensare a observaţiilor şi de extindere a sensurilor, enunţurile cu identitate gnomică sunt deseori ancorate în discurs în scopul realizării unor configuraţii semantice, implicând şi cititorul în procesul comunicativ. Maximele şi expresiile de inspiraţie clasică greco-latină vizează, în mare, un adresat erudit, capabil, pe de o parte, să descifreze intenţiile autorului care face apel la cultura antică, iar pe de alta, să sesizeze valorile expresive obţinute prin integrarea, stilizarea, parafrazarea sau transformarea lor contextuală. În plus, nu putem trece cu vederea nici faptul că structura semantică a unei paremii se compune din două elemente: focus semiotic, ce înglobează o informaţie explicit exprimată în textul paremiei, şi fond semantic, ce conţine informații implicite, a căror înţelegere şi interpretare variază de la un subiect vorbitor la altul [3, p.207]. Astfel, graţie unui conţinut susceptibil de diverse variaţii şi unei complexităţi stilistice, efectele pragmatice ale structurilor paremiologice sunt comparabile cu cele ale textelor. 8 Integritatea structurală a expresiilor latineşti, precum şi formalizarea expresiei lor nu împiedică, în condiţiile reenunţării, transformări ocazionale generatoare de înnoiri ale structurii şi semnificaţiei. Pornind de la modelul reprezentativ pe care îl oferă, locutorii pot modifica (substitui, adăuga, omite) un element din cadrul acestor enunţuri preelaborate, ceea ce duce, în funcţie de actele concrete de comunicare, la potenţarea efectului lor pragmatic şi stilistic, la concretizarea sensului sau la îmbogăţirea semnificaţiilor preexistente. Încadrate în alte tradiţii culturale şi raportate la grupuri sociale diferite, aceste unităţi sunt supuse astăzi unui proces de deconstrucţie care le menţine în actualitate şi le face accesibile unor noi categorii de destinatari. Introduse în comunicarea actuală, expresiile latineşti nu sunt repetitive, ci au, mai degrabă, un caracter interpretativ faţă de unitatea originară. De cele mai dese ori, reprezintă o categorie cognitivă şi generativă de sensuri noi. Acestea verbalizează o referinţă intertextuală, aşa cum se poate urmări în baza seriei formate cu substantivul pax, pacis (pace), unul din conceptele-cheie ale Antichităţii romane. Termenul se definea, de obicei, prin raportare la război (bellum) – ipostaza curentă în care se afla cetatea. Semnifica deci absenţa violenţei în relaţiile dintre comunităţi sau o scurtă întrerupere a stării universale de conflict. Expresia pax Romana avea un sens derivat de aici, făcând trimitere la pacea impusă de romani pe teritoriile pe care le stăpâneau. Deci caracteriza loialitatea faţă de Roma şi lipsa de conflict între ţările din componenţa Imperiului Roman. Prin analogie cu aceasta, sunt create în ştiinţele contemporane expresiile terminologice: Pax Britannica, Pax Americana (inclusiv pax Britamericana), Pax Africana, Pax Hethica, Pax Indica, Pax Islamica, Pax Israeliana, Pax Otomana, Pax Russica (am atestat şi varianta Pax Rossica), Pax Sinica, Pax Sovietica, Pax Syriana ş.a., care fac trimitere la ţinuturile controlate de anumite puteri politice de la începutul sec. al XIX-lea şi până astăzi. Majoritatea au şi rol de generare a textului, servind drept titluri/subtitluri de monografii ştiinţifice sau culegeri de articole (cf.: … In Search of an Enduring Pax Africana; Pax Hethica. Studies on the Hittites...; Pax Islamica: An Alternative New World Order; Pax Ottomana: studies in memoriam prof. dr.… etc.). Structurile cu substitut lexical devin 9 productive şi se extind şi în alte contexte, transferând ideea de dominaţie asupra unor sfere de activitate umană: pax democratica, pax economica, pax ethnica, pax legalis, pax mundi, pax pretoriana, pax sonoris. Efect expresiv au unităţile formate prin asocierea substantivului amintit cu antroponime istorice sau religioase: Pax Cereris, Pax Benedictina, Pax Christi, Pax Gandhiana, Pax Caesaris, Pax Nicephori, iar alipirea unor nume proprii din istoria actuală capătă şi nuanţe ludice: Pax NATO, Pax Obama. Intenţiile cu care se utilizează în comunicarea ştiinţifică aceste expresii latineşti deconstruite sunt, de fapt, multiple, fiind determinate, în primul rând, de faptul că paremiile latineşti utilizate în textul ştiinţific actual fac trimitere la alte texte, de regulă antice, general- cunoscute. Aceasta facilitează perceperea noii informaţii pentru receptorul discursului ştiinţific, care, de regulă, dispune de competenţele enciclopedice necesare pentru a decodifica mesajul. Efectul expresiv pe care îl capătă este datorat utilizării nonstandard a mijloacelor lingvistice, creării unor noi lanţuri asociative, recombinării unor unităţi frazeologice şi depăşirii unor legităţi pragmatice în textul ştiinţific, mizând pe o receptare pozitivă sau pe una estetică. Referinţe: 1. CARTER, R. Language and creativity: The art of common talk. London, New York: Routledge, 2004. 2. ИВАНОВА, Ю.М., ЯРМАХОВА, Е.А. Маркеры игровой коммуникативной тональности. B: Вестник Челябинского государственного университета. 2014. № 10 (339). Филология. Искусствоведение. Вып, 90. с. 71-77. 3. ДЯДЫК, Н.Г. Многозначность афоризма как смыслового феномена: гносеологический аспект. B: Личность. Культура. Общество, 2010, том XII, вып. 3 (№ 57-58), c. 204-210. 10 .
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