{"id":11067,"date":"2016-01-26T16:29:39","date_gmt":"2016-01-26T14:29:39","guid":{"rendered":"http:\/\/egophobia.ro\/?p=11067"},"modified":"2016-01-26T16:40:46","modified_gmt":"2016-01-26T14:40:46","slug":"fantasticul-delimitat","status":"publish","type":"post","link":"https:\/\/egophobia.ro\/?p=11067","title":{"rendered":"Fantasticul delimitat"},"content":{"rendered":"

(Studii fantastice)<\/span><\/p>\n

de Oliviu Cr\u00e2znic<\/p>\n

\u00cen art\u0103, \u201efantasticul\u201d<\/strong> (gr. \u201ephantastikos\u201d: \u201eexistent numai \u00een imagina\u021bie\u201d) poate fi definit drept crearea deliberat\u0103 a unei realit\u0103\u021bi artistice, structural \u0219i semnificativ diferite de realitatea obiectiv\u0103, opera rezultat\u0103 \u00een urma procesului de crea\u021bie nemaicorespunz\u00e2nd, astfel, acestei din urm\u0103 realit\u0103\u021bi.<\/p>\n

Termenul \u201efantastic\u201d nu trebuie confundat cu al\u0163i termeni, sinonimici [NB: termenii \u201esinonimici\u201d sunt termeni cu \u00een\u0163eles \u201easem\u0103n\u0103tor\u201d, nu neap\u0103rat \u201eidentic\u201d].<\/p>\n

Astfel, \u201efantasticul\u201d nu trebuie confundat cu \u201eabsurdul\u201d<\/strong> (lat. \u201eabsurdus\u201d: \u201ede la surd\u201d, de aici \u201ef\u0103r\u0103 sens\u201d), cu \u201ealegoricul\u201d<\/strong> (gr. \u201eallegoria\u201d: \u201evorbire figurat\u0103\u201d ), cu \u201efictivul\u201d<\/strong> (lat. \u201efictus\u201d: \u201efals\u201d) sau cu \u201esupranaturalul\u201d<\/strong> (lat. \u201esupranaturalis\u201d: \u201emai presus de natur\u0103\u201d, \u00een special cu sensul religios \u2013 nu neap\u0103rat cre\u0219tin \u2013 \u201ede origine divin\u0103\u201d).<\/p>\n

Concret \u2013 spre deosebire de \u201efantastic\u201d \u2013, \u201eabsurdul\u201d, \u201ealegoricul\u201d \u0219i \u201efictivul\u201d pot corespunde realit\u0103\u021bii obiective, nered\u00e2nd \u00een mod necesar concepte imposibil a fi \u00eent\u00e2lnite \u00een lumea pe care o cunoa\u0219tem. \u00cen ceea ce prive\u0219te \u201esupranaturalul\u201d, de\u0219i acesta, ca \u0219i \u201efantasticul\u201d, nu corespunde realit\u0103\u021bii obiective, presupune, pentru a fi identificat, o condi\u021bie suplimentar\u0103 condi\u021biilor care definesc \u201efantasticul\u201d, \u0219i anume raportarea la for\u021be misterioase \u0219i nelume\u0219ti.<\/p>\n

\u201eFantasticul\u201d nu trebuie confundat nici cu \u201erealismul magic\u201d<\/strong>. \u00cen vreme ce primul termen desemneaz\u0103 \u00een art\u0103, dup\u0103 cum vom vedea, \u00een primul r\u00e2nd, o categorie estetic\u0103 (atunci c\u00e2nd este utilizat \u00een sens larg) \u0219i, \u00een al doilea r\u00e2nd, o specie literar\u0103 tematic\u0103 (atunci c\u00e2nd este utilizat \u00een sens restr\u00e2ns), cel de al doilea termen desemneaz\u0103 \u00een art\u0103 un curent artistic (dedicat inciden\u021bei fantasticului \u00een realitatea cotidian\u0103). Celor care s-ar putea ar\u0103ta mira\u021bi de dubla semnifica\u021bie artistic\u0103 a termenului \u201efantastic\u201d le reamintim c\u0103 nu este vorba despre un caz singular, limba rom\u00e2n\u0103 fiind universal recunoscut\u0103 drept o limb\u0103 caracterizat\u0103 prin bog\u0103\u021bie semantic\u0103. De pild\u0103, o dubl\u0103 semnifica\u021bie artistic\u0103 \u00eent\u00e2lnim \u0219i \u00een cazul termenului \u201erealist\u201d, acesta fiind utilizat, de mult timp \u0219i f\u0103r\u0103 a se crea nici un fel de confuzii nedorite, at\u00e2t \u00een sens larg, general (\u201emimesis\u201d, \u201ecare imit\u0103 realitatea\u201d), c\u00e2t \u0219i \u00een sens restr\u00e2ns, tehnic (\u201eapar\u021bin\u00e2nd curentului artistic realist\u201d), \u00een func\u021bie de context; \u201esatira\u201d este, \u00een acela\u0219i timp, procedeu artistic \u0219i specie literar\u0103 etc.<\/p>\n

\u00cen vederea evit\u0103rii unor confuzii ap\u0103rute, recent, ca urmare a prelu\u0103rii unor no\u021biuni din teoria literar\u0103 anglo-saxon\u0103 (mai bogat\u0103 \u0219i mai \u201ebine\u201d cunoscut\u0103 la noi dec\u00e2t teoria literar\u0103 rom\u00e2neasc\u0103 de gen) \u00een limba rom\u00e2n\u0103, f\u0103r\u0103 discern\u0103m\u00e2nt \u0219i f\u0103r\u0103 analiza \u0219i adaptarea fire\u0219ti \u0219i necesare, ne vom opri aici, pentru c\u00e2teva clipe, \u0219i asupra termenului anglo-saxon \u201efantasy\u201d<\/strong>.<\/p>\n

\"\"\"\"<\/p>\n

Potrivit Encyclop\u00e6dia Britannica<\/em> (printre ai c\u0103rei editori \u0219i autori se reg\u0103sesc numero\u0219i laurea\u021bi ai Premiului Nobel): \u201e\u00abfantasy\u00bb, also spelled \u00abphantasy\u00bb, imaginative fiction dependent for effect on strangeness of setting (such as other worlds or times) and of characters (such as supernatural or unnatural beings). (…) Science fiction can be seen as a form of fantasy\u201d [\u201e\u00abfantasy\u00bb, ortografiat \u0219i \u00abphantasy\u00bb, fic\u021biune imaginativ\u0103 depinz\u00e2nd, din punct de vedere al efectului scontat, de stranietatea decorului (plasat \u00een alte lumi sau \u00een alte vremuri, de pild\u0103) \u0219i a personajelor (creaturi supranaturale sau anormale\/ireale, de pild\u0103). (…) \u0218tiin\u021bifico-fantasticul poate fi considerat o form\u0103 de \u00abfantasy\u00bb\u201d].<\/p>\n

Potrivit Merriam-Webster Dictionary<\/em>: \u201efantasy\u201d \u2013<\/strong> \u201esomething that is produced by the imagination\u201d; \u201efantastic\u201d \u2013<\/strong> \u201ebased on fantasy: not real\u201d [\u201efantasy\u201d \u2013<\/strong> \u201eprodus al imagina\u021biei\u201d; \u201efantastic\u201d \u2013<\/strong> \u201efantezist: ireal\u201d].<\/p>\n

Potrivit eseului On Fairy-Stories<\/em> (semnat de J.R.R. Tolkien \u2013 autorul romanului St\u0103p\u00e2nul inelelor, <\/em>filolog \u0219i profesor universitar): \u201eFantasy (…) combines with its older and higher use as an equivalent of Imagination the derived notions of \u00abunreality\u00bb (…), of freedom from the domination of observed \u00abfact\u00bb, in short of the fantastic\u201d [\u201eFantasy (…) combin\u0103 cu vechiul, clasicul sens de echivalent al Imagina\u021biei no\u021biunile derivate de \u00abirealitate\u00bb (…), de evadare de sub domina\u021bia \u00abfaptelor\u00bb obiective, pe scurt, de \u00abfantastic\u00bb\u201d].<\/p>\n

\u00cen concluzie, nu este nici necesar\u0103, nici de dorit (d\u00e2nd na\u0219tere unor complicate \u0219i nejustificate ramifica\u021bii teoretice) introducerea \u00een teoria literar\u0103 rom\u00e2neasc\u0103 a termenului \u201efantasy\u201d (acest termen, de altfel, nesupun\u00e2ndu-se regulilor de scriere \u0219i de pronun\u021bare existente \u00een limba rom\u00e2n\u0103) ori a altor termeni cu (aparent) acela\u0219i \u00een\u021beles (de pild\u0103, termenii \u201efantezie\u201d<\/strong> \u0219i \u201efantasie\u201d<\/strong> \u2013 proprii teoriei muzicii, \u0219i nu teoriei literare \u2013 desemneaz\u0103 compozi\u021bii muzicale bazate pe improviza\u021bie, corespunz\u00e2nd englezescului \u201efantasia\u201d \u0219i fran\u021buzescului \u201efantaisie\u201d, nicidecum englezescului \u201efantasy\u201d \u0219i fran\u021buzescului \u201efantasie\u201d), at\u00e2t timp c\u00e2t avem, deja, termenul consacrat \u0219i corespondent: \u201efantastic\u201d.<\/p>\n

Nu putem \u00eencheia acest excurs f\u0103r\u0103 a men\u021biona trei scriitori rom\u00e2ni care au contribuit, prin opiniile lor exprimate public, \u00een scris, cu diverse prilejuri, la receptarea corect\u0103, \u00een spa\u021biul cultural rom\u00e2nesc, a unor no\u021biuni precum \u201efantastic\u201d sau \u201efantasy\u201d. Astfel, \u00eentr-un eseu intitulat Da, exist\u0103 fantasy rom\u00e2nesc<\/em>, publicat \u00een spa\u021biul virtual (vyrclozone.wordpress.com<\/em>) \u00een anul 2009, Costi Gurgu a\u0219eza semnul egal \u00eentre \u201eliteratura fantasy\u201d \u0219i \u201eliteratura fantastic\u0103\u201d; \u00een monografia bibliografic\u0103 O introducere \u00een opera lui Liviu Radu<\/em> (2014), dar \u0219i, anterior public\u0103rii acesteia, \u00een cuprinsul diverselor cronici de carte publicate \u00een spa\u021biul virtual (tesatorul.blogspot.ro<\/em>), lect. univ. dr. Florin P\u00eetea utiliza eticheta \u201efantastic\u201d pentru crea\u021bii literare catalogate \u00een aria cultural\u0103 anglo-saxon\u0103 drept \u201efantasy\u201d; \u00een sf\u00e2r\u0219it, \u00eentr-un interviu publicat \u00een spa\u021biul virtual (www.ciprianmitoceanu.com<\/em>) \u00een anul 2015, \u0218erban Andrei Mazilu sublinia necesitatea con\u0219tientiz\u0103rii grani\u021bei existente \u00eentre no\u021biunile de \u201eabsurd\u201d \u0219i, respectiv, \u201efantastic\u201d.<\/p>\n

Fantasticul: categorie estetic\u0103 <\/em><\/strong><\/p>\n

\"\"\"\"<\/p>\n

A\u0219adar, dup\u0103 cum men\u021bionam mai sus, \u201efantasticul\u201d reprezint\u0103 \u00een art\u0103, \u00een primul r\u00e2nd, o categorie estetic\u0103 \u2013 specializare a actului de crea\u0163ie menit\u0103 a produce destinatarului respectivului act o anumit\u0103 emo\u0163ie artistic\u0103 (\u00een acest caz particular, cu prec\u0103dere, uimire) \u2013, fiind \u00eendeob\u0219te utilizat \u00een sensul larg, general, relevat mai sus.<\/p>\n

\u00cen literatur\u0103, categoria estetic\u0103 a fantasticului<\/strong> este proprie stilului func\u021bional beletristic, reg\u0103sindu-se \u00een opere apar\u021bin\u00e2nd mai multor curente literare [NB: engl. \u201eliterary tendencies\/literary trends\u201d, a nu se confunda cu epocile literare \u2013 engl. \u201eliterary periods\u201d \u2013 pe care le-au dominat, cu mi\u0219c\u0103rile literare \u2013 engl. \u201eliterary movements\u201d \u2013 programatice care le-au cristalizat, cu grup\u0103rile literare \u2013 engl. \u201eliterary groups\u201d \u2013 care le-au sus\u021binut sau cu \u0219colile literare \u2013 engl. \u201eliterary schools\u201d \u2013 care le-au teoretizat; nu ne vom opri \u00eens\u0103, deocamdat\u0103, asupra acestor no\u021biuni, deoarece curentele literare urmeaz\u0103 a constitui obiectul unui studiu separat] \u0219i, totodat\u0103, \u00een opere apar\u0163in\u00e2nd oric\u0103ruia dintre cele trei genuri literare tipice acestui stil (genurile literare reprezent\u00e2nd modalit\u0103\u0163i de exprimare alese de autor \u00een vederea producerii emo\u021biei artistice): epic (caracterizat prin nara\u0163iune), liric (caracterizat prin exprimare direct\u0103) \u015fi dramatic (caracterizat prin reprezentare scenic\u0103).<\/p>\n

De asemenea, categoria estetic\u0103 a fantasticului se poate reg\u0103si \u00een opere apar\u0163in\u00e2nd unor specii literare diverse. Speciile literare reunesc opere literare \u00eenrudite din punct de vedere formal (specii literare formale; engl. \u201eliterary forms\u201d) sau tematic (specii literare tematice; engl. \u201eliterary genres\u201d) \u015fi nu trebuie confundate cu genurile literare (engl. \u201eliterary modes\u201d) \u2013 <\/strong>primele fiind, a\u015fa cum o indic\u0103 \u015fi denumirea, categorii specializate, subordonate acestora din urm\u0103.<\/p>\n

Fantasticul: specie literar\u0103 tematic\u0103<\/em><\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Men\u021bionam, mai sus, \u0219i faptul c\u0103 reg\u0103sim categoria estetic\u0103 a fantasticului \u00een opere apar\u0163in\u00e2nd unor specii literare tematice diverse.<\/p>\n

Ne refeream, astfel, \u00een primul r\u00e2nd, la specia literar\u0103 tematic\u0103 primar\u0103 a<\/strong> fantasticului <\/strong>(engl. \u201efantasy\u201d), care se suprapune perfect categoriei estetice omologe \u0219i care se confund\u0103 cu originile \u0219i cu istoria literaturii chiar, deoarece caracterizeaz\u0103 \u0219i define\u0219te miturile, legendele \u0219i basmele popoarelor, precum \u0219i derivatele acestora: epopeile antice (EG: S\u00een-l\u0113qi-unninni, Epopeea lui Ghilgame\u0219<\/em>), romanele episodice antice (EG: Lucius Apuleius Madaurensis, Metamorfoze sau M\u0103garul de aur<\/em>), c\u00e2ntecele de vitejie (EG: Turold, C\u00e2ntecul lui Roland<\/em>), legendele cavalere\u0219ti (EG: Sir Thomas Mallory, Moartea regelui Arthur<\/em>), p\u00e2n\u0103 la literatura modern\u0103 (EG: William Morris, P\u0103durea de dincolo de lume<\/em>) \u0219i contemporan\u0103 (EG: J.R.R. Tolkien, St\u0103p\u00e2nul inelelor<\/em>). Specia literar\u0103 tematic\u0103 primar\u0103 a fantasticului presupune, prin defini\u021bie, acceptarea de c\u0103tre cititor a unei conven\u0163ii propuse de autor, \u00een baza c\u0103reia fantasticul constituie un simplu \u201edat\u201d, nenecesit\u00e2nd vreo explica\u021bie.<\/p>\n

\"\"\"\"<\/p>\n

Ne refeream \u00eens\u0103, totodat\u0103, \u0219i la specia literar\u0103 derivat\u0103 a \u0219tiin\u021bifico-fantasticului <\/strong>(engl. \u201escience fiction\u201d), care s-a dezvoltat odat\u0103 cu dezvoltarea \u0219tiin\u021bei \u0219i care presupune, prin defini\u021bie, acceptarea de c\u0103tre cititor a unei conven\u0163ii propuse de autor, \u00een baza c\u0103reia fantasticul constituie un \u201eposibil realism\u201d, explicat prin anticipate descoperiri \u0219tiin\u021bifice; la specia literar\u0103 hibrid\u0103 a neofantasticului <\/strong>(engl. \u201escience fantasy\u201d), care s-a dezvoltat reunind, \u00een cadrul acelora\u0219i opere, fantasticul \u201edat\u201d cu \u201eposibilul realism\u201d; \u00een sf\u00e2r\u0219it, la specia literar\u0103 parcelar\u0103 a goticului <\/strong>(engl. \u201egothic\u201d), care s-a dezvoltat reunind opere \u00een care reg\u0103sim categoria estetic\u0103 a fantasticului \u0219i opere \u00een care nu reg\u0103sim respectiva categorie estetic\u0103. Nu ne vom opri \u00eens\u0103, deocamdat\u0103, asupra no\u021biunilor men\u021bionate \u00een acest paragraf, deoarece acestea urmeaz\u0103 a constitui obiectul unor studii separate.<\/p>\n

Subspeciile literare <\/strong>reprezint\u0103, desigur, subdiviziuni ale speciilor literare tematice. Specia literar\u0103 tematic\u0103 a fantasticului este susceptibil a fi divizat\u0103 \u00een subspecii literare, \u00een func\u021bie de varii criterii. Dintre aceste criterii \u00eens\u0103, consider\u0103m unul singur necesar \u0219i suficient pentru a contura diferen\u021ba specific\u0103 prin care se caracterizeaz\u0103 operele literare reunite \u00eentr-o subspecie.<\/p>\n

\u00cenainte \u00eens\u0103 de a ne opri asupra criteriului \u00een cauz\u0103, vom men\u021biona, printre criteriile pe care le consider\u0103m utile \u00een vederea \u201eetichet\u0103rii\u201d anumitor opere literare, dar improprii a fi utilizate \u00een vederea cre\u0103rii unor subspecii literare (datorit\u0103 eterogenit\u0103\u021bii operelor reunite prin asemenea abordare, inevitabil, \u00een cadrul aceleia\u0219i subspecii \u2013<\/strong> \u0219i, totodat\u0103, din dorin\u021ba de a evita crearea, tot inevitabil\u0103 \u00een asemenea circumstan\u021be, a \u201esubsubspeciilor\u201d \u0219i a \u201esubsubsubspeciilor\u201d etc.), criteriul istoric, respectiv criteriul et\u0103\u021bii. \u00cen baza criteriului istoric<\/strong>, fantasticul<\/strong> poate fi, \u00een func\u021bie de epoca istoric\u0103 aleas\u0103 de c\u0103tre autor drept decor al operei: preistoric<\/strong>, antic<\/strong>, medieval<\/strong>, renascentist<\/strong>, iluminist<\/strong>, industrial<\/strong> [NB: prefer\u0103m calific\u0103rile \u201erenascentist\u201d, \u201eiluminist\u201d \u0219i \u201eindustrial\u201d pentru a reprezenta epoca modern\u0103 timpurie, mijlocie \u0219i, respectiv, t\u00e2rzie, evit\u00e2nd astfel confuziile cu celelalte sensuri ale termenului \u201emodern\u201d], contemporan<\/strong>, futurist<\/strong> \u0219i anistoric<\/strong>. \u00cen baza criteriului et\u0103\u021bii<\/strong>, fantasticul<\/strong> poate fi, \u00een func\u021bie de v\u00e2rsta cititorilor c\u0103rora li se adreseaz\u0103 autorul cu prec\u0103dere, impuber, juvenil <\/strong>\u0219i matur<\/strong>.<\/p>\n

Adecvat a fi utilizat \u00een vederea cre\u0103rii unor subspecii literare omogene (\u00een m\u0103sura, desigur, \u00een care omogenitatea este posibil\u0103) consider\u0103m, \u00eens\u0103, criteriul literar<\/strong>, \u00een baza c\u0103ruia subspeciile literare ale fantasticului pot fi create prin raportare la no\u021biuni specifice teoriei literare. Astfel, putem vorbi despre patru mari subspecii<\/strong> apar\u021bin\u00e2nd speciei literare tematice a fantasticului, \u0219i anume: fantasticul eroic<\/strong>, fantasticul feeric<\/strong>, fantasticul \u00eentunecat<\/strong> \u0219i fantasticul histrionic<\/strong>. Cum, \u00eens\u0103, va trebui s\u0103 dedic\u0103m un spa\u021biu amplu prezent\u0103rii fiec\u0103reia dintre acestea, vom detalia cu alte ocazii.<\/p>\n

*<\/p>\n

Despre autorul rubricii:<\/em><\/strong><\/p>\n

\u00a0<\/em><\/strong><\/p>\n

OLIVIU CR\u00c2ZNIC <\/strong>(n. 1978; p\u0103rin\u021bii: Oliviu, profesor eviden\u021biat gr. I Limba \u0219i literatura rom\u00e2n\u0103, distins cu diploma de onoare \u201eCreativitate \u0219i eficien\u021b\u0103\u201d, \u0219i Dorothea, profesor gr. I Limba \u0219i literatura rom\u00e2n\u0103) este scriitor de literatur\u0103 fantastic\u0103, critic literar \u015fi consilier juridic (cu o lucrare de diplom\u0103 sus\u021binut\u0103 la disciplina \u201eCriminalistic\u0103\u201d \u0219i intitulat\u0103 Particularit\u0103\u021bi tactice privind confruntarea dintre inculpat \u0219i persoana v\u0103t\u0103mat\u0103<\/em>, 2001). \u00cen 2010, a publicat romanul gotic \u2026\u015ei la sf\u00e2r\u015fit a mai r\u0103mas co\u015fmarul<\/em> (Ed. Vremea), declarat de M. Pric\u0103jan (\u00een revista cultural\u0103 Familia<\/em>) \u201eMomentul Walpole \u00een literatura rom\u00e2n\u0103\u201d. Ulterior, a publicat numeroase povestiri \u015fi nuvelete (majoritatea se reg\u0103sesc \u00een volumul de colec\u021bie Ceasul fantasmelor<\/em>, \"\"Ed. Crux Publishing, 2015), foarte bine primite de critic\u0103 \u015fi de public, \u015fi a c\u00e2\u015ftigat numeroase premii, inclusiv un premiu acordat de Societatea European\u0103 de Science Fiction.<\/strong> A fost publicat \u00een diverse antologii \u015fi reviste al\u0103turi de nume importante ale literaturii universale contemporane (George R.R. Martin, Paolo Bacigalupi, Ian R. MacLeod) sau clasice (Algernon Blackwood, Arthur Conan Doyle, Robert E. Howard, Rudyard Kipling, H.P. Lovecraft, George MacDonald, Guy de Maupassant, Saki). Apare men\u021bionat \u00een monumentala The Encyclopedia of Science Fiction<\/em> (ed. J. Clute, P. Nicholls), iar operele lui sunt tratate pe larg \u00een diverse c\u0103r\u021bi \u0219i reviste de specialitate: \u00een volumul Alte cronici de familie<\/em> (sec\u021biunea Domnul Gothic<\/em>), semnat de M. Opri\u021b\u0103 (Cavaler al ordinului \u201eMeritul Cultural\u201d, oferit de Pre\u0219edintele Rom\u00e2niei), \u00een Caietele Echinox<\/em> (revist\u0103 tip\u0103rit\u0103 ap\u0103rut\u0103 sub egida Fac. de Litere a Univ. \u201eBabe\u015f-Bolyai\u201d Cluj-Napoca; eseul semnat de drd. \u00een filologie \u015et. Bolea \u2013 Once Upon Atrocity. Gothic Music Influences in the First Romanian (Neo)gothic Novel<\/em>), \u00een revista cultural\u0103 EgoPHobia<\/em> (eseul Sf\u00e2r\u0219itul care \u00eencepe<\/em>, semnat de dr. \u00een filologie M.-A. Aldea) etc. Apare, ca personaj, \u00een nuveleta Isp\u0103\u0219irea<\/em>, scris\u0103 de prof. doc. C. Mitoceanu. Cronicile de carte, articolele \u015fi studiile sale de teorie \u015fi istorie literar\u0103 sunt apreciate pe scar\u0103 larg\u0103 \u2013 unele dintre acestea fiind publicate \u015fi peste grani\u0163\u0103, ceea ce i-a conferit statutul de membru al organiza\u021biei scriitorice\u0219ti \u0219i artistice \u201eImagicopter: The Author\/Artist Cooperative\u201d. \u00cen Rom\u00e2nia, este invitat anual s\u0103 vorbeasc\u0103 studen\u021bilor Fac. de Limbi \u0219i Literaturi Str\u0103ine a Univ. din Bucure\u0219ti despre Literatura gotic\u0103 \u0219i romantismul \u00eentunecat american. Sec. XIX: Hawthorne, Melville, Poe \u0219i mo\u0219tenirea lor cultural\u0103<\/em>. A participat, \u00een calitate de moderator al serii dedicate literaturii \u0219tiin\u021bifico-fantastice, la cea de a VII-a edi\u021bie a \u201eFestivalului Interna\u021bional de Literatur\u0103 de la Bucure\u0219ti\u201d \u0219i, \u00een calitate de invitat special, la ed. a IV-a a T\u00e2rgului de carte SF & Fantasy \u201eFinal Frontier\u201d. A participat, \u00een calitate de invitat, \u00een repetate r\u00e2nduri, la emisiuni culturale televizate, realizate de Al. Mironov (scriitor, jurnalist, fost ministru al tineretului \u0219i sportului etc.) \u0219i lect. univ. dr. F. P\u00eetea (scriitor, critic literar), sau radiofonice, realizate de regretatul \u0218t. Ghidoveanu (Radio Rom\u00e2nia Cultural). A ap\u0103rut, \u00een 2015, \u00een calitate de expert \u00een istoria vampirismului, \u00een episodul Hunting Vampires<\/em> al serialului Expedition Unknown<\/em>, realizat de Travel Channel.<\/p>\n

\u201eOliviu Cr\u00e2znic chiar este un romantic, un personaj cobor\u00e2t efectiv din propria-i oper\u0103 extraordinar\u0103 \u0219i spectaculoas\u0103, melanj de Baudelaire, Edgar Allan Poe \u0219i Walter Scott, sub ochii necru\u021b\u0103tori ai lui Bram Stoker \u0219i H.P. Lovecraft. Citi\u021bi-i romanul \u0219i povestirile \u0219i o s\u0103 \u00een\u021belege\u021bi imediat la ce m\u0103 refer!\u201d<\/em><\/strong><\/p>\n

\u00a0<\/em><\/strong><\/p>\n

(\u0218t. Ghidoveanu<\/strong>, realizatorul emisiunii Radio Rom\u00e2nia Cultural<\/p>\n

Exploratorii lumii de m\u00e2ine<\/em>, \u00een Galileo Online<\/em>, nov. 2012)<\/p>\n","protected":false},"excerpt":{"rendered":"

(Studii fantastice) de Oliviu Cr\u00e2znic \u00cen art\u0103, \u201efantasticul\u201d (gr. \u201ephantastikos\u201d: \u201eexistent numai \u00een imagina\u021bie\u201d) poate fi definit drept crearea deliberat\u0103 a unei realit\u0103\u021bi artistice, structural \u0219i semnificativ diferite de realitatea obiectiv\u0103, opera rezultat\u0103 \u00een urma procesului de crea\u021bie nemaicorespunz\u00e2nd, astfel, acestei din urm\u0103 realit\u0103\u021bi. Termenul \u201efantastic\u201d nu trebuie confundat cu al\u0163i termeni, sinonimici [NB: termenii […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[8,1188,892],"tags":[1113,1189,636,1194],"class_list":["post-11067","post","type-post","status-publish","format-standard","hentry","category-critica","category-egophobia-45","category-ghidul-cititorului-de-fantastic","tag-critica","tag-egophobia-45","tag-oliviu-craznic","tag-studii-fantastice"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-2Sv","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11067","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11067"}],"version-history":[{"count":4,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11067\/revisions"}],"predecessor-version":[{"id":11072,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11067\/revisions\/11072"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11067"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11067"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11067"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}