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Religion, Fiction, and History RELIGION, FICTION, AND HISTORY Essays in Memory of Ioan Petru Culianu EDITED BY SORIN ANTOHI Volume I N 200NEA1IM1 RELIGION, FICTION, AND HISTORY Essays in Memory of Ioan Petru Culianu EDITED BY SORIN ANTOHI Volumes I-II © Editura Nemira, 2001 Comercializarea în afara graniţelor ţării fără acordul editurii este interzisă. Difuzare: S.C. Nemira & Co, Str. Ion Mihalache nr. 125, sector 1, Bucureşti Tel.: 224.14.28; 224.10.08; Tel./Fax: 224.18.50 e-mail: [email protected] www.nemira.ro Descrierea CIP a Bibliotecii Naţionale a României Religion, Fiction and History. Essays in Memory of loan Petru Culianu / edited by Sorin Antohi. - Bucureşti: Nemira, 2001 2 vol.: 13x20 cm. ISBN 973-569-491-3 Vol. 1. - 2001. - 416 p. - ISBN 973-569-492-1 I. Antohi, Sorin (ed.) 821.135.1-4=111 TABLE OF CONTENTS Volume I Ioan Petru Culianu: Şi totuşi...IAnd Yet... Arta Fugii/The Art of the Fugue 11 Sorin Antohi: Introduction 19 Thérèse Culianu-Petrescu: loan Petru Culianu: A Biography 25 ENCOUNTERS Andrei Pleşu: O prietenie şi câteva neîntâlniri followed by three letters from loan Petru Culianu 61 Mircea Martin: Portretul unui prieten 70 Gianpaolo Romanato: Ricordo di un amico: loan Petru Culianu 74 Giovanni Casadio: loan Petru Couliano ou la contradiction 153 Marin Mincu: întâlnirile mele cu loan Petru Culianu... 168 klcmire Zolla: Culianu 176 Andrei Oişteanu: O întâlnire cu LP. Culianu followed by Despre gnosticism, bogomilism şi nihilism. loan Petru Culianu în dialog cu Andrei Oişteanu .... 206 Matei Călinescu: Culianu: Eliade: Culianu 225 Gabriela Adameşteanu: Istoria unui interviu, după zece ani 258 .lohn Crowley: A Modern Instance: Magic, Imagination, and Power 285 Jennifer Stevenson: Three Weeks 299 5 OUT OF THIS WORLD Dorin Tudoran: într-adevăr... followed by Rinoceri jormanezi? 305 Michael Allocca: loan Petru Culianu: Requiem for a Man 321 Ted Anton: The Assassination of loan Petru Culianu ... 330 Umberto Eco: Murder in Chicago 334 FICTIONAL WORLDS Andrei Codrescu: Excerpt from Messiah 351 Liviu Antonesei: If sau un triptic despre viaţă şi cărţi.... 353 Gabriela Gavril: Jocurile maestrului Culianu 369 Grazia Marchiano: Un uomo per altre latitudini: loan Petru Culianu 386 Ileana Mihăilă: loan Petru Culianu et la mythanalyse 400 Volume II ELECTIVE AFFINITIES Moshe Idei: On Magic and Judaism 13 Paul Richard Blum: Das Opfer des Ruhms. Religionsphilosophie und Ethik bei Giordano Bruno... 41 A.J. Droge: Retrofitting!Retiring „Syncretism" 66 Bruce Lincoln: Once Again the Bovine's Lament 83 Dumitru Radu Popa: La Naissance: structures symboliques 99 Călin-Andrei Mihăilescu: Framing, Magic 115 Martin Riesebrodt: Askese und Extase als Grundlagen von Gesellschaft. Anmerkungen zur religionssoziologischen Debatte um 1900 137 Gregory Spinner: The Use and Abuse ofMorphology... 158 Michael Fishbane: In Sight of Insight: Reflections on a Poem by H.N. Bialik 190 6 ECHOES Dan Alexe: „Stăpâne, stăpâne, mai cheamă şi-un câne." O reevaluare a interferenţelor romăno-albaneze 201 Victor Ivanovici: Sophia patiens. Un scenariu gnostic în romanul Şase nopţi pe Acropole de Yorgos Seferis... 230 Vladimir Tismăneanu: Malaise, Resentment, Disenchantment: Threats to Democracy in Post-Communist Societies... 282 LEGACIES Giovanni Filoramo: Religione e potere: in margine a uno scritto giovanile di loan P. Culianu 311 Sorin Antohi: UImaginaire de la Renaissance et les origines de V esprit moderne. Le modèle loan Petru Culianu 326 Ştefan Afloroaei: loan Petru Culianu. Efecte în zona metafizicii 347 Nathaniel Deutsch: The Three of Gnosis: loan Culianu and the Study of Gnosticism 378 Nicu Gavriluţă: Culianu şi a patra dimensiune. Noi aplicaţii ale metodei complexităţii multidimensionale în hagiografia creştină, în autobiografia lui Jung şi în trei scrieri ale lui Mircea Eliade 389 H.-R. Patapievici: IPC: A Mathesis Universalis 416 Andrei Oişteanu: loan Petru Culianu - un voyageur dans l'au-delà 458 Roberta Moretti: loan P. Culianu storico delle idee: esempi di metodologia ermeneutica 484 Eduard Iricinschi: Where the Author Dwells: Searching for a Definition of Religion in the Introductions to Culianu's Books 501 Works by loan Petru Culianu 542 Works on loan Petru Culianu 557 Abstracts 563 Contributors 579 7 IOAN PETRU CULIANU SI TOTUŞI... ând Jossa îşi pierdu singurul fiu, compuse un haiku, C printre cele mai frumoase din câte există: Ştiam că lumea e ca o picătură de rouă Si totuşi... si totuşi... Jossa era un poet profesionist. La moartea unicului său fiu nu i se putea cere altceva decât să scrie un haiku. La prăbuşirea întregii lumi, Jossa n-ar fi putut să-şi facă mai bine datoria decât scriind un haiku. Si totuşi... Dacă Jossa ar fi ales din gama limitată de gesturi umane un altul, nu l-ar fi putut împlini la fel de bine. Dacă şi-ar fi făcut harakiri, dacă şi-ar fi mutilat un membru, dacă ar fi plecat în munţii T'en t'ai, dacă s-ar fi tăvălit în cenuşă, dacă ar fi devenit călugăr buddhist, toate aceste gesturi ar fi fost infinit mai puţin adânci decât un haiku. Prin nimic nu putea Jossa reface miracolul prezenţei fiului său. Şi totuşi... Groningen, 29 ianuarie 1977 11 AND YET... hen Jossa lost his only son, he composed a haiku, W one of the most beautiful there is: / knew the world is like a dew drop and yet... and yet... Jossa was a professional poet. At the death of his only son he couldn't be asked to do anything but to write a haiku. At the collapse of the whole world he couldn't better fulfill his duty than by writing a haiku. And yet... * Had Jossa chosen another one from the limited scale of human gestures, he wouldn't have accomplished it equally well. Had he committed harakiri, had he mutilated one of his limbs, had he gone to the T'en t'ai mountains, had he bathed in cinders, had he become a Buddhist monk - all these 12 I gestures would have been infinitely less deep than a haiku. No way could Jossa recreate the miracle of his son's presence. And yet... Groningen, January 29, 1977 (Translated from the Romanian by Sorin Antohi) ARTA FUGII uga este o artă inventată de un ordin monahal Fbuddhist, ca şi karate-u\ sau judo. Kara-te, care înseamnă practic „mâinile goale", a fost născocit din pricina interdicţiei de a folosi unelte de metal. Călugării spărgeau lemne cu mâinile. în acelaşi timp, pentru călugării vagabonzi, kara-te slujea ca tehnică de apărare împotriva bandiţilor. O dată cu alte arte folositoare, aceiaşi călugări au per­ fecţionat până în cele mai neînsemnate detalii şi arta fugii. Ea constă în a-i face pe ceilalţi să creadă că te afli aici, în vreme ce, de fapt, ţi-ai schimbat locul. O persoană crede că te afli în faţa ei, dar tu te afli în altă parte. O alta crede că îi vorbeşti de la stânga, iar tu îi vorbeşti de la dreapta. Arta fugii, ca rezultat, iar nu ca proces, înseamnă a-i face pe alţii să confunde direcţia în care se află artistul. Cât priveşte tehnica în sine, nimeni nu a reuşit s-o descopere şi să şi-o însuşească în mod corect. în vreme ce se ştie aproape totul despre kara-te, despre artele marţiale şi despre ikebana, arta fugii a rămas înconjurată într-o aură de adânc mister, poate fiindcă este deosebit de dificilă, iar rezultatele ei sunt 14 îngrijorătoare. Se afirmă că ar fi vorba despre un fel de hipnoză, dar nimeni n-ar putea explica modul în care ea poate fi realizată. De asemeni, nimeni nu poate afirma că a văzut vreodată pe cineva practicând arta fugii. Aceasta deoarece iluzia că artistul se află într-un anumit loc este totală, în vreme ce prezenţa efectivă a sa într-un alt loc nu este simţită. Este posibil ca în fiecare zi să asistăm la magistrale experienţe ale altora fără să ne dăm seama şi fără să aflăm că, în fond, eram în mijlocul unor evenimente excepţionale: priveam arta fugii, artă subtilă care nu produce nici o transformare în lume. Se poate presupune că e nevoie de un antrenament special pentru a înţelege care este locul adevărat al practicanţilor în raport cu spectatorii lor ignoranţi şi de această însuşire beneficiază numai artiştii înşişi. Groningen, 30 ianuarie 1977 THE ART OF THE FUGUE he fugue is an art invented by a Buddhist monastic T order, like karate or judo. Karate, which practically means „bare hands", was devised because of the interdiction against using metal tools. The monks were splitting wood with their hands. In the same time, to vagrant monks karate served as a defense technique against bandits. Alongside other useful arts, the same monks perfected down to the most insignificant details the art of the fugue. It consists of making other believe you are here when in fact you have changed your place. A person believes you are in front of him, but you are behind him. Another person thinks you talk to her from the left, and you talk to her from the right. The art of the fugue, as a result, and not as a process, means making others mistake the location of the artist. As to the technique itself, nobody has managed to discover it and 16 to learn it correctly. While almost everything is known about karate, martial arts, and ikebana, the art of the fugue has remained surrounded by an aura of deep mystery, maybe because it is extremely difficult, and its results are worrisome. It is claimed that it would be a kind of hypnosis, but nobody could explain the way in which it could be realized. Also, nobody can claim to have ever seen someone practicing the art of the fugue. This is because the illusion that the artist is in a certain place is total, while his effective presence in another place is not felt.
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