Autopoiesis. Textual Procedures as User Guide to Reading.

<P align=left><I><FONT size=1 face="Times New Roman"><FONT size=1 face="Times New Roman"><FONT size=3>The present paper deals with the binomial </FONT></FONT></FONT><B><FONT face="Times New Roman"><FONT face="Times New Roman">to read / to imagine </FONT></FONT></B><FONT face="Times New Roman"><FONT face="Times New Roman">and its taxinomic definitions in various aesthetic paradigms. The point of departure is the discrimination between mimetic and non-mimetic texts and the ways they are (semantically) tributary (or not) to the reference world. The focus is on the idea that the conversion of signifiers and the negotiation of meaning are guided by textual procedures. They act as operational instructions for the reader or, as I put it, </FONT></FONT><B><FONT face="Times New Roman"><FONT face="Times New Roman">a User’s Guide to reading</FONT></FONT></B><FONT face="Times New Roman"><FONT face="Times New Roman">. The more elaborated they are, the more intense is the autotelism, the narcissistic nature of a given text. The parameters of fictionalization are discussed contrastively using two aesthetic paradigms (Realism and Surrealism) and their epitomic examples (Flaubert’s </FONT></FONT><B><FONT face="Times New Roman"><FONT face="Times New Roman">Madame Bovary </FONT></FONT></B><FONT face="Times New Roman"><FONT face="Times New Roman">and, respectively, Breton’s </FONT></FONT><B><FONT face="Times New Roman"><FONT face="Times New Roman">Nadja</FONT></FONT></B><FONT face="Times New Roman"><FONT face="Times New Roman">). At the superficial narrative level, these texts actualize the theme of love (licit or illicit, euphoric or deluded, real or specious etc.); in the profound semiotic layers, these two entities are self-referenced. But, if the Realist work dissimulates its specularity, the Surrealist text is ostentatiously self-reflexive; the Realist art creates </FONT></FONT><B><FONT face="Times New Roman"><FONT face="Times New Roman">possible possible worlds</FONT></FONT></B><FONT face="Times New Roman"><FONT face="Times New Roman">, while the Surrealist doctrine is the recipe for the </FONT></FONT><B><FONT face="Times New Roman"><FONT face="Times New Roman">impossible possible worlds</FONT></FONT></B><FONT face="Times New Roman"><FONT face="Times New Roman">.</FONT></FONT></I></P>

07_Lioara Coturbas.pdf

<font size="3"><span style="font-weight: bold;">Abstract</span>: The novel The Forbidden Forest comprises the main themes in Mircea Eliade’s<br>literature, but at the same time it may be considered an attempt of re-writing the author’s past. The<br>exiled Mircea Eliade, haunted by the shadows of his former political beliefs, wants to renounce his<br>old identity and to build up a new existence outside Romania. He lends his main character, his alter<br>ego Ştefan Viziru, the key moments of his biography; one of the most significant episodes concerning<br>the concealment of his political convictions is represented by the incarceration in the legionary camp<br>in Miercurea Ciuc. If in Memoirs Mircea Eliade does not insist on this fragment of his past, he<br>chooses to reveal the ordeal he went through by means of this work of fiction, thus trying to<br>emphasize the main character’s and implicitly his own apolitical attitude. Ştefan Viziru eludes any<br>political involvement and is unfairly condemned, exactly as Mircea Eliade used to claim. If the<br>character may even be considered a victim of history, Mircea Eliade’s interest in the Legionary<br>Movement cannot be completely overlooked. Even if we disapprove of the articles written in favor or<br>the Iron Guard, in interpreting them we must take into consideration the fact that Mircea Eliade was<br>drawn to the mysticism of this Movement, whose leader advocated the spiritual revolution which can<br>be accomplished only by the new man, about whom Mircea Eliade had written on countless<br>occasions.<br><br><span style="font-weight: bold;">Key words</span>: terror of history, literary transfiguration, legionary camp.</font>