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Panait Istrati, „Omul Revoltat”

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Panait Istrati, „Omul Revoltat” sincronizare durabilitate FONDUL SOCIAL EUROPEAN Investeşte în Modele culturale OAMENI EUROPENE Panait Istrati, „omul revoltat”. Repere pentru o literatură a contestaţiei Autor: Bianca L. CERNAT Lucrare realizată în cadrul proiectului "Cultura română şi modele culturale europene - cercetare, sincronizare, durabilitate", cofinanţat din FONDUL SOCIAL EUROPEAN prin Programul Operaţional Sectorial pentru Dezvoltarea Resurselor Umane 2007 – 2013, Contract nr. POSDRU/159/1.5/S/136077. Titlurile şi drepturile de proprietate intelectuală şi industrial ă asupra rezultatelor obţinute în cadrul stagiului de cercetare postdoctorală aparţinAcademiei Române. * * * Punctele de vedere exprimate în lucrare aparţin autorului şi nu angajează Comisia Europeană şi Academia Română, beneficiara proiectului. DTP, complexul editorial/ redacţional, traducerea şi corectura aparţin autorului. Descărcare gratuită pentru uz personal, în scopuri didactice sau ştiinţifice. Reproducerea publică, fie şi parţială şi pe orice suport, este posibilă numai cu acordul prealabil al Academiei Române. ISBN 978-973-167-299-1 SUMAR 1. Soarta schimbătoare a unui scriitor din Levant. Introducere în literatura unui „om revoltat”............................................................................................. 1.1. Revoltă şi marginalitate. Literaturile mici faţă cu „literatura mondială”............ 1.2. Debutul unui „Gorki balcanic”........................................................................... ` 1.3. Declinul şi posteritatea franceză a unui scriitor „dezangajat”............................ 1.4. Profet în propria ţară........................................................................................... 1.5. Este nevoie de „un alt Istrati”?........................................................................... 2. Trecut şi viitor. Panait Istrati par lui-même.................................................. 2.1. Autobiografismul ca frondă literară................................................................... 2.2. Dihotomii istratiene: inesenţialul literaturii şi umanismul artei; spiritul democratic şi spiritul elitar......................................................................................... 3. Tânărul Panait Istrati: publicistul socialist................................................... 3.1. Scurt prolog cvasi-biografist.............................................................................. 3.2. Temele şi aprehensiunile unui socialist nedogmatic.......................................... 3.3. „Debuturile” unui revoltat................................................................................... 3.4. O poetică a autenticităţii..................................................................................... 4. Corespondenţa Panait Istrati-Romain Rolland. Avatarurile unui „discurs îndrăgostit”........................................................................................................ 4.1. Semnificaţiile unei scrisori trimise în necunoscut.............................................. 4.2. „Ultime cuvinte” care prefaţează o operă........................................................... 4.3. O relaţie asimetrică............................................................................................. 4.4. Discursul „inimii” faţă cu discursul raţiunii....................................................... 4.5. Villeneuve, 25 octombrie 1922: o întâlnire hors-texte....................................... 4.6. „Oedipianismul” unui om din Est....................................................................... 5. Actul de naştere al unui prozator insolit. Chira Chiralina............................ 3 5.1. Ambiţiile unui „povestitor” frondeur.................................................................. 5.2. Un eponim derutant: Chira – personaj sau fantasmă?........................................ 6. Un Iov revoltat. Scriitura ca apologie a suferinţei. Moş Anghel................... 6.1. Câteva precizări editoriale.................................................................................. 6.2. O apologie a suferinței........................................................................................ 6.3. Moartea lui moș Anghel : o secvență expresionistă............................................ 6.4. Revolta creierului și revolta inimii..................................................................... 6.5. O tradiție populară a revoltei.............................................................................. 7. Intermezzo critic............................................................................................ 7.1. Profețiile unui franctireur: H. Sanielevici........................................................... 7.2. E. Lovinescu și orientalizarea lui Panait Istrati.................................................. 7.3. „Morala domnului Sadoveanu”........................................................................... 8. Istorie, politică, subversiune fourieristă în naraţiunile cu haiduci................ 8.1. Haiducul: fantasma istratiană a „omului revoltat”............................................. 8.2. Prezentarea haiducilor. O fabulă sapienţială.................................................... 8.3. Intriga unui roman politic. Domniţa din Snagov............................................... 9. Copilăria şi adolescenţa lui Adrian Zografi. Codin şi Mihail....................... 9.1. Un prozator care vrea şi nu vrea, în acelaşi timp, să-şi scrie propria viaţă........ 9.2. Un microroman compus din piese detaşabile..................................................... 9.3. „Scriitura suferinţei şi iertarea”.......................................................................... 9.4. Madlena lui Proust şi plăcinta lui Kir Nicola...................................................... 9.5. Transparenţe şi ambiguităţi romaneşti................................................................ 9.6. Câteva concluzii provizorii................................................................................. 10. Bibliografie.................................................................................................. 4 SOMMAIRE 1. Le destin inconstant d’un écrivain venu du Levant. Introduction dans la littérature d’un «homme révolté»...................................................................... 1.1. Révolte et marginalité. Les petites littératures et «la littérature mondiale»....... 1.2. Le début d’«un Gorki Balkanique»..................................................................... 1.3. Le déclin et la postérité française d’un écrivain «désangagé»............................ 1.4. De l’impossibilité d’être prophète en son pays................................................... 1.5. Est-ce que’on a besoin d’«un autre Istrati»?....................................................... 2. Passé et avenir. Panaït Istrati «par lui-même».............................................. 2.1. L’autobiographisme comme fronde littéraire..................................................... 2.2. Quelques dichotomies: l’inessentiel de la littérature vs. l’humanisme de l’Art, l’esprit démocratique vs. la conscience d’appartenir à une élite............................... 3. La jeunesse de Panaït Istrati: être publiciste socialiste.................................. 3.1. Prologue quasi-biographique.............................................................................. 3.2. Les thèmes et les appréhensions d’un socialiste non-dogmatique...................... 3.3. Les «débuts» toujours réitérés d’un révolté........................................................ 3.4. Une poétique de l’authenticité............................................................................ 4. La correspondance Panaït Istrati-Romain Rolland. Les méandres d’un «discours amoureux»......................................................................................... 4.1. Les significations d’une lettre livrée à l’inconnu................................................ 4.2. «Dernières paroles» qui peuvent préfacer une oeuvre........................................ 4.3. Une relation asymétrique.................................................................................... 4.4. Le discours de l’âme contre le discours de la raison.......................................... 4.5. Villeneuve, le 25 octobre 1922: une rencontre hors-texte.................................. 4.6. L’«œdipianisme» d’un écrivain de l’Est............................................................. 5. L’acte de naissance d’un prosateur insolit. Kyra Kyralina........................... 5 5.1. Les ambitions et la fronde d’un «conteur de l’Orient»....................................... 5.2. Kyra – un éponyme déroutant. Est-ce que Kyra est vraiment un personnage? Ou est-ce qu’elle est plutôt le nom d’une fantasme?................................................. 6. Un Job révolté. L’écriture comme apologie de la souffrance. Oncle Anghel................................................................................................................ 6.1. En marge de quelques détails éditoriaux............................................................ 6.2. Une apologie de la souffrance............................................................................. 6.3. La mort d’oncle Anghel – une séquence narrative expressioniste...................... 6.4. La révolte du cerveau et la révolte du coeur....................................................... 6.5. Une tradition populaire de la révolte.................................................................
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