{"id":11687,"date":"2017-05-02T00:21:24","date_gmt":"2017-05-01T22:21:24","guid":{"rendered":"http:\/\/egophobia.ro\/?p=11687"},"modified":"2017-08-14T15:01:48","modified_gmt":"2017-08-14T13:01:48","slug":"literatura-stiintifico-fantastica-si-cautarea-modelarea-viitorului","status":"publish","type":"post","link":"https:\/\/egophobia.ro\/?p=11687","title":{"rendered":"Literatura \u0219tiin\u021bifico-fantastic\u0103 \u0219i c\u0103utarea (modelarea?) viitorului"},"content":{"rendered":"

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

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

 <\/p>\n

(Sesiunea \u0219tiin\u021bific\u0103 a Academiei Rom\u00e2ne \u2013 Divizia de Logic\u0103, Metodologie \u0219i Filosofie a \u0218tiin\u021bei \u2013 prim\u0103vara 2017)<\/em><\/p>\n

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

\u00a0\u201e\u2013 All this, sir, it’s like doing a Jules Verne.<\/em><\/p>\n

\u2013 Yes, sir, it’s like doing a Jules Verne, <\/em><\/p>\n

because for twenty years, <\/em><\/p>\n

the people who move forward have been doing a Jules Verne.\u201d<\/em><\/p>\n

Gen. H. LYAUTEY to a civil servant [1]<\/p>\n

 <\/p>\n

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

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

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

Un segment aparte \u00een cadrul literaturii \u0219tiin\u021bifico-fantastice \u00eel constituie literatura de anticipa\u021bie \u0219tiin\u021bific\u0103 (sau cu elemente de anticipa\u021bie \u0219tiin\u021bific\u0103, atunci c\u00e2nd anticiparea nu este scopul principal al crea\u021biei literare).<\/p>\n

Acest segment literar are \u00een vedere viitorurile probabile (ori m\u0103car posibile), str\u0103duindu-se s\u0103 le intuiasc\u0103 \u0219i reu\u0219ind, uneori, chiar s\u0103 le modeleze.<\/p>\n

Probabil cel mai important aspect care trebuie re\u021binut, \u00een sensul celor de mai sus, \u00eel reprezint\u0103 ideea c\u0103 nu trebuie confundat \u201eviitorul\u201d (no\u021biune generalizat\u0103) cu \u201eviitorul tehnologic\u201d (\u00eentre acestea dou\u0103 exist\u00e2nd o rela\u021bie de tipul \u201e\u00eentreg-parte\u201d).<\/p>\n

\u201eViitorul sociologic\u201d, \u201eviitorul biologic\u201d \u0219.a. sunt, \u00een aceea\u0219i m\u0103sur\u0103, parte a aventurii umane \u0219tiin\u021bifice (\u0219i \u0219tiin\u021bifico-fantastice).<\/p>\n

Literatura \u0219tiin\u021bifico-fantastic\u0103 \u0219i literatura de anticipa\u021bie \u0219tiin\u021bific\u0103<\/em><\/strong><\/p>\n

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

Literatura \u0219tiin\u021bifico-fantastic\u0103<\/strong> reprezint\u0103 o specie literar\u0103 (tematic\u0103) derivat\u0103 \u2013 apar\u021bin\u00e2nd stilului func\u021bional beletristic \u0219i categoriei estetice a fantasticului \u2013 care s-a dezvoltat odat\u0103 cu progresul \u0219tiin\u021bei (de\u0219i elemente \u0219tiin\u021bifico-fantastice pot fi identificate \u00een epopei antice precum Ramayana<\/em> \u0219i Mahabharata<\/em>, se consider\u0103, \u00eendeob\u0219te, c\u0103 specia propriu-zis\u0103 s-a \u00eenchegat prin \u201eaventurile \u0219tiin\u021bifice\/scientific romances\u201d publicate \u00een secolul al XIX-lea) \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 [2].<\/p>\n

Totu\u0219i, nu \u00eentreaga literatur\u0103 \u0219tiin\u021bifico-fantastic\u0103 poate fi considerat\u0103 literatur\u0103 de anticipa\u021bie \u0219tiin\u021bific\u0103. Pentru a putea eticheta o oper\u0103 literar\u0103 drept oper\u0103 de anticipa\u021bie \u0219tiin\u021bific\u0103, opera\u021biunea de anticipare efectuat\u0103 de autor \u0219i al c\u0103rei rezultat \u00eel reg\u0103sim \u00een con\u021binutul respectivei opere trebuie s\u0103 \u00eendeplineasc\u0103 urm\u0103toarele condi\u021bii, cumulativ:<\/p>\n

    \n
  1. a) s\u0103 fie inten\u021bionat\u0103, neconstituind rodul \u00eent\u00e2mpl\u0103rii;<\/li>\n
  2. b) s\u0103 fie determinant\u0103, constituind scopul principal al operei literare \u00een cauz\u0103 (\u00een caz contrar, opera devenind, cel mult, o oper\u0103 cu elemente de anticipa\u021bie \u0219tiin\u021bific\u0103);<\/li>\n
  3. c) s\u0103 fie serioas\u0103, nefiind efectuat\u0103 \u201ejocandi causa\u201d (ludic, \u00een spirit de glum\u0103) \u0219i neconstituind un simplu \u201eartificiu\u201d literar;<\/li>\n
  4. d) s\u0103 fie \u0219tiin\u021bific\u0103 \u201eper se\u201d, nu doar s\u0103 aib\u0103 drept obiect o descoperire \u0219tiin\u021bific\u0103 (s\u0103 se realizeze sub forma specula\u021biei \u0219tiin\u021bifice, av\u00e2nd la baz\u0103 realit\u0103\u021bi care \u00eei preocup\u0103 sau care i-au preocupat la un moment dat pe oamenii de \u0219tiin\u021b\u0103 \u0219i nedep\u0103\u0219ind cadrul verosimilit\u0103\u021bii [3]).<\/li>\n<\/ol>\n

    Prin urmare, putem defini literatura de anticipa\u021bie \u0219tiin\u021bific\u0103<\/strong> drept acel segment al literaturii \u0219tiin\u021bifico-fantastice dedicat fie imagin\u0103rii unui viitor probabil (ori m\u0103car posibil), fie imagin\u0103rii unor concepte tipice unui asemenea viitor (acestea din urm\u0103 put\u00e2nd fi utilizate, \u00een cadrul operei literare, \u00een contextul temporal al prezentului ori chiar \u00een acela al trecutului).<\/p>\n

    <\/p>\n

    \u0218tiin\u021bificul delimitat<\/em><\/strong><\/p>\n

    Dar ce \u00eenseamn\u0103, \u00een fapt, \u201e\u0219tiin\u021bific\u201d?<\/p>\n

    \u00cen mod cu totul surprinz\u0103tor, de multe ori este confundat\u0103 \u201e\u0219tiin\u021ba\u201d cu \u201etehnologia\u201d, ori cu \u201e\u0219tiin\u021bele realiste\u201d (fizica, chimia, biologia \u0219.a.), uit\u00e2ndu-se complet faptul c\u0103 exist\u0103 \u0219i \u201e\u0219tiin\u021be umaniste\u201d (istoria, sociologia \u0219.a.).<\/p>\n

    <\/p>\n

    \u201eErgo\u201d, vorbind despre literatura \u0219tiin\u021bifico-fantastic\u0103 ori, punctual, despre literatura de anticipa\u021bie \u0219tiin\u021bific\u0103, nu trebuie confundat \u201eviitorul\u201d (no\u021biune generalizat\u0103) cu \u201eviitorul tehnologic\u201d (\u00eentre acestea dou\u0103 exist\u00e2nd o rela\u021bie de tipul \u201e\u00eentreg-parte\u201d) ori cu \u201eviitorul \u0219tiin\u021belor realiste\u201d (idem).<\/p>\n

    \u201eViitorul biologic\u201d, dar \u0219i \u201eviitorul sociologic\u201d, \u201eviitorul economic\u201d \u0219.a. sunt, \u00een aceea\u0219i m\u0103sur\u0103, parte a aventurii umane \u0219tiin\u021bifice (\u0219i a anticip\u0103rii literare), dup\u0103 cum vom ar\u0103ta, exemplificativ, \u00een cele care urmeaz\u0103.<\/p>\n

    <\/p>\n

    Viitorul \u0219i anticiparea literar\u0103<\/em><\/strong><\/p>\n

    O list\u0103 a descoperirilor \u0219tiin\u021bifice anticipate (ori chiar influen\u021bate) de literatura \u0219tiin\u021bifico-fantastic\u0103 ar fi mult prea lung\u0103 \u0219i, probabil, imposibil de realizat la nivel exhaustiv.<\/p>\n

    Din aceste motive, ne vom mul\u021bumi s\u0103 semnal\u0103m c\u00e2teva asemenea descoperiri, din varii ramuri ale \u0219tiin\u021bei:<\/p>\n

    <\/p>\n

    \u2013 operele literare ale lui JULES VERNE<\/strong> (De la P\u0103m\u00e2nt la Lun\u0103, <\/em>1865; \u00cen jurul Lunii<\/em>, 1870; Dou\u0103zeci de mii de leghe sub m\u0103ri<\/em>, 1870; Robur Cuceritorul<\/em>, 1886 \u0219.a.) au constituit surs\u0103 de inspira\u021bie \u0219i influen\u021b\u0103 recunoscute, printre al\u021bii, pentru: cei trei astronau\u021bi ai misiunii de zbor cosmic cu echipaj uman \u201eApollo 8\u201d [4], Wernher von Braun (inventatorul rachetei naziste V-2 \u0219i p\u0103rintele programului american de explorare cosmic\u0103) [5], Iuri Gagarin (primul om care a ajuns \u00een spa\u021biul cosmic) [5], Robert H. Goddard (inventatorul primei rachete cu combustibil lichid) [6], Simon Lake (p\u0103rintele submarinului modern) [7], Hermann Oberth (unul dintre p\u0103rin\u021bii astronomiei \u0219i ai rachetologiei) [6], Alberto Santos-Dumont (pionier al avia\u021biei) [8], Igor Sikorsky (inventatorul elicopterului modern) [7], Constantin \u021aiolcovschi (unul dintre p\u0103rin\u021bii astronomiei \u0219i ai rachetologiei) [6]; de asemenea, \u00een Parisul \u00een secolul al XX-lea <\/em>(1863), Verne a anticipat multe dintre caracteristicile lumii \u00een care tr\u0103im ast\u0103zi, inclusiv un Internet primitiv const\u00e2nd dintr-un sistem de \u201ecalculatoare mecanice\u201d interconectate electric, scaunul electric, armele de distrugere \u00een mas\u0103, sintetizorul, muzica electronic\u0103 \u0219i industria muzical\u0103, libertinismul ca domin\u00e2nd industria divertismentului \u0219.a.;<\/p>\n

    <\/p>\n

    \u2013 VILLIERS DE L’ISLE-ADAM <\/strong>a anticipat crearea unei andreide (Viitoarea Ev\u0103<\/em>, 1886), primele succese reale \u00een acest sens fiind prezentate publicului \u00een anul 2003 (sud-coreenele \u201eEveR\u201d \u0219i actroidele japoneze);<\/p>\n

    <\/p>\n

    \u2013 H.G. WELLS<\/strong> a anticipat, printre altele, bomba atomic\u0103 (Lumea eliberat\u0103<\/em>, 1914), ingineria genetic\u0103 \u0219i crearea hibrizilor om-animal (Insula doctorului Moreau<\/em>, 1896), primele \u00eencerc\u0103ri reale \u00een acest din urm\u0103 sens d\u00e2nd rezultate \u00eencep\u00e2nd cu anii 2003 (crearea primelor himere genetice umane stabile, de c\u0103tre savan\u021bii chinezi, prin fuziunea celulelor om-iepure [9]);<\/p>\n

    \u2013 ISAAC ASIMOV<\/strong> \u0219i conceptul de \u201epsihoistorie\u201d (Funda\u021bia<\/em>, 1951; Funda\u021bia \u0219i Imperiul<\/em>, 1952; A doua Funda\u021bie<\/em>, 1953) l-au inspirat \u0219i influen\u021bat pe Paul Krugman, laureat al Premiului Nobel pentru Economie [10];<\/p>\n

    <\/p>\n

    \u2013 RAY BRADBURY<\/strong> a anticipat, printre altele, dispozitivele media portabile cu c\u0103\u0219ti intraauriculare \u0219i bancomatele nonstop (451\u00ba Fahrenheit<\/em>, 1953);<\/p>\n

    <\/p>\n

    \u2013 ARTHUR C. CLARKE<\/strong> a anticipat, printre altele, descoperirea Spiralei Ulam \u2013 o metod\u0103 matematic\u0103 de ordonare grafic\u0103 a numerelor prime (Ora\u0219ul \u0219i stelele<\/em>, 1956);<\/p>\n

    \u2013 ROBERT HEINLEIN<\/strong> a inspirat \u0219i influen\u021bat, printre altele, dezvoltarea tehnologiei (faimoasele exoschelete militare [11]) \u0219i tacticii militare americane (Infanteria stelar\u0103<\/em>, publicat\u0103 \u00een 1959, afl\u00e2ndu-se, p\u00e2n\u0103 nu de mult, pe lista de lectur\u0103 a Infanteriei Marine SUA [12] \u0219i pe alte liste de lectur\u0103 militare americane \u0219i canadiene [11]);<\/p>\n

    <\/p>\n

    \u2013 JOHN BRUNNER<\/strong> a \u201eprev\u0103zut\u201d o suprapopulat\u0103 (7 miliarde oameni, estimare atins\u0103, \u00een mod real, cu un an \u00eent\u00e2rziere fa\u021b\u0103 de \u201epredic\u021bie\u201d, \u00een 2011 \u2013 comparativ cu 3,5 miliarde, \u00een 1968, anul public\u0103rii romanului To\u021bi \u00een Zanzibar<\/em> [13]), stresat\u0103 social \u0219i agresat\u0103 mediatic lume a anului 2010, o lume \u00een care oamenii tr\u0103iesc permanent sub amenin\u021barea atacurilor teroriste, a atacurilor sinuciga\u0219e, a crimelor \u00een \u0219coli, a crimelor \u00een mas\u0103 f\u0103r\u0103 motiv, a extremi\u0219tilor etc., o lume corporatist\u0103, \u00een care domin\u0103 \u201ediscriminarea pozitiv\u0103\u201d \u0219i \u201ecorectitudinea politic\u0103\u201d, \u00een care consumul de tutun este descurajat, \u00eens\u0103 marijuana legalizat\u0103, \u00een care c\u0103s\u0103toria a devenit desuet\u0103, rela\u021biile homosexuale \u0219i bisexuale constituind moda, \u00een care Europa este unit\u0103 (s\u0103 nu uit\u0103m c\u0103 existen\u021ba Blocului Comunist R\u0103s\u0103ritean \u0219i a R\u0103zboiului rece, care dura ne\u00eentrerupt de peste 20 de ani, erau departe de a \u00eencuraja asemenea idei \u00een perioada respectiv\u0103), \u00een care problema unor refugia\u021bi din \u021b\u0103ri africane devastate de r\u0103zboi civil creeaz\u0103 tensiuni interna\u021bionale \u0219.a.m.d. [14].<\/p>\n

    <\/p>\n

    Trebuie remarcat, aici, faptul c\u0103, anticipa\u021bia literar\u0103 realiz\u00e2ndu-se, dup\u0103 cum am men\u021bionat mai sus, sub forma specula\u021biei \u0219tiin\u021bifice (care presupune, \u00eentotdeauna, dou\u0103 etape: 1. documentarea, pentru aceast\u0103 etap\u0103 fiind necesar\u0103 o munc\u0103 asidu\u0103 \u0219i 2. extrapolarea, pentru aceast\u0103 etap\u0103 fiind necesar\u0103 o imagina\u021bie bogat\u0103, \u021binut\u0103 \u00eens\u0103 \u00een fr\u00e2u cu rigoare savant\u0103), \u00een mod deloc surprinz\u0103tor, o parte \u00eensemnat\u0103 dintre autorii de anticipa\u021bie au dat dovad\u0103 de preg\u0103tire ori de preocup\u0103ri \u0219tiin\u021bifice pe diverse planuri, de multe ori reflectate \u00een arta lor: Wells a fost biolog, Asimov \u2013 biochimist, Clarke \u2013 viitorolog \u0219i inventator, Heinlein a absolvit o Academie Naval\u0103 \u0219i a activat ca militar \u00een domeniul radiocomunica\u021biilor (pe atunci, domeniu de pionierat) \u0219.a.m.d.<\/p>\n

    <\/p>\n

    Reversul medaliei<\/em><\/strong><\/p>\n

    Pe de alt\u0103 parte, nu toate anticip\u0103rile literare mediatizate sunt reale. De multe ori, poate tocmai pentru c\u0103, a\u0219a cum am ar\u0103tat mai sus, scriitorii de literatur\u0103 \u0219tiin\u021bifico-fantastic\u0103 se documenteaz\u0103 asiduu \u0219i mai au \u0219i preg\u0103tire de specialitate, \u201eanticip\u0103rile\u201d \u00een cauz\u0103 constau, \u00een fapt, \u00een simple transpuneri literare ale unor descoperiri \u0219tiin\u021bifice existente, dar prea pu\u021bin cunoscute publicului larg.<\/p>\n

    Desigur, \u00een unele cazuri, este posibil \u0219i ca respectivii autori s\u0103 fi \u201eanticipat\u201d o descoperire \u0219tiin\u021bific\u0103 deja efectuat\u0103, dar despre care ei nu aflaser\u0103\u2026<\/p>\n

    De pild\u0103, \u201efaxul\u201d prezentat de Jules Verne \u00een Parisul \u00een secolul al XX-lea<\/em> (1863) exista, \u00eentr-o form\u0103 primitiv\u0103, \u00eenc\u0103 din 1846, iar \u201eanticiparea\u201d fertiliz\u0103rii \u201ein vitro\u201d din Minunata lume nou\u0103<\/em> (Aldous Huxley, 1931) a fost inspirat\u0103, se pare, de specula\u021biile \u0219tiin\u021bifice ale savantului J.B.S. Haldane (Daedalus; or, Science and the Future<\/em>, 1924).<\/p>\n

    \u0218i exemplele pot continua.<\/p>\n

    <\/p>\n

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

    Nu putem \u00eencheia scurta noastr\u0103 expunere f\u0103r\u0103 a insista asupra ideii c\u0103, departe de a reprezenta simpl\u0103 literatur\u0103 de divertisment ori literatur\u0103 lipsit\u0103 de valoare (!), literatura \u0219tiin\u021bifico-fantastic\u0103 (\u00een general) \u0219i literatura de anticipa\u021bie \u0219tiin\u021bific\u0103 (\u00een special) constituie, de multe ori, fie adev\u0103rat\u0103 literatur\u0103 de avertisment, fie specula\u021bie \u0219tiin\u021bific\u0103 roman\u021bat\u0103, alc\u0103tuind o punte \u00eentre literatura \u0219tiin\u021bific\u0103 \u0219i literatura artistic\u0103.<\/p>\n

    Pentru c\u0103, a\u0219a cum ne aten\u021biona Jules Verne:<\/p>\n

    \u201eCeea ce un om \u00ee\u0219i poate imagina, al\u021bi oameni vor putea s\u0103 pun\u0103 \u00een practic\u0103\u201d.<\/p>\n

    <\/p>\n

    [NOTE]<\/p>\n

    [1] J.-M. Margot, Editorial<\/em>, \u00een Jules Verne Studies<\/em>, Vol. 4, 2011-2012, www.verniana.org<\/em>.<\/p>\n

    [2] O. Cr\u00e2znic, Studii fantastice: Fantasticul delimitat<\/em>, \u00een revista EgoPHobia<\/em>, nr. 45\/2016.<\/p>\n

    [3] O. Cr\u00e2znic, Dan Apostol&Rodica Bretin: Corifeii enigmelor<\/em>, \u00een revista EgoPHobia<\/em>, nr. 47\/2016.<\/p>\n

    <\/p>\n

    [4] French Cheer Frank Borman<\/em>, \u00een ziarul Daytona Beach Morning Journal<\/em>, 6 feb. 1969.<\/p>\n

    [5] W. Butcher, Jules Verne: A Reappraisal<\/em>, www.ibiblio.org<\/a><\/em>.<\/p>\n

    <\/p>\n

    [6] R. Wallace, Tsiolkovsky, Goddard and Oberth \u2013 Three Fathers of Rocketry<\/em>, 13 sep. 2007, www.museumofflight.org<\/em>.<\/p>\n

    [7] M. Strauss, Ten Inventions Inspired by Science Fiction<\/em>, 15 mar. 2012, www.smithsonianmag.com<\/a><\/em> (jurnalul oficial al Institutului Smithsonian, Guvernul Statelor Unite ale Americii).<\/p>\n

    <\/p>\n

    [8] V. Griffith, The Fabulous Flying Machines of Alberto Santos-Dumont<\/em>, 20 iul. 2012, blog.abramsbooks.com<\/em>.<\/p>\n

    [9] M. Mott, Animal-Human Hybrids Spark Controversy<\/em>, 25 ian. 2005, news.nationalgeographic.com.<\/em><\/p>\n

    [10] P. Krugman, Who Are You Calling Dense?<\/em>, 30 aug. 2010, krugman.blogs.nytimes.com<\/em>.<\/p>\n

    <\/p>\n

    [11] P.S. Baker, Starship Troopers\u2019 Influence on the American Military<\/em>, 1 dec. 2015, newmyths.com<\/em>.<\/p>\n

    [12] Lance Cpl. J. Perez Rivera, Changes to CMC reading list mean new options in professional development<\/em>, 22 ian. 2013, www.lejeune.marines.mil<\/a><\/em> (The Official Website of the United States Marine Corps<\/em>).<\/p>\n

    <\/p>\n

    [13] World Population by Year<\/em>, www.worldometers.info<\/a><\/em> (\u201eOur sources include the United Nations Population Division, World Health Organization, Food and Agriculture Organization, International Monetary Fund, and World Bank\u201d).<\/p>\n

    [14] Mare parte (nu toate) dintre \u201epredic\u021biile\u201d lui Brunner prezentate aici (\u0219i altele pe care nu le-am mai men\u021bionat) au fost eviden\u021biate de T. Gioia \u00een The Weird 1969 New Wave Sci-Fi Novel that Correctly Predicted the Current Day<\/em>, 25 mar. 2013, www.themillions.com<\/em>.<\/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, prof. eviden\u021biat gr. I Limba \u0219i literatura rom\u00e2n\u0103, distins cu diploma de onoare \u201eCreativitate \u0219i eficien\u021b\u0103\u201d, \u0219i Dorothea, prof. gr. I Limba \u0219i literatura rom\u00e2n\u0103) este scriitor (prozator \u0219i poet), traduc\u0103tor literar, critic literar, conferen\u021biar \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>). \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. A fost publicat \u00een diverse antologii \u015fi reviste al\u0103turi de nume importante ale literaturii universale contemporane (George R.R. Martin) sau clasice (Algernon Blackwood, Arthur Conan Doyle, Robert E. Howard, Rudyard Kipling, H.P. Lovecraft, 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 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. A ap\u0103rut, \u00een calitate de expert \u00een istoria vampirismului, \u00een episodul Hunting Vampires<\/em> al serialului Expedition Unknown<\/em>, realizat de Travel Channel. \u00cen Rom\u00e2nia, a fost invitat, \u00een mai multe r\u00e2nduri, s\u0103 vorbeasc\u0103 studen\u021bilor Fac. de Limbi \u0219i Literaturi Str\u0103ine a Univ. din Bucure\u0219ti (prelegerea Literatura gotic\u0103 \u0219i romantismul \u00eentunecat american. Sec. al XIX-lea: Hawthorne, Melville, Poe \u0219i mo\u0219tenirea lor cultural\u0103<\/em>) ori studen\u021bilor Fac. de Limbi \u0219i Literaturi Str\u0103ine a Univ. Cre\u0219tine \u201eDimitrie Cantemir\u201d (prelegerea Lumi fic\u021bionale \u00een literatura modern\u0103<\/em>, \u00een colaborare cu conf. univ. dr. Ana-Maria Negril\u0103), \u0219i a participat la sesiunea \u0219tiin\u021bific\u0103 a Academiei Rom\u00e2ne \u2013 Divizia de Logic\u0103, Metodologie \u0219i Filosofie a \u0218tiin\u021bei, cu comunicarea Literatura \u0219tiin\u021bifico-fantastic\u0103 \u0219i c\u0103utarea (modelarea?) viitorului<\/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 sus\u021binut prezentarea public\u0103 Fantasticul de impact: De la \u201eGhilgame\u0219\u201d la \u201eUrzeala tronurilor\u201d<\/em> (\u00een colaborare cu scriitoarea \u0219i critica literar\u0103 Alexandra Medaru). A participat, \u00een calitate de invitat, \u00een repetate r\u00e2nduri, la emisiuni culturale televizate sau radiodifuzate. Pagin\u0103 virtual\u0103 oficial\u0103: Facebook:<\/em> Oliviu Craznic<\/em> (https:\/\/www.facebook.com\/oliviucraznicofficialpage<\/a>).<\/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>(\u0218t. Ghidoveanu<\/strong>, realizatorul emisiunii Radio Rom\u00e2nia Cultural Exploratorii lumii de m\u00e2ine<\/em>, \u00een Galileo Online<\/em>, nov. 2012)<\/p>\n

     <\/p>\n","protected":false},"excerpt":{"rendered":"

    (Studii fantastice) de Oliviu Cr\u00e2znic   (Sesiunea \u0219tiin\u021bific\u0103 a Academiei Rom\u00e2ne \u2013 Divizia de Logic\u0103, Metodologie \u0219i Filosofie a \u0218tiin\u021bei \u2013 prim\u0103vara 2017) \u00a0 \u00a0\u201e\u2013 All this, sir, it’s like doing a Jules Verne. \u2013 Yes, sir, it’s like doing a Jules Verne, because for twenty years, the people who move forward have been doing […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[8,1273,892],"tags":[1113,1274,636,1194],"class_list":["post-11687","post","type-post","status-publish","format-standard","hentry","category-critica","category-egophobia-49-50","category-ghidul-cititorului-de-fantastic","tag-critica","tag-egophobia-49-50","tag-oliviu-craznic","tag-studii-fantastice"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-32v","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11687","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=11687"}],"version-history":[{"count":5,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11687\/revisions"}],"predecessor-version":[{"id":11862,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11687\/revisions\/11862"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11687"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11687"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11687"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}