de Marius-Iulian Stancu<\/p>\n
(ca prin oglind\u0103)<\/font><\/p>\n \n\u201c\u015ei iat\u0103 copil\u0103ria mea de mult a murit, iar eu tr\u0103iesc. Tu \u00eens\u0103, Doamne\u2026 mereu tr\u0103ie\u015fti \u015fi nimic nu moare \u00een Tine\u2026\u201d (Augustin, M\u0103rturisiri<\/em>). \u00cen \u00eempr\u0103\u015ftierea \u015fi curgerea existen\u0163ial\u0103, Augustin traseaz\u0103 reperele unei memorii absolute \u00een care nimic nu se trece. \u201cTimpul a trecut, posibilitatea exista \u015fi Avraam a crezut; timpul a trecut, a devenit imposibil \u015fi Avraam a crezut\u201d (Soren Kierkegaard, Fric\u0103 \u015fi Cutremur<\/em>). Asumarea temporalit\u0103\u0163ii \u00een virtutea absurdului, cu angoasa, cu ruptura dintre mundan \u015fi transcendentul divin, pe care temporalitatea o implic\u0103, necesit\u0103 un curaj paradoxal ce nu poate fi asumat potrivit existen\u0163ialismului cre\u015ftin dec\u00e2t \u00eentru credin\u0163a \u00een care ra\u0163ionalul este suspendat iar omului i se descoper\u0103 c\u0103 \u201cse are doar pe sine\u201d \u015fi \u00ee\u015fi este \u201csortit lui \u00eensu\u015fi\u201d (Fric\u0103 \u015fi Cutremur<\/em>), dep\u0103\u015find universalul, opun\u00e2ndu-i individualitatea ce \u00eel sfideaz\u0103 prin credin\u0163a \u00een memoria absolut\u0103. <\/p>\n \n\u00cen fa\u0163a realit\u0103\u0163ii imposibile a credin\u0163ei, omul r\u0103m\u00e2ne cu angoasa \u00eentemeiat\u0103 \u00een trecut, \u00een faptul-de-a-fi-fost, nimicul prin intermediul c\u0103ruia ni se descoper\u0103 fiin\u0163a, faptul-de-a-fi-\u00een-lume (Martin Heidegger). Dup\u0103 moartea lui Dumnezeu \/ a metafizicii (Jean Luc-Marion identific\u0103 fiin\u0163a metafizicii cu Dumnezeul cre\u015ftin redus de o bun\u0103 parte a teologiei la un simplu idol conceptual) omul r\u0103m\u00e2ne doar cu memoria.<\/p>\n \nTemporalitatea tr\u0103it\u0103 \u00eemi descoper\u0103 c\u0103 \u201cnu pot s\u0103 fiu fericit dec\u00e2t \u00een trecut\u201d (Jean-Paul Sartre, Fiin\u0163a \u015fi neantul<\/em>), doar raport\u00e2ndu-m\u0103 la el pot spune c\u0103 \u201ceu sunt \u00een sensul fiin\u0163ei \u00een sine\u201d, \u201c\u00een urma mea\u201d (Fiin\u0163a \u015fi neantul<\/em>), \u00een afara mea, unde distan\u0163a absolut\u0103 dintre pentru-sine \u015fi ceea-ce-sunt \u00ee\u015fi construie\u015fte \u00een memorie un loc \u00een care eram fericit, pentru c\u0103 nu sunt fericit. Pentru Sartre, dimensiunea temporal\u0103 a trecutului desemneaz\u0103 \u201csubstan\u0163a\u201d, ceea-ce-sunt ca imposibilitate de a fi tr\u0103it, \u00eentr-o perpetu\u0103 dep\u0103\u015fire neantizatoare. <\/p>\n \n\u201cDac\u0103 memoria ar putea fi conservat\u0103, sper s\u0103 nu expire niciodat\u0103. Dac\u0103 ar fi s\u0103 expire, sper s\u0103 fie peste 10.000 de ani\u201d (Wong Kar-Wai, Chungking Express<\/em>). Afirma\u0163ia conform c\u0103reia toate se nasc cu o dat\u0103 de expirare are menirea de a obiectualiza fiin\u0163a uman\u0103 \u00een sensul de s\u0103rac\u0103-\u00een-fiin\u0163\u0103 (\u201cn-am fost nici eu dec\u00e2t o conserv\u0103 de ananas\u201d-Chungking Express<\/em>), un obiect pe care \u00eel \u00eemprumu\u0163i pentru o vreme (2046<\/em>), fiin\u0163\u0103 aflat\u0103 \u00een imposibilitatea de a realiza idealul erotic al animalului care iube\u015fte (Jean-Luc Marion, Fenomenul Erosului). Lumea este o sum\u0103 de obiecte contingente, o lume \u201cafectat\u0103\u201d de dispozi\u0163iile erotice ale personajelor. Se \u00eencearc\u0103 fixarea amintirilor \u00een curgerea temporal\u0103, proiect\u00e2ndu-le \u00een \u201clucruri\u201d ce particip\u0103 la mica dram\u0103 a desp\u0103r\u0163irii, obiecte \u00eenc\u0103rcate de sentimentul \u00eent\u00e2lnirii ratate. \u201cDe c\u00e2nd a plecat, totul \u00een apartament e trist. Toate au nevoie s\u0103 fie leg\u0103nate pentru a adormi\u201d (Chungking Express<\/em>). \u00cencurajarea prosopului, a hainelor, a s\u0103punului sau a juc\u0103riilor de plu\u015f, p\u0103r\u0103site \u00eempreun\u0103 cu EL de EA, constituie simbolica terapie necesar\u0103 \u00een vederea vindec\u0103rii erotice. Pentru a nu fi uitate, iubirile concrete sunt \u201clegate\u201d: o melodie preferat\u0103 a acestora, peruca blond\u0103 \u015fi ochelarii de soare purta\u0163i tot timpul din Chungking Express<\/em>, a\u015fezarea EI la aceea\u015fi mas\u0103 la care a stat EL din Fallen Angels<\/em>. Schimbarea sentimentelor se cere \u00eenso\u0163it\u0103 de o schimbare a obiectelor. <\/p>\n \n\u201cIubirea este o chestiune de sincronizare. Nu are nici un rost s\u0103 \u00eent\u00e2lne\u015fti persoana potrivit\u0103 dac\u0103 asta se va \u00eent\u00e2mpla prea devreme sau prea t\u00e2rziu\u201d (2046<\/em>). Experien\u0163a rat\u0103rii celuilalt \u00eent\u00e2lnindu-l, fic\u0163ionalizarea (la nivelul nara\u0163iunii sau al imaginii) ca metod\u0103 de a realiza o memorie mai durabil\u0103, constituie motive ce apar frecvent \u00een crea\u0163ia lui Wong Kar-Wai. Personajele sale sunt mereu aproape, niciodat\u0103 acolo. \u00cent\u00e2lnirea este mereu una aparent\u0103, contextual\u0103, superficial\u0103. Distan\u0163a temporal\u0103 \u00ee\u015fi afl\u0103 corespondentul \u00een distan\u0163a erotic\u0103 a omului ca fiin\u0163\u0103 ce se desparte, distan\u0163a ca stigmat al duratei modificat\u0103 calitativ, \u00een intensitate, slow-motion afectiv \u00eentr-o lume pe fast-forward. \u201c\u00cen punctul maxim al apropierii noastre am fost la o distan\u0163\u0103 de 0,01 cm unul de cel\u0103lalt. Nu \u015ftiam nimic despre ea. \u0218ase ore mai t\u00e2rziu s-a \u00eendr\u0103gostit de un alt b\u0103rbat\u201d (Chungking Express<\/em>). Pentru c\u0103 nimic nu dureaz\u0103 o ve\u015fnicie \u015fi \u201coamenii singuri sunt to\u0163i la fel\u201d (Happy Together<\/em>) fic\u0163ionaliz\u0103m \u00een c\u0103utarea celui-ce-ar-fi-putut-s\u0103-fie, c\u00e2nd atingem \u015fi ne l\u0103s\u0103m atin\u015fi nu doar de cel\u0103lalt (ca sine privilegiat al \u00eent\u00e2lnirii), ci \u015fi de ceilal\u0163i (ca obiecte prin care se \u00eencearc\u0103 recuperarea experien\u0163ei totale, imposibile). \u201c\u0218tiam c\u0103 nu sunt eu b\u0103rbatul pe care dorea s\u0103-l ating\u0103. Dar a\u015fa cum ea \u00ee\u015fi imagina c\u0103 sunt un alt b\u0103rbat, eu visam la o alt\u0103 femeie\u201d (Ashes of Time<\/em>). <\/p>\n \nFic\u0163ionalizarea ca expresie artistic\u0103 a memoriei este ambigu\u0103 \u00een sensul \u00een care \u015fi frumuse\u0163ea este ambigu\u0103, pentru c\u0103 \u201cdac\u0103 adev\u0103rul este \u00eentotdeauna frumos, frumuse\u0163ea nu e \u00eentotdeauna adev\u0103rat\u0103\u201d (Paul Evdochimov, Arta icoanei – o teologie a frumuse\u0163ii<\/em>):<\/p>\n \n1.\t\u00cenc\u0103rcat\u0103 pe de o parte de pozitivitate, \u00eemprumut\u0103 din caracteristicile unei memorii ce pune existen\u0163a \u00eentre paranteze. Timpul este \u00eenregistrat astfel \u00een \u00eencercarea de a-l conduce c\u0103tre absolut, \u00een maniera prin care \u015fi imaginea cinematografic\u0103 \u00eencearc\u0103 s\u0103 ofere \u201co iluzie a infinitului\u201d (Andrei Tarkovsky, Sculpting in Time<\/em>). \u201c\u00cen anul 2046 o vast\u0103 re\u0163ea de cale ferat\u0103 \u00eemp\u00e2nze\u015fte globul. Un tren misterios pleac\u0103 c\u0103tre 2046 din c\u00e2nd \u00een c\u00e2nd. To\u0163i pasagerii care merg c\u0103tre 2046 au aceea\u015fi inten\u0163ie, aceea de a recupera amintiri pierdute, pentru c\u0103 nimic nu se schimb\u0103 \u00een 2046\u201d (2046<\/em>). \n O crea\u0163ie despre nomadismul erotic al fiin\u0163elor umane (\u201cDac\u0103 cuno\u015fti o persoan\u0103 nu \u00eenseamn\u0103 c\u0103 te va iubi. Se schimb\u0103. S-ar putea ca ast\u0103zi s\u0103 \u00eei plac\u0103 ananasul, iar m\u00e2ine altceva\u201d \u2013 Chungking Express<\/em>), ca oglind\u0103 interioar\u0103 pentru trecerea \u201cdin afar\u0103\u201d, \u201cdespre c\u0103l\u0103toriile lor, nu despre destina\u0163ii\u201d (Roger Ebert), \u00een care iubirea r\u0103m\u00e2ne un ideal pentru c\u0103 nu se concretizeaz\u0103 cu adev\u0103rat niciodat\u0103 (\u201cexist\u0103 anumi\u0163i oameni de care nu te po\u0163i apropia\u2026 dac\u0103 te apropii prea mult descoperi c\u0103 sunt plictisitori\u201d \u2013 Fallen Angels<\/em>), c\u0103ci \u201cdac\u0103 iubirea-i va deveni nefericit\u0103, atunci nu va mai reu\u015fi niciodat\u0103 s\u0103 se deta\u015feze de ea\u201d (Fric\u0103 \u015fi Cutremur<\/em>), \u015fi astfel iluzia memoriei absolute supravie\u0163uie\u015fte ca un loc \u00een care putem s\u0103 ne \u00eentoarcem, un loc nefericit \u00een care nu putem nici s\u0103 fim, \u00eens\u0103, din care nu ne putem nici retrage (M\u0103rturisiri<\/em>). <\/p>\n","protected":false},"excerpt":{"rendered":" de Marius-Iulian Stancu (ca prin oglind\u0103) \u201c\u015ei iat\u0103 copil\u0103ria mea de mult a murit, iar eu tr\u0103iesc. Tu \u00eens\u0103, Doamne\u2026 mereu tr\u0103ie\u015fti \u015fi nimic nu moare \u00een Tine\u2026\u201d (Augustin, M\u0103rturisiri). \u00cen \u00eempr\u0103\u015ftierea \u015fi curgerea existen\u0163ial\u0103, Augustin traseaz\u0103 reperele unei memorii absolute \u00een care nimic nu se trece. \u201cTimpul a trecut, posibilitatea exista \u015fi Avraam a […]<\/p>\n","protected":false},"author":5,"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_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[48,507,27],"tags":[30,1147,59,1117,60],"class_list":["post-3831","post","type-post","status-publish","format-standard","hentry","category-ca-prin-oglind","category-egophobia-26","category-filosofie","tag-ca-prin-oglinda","tag-egophobia-26","tag-film","tag-filosofie","tag-marius-iulian-stancu"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-ZN","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/3831","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\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3831"}],"version-history":[{"count":3,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/3831\/revisions"}],"predecessor-version":[{"id":4314,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/3831\/revisions\/4314"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3831"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3831"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3831"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n2.\tFic\u0163ionaliz\u0103m \u00een imposibilitatea de a o lua de la \u00eenceput. \u201cF\u0103r\u0103 un trecut fiecare zi ar fi un nou \u00eenceput\u201d (Ashes of Time<\/em>). Fic\u0163ionaliz\u0103m f\u0103r\u0103 speran\u0163\u0103, pentru c\u0103 nu putem g\u0103si secretul \u00eentoarcerii, pentru c\u0103 2046 este num\u0103rul unei camere de hotel \u00een care nimeni nu ne mai a\u015fteapt\u0103. <\/p>\n