{"id":15422,"date":"2026-05-08T13:10:03","date_gmt":"2026-05-08T10:10:03","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=15422"},"modified":"2026-05-08T13:11:31","modified_gmt":"2026-05-08T10:11:31","slug":"stolul-2024-hermeneutica-de-sine","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=15422","title":{"rendered":"Stolul 2024. Hermeneutica de sine<\/i>"},"content":{"rendered":"
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Toate vie\u021bile sunt romane\u0219ti (ba chiar romane adev\u0103rate), mai pu\u021bin cea a Oliviei Grecea, care e un fel de psihodram\u0103 (oarecum normal pentru cine e regizor de drept). Una, ce-i drept, romanesc\u0103 \u0219i ea, c\u0103ci debutul cu Toat\u0103 tinere\u021bea pe care o dau mai departe <\/em>(Fractalia, 2024) are dimensiunile unui roman (unul, cantitativ, mai omenesc). Olivia face aici o acut\u0103 hermeneutic\u0103 de sine, sec\u021bionat\u0103 \u00een capitole tematico-biografice greu de rupt unele de altele, c\u0103ci interferente. E o poezie analitic\u0103 pe fir biografist u\u0219or \u00eenv\u0103lm\u0103\u0219it, \u00een care, zice Olivia \u00eens\u0103\u0219i \u2013 \u00een Vatra<\/em>, nr. 7\/2025 \u2013, scrie despre sine \u201ecea de acum care le con\u021bine pe mine cele de dinainte\u201d, \u201ecu aten\u021bie la emo\u021bie, umor, sarcasm, responsabilitate\u201d; \u0219i scrie \u201edin sf\u00ee\u0219iere \u0219i reconstruc\u021bie\u201d. E o saga introspectiv\u0103 \u0219i retrospectiv\u0103 care echivaleaz\u0103 o \u00eentreag\u0103 terapie la psihanalist. Nu-i de mirare, c\u0103ci Olivia, \u00een loc s\u0103 recurg\u0103 la canapeaua unui specialist, e ea \u00eens\u0103\u0219i specialista. Scrisul e o terapie mereu recomandat\u0103 de psihanali\u0219ti \u0219i, bun\u0103oar\u0103, \u00een Jurnalul de psihanalist <\/em>al lui Vasile Dem. Zamfirescu una dintre paciente \u2013 Teodora \u2013 \u00eel \u0219i serve\u0219te cu un caiet de poeme (\u0219i Liiceanu s-a scos din depresie scriindu-\u0219i jurnalul). \u201eExprimarea prin art\u0103 \u00een cura psihanalitic\u0103, zice V.D.Z., faciliteaz\u0103 catharsisul, interpretarea \u0219i con\u0219tientizarea\u201d, \u0219edin\u021bele de terapie fiind, de fapt, colocvii hermeneutice menite s\u0103 exorcizeze factorii inhiban\u021bi. Debutul Oliviei are \u0219i el evidente func\u021bii curative \u0219i e un solilocviu hermeneutic. Unul realizat cu o febr\u0103 analitic\u0103 de-a binelea compulsiv\u0103. \u00cen orice caz, e o introspec\u021bie frenetic\u0103 \u0219i nemiloas\u0103. Cele trei promotoare de pe copert\u0103 \u2013 Medeea Iancu (un fel de coordonatoare a lucr\u0103rii, dup\u0103 m\u0103rturia Oliviei), Mihaela Michailov \u0219i Iulia Militaru \u2013 noteaz\u0103, consonant, m\u0103rcile esen\u021biale ale acestui control de sine f\u0103cut din \u201eresturi de via\u021b\u0103\u201d (Medeea) folosite \u00eentr-\u201eo desc\u0103tu\u0219are eliberatoare\u201d (Mihaela) care duce la \u201eun bildungspoem <\/em>vindec\u0103tor\u201d (Iulia). Olivia, practic vorbind, nici nu procedeaz\u0103 ca un poet (nu v\u00eeneaz\u0103 expresivit\u0103\u021bi metaforice \u2013 de\u0219i s\u00eent probe de imagina\u021bie fulgurant\u0103 de nuan\u021b\u0103 expresionist\u0103 \u2013 \u0219i nici nu elaboreaz\u0103 \u00een perspectiv\u0103 simbolic\u0103), ci mai degrab\u0103 ca un clinician scrupulos, care face expertiza simptomelor cu rigoare aproape patetic\u0103, dar \u00eendoindu-se de orice diagnostic. Declam\u0103 adesea eseistic, de parc\u0103 ar scrie editoriale de actualit\u0103\u021bi sociale sau literare, fiind mereu angajat\u0103 \u00eentr-o dezbatere (cu sine \u00een primul r\u00eend, dar \u0219i cu societatea \u0219i regulile ei): \u201e\u00een art\u0103 logica de produc\u021bie \u00eemparte arti\u0219tii \u00een emergen\u021bi \u0219i consacra\u021bi.\/ consacrarea e dat\u0103 de succes. succesul poate fi de public sau de critic\u0103.\/ succesul de critic\u0103 nu vinde neap\u0103rat, dar succesul de public vinde\/ \u0219i e dezirabil\u201d etc. (Contractur\u0103<\/em>). Nu se sfie\u0219te de asemenea recitaluri de sociologie folcloric\u0103 pentru c\u0103 le \u00eencadreaz\u0103 imediat \u00eentr-un v\u00eertej de nota\u021bii personalizate ale frustr\u0103rii. \u0218i-a \u0219i alc\u0103tuit un catalog de teme\/borne prin care s\u0103 treac\u0103 neap\u0103rat, de la copil\u0103rie la adolescen\u021b\u0103, de la dragoste la dezam\u0103gire \u0219i singur\u0103tate, de la condi\u021bia artistului proletar la feminism \u0219.a., dar parcelarea metodic\u0103 nu se simte, c\u0103ci peste toate trece v\u00eentoasa anxiet\u0103\u021bii. Ce-i drept, nici nu face mult tapaj pe seama fiec\u0103rei teme, rezolv\u00eendu-le ca p\u0103r\u021bi dintr-un flux omogen de pierderi \u0219i frustr\u0103ri. (Pe partea de feminism pare s\u0103 fie de acord cu Amelie Nothomb, pentru care \u201es\u0103-i spui unei femei c\u0103 e frumoas\u0103 e ca \u0219i cum i-ai spune c\u0103 e proast\u0103\u201d. Problematica o solicit\u0103 \u0219i irit\u0103 \u00een egal\u0103 m\u0103sur\u0103). <\/p>\n\n\n\n

Nu de unde porne\u0219te conteaz\u0103, ci unde ajunge: la o exasperant\u0103 criz\u0103 de sine. Ea \u00eens\u0103\u0219i, dar \u0219i lumea, stau sub semnul \u00eendoielilor (de fiecare dat\u0103, nu una, ci o avalan\u0219\u0103) \u0219i al exasper\u0103rilor, c\u0103ci la Olivia \u201eoricum ai fi ai gre\u0219it\u201d. Premisa acestei inspec\u021bii febrile e o vin\u0103 fondatoare, imotivat\u0103, dar existen\u021bial\u0103. Problematizarea tuturor lucrurilor, de la afecte la gesturi, de la condi\u021bia femeii la condi\u021bia creativ\u0103 \u0219i de la libertatea artei la func\u021bionalitatea cli\u0219eelor \u0219i tabu-urilor sociale, e atitudinea provocatoare \u00een care e instalat\u0103 Olivia. Dar problematizarea tuturor acestora e irezolvabil\u0103, pentru c\u0103 fiecare gest poate primi o mul\u021bime de sensuri. Suspiciunea Oliviei (de sine \u00eendeosebi) e insa\u021biabil\u0103: \u201epe scaunul din spate o poli\u021bist\u0103 m\u0103 prive\u0219te cu\/ \u00een\u021belegere?\/ compasiune?\/ solidaritate?\/ mil\u0103?\/ team\u0103?\/ indiferen\u021b\u0103?\u201d. Incertitudinile vin de-a valma \u0219i \u00eentr-un ritm frenetic, \u00eentre\u021bin\u00eend un climat de panic\u0103. Ipotezele \u201einterpretative\u201d angajeaz\u0103 o avalan\u0219\u0103 semiotic\u0103, concretizat\u0103 \u00eentr-un vuiet interogativ \u0219i retoric. O nelini\u0219te electrizat\u0103 st\u0103 la baza oricui gest, a oric\u0103rui aforism (defularea Oliviei ajunge mereu la stilistica sapien\u021bial\u0103), iar panica aceasta fondatoare explodeaz\u0103 \u00een frenezie. Ritmica e un element esen\u021bial al poemelor \u0219i ea pare a fi vectorul angoasei ca epifanie a anxiet\u0103\u021bii identitare. Olivia scrie o poezie de verbe implicate \u00eentr-o ac\u021biune introspectiv\u0103 \u00een care \u0219i nominalele s\u00eent ac\u021biuni. Saga ei analitic\u0103 e o frenezie a nelini\u0219tii, o febr\u0103 excitat\u0103 a pierderii\/derutei de sine. Olivia nu \u0219tie ce s\u0103 fac\u0103 cu sine, altceva dec\u00eet s\u0103 se interogheze febril \u0219i panicat. Varia\u021biile de discurs (inclusiv implanturile de citate) s\u00eent \u0219i ele o garan\u021bie a nelini\u0219tii (ni\u0219te pari de care se aga\u021b\u0103), dincolo de u\u0219oara atitudine experimental\u0103. Niciunde nu e loc pentru Olivia dincolo de freatica nelini\u0219tii. De unde, fire\u0219te, o frenezie a angoasei de sine expus\u0103 \u00eentr-o hermeneutic\u0103 inclement\u0103. Fluxuri \u2013 \u0219i alternative, \u0219i simultane \u2013 de tandre\u021be, iritare \u0219i exasperare \u021bin astfel temperatura paroxistic\u0103 a acestui examen auto-psihanalitic aproape dureros, dar cu ie\u0219irea suspendat\u0103.<\/p>\n","protected":false},"excerpt":{"rendered":"

Carnete critice de Al. Cistelecan<\/p>\n","protected":false},"author":7,"featured_media":15423,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[376,52],"tags":[82,375,2777,2797],"coauthors":[1120],"class_list":["post-15422","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-carnete-critice","category-rubrici","tag-al-cistelecan","tag-carnete-critice","tag-nr-3-2026","tag-olivia-grecea"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/05\/grecea.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15422","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=15422"}],"version-history":[{"count":2,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15422\/revisions"}],"predecessor-version":[{"id":15426,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15422\/revisions\/15426"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/15423"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=15422"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=15422"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=15422"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=15422"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}