{"id":15254,"date":"2024-05-07T16:03:33","date_gmt":"2024-05-07T14:03:33","guid":{"rendered":"https:\/\/egophobia.ro\/?p=15254"},"modified":"2024-10-10T08:54:21","modified_gmt":"2024-10-10T06:54:21","slug":"edgar-rice-burroughs-dinozaurii-si-biologia-evolutionista","status":"publish","type":"post","link":"https:\/\/egophobia.ro\/?p=15254","title":{"rendered":"Edgar Rice Burroughs, dinozaurii \u0219i biologia evolu\u021bionist\u0103"},"content":{"rendered":"

[Studii fantastice]<\/span><\/p>\n

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

Edgar Rice BURROUGHS<\/strong> (1875-1950) a fost, printre (multe) altele, cavalerist (\u00een timpul r\u0103zboaielor purtate de guvernul SUA cu diverse triburi amerindiene[1]), v\u0103car (\u201ecowboy\u201d), aviator \u0219i, la b\u0103tr\u00e2ne\u021be, corespondent de r\u0103zboi (\u00een Al Doilea R\u0103zboi Mondial), r\u0103m\u00e2n\u00e2nd, \u00eens\u0103, \u00een istorie[2], \u00een primul r\u00e2nd, \u00een calitate de scriitor american, creator al nemuritoarelor personaje \u201eTarzan din neamul maimu\u021belor\u201d \u0219i \u201eJohn Carter de pe Marte\u201d, precum \u0219i autor al operei literare aici prezentate.<\/p>\n

Raportat la teoria literar\u0103, T\u0103r\u00e2mul uitat de timp<\/em><\/strong> (The Land that Time Forgot<\/em><\/strong>, 1918) apar\u021bine stilului func\u0163ional beletristic, curentului literar speculativist[3] (con\u021bin\u00e2nd \u0219i elemente romantice \u2013 identificabile cu u\u0219urin\u021b\u0103 \u00een modul zugr\u0103virii personajelor, de pild\u0103 \u2013, precum \u0219i naturaliste \u2013 Natura fiind prezentat\u0103 \u00een mod realist, neidealizat: ostil\u0103 \u0219i necru\u021b\u0103toare), categoriei estetice fantastice, genului literar epic, fiind, ca specie literar\u0103 (din punct de vedere formal \u0219i, respectiv, tematic), un romant[4] (prima parte a trilogiei romante\u0219ti denumite conven\u021bional Caspak<\/em>) \u0219tiin\u021bifico-fantastic[5] \u2013 \u0219i, ca subspecie literar\u0103, \u0219tiin\u021bifico-fantastic biologic (bioSF).<\/p>\n

Din punct de vedere al literaturii comparate, T\u0103r\u00e2mul …<\/em> se situeaz\u0103 \u00een trendul jalonat, anterior, de O c\u0103l\u0103torie spre centrul P\u0103m\u00e2ntului <\/em>(Voyage au centre de la Terre<\/em>; J. Verne, 1864) \u0219i de Lumea pierdut\u0103<\/em> (The Lost World<\/em>; A.C. Doyle, 1912).<\/p>\n

<\/p>\n

T\u0103r\u00e2mul imaginat de E.R. Burroughs, \u201eCaprona\/Caspak\u201d, este, dup\u0103 cum sugereaz\u0103 chiar titlul acestei opere literare, o regiune izolat\u0103 a Terrei, colc\u0103ind de (varii) fiin\u021be preistorice (de la plesiozauri la oameni de Neanderthal) \u0219i prezentat\u0103 cititorilor prin ochii uimi\u021bi \u0219i \u00eenfrico\u0219a\u021bi ai unor militari (apar\u021bin\u00e2nd ambelor tabere beligerante din timpul Primului R\u0103zboi Mondial) \u0219i ai unor civili, naufragia\u021bi acolo (dup\u0103 multe peripe\u021bii) \u0219i sili\u021bi s\u0103 coopereze (p\u00e2n\u0103 la un punct …) pentru a putea supravie\u021bui \u00een respectiva lume s\u0103lbatic\u0103 \u0219i necunoscut\u0103 (nu lipse\u0219te nici o frumoas\u0103 poveste de dragoste). Inedit\u0103 ne apare, \u00eens\u0103, ideea \u0219tiin\u021bifico-fantastic\u0103 a parcurgerii tuturor treptelor evolu\u021biei biologice (de la forma de via\u021b\u0103 simpl\u0103 la aceea complex\u0103) \u00een mod … individual \u2013 metamorfoza fiec\u0103rei fiin\u021be petrec\u00e2ndu-se, gradual, pe parcursul unei c\u0103l\u0103torii spre interiorul T\u0103r\u00e2mului Uitat.<\/p>\n

Propria via\u021b\u0103 pres\u0103rat\u0103 cu pericole \u0219i talentul[6] scriitorului i-au permis acestuia s\u0103 construiasc\u0103 \u00een mod exemplar (f\u0103r\u0103 fisuri, f\u0103r\u0103 c\u00e2rp\u0103celi \u0219i f\u0103r\u0103 \u00eencropeli) to\u021bi pila\u0219trii (obligatorii) de sus\u021binere ai prozei beletristice (performan\u021b\u0103 rar reu\u0219it\u0103 de c\u0103tre scriitorii de ast\u0103zi \u2013 probabil \u0219i pentru c\u0103 ace\u0219tia tr\u0103iesc o via\u021b\u0103 banal\u0103[7], fiindu-le, prin urmare, dificil s\u0103 redea \u00eentr-un mod verosimil[8] \u00eent\u00e2mpl\u0103ri \u0219i comportamente ie\u0219ite din comun, baz\u00e2ndu-se doar pe o documentare oric\u00e2t de minu\u021bioas\u0103): momentele subiectului (expozi\u021biunea, intriga, desf\u0103\u0219urarea ac\u021biunii, punctul culminant \u0219i deznod\u0103m\u00e2ntul), modurile de expunere compozi\u021bional\u0103 (nara\u021biunea, descrierea, dialogul\/monologul), caracterizarea personajelor \u0219i stilistica. E.R. Burroughs adaug\u0103 acestora \u0219i ambii pila\u0219trii (facultativi) de \u00eent\u0103rire: mesajul (aici, umanist) \u0219i informa\u021bia (aici, variat\u0103).<\/p>\n

T\u0103r\u00e2mul …<\/em> a avut parte \u0219i de ecraniz\u0103ri: prima (1974, apar\u021bin\u00e2nd legendarei case de produc\u021bie cinematografic\u0103 Amicus Productions) respect\u0103 materialul-surs\u0103 \u0219i este remarcabil\u0103 din toate punctele de vedere (singurul repro\u0219 ni-l ofer\u0103 momentul v\u00e2n\u0103rii tiranozaurilor: ace\u0219tia scot r\u0103gete \u00eenfrico\u0219\u0103toare, \u00eens\u0103 … nu \u00eenainteaz\u0103 \u0219i nici nu se retrag \u00een timp ce v\u00e2n\u0103torii \u00ee\u0219i descarc\u0103 armele asupra lor[10]); a doua (2009) are un scenariu pueril (p\u0103cat, c\u0103ci actorii, \u00een frunte cu C.Th. Howell, sunt simpatici \u0219i talenta\u021bi), iar trucajele[11] sunt, deloc surprinz\u0103tor[12], pe m\u0103sura scenariului.<\/p>\n

<\/p>\n

[1] \u201eI-am fug\u0103rit deseori pe apa\u0219i\u201d (ca obliga\u021bie militar\u0103), m\u0103rturise\u0219te el. \u201eDin fericire pentru mine, \u00eens\u0103, nu i-am ajuns niciodat\u0103 din urm\u0103.\u201d<\/p>\n

\n

[2] Etichetarea lui E.R. Burroughs drept autor de literatur\u0103 \u201eu\u0219oar\u0103\u201d sau chiar \u201eimpuber\u0103\u201d (ori, \u00een cazul \u201efericit\u201d: \u201ejuvenil\u0103\u201d) \u2013 etichetare \u00eenf\u0103ptuit\u0103 cu prec\u0103dere \u00een regimurile politice comuniste, ostile literaturii fantastice \u0219i de aventuri \u0219i, fire\u0219te, ostil\u0103 scriitorilor f\u0103\u021bi\u0219 anticomuni\u0219ti \u2013 este, bine\u00een\u021beles, eronat\u0103 (atunci c\u00e2nd nu este r\u0103u-voitoare).<\/p>\n

Crea\u021biilor reprezentative ale acestui om cu bogat\u0103 \u0219i curajoas\u0103 experien\u021b\u0103 de via\u021b\u0103 (ar fi nu doar incorect, ci pur \u0219i simplu absurd s\u0103 fie judecat \u00een func\u021bie de punctele slabe ale carierei sale literare, fire\u0219ti \u0219i prezente \u00een via\u021ba majorit\u0103\u021bii scriitorilor) nu le lipsesc filozofia, latura educa\u021bional-moral\u0103, calit\u0103\u021bile literare propriu-zise; de altfel, pe l\u00e2ng\u0103 numero\u0219i scriitori ori cinea\u0219ti notorii, s-au declarat influen\u021ba\u021bi de literatura lui E.R. Burroughs \u0219i faimo\u0219i oameni de \u0219tiin\u021b\u0103 (e.g. astronomul C. Sagan), politicieni (e.g. fostul pre\u0219edinte \u2013 emblematic! \u2013 al Statelor Unite ale Americii R. Reagan) etc.<\/p>\n

\n

[3] Prin sintagma \u201efic\u021biune speculativ\u0103\u201d este uneori desemnat \u0219tiin\u021bifico-fantasticul \u00een genere (ori o specie literar\u0103 \u00eenrudit\u0103), alteori o subspecie literar\u0103 \u0219tiin\u021bifico-fantastic\u0103 \u0219i alteori, \u00een sf\u00e2r\u0219it, o \u201esupraspecie\u201d literar\u0103 \u00eenglob\u00e2nd un anumit soi de \u0219tiin\u021bifico-fantastic, un anumit soi de fantastic propriu-zis, un anumit soi de neofantastic \u0219i un anumit soi de gotic.<\/p>\n

Aceast\u0103 \u201esupraspecie\u201d ne pare a fi, \u00een fapt, prin caracteristicile sale, nimic altceva dec\u00e2t un curent literar, suprapus, \u00een semnificativ\u0103 m\u0103sur\u0103, \u201etransrealismului\u201d teoretizat de c\u0103tre R. Rucker \u0219i\/sau \u201erealismului fantastic\u201d teoretizat de c\u0103tre L. Pauwels \u0219i J. Bergier; consider\u0103m, \u00eens\u0103, inadecvate ambele denumiri: \u201etransrealismul\u201d trimite cu g\u00e2ndul (asemenea curentelor literare transcendentalism, irealism etc.) \u00een primul r\u00e2nd la fantastic propriu-zis \u0219i (mult) prea pu\u021bin la \u0219tiin\u021bifico-fantastic, iar conceptul de \u201erealism fantastic\u201d este un nonsens (asemenea \u201erealismului magic\u201d), realismul neput\u00e2nd fi, prin defini\u021bie, altfel dec\u00e2t nonfantastic (\u0219i nonmagic).<\/p>\n

Speculativismul ar reuni, prin urmare, opere literare (apar\u021bin\u00e2nd unor specii\/subspecii literare diverse) caracterizate prin subiecte dezvoltate \u00een jurul unor teorii provocatoare prezentate (cu sau f\u0103r\u0103 argumente \u0219tiin\u021bifice ori de alt fel; serios sau \u00een glum\u0103) cititorilor de c\u0103tre autor.<\/p>\n

Alte denumiri propuse, de-a lungul timpului, pentru literatura speculativist\u0103: \u201eslipstream\u201d sau \u201esuppositional fiction\u201d.<\/p>\n

\n

[4] Prefer\u0103m forma \u201eromant\u201d aceleia de \u201eroman\u201d, din motive enumerate cu alt\u0103 ocazie \u2013 a se vedea O. Cr\u00e2znic, Roman: considerente lingvistice<\/em>, \u00een EgoPHobia nr. 75\/202<\/em>3 https:\/\/egophobia.ro\/?p=14652<\/a>.<\/p>\n

\n

[5] Trebuie precizat aici faptul c\u0103, \u00eentr-un mod surprinz\u0103tor, prima parte a textului (aproape jum\u0103tate din num\u0103rul total de pagini) nu are nimic \u0219tiin\u021bifico-fantastic, fiind, \u00een fapt, un romant de r\u0103zboi nautic (pres\u0103rat cu r\u0103sturn\u0103ri de situa\u021bii \u0219i nu lipsit de interes inclusiv din punct de vedere istoric) asem\u0103n\u0103tor acelora publicate, ulterior, de pild\u0103, de c\u0103tre A. MacLean (e.g.: La sud de Capul Java<\/em>; South by Java Head<\/em>, 1958).<\/p>\n

\n

[6] Pentru a nu fi gre\u0219it \u00een\u021bele\u0219i, consider\u0103m necesar a preciza c\u0103, \u00een opinia noastr\u0103, talentul nu este \u00eenn\u0103scut, ci dob\u00e2ndit (mo\u0219tenirea genetic\u0103 put\u00e2nd doar s\u0103 favorizeze aceast\u0103 dob\u00e2ndire).<\/p>\n

\n

[7] Deosebit de interesant ne pare faptul c\u0103 unii comentatori literari, persoane f\u0103r\u0103 nici un soi de experien\u021b\u0103 de r\u0103zboi, contest\u0103, totu\u0219i (\u00eentr-un mod condescendent, chiar!), perspectiva lui E.R. Burroughs (perspectiv\u0103, \u00een fapt, \u00eemp\u0103rt\u0103\u0219it\u0103 \u0219i de al\u021bi scriitori contemporani acestuia \u0219i implica\u021bi, totodat\u0103, \u00eentr-un fel sau altul, \u00een conflictele militare ale epocii).<\/p>\n

\n

[8] Verosimilitatea este raportat\u0103 \u00eentotdeauna, fire\u0219te, la cadrul impus de specia literar\u0103 abordat\u0103.<\/p>\n

Astfel, \u00eentr-un cadru fantastic, verosimilul are cu totul alte grani\u021be dec\u00e2t \u00eentr-un cadru realist \u2013 f\u0103r\u0103, \u00eens\u0103, a putea s\u0103 lipseasc\u0103 (trebuie s\u0103 se reg\u0103seasc\u0103, de pild\u0103, \u00een reac\u021biile verbale \u0219i mimico-gestuale atribuite personajelor, \u00een coeren\u021ba ac\u021biunii etc.).<\/p>\n

\n

[9] Problema dinozaurilor, dragonilor etc. \u201estatici\u201d ori lipsi\u021bi de vitez\u0103 \u0219i de precizie atunci c\u00e2nd \u00eencearc\u0103 s\u0103 \u00ee\u0219i \u00een\u0219face ori s\u0103 \u00ee\u0219i loveasc\u0103 adversarul este \u00eent\u00e2lnit\u0103, din p\u0103cate, prea adeseori \u00een cinematografie \u2013 inclusiv \u00een filme artistice recente.<\/p>\n

\n

[10] Denumirea \u201eefecte speciale\u201d, r\u0103sp\u00e2ndit\u0103 \u0219i \u00een Rom\u00e2nia (\u00een ultima vreme, \u00een mod special) pentru a desemna trucajele, este nu doar pompoas\u0103, ci \u0219i inadecvat\u0103.<\/p>\n

\u201eEfect special\u201d poate fi, \u00een fapt, orice: p\u00e2n\u0103 \u0219i un simplu cuv\u00e2nt ori gest \u201ede efect\u201d al unui actor poate fi considerat a intra \u00een aceast\u0103 categorie.<\/p>\n

\n

[11] Spunem \u201edeloc surprinz\u0103tor\u201d nu pentru c\u0103 aceast\u0103 ecranizare este una de categorie B, ci pentru c\u0103, dup\u0103 fenomenalul Parcul Jurasic<\/em> (Jurassic Park<\/em>, 1993; incontestabil, v\u00e2rf al progresului trucajelor av\u00e2nd ca obiect dinozaurii), animalele fabuloase ori acelea apar\u021bin\u00e2nd unor specii disp\u0103rute (ba chiar \u0219i animalele s\u0103lbatice des \u00eent\u00e2lnite, ori chiar animalele domestice \u2013 precum c\u0103prioara sau c\u00e2inele! \u2013, \u00een ciuda faptului c\u0103 ar fi putut fi, cu u\u0219urin\u021b\u0103, filmate unele reale) incluse \u00een numeroase produc\u021bii cinematografice au fost create prin simplu trucaj cibernetic \u2013 rezultatul fiind, \u00eendeob\u0219te, de-a dreptul ridicol (cam la nivelul desenului animat ori al jocului video).<\/p>\n","protected":false},"excerpt":{"rendered":"

[Studii fantastice] de Oliviu Cr\u00e2znic Edgar Rice BURROUGHS (1875-1950) a fost, printre (multe) altele, cavalerist (\u00een timpul r\u0103zboaielor purtate de guvernul SUA cu diverse triburi amerindiene[1]), v\u0103car (\u201ecowboy\u201d), aviator \u0219i, la b\u0103tr\u00e2ne\u021be, corespondent de r\u0103zboi (\u00een Al Doilea R\u0103zboi Mondial), r\u0103m\u00e2n\u00e2nd, \u00eens\u0103, \u00een istorie[2], \u00een primul r\u00e2nd, \u00een calitate de scriitor american, creator al nemuritoarelor […]<\/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":[8,1705,892],"tags":[1113,1710,1706,636,1194],"class_list":["post-15254","post","type-post","status-publish","format-standard","hentry","category-critica","category-egophobia-81","category-ghidul-cititorului-de-fantastic","tag-critica","tag-edgar-rice-burroughs","tag-egophobia-81","tag-oliviu-craznic","tag-studii-fantastice"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-3Y2","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15254","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=15254"}],"version-history":[{"count":2,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15254\/revisions"}],"predecessor-version":[{"id":15450,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15254\/revisions\/15450"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=15254"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=15254"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=15254"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}