M-am lini\u0219tit c\u00e2nd am citit \u00een cartea lui Mihai Zamfir c\u0103 rutina, de\u0219i curent comb\u0103tut\u0103 ca fiind un obstacol evident \u00een calea noului, a crea\u021biei, a inspira\u021biei, chiar a progresului societ\u0103\u021bii, \u00ee\u021bi d\u0103 totu\u0219i sentimentul de stabilitate, \u00ee\u021bi confirm\u0103 oarecum importan\u021ba acelui program \u0219i a acelor obi\u0219nuin\u021be care, finalmente, \u00ee\u021bi pot valida aspira\u021bia la o disciplin\u0103, regulat\u0103 sau periodic\u0103; ba mai mult, c\u0103 atunci, a\u0219a cum declar\u0103 personajul Ileana Zippa, \u201ec\u00e2nd ne schimb\u0103m brusc programul f\u0103r\u0103 motiv, lumea se uit\u0103 la noi cu ne\u00eencredere, chiar \u0219i cei mai apropia\u021bi, pentru c\u0103 tuturor le place rutina \u0219i to\u021bi tr\u0103im din obi\u0219nuin\u021b\u0103\u201d (Zamfir, 2020: 155). Rutina, ca practic\u0103 diurn\u0103, a\u0219az\u0103 individul \u00eentr-o rela\u021bie constant\u0103 cu propriul s\u0103u interes \u00een a-\u0219i configura identitatea cultural\u0103 \u0219i social\u0103 \u00een cadrul spa\u021biilor cotidiene de care dispune \u0219i a reprezent\u0103rilor sale despre realitatea \u00een care tr\u0103ie\u0219te, c\u0103ci cotidianul exist\u0103 \u00een pofida oric\u0103ror schimb\u0103ri ale istoriei, marc\u00e2nd transform\u0103ri profunde \u00een rela\u021biile interumane \u0219i \u00een c\u00e2mpul valorilor culturale (vezi Moran, 2005: 164).<\/p>\n\n\n\n
C\u00e2nd scriitorii le atribuie personajelor lor o sum\u0103 de habitudini, care s\u0103 le defineasc\u0103 \u0219i s\u0103 le motiveze anumite ac\u021biuni \u0219i reac\u021bii, ei se folosesc de proprietatea actului rutinar \u00een a epitomiza complexitatea experien\u021belor cotidiene \u0219i de a o integra \u00eentr-un sistem mai u\u0219or de controlat \u00een peisajul general al evolu\u021biei narative, eliber\u00e2nd aten\u021bia cititorului spre confrunt\u0103ri \u0219i provoc\u0103ri intelectuale sau estetice mai subtile.<\/p>\n\n\n\n
Religiozitatea rutinii practice<\/strong><\/p>\n\n\n\n Ca orice persoan\u0103 cu o bine definit\u0103 con\u0219tiin\u021b\u0103 de sine, personajul ac\u021bioneaz\u0103 \u00een func\u021bie de necesit\u0103\u021bile, ambi\u021biile, disponibilit\u0103\u021bile sale individuale, pentru a-\u0219i asigura \u00een mod constant confortul \u0219i stabilitatea prin care \u00eencearc\u0103 s\u0103 se autodefineasc\u0103, asemenea Lindei McCullough, mereu atent\u0103 la respectarea unui program fix pentru c\u0103, \u00een opinia ei, \u201eobiceiurile regulate asigurau o via\u021b\u0103 mai lini\u0219tit\u0103\u201d (Ng, 2017: 181). Protocolul urmat cu religiozitate de Ileana \u0219i surorile ei, Anu\u021ba \u0219i Milli, s-a impus prin particularit\u0103\u021bile la care au ajuns ele \u00een urma unor experien\u021be individuale \u0219i familiale istorice, adunate sub genericul unui cod comun de reguli minimale, supus op\u021biunilor poten\u021bialilor vizitatori ai casei Fevronia-Anastasia de la Agapia, apar\u021bin\u00e2nd clanului Zippa; aici via\u021ba fiec\u0103rui ocupant al ei \u201ese desf\u0103\u0219ura cu o uniformitate fericit\u0103\u201d (Zamfir, 2020: 173), era un loc unde \u201ecu greu se poate p\u0103trunde\u201d din cauza unui num\u0103r apreciabil de condi\u021bii, anume, \u201eCa s\u0103 faci conversa\u021bie cu \u2018fetele Zippa\u2019, (…), ca s\u0103 fii poftit dup\u0103-amiaza pe cerdac la o cafea sau la un \u0219erbet, trebuia s\u0103 fi meritat cinstea din plin; adic\u0103 s\u0103 fii din Ia\u0219i sau dintr-o familie ie\u0219ean\u0103, s\u0103 fi fost cunoscut al clanului Zippa cu cel pu\u021bin o genera\u021bie \u00een urm\u0103 (…). Plimbarea al\u0103turi de cineva marca primul semn c\u0103 poate, c\u00e2ndva, \u00eentr-o dup\u0103-amiaz\u0103 viitoare, doamna ori domnul Cutare urmau s\u0103 fie invita\u021bi pe cerdac la cafea. Aceste reguli stricte (…) erau imemoriale, descindeau din manierele instaurate de b\u0103tr\u00e2na doamn\u0103 Zippa, \u00eenainte de r\u0103zboi, continuate de mama Ileanei \u0219i de m\u0103tu\u0219a Milli(…), iar acum erau urmate cu aceea\u0219i stricte\u021be de ultimele oficiante ale cultului agapian, de Anu\u021ba \u0219i Ileana\u201d (173-4), oferind un exemplu interesant al modului \u00een care se poate na\u0219te o memorie colectiv\u0103 dintr-un sim\u021b al apartenen\u021bei la un trecut comun.<\/p>\n\n\n\n C\u00e2teodat\u0103, practicarea rutinei pune \u00een eviden\u021b\u0103 o istorie a unor mentalit\u0103\u021bi, \u201eo istoricitate a experien\u021bei individuale\u201d, sus\u021bin\u00e2nd \u201econtinuitatea epistemologic\u0103 \u0219i ontologic\u0103 dintre percep\u021bia, senza\u021bia \u0219i sim\u021birea individului\u201d (vezi Ankers, 1994: 195), gener\u00e2nd astfel o familiaritate \u0219i o stabilitate, mult r\u00e2vnite, a\u0219a cum declar\u0103 \u0219i Profesorul Christer, iubitor al rutinei: \u201eacela\u0219i-lucru-\u00een-fiecare-zi, c\u00e2ntecul-preferat-repetat. Probabil a m\u00e2ncat aceea\u0219i m\u00e2ncare la micul dejun de c\u00e2nd avea paisprezece ani: un fel de m\u00e2ncare interna\u021bional\u0103 a schiorilor, ca fulgii de ov\u0103z cu meri\u0219or \u0219i lapte integral (….); bea bere \u0219i un p\u0103h\u0103rel pe l\u00e2ng\u0103 de fiecare dat\u0103 c\u00e2nd se \u00eent\u00e2lnea cu prietenii lui (\u201eAmicii\u201d), m\u00e2nca taco cu familia \u00een fiecare vineri, mergea la pizzeria din cartier (…) \u0219i \u00eemp\u0103r\u021bea o sticl\u0103 de vin ro\u0219u cu so\u021bia c\u00e2nd voia s\u0103 s\u0103rb\u0103toreasc\u0103 un eveniment m\u0103re\u021b sau important. (…); mergea \u00een excursii cu charterul, nu g\u0103tea niciodat\u0103 cu coriandru \u0219i nu pr\u0103jea m\u00e2ncarea \u00een nimic altceva dec\u00e2t unt (…). Se v\u0103ita cel pu\u021bin o dat\u0103 pe s\u0103pt\u0103m\u00e2n\u0103 c\u0103 vremea a devenit ciudat\u0103 (\u2018Nu mai exist\u0103 anotimpuri\u2019) \u0219i \u00een fiecare toamn\u0103 se pl\u00e2ngea c\u0103 decora\u021biunile de Cr\u0103ciun se puneau tot mai devreme. (…); se lamenta \u00een privin\u021ba tabloidelor de sear\u0103\u201d (Persson, 2016: 18); lista stabilit\u0103 de autor pentru protagonistul s\u0103u define\u0219te un individ pentru care obi\u0219nuin\u021ba r\u0103m\u00e2ne constanta tuturor \u00eentreprinderilor sale, un individ cu resurse \u0219i ambi\u021bii limitate de natura modului de via\u021b\u0103 ales.<\/p>\n\n\n\n Predictibilitatea ritualurilor<\/strong><\/p>\n\n\n\n Repetitivitatea opereaz\u0103 eficient \u0219i cazul unei categorii de activit\u0103\u021bi \u00een care individul\/personajul apeleaz\u0103 la re\/utilizarea experien\u021belor trecute, anume, cele care urmeaz\u0103 \u0219i urm\u0103resc modurile de explorare \u0219i redare a unor ritualuri, tradi\u021bii sau s\u0103rb\u0103tori \u00eentr-o dinamic\u0103 personal\u0103, \u00een conformitate cu ideile \u00eemp\u0103rt\u0103\u0219ite de comunitatea c\u0103reia \u00eei apar\u021bine \u0219i cu care se identific\u0103 c\u0103ci \u201efiecare cultur\u0103 are o personalitate tipic\u0103 care, \u00een fapt, o caracterizeaz\u0103\u201d (Price-Williams, 1968: 323). Ritualurile v\u0103zute ca o dispozi\u021bie pentru ac\u021biune, ca parte a unor \u201ematrici vii\u201d, indic\u0103 permanen\u021be \u00een \u201erela\u021bia individului cu un spa\u021biu tradi\u021bional, respectiv, \u00een procesul de integrare a lui \u00een acest spa\u021biu\u201d (Gaivoronschi, 2002: 8); ele apar \u00eentr-o dinamic\u0103 impus\u0103 de cultura care le genereaz\u0103 \u0219i le atribuie tr\u0103s\u0103turile speciale, specifice istoric sau geografic, transform\u00e2nd emo\u021biile personale \u00eentr-o manifestare colectiv\u0103, public\u0103, a\u0219a cum le tr\u0103ie\u0219te Petru Cosmovici \u00een a\u0219teptarea Cr\u0103ciunului la Bucure\u0219ti, unde \u201ee frig, cea\u021b\u0103, nu e nevoie s\u0103 instalezi un decor de iarn\u0103 destinat s\u0103rb\u0103torilor (…); e aglomera\u021bie pe trotuare, \u00een magazine \u0219i \u00een vitrine. Cr\u0103ciunul care m\u0103 \u00eenconjoar\u0103 (…) \u00eemi aduce aminte de primul meu Cr\u0103ciun lisabonez, un Cr\u0103ciun mai degrab\u0103 psihic\u201d (Zamfir, 2006: 113). \u00centr-o alt\u0103 capital\u0103 european\u0103, Londra, Miss Matfield vede ora\u0219ul transformat \u00een ultimele zile de dinainte de Cr\u0103ciun, \u00eentr-un \u201euria\u0219 haos sc\u00eenteietor\u201d (Priestley, 1965: 320), \u00een care, pentru ea, cump\u0103rarea cadourile cuvenite, \u201e\u00eensemna alerg\u0103turi disperate pe la pr\u0103v\u0103lii \u00een orele de pr\u00eenz sau \u00een scurtul r\u0103stimp care \u00eei mai r\u0103m\u00eenea seara, \u00eenainte de \u00eenchidere\u201d (321), un interval \u00een care Londra \u201ese preda pe sine \u00eens\u0103\u0219i (…); suburbii \u00eentregi n\u0103v\u0103leau \u00een Oxford Street, \u00een Holborn, \u00een Regent Street, pr\u0103v\u0103liile erau pline ochi, trotuarele erau \u00een\u021besate \u0219i str\u0103zile at\u00eet de aglomerate, c\u0103 vehiculele nu mai \u00eenc\u0103peau \u201d (322).<\/p>\n\n\n\n Exist\u0103, \u00eens\u0103, festivit\u0103\u021bi alese de autori cu scopul de a-\u0219i converti personajele \u00een personae, \u00eemprumut\u00e2ndu-le o masc\u0103, un obiect \u201ecompatibil cu un rol acceptat din punct de vedere social, \u00een spatele c\u0103ruia un individ \u00ee\u0219i poate ascunde g\u00e2ndurile interioare, sentimentele cel mai intime sau impulsurile, pentru a se adapta societ\u0103\u021bii \u00een care tr\u0103ie\u0219te\u201d (Badea, 2018: 55). Op\u021biunile \u00een acest caz sunt pentru petreceri \u0219i s\u0103rb\u0103tori \u00een care masca, acest \u201echip fals \u00een spatele c\u0103ruia ne putem ascunde sau deghiza\u201d, acest \u201eobiect \u00eenf\u0103\u021bi\u0219\u00e2nd o fa\u021b\u0103 uman\u0103 sau figura unui animal, care poate acoperi total sau par\u021bial chipul uman\u201d (17) devine inevitabil un mediator cultural \u201einvestit cu puteri magice\u201d (9). \u00cen mod aproape curent personajele pot participa, bun\u0103oar\u0103, la o petrecere de Halloween, asemenea celor trei tinere, Pearl, Serena \u0219i Lexie, unde ele apar costumate \u00een \u00cengerii lui Charlie, purt\u00e2nd \u201epantaloni evaza\u021bi \u0219i c\u0103m\u0103\u0219i de poliester\u201d (Ng, 2017: 78), iar b\u0103ie\u021bii, deghiza\u021bi \u00een \u201epatinatori, animale \u0219i Freddy Kruegeri (…), sau purt\u00eend m\u0103\u0219ti inspirate din filmul Scream\u201d, \u0219i majoritatea fetelor, purt\u00e2nd \u201erochi\u021be sumare \u0219i p\u0103l\u0103rii sau urechi de animal\u201d (78).<\/p>\n\n\n\n W.D. Howells, \u00een schimb, profit\u0103 de faptul c\u0103 personajele sale se afl\u0103 la Floren\u021ba \u0219i le lanseaz\u0103 \u00een mijlocul carnavalului local, un veglione<\/em> la Teatrul Pergola, care, asemenea celui arhi-cunoscut de la Vene\u021bia, impune masca pentru a \u201eascunde adev\u0103rata identitate a purt\u0103torului\u201d, pentru a anula \u201ediscrepan\u021bele socio-culturale\u201d \u0219i pentru a conferi purt\u0103torului \u201elibertatea de care are nevoie\u201d, \u00eenlesnindu-le participan\u021bilor s\u0103 renun\u021be la \u201eidentitatea lor cotidian\u0103\u201d (Badea, 2018: 590). Aici, Theodore Colville \u0219i Imogene Graham se vor costuma \u201ecu m\u0103\u0219ti \u0219i dominouri (…), Effie urma s\u0103 se \u00eembrace \u00een negru (…), iar doamna Bowen alesese un domino purpuriu\u201d (Howells, 1989: 116); asemenea lor, to\u021bi ceilal\u021bi oameni \u201epurtau costume ce \u00eempurpurau \u0219i \u00eenfloreau \u00eentr-o vesel\u0103 varietate spectacolul s\u0103lii\u201d (119), printre ei remarc\u00e2ndu-se m\u0103\u0219ti ce transmiteau mesajul clovnesc al s\u0103rb\u0103torii: \u201eMi\u0219unau o mul\u021bime de clovni \u00een alb, cu nasuri mari, \u0219i arlechini \u00een costume pestri\u021be cu m\u0103\u0219ti negre, turtite. Mai erau \u0219i ni\u0219te admirabili cosa\u0219i \u00een verde, cu lungi antene tremur\u0103toare, lipite pe frunte. Vreo doi-trei Mefistofeli se deta\u0219au, ca ni\u0219te pete ro\u0219ii, \u00een mul\u021bime. C\u00e2\u021biva cavaleri \u00een armur\u0103 se deplasau cu greutate, p\u0103r\u00e2nd cople\u0219i\u021bi de plato\u0219e \u0219i jambiere\u201d (120).<\/p>\n\n\n\n Fie c\u0103 le percepe prin prisma rutinei, fie prin cea a ritualurilor tradi\u021bionale, cititorul \u00ee\u0219i poate completa selectiv portretul personajelor, apropiindu-se sau dep\u0103rt\u00e2ndu-se de ele \u00een limita practicilor comune (sau diferite!), inspir\u00e2ndu-l s\u0103 dezv\u0103luie valorile \u0219i semnifica\u021biile importante care constituie componente esen\u021biale ale inten\u021biei auctoriale.<\/p>\n\n\n\n <\/p>\n\n\n\n Referin\u021be<\/strong><\/p>\n\n\n\n Ankers, F.R., 1994, \u201eKantian narrativism and beyond\u201d, \u00een Bal, Mieke, Boer, Inge E., editori, The Point of Theory. Practice of Cultural Analysis, <\/em>New York: Continuum (pp. 155-198)<\/p>\n\n\n\n Badea, Elena, Codru\u021ba, 2018, Masca-Forme \u0219i func\u021bii culturale,<\/em> Bucure\u0219ti: Pro Universitaria<\/p>\n\n\n\n Gaivoronschi, Vlad, 2002, Matricile spa\u021biului tradi\u021bional, <\/em>Bucure\u0219ti: Editura Paideia<\/p>\n\n\n\n Howells, W.D., 1989 (1971\/1886), Var\u0103 indian\u0103<\/em>, Bucure\u0219ti: Editura Minerva. Biblioteca pentru to\u021bi (trad. Maria-Ana Tupan)<\/p>\n\n\n\n Moran, Joe, 2005, Reading the Everyday, <\/em>Londra: Routledge<\/p>\n\n\n\n Ng, Celeste, 2017, Mici focuri pretutindeni<\/em>, Bucure\u0219ti: Litera (trad. Adriana B\u0103descu)<\/p>\n\n\n\n Persson Giolito, Malin, 2016, Nisipuri mi\u0219c\u0103toare, <\/em>Bucure\u0219ti: Editura RAO (trad. Liliana Pelici)<\/p>\n\n\n\n Price-William, Douglas R., 1968, \u201eEthnopsychology II: Comparative Personality Processes\u201d, \u00een James A. Clifton, editor, Introduction to Cultural Anthropology, <\/em>Boston: Houghton Mifflin Company (pp. 317-335).<\/p>\n\n\n\n Priestley, J.B., 1965 (1930), Fund\u0103tura \u00cengerilor, <\/em>Bucure\u0219ti: Editura pentru Literatur\u0103 Universal\u0103 (trad. Eugen Barbu \u0219i Andrei Ion Deleanu)<\/p>\n\n\n\n Zamfir, Mihai, 2020, \u00cen a\u0219teptare, <\/em>Ia\u0219i: Polirom<\/p>\n\n\n\n Zamfir, Mihai, 2006, Se \u00eennopteaz\u0103. Se las\u0103 cea\u021ba, <\/em>Ia\u0219i: Polirom<\/p>\n","protected":false},"excerpt":{"rendered":" Rubrica Save as… de Magda Danciu<\/p>\n","protected":false},"author":8,"featured_media":7695,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[52,58],"tags":[85,1692,86],"coauthors":[1239],"class_list":["post-7693","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rubrici","category-save-as","tag-magda-danciu","tag-nr-3-2023","tag-save-as"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/bal.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/7693","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\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7693"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/7693\/revisions"}],"predecessor-version":[{"id":7696,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/7693\/revisions\/7696"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/7695"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7693"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7693"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7693"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=7693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}