Neculai Hilohi – George Anca – Jean-Yves Conrad
NECULAI HILOHI
L’espace sacré de Târgu-Jiu
Les
symboles de l’ensemble sculptural architectural « Constantin Brâncuşi »
dans l’Arc de Triomphe (La Porte du Baiser)
« Contemplez-le
jusqu’à ce que vous le voyez ! »
Ceux
qui sont les plus près de Dieu l’ont vu… »
Dans le monde, il existe de nombreux lieux sacrés où se déroulent des
pèlerinages de vénération ou pour accomplir un des buts les plus élevés de la
vie : Jérusalem, pour les Chrétiens ; la Mecque, pour les
Musulmans ; l’Himalaya – le sommet du monde -, pour les sportifs ; le
Louvre ou la Chapelle Sixtine, qui s’offrent à ceux qui veulent enrichir leurs
connaissances, l’esprit donnant ainsi plus de sens à l’existence, comme le révèle
la boutade touristique mondialement connue : « Voir Naples et
mourir ! ».
Incontestablement, la relation vivante des impressions relevées de la
connaissance vivante de ces autres merveilles du monde que sont les Chutes du
Niagara, le Mont Fuji, les Grandes Pyramides d’Egypte ou la voie du
Teotihuacan, etc., etc., peut constituer un motif de fierté. Bien que la liste
de ces « points sacrés » paraisse restreinte, ceux-ci faisant
déjà partie d’un patrimoine qui paraît stabilisé, le monde contemporain se fait
l’écho d’une explosion sourde qui a eu lieu il y a maintenant plus d’un
demi-siècle, à savoir la naissance d’une nouvelle stèle sacrée dans une petite
ville roumaine, Târgu-Jiu, qui va devenir ainsi la Bethléem de la quintessence
des arts sculpturaux mondiaux : l’ensemble de Târgu-Jiu…
Cet
ensemble est dédié aux héros tombés pour la défense de la glèbe ancestrale,
ceux qui ont payé de leur sacrifice suprême sur les champs de bataille, comme
leurs ancêtres du plus loin qu’il nous en souvienne, comme on peut le lire dans
les vers inspirés du poète Mircea Dem. Rǎdulescu qui sont incrustés sur un
autre monument élevé à Oneşti, localité très proche de Oituz, où a été lancée
la célèbre devise : « On ne passe pas par là… » et nul
n’est passé :
« Portés
par l’ouragan non exténué de la bravoure
De
votre sang cher, aucune goutte n’a été gaspillée.
Il a
fraternisé avec le sillon, avec le champ de bataille
Sur
notre territoire entier, pétri de sang ! »
Juste
après la fin de la guerre, qui n’a épargné du deuil aucune maison, avec un
acharnement certain pour conserver la mémoire des souffrances … « endurées
chrétiennement », les survivants ont construit des monuments, dont
certains modestes, selon leurs possibilités matérielles, d’autres marquant la
hâte et, cela n’est pas rare, l’incompétence de la naïveté, étant assurément
ratés, pour ne pas dire autre chose…
Inévitablement,
Brâncuşi a connu lui aussi cette parade de monuments édifiés n’importe comment,
leur qualité se situant largement sous le niveau des sentiments qui les ont inspirés…
A
propos de certains d’entre eux, Brâncuşi s’est exprimé avec peine, manifestant
ainsi son indignation : « J’ai visité des villages d’Olténie
pleins de monuments funéraires des héros de la guerre de réunification.
Au-dessus du socle se trouve invariablement une … corneille que l’on peut
prendre avec indulgence pour un aigle. Il faudrait détruire avec des haches ou
avec de la dynamite (afin que rien ne reste !) ces bandes de
corneilles-aigles qui défigurent la majesté de nos villages ».[1]
Cette indignation légitime a eu comme résultat la création de Târgu-Jiu,
considérée à présent comme une des merveilles du monde !
En
1930, comme il relève d’une discussion qui a eu lieu dans une chambre de
l’hôtel Boulevard de Bucarest, dont les témoins étaient Ilarie-Voronca
et Dan Botta, Brâncuşi déclare que l’invitation de la Ligue des Femmes du
département de Gorj à ériger un monument à Târgu-Jiu pour commémorer ceux
qui sont « tombés » a pour but de mettre un terme à l’échéance
d’une « attente prolongée » : « Depuis 8 ans, il
est question que je réalise un monument pour les héros », ce qui
signifie que si l’on soustrait le chiffre 8 à 30, on se situe en 1922, révélant
ainsi que la préoccupation de Brâncuşi s’inscrit dans la liste des premiers qui
ont désiré ardemment rendre un hommage à ces héros. Puisque le sculpteur a
érigé son chef-d’œuvre à Târgu-Jiu, de quelque sorte un lieu plus près de son
âme, il a aussi voulu adresser un message qui s’étend en quelque lieu de l’aire
dace et, par l’humanisme symbolique concentré dans ce monument, au monde
entier !
Si,
comme on peut le constater sur les autres monuments disséminés dans tout le
pays, les auteurs ont ajouté des textes rendant hommage aux héros et expliquant
l’événement, Brâncuşi choisit quant à lui une voie en tout point singulière,
originale – comme, d’ailleurs, dans toutes ses créations -, renvoyant dans son
laboratoire les modèles conventionnels et académiques. Ainsi, d’un seul coup,
il transforme la tradition statuaire et, à la place d’un soi-disant obélisque,
il compose (propose) un ensemble qui ne se déploie pas n’importe comment. Sa
composition s’intègre dans un espace habité, urbanisé, constituant un
micro-univers sacré : La colonne infinie, l’Arc de Triomphe (La Porte du
Baiser) et la Table du Silence sont reliées entre elles par la voie des âmes
des héros.
… « Chaque grand
créateur redécouvre intuitivement certains symboles. Il est certain que
certains de ces symboles centraux sont révélés. Ils viennent d’une zone
extrarationnelle que nous pouvons ou non nommer l’inconscient (car on peut
comprendre beaucoup sous ce mot) »[2]
Toute
œuvre d’art présuppose une préoccupation antérieure – consciente ou intuitive
-, la spontanéité en ce domaine constituant une éruption, l’émergence à la
surface de l’inconnu qui se révèle ingénu ! Les portes, comme les
colonnes, ont hanté l’œuvre de Brâncuşi. On peut parler d’un cycle brancusien
des portes en gestation antérieur à l’œuvre capitale de Târgu-Jiu. Avant 1922,
Petre Pandrea consigne une déclaration du maître : « Donnez-moi
deux wagons de pierre et je vous érigerai une porte qui résistera aux siècles ».
Des paroles prophétiques !
Cette
PORTE fut réalisée et nous pouvons l’admirer dans toute sa majesté, qui réside
dans la simplicité et la modestie du modelage, miroir de l’âme de son créateur
et de son origine …
Les
symboles incisés sur les piliers de la porte comme sur son architrave veulent
être des messages chiffrés afin de communiquer aux générations futures une saga
mioritique intégrale écrite avec le burin dans un langage codé accessible à la
vue !
Les
exégètes ne se lassent pas de considérations… « et cela va continuer
jusqu’en 2038 lorsqu’on fêtera, espérons le, le centenaire de la Table du
Silence, de la Porte du Baiser et de la Colonne, année durant laquelle d’autres
exégètes du sculpteur lanceront des réflexions encore plus lumineuses sur son
œuvre ».[3].
La
clé du code de l’inédit « Sphinx » est dévoilée par le maître
lui-même, qui révèle en même temps des lentilles métaphoriques : « Regardez
les jusqu’à ce que vous les voyez : les plus proches de Dieu les ont vues ».
Le
monument des héros du peuple, connu le plus souvent sous l’appellation d’ensemble
sculptural architectural de Târgu-Jiu, étonne continuellement ceux qui le
voient et il va constituer, sans discontinuer, une source inépuisable de
questionnements, aussi bien sur l’œuvre elle-même que sur son auteur…
On sait déjà que Brâncuşi considérait l’ensemble
de Târgu-Jiu comme son œuvre capitale ! Les motifs qui l’ont déterminé à
le considérer ainsi résideraient dans la reconnaissance dans celui-ci pas tant
d’une réussite technique par laquelle l’artiste n’a rabaissé aucune de ses
œuvres, mais bien dans le fait qu’il soit question d’une « obole »
provenant de son amour pour son pays et pour son peuple, pour les lieux saints
de chaque patriote, qui retrouvent leur matrice avec ce chapitre.
On
sait généralement que tout artiste qui se respecte, lorsqu’il projette
d’élaborer une œuvre, se met à la recherche de documentation aussi large que
possible susceptible de satisfaire et de justifier son idée et le message qu’il
souhaite transmettre.
En ce qui concerne l’Ensemble de Târgu-Jiu,
Brâncuşi est entré en compétition avec lui-même : il a condensé l’histoire
de son peuple avec son propre passé, mais plus encore avec l’avenir qui devait
être assuré, inscrit dans la pierre comme une saga qui pourrait être lue par
tous : « C’est ainsi que nous avons été, ainsi que nous sommes,
ainsi que nous serons ! ». Et ce qu’il a réalisé, seul un
Brâncuşi pouvait le faire !...
« Devant une œuvre d’art, le bon
spectateur s’impose justement par cette facette de sa personnalité qui se
conjugue avec l’œuvre »[4]
Dans
le style métaphorique, l’Arc de triomphe se transforme en « Terra Mater »,
la terre maternelle. Imaginons une « déesse de Vidra » ou de
« Gumelniţa » et, pourquoi pas, faisons référence à la « Hora
de la Frumuşica », œuvres d’un passé lointain de notre peuple citées
ici en tant que noble héritage et de substitut génial comme porte
d’entrée-sortie et commençons à « lire » ou à entrevoir les
pensées de l’auteur écrites avec le burin. Les héros sont semblables à des
grains de blé qui, ayant été semés, en pourrissant, vont voir germer un épi de
blé qui se multipliera au centuple, comme dans la parabole de l’évangile…
Käte
Kollwitz, graphiste militante renommée contre la guerre et ses horreurs, a
publié une impressionnante affiche qui représente une mère qui serre contre sa
poitrine, dans un geste protecteur comme devant un grand danger, de nombreux
enfants, comme une couveuse qui défend des poussins de façon désespérée, cette
affiche portant le texte suivant : « Les semences à répandre ne
sont pas destinées à la mort… ». En Suède, le sculpteur Gustav
Vigeland réutilisa l’idée de la défense des enfants (dot d’une nation) et il
plaça sur un piédestal un groupe compact d’enfants (garçons et filles) veillés
par deux hommes forts qui montent la garde en scrutant l’horizon pour prévenir
un éventuel danger extérieur, le groupe étant mort de peur. Ce même auteur,
dans le même complexe statuaire de parc public, présente, telle une variante de
la peur exprimée sur l’affiche de Käte Kollwitz, la sculpture d’une femme
penchée protégeant un groupe d’enfants, le message recherché étant assurément
identique : la protection de la jeune génération…
J’ai
cité ces deux cas en tant que contemporains de Brâncuşi. Gustav Vigeland est
passé par l’école de Rodin 11 ans avant le Roumain « révolté ».
Quant à Käte Kollwitz, il est plus que sûr que Brâncuşi en a eu connaissance
dès son séjour en Allemagne…
Profondément
impressionné par le chiffre de la vie humaine sacrifiée durant la guerre (18
mille), Brâncuşi « force » la main du destin par un souhait
olympien de Dieu à Dieu : la résurrection de notre peuple des cendres
encore brûlantes de la guerre, comme l’oiseau mythologique (un autre sujet de
prédilection) et non n’importe comment, et d’après la recette modeste de
l’inventeur des échecs, le brahmane Sessa qui, interrogé par l’empereur – son
protecteur – sur la récompense qu’il souhaite lui voir attribuée pour son merveilleux
jeu, répondit qu’il ne prétendait qu’à un simple grain de blé pour sa première
petite maison, deux pour la seconde, quatre pour la troisième, huit pour la
quatrième… et ainsi géométriquement jusqu’à la 64ème petite maison
du jeu… Aujourd’hui, chacun sait que la formule 2164 – 1 =
18.446.744.073.709.551.615, ce qui signifie 992.337.203.685 m3 de
blé, c’est-à-dire 8 fois plus que la production annuelle de l’ensemble de la
terre ensemencée de blé.[5]
La métaphore incisée de notre grand « brahmane » est évidente
en accord avec le « modeste » compte de Sassa, afin d’arriver
à ce que disait jadis Hérodote sur le peuple thrace, à savoir qu’ils sont les
plus nombreux au monde après celui des indiens … comme sur les Gètes, qui sont
les plus vaillants et les plus droits des Traces…
Par
conséquent, les poteaux de la porte sont ornés de signes de fécondité (14 x
14) avec un résultat inscrit sur l’architrave : 16 paires de
fœtus doublées, soit 32 figures. On remarque les mêmes couples à l’arrière de
l’arche, si bien qu’en additionnant les deux, on aboutit à 64 jeunes rejetons
humains placés dans 64 petites maisons pouvant être associées avec les pupilles
des rayons de miel des abeilles… (les 8 petites maisons tracées sur les côtés
de la porte, qui ne sont pas exposées immédiatement à la vue, paraissent être
« la clé » du registre situé au-dessus : 8 x 8 =
64 !, confirmant le raisonnement de la « multiplication »
présumée.
De
nombreux exégètes ont admis la comparaison avec un coffre de dot paysanne de
l’architrave qui ne fait que confirmer que la dot la plus précieuse d’une
nation et son avenir sont les enfants en lesquels résident les espoirs de nos
réalisations !
Pour
conclure, je citerai notre grand sculpteur et patriote roumain :
« Dire
ce que j’ai voulu faire dans une de mes œuvres est plus difficile que le
travail qui m’a amené à la réaliser ».[6]
Neculai
Hilohi, peintre, dans une traduction française de Jean-Yves Conrad
FIRST INTERNATIONAL CONFERENCE ON "LITERATURE IN
TRANSLATION"
New Delhi, March 15-20,
1984
L'IMAGINATION DE
BAUDELAIRE
Sanskrit Correspondence
Dr. George Anca(România)
A few expressions in the paper, like
Anandavardhma's kavi-prajapatih or Baudelaire's, could be related, somehow, to
Kamala Das' "when you learn to swim do not enter a river that has no
ocean". Witnessing the theme of the Conference it is to speak on
imagination in translation yet forgetting about our own versions in Romanian
from Kalidasa's 'Meghaduta' and Jayadeva's
'Gitagovinda'.
1. After his unfinished voyage to Bharata
Varsa, as if out of Camoons steps, the young punished Charles Baudelaire did more than imagining India. As a now
adikavi - or, in T.S.Eliot's words, the greatest archetype of the poet in modern age and in all the countries -, as a critic, too, he refound on an endless path that
"ordre et beauté" corresponding to Sanskrit
aucitya and ramanyia.
With this
alliterative modern-maudit Baudelaire, but also acarya or padah, like the old
Abhinavagupta we speak of poetry and poetics /metaphysics/science/dandyism,
etc. poetryin correspondence /unnaya/ symbol/verse/ prose,etc., poetry within
logos/rasa-dhvani etc. Poet, daemon and lecteur/sahrdaya are one, the
Swedenborg's heaven-man. And beyond a Jesuit ballet of forgiving-conviction
around, the Parisian poet living between 1821-1867, we see again "Les
Fleurs du Mal ", opened in 1857, while Flaubert published
'Madame Bovary', Dostoievsky and Tolstoy gathered their momentum, Wagner ended
the second act of 'Tristan'; "such a year matters in the history of spirit"
(André Suares).
Some
"substantives" passed obssessively into the bibliography of this now
tragic sophist, now virgin poet now the best critic of this century: the
madness, the world-index, the autobiography, the influence of Poe, the mystical
symbolism, the city, the cathacreys, the originality, the muse, the aesthetics
of individualism, the revery, music, etc."Substantif, adjectif, verbe, on
correspond alors que le grand trinité" - profondeur, transparence,
mouvement, - qui est celle de l'être bau-delairien lui-meme"(Jean-Pierre
Richard)."Cinque sostantivi"(Lorenze Maranini): "Le tout n'est
qu'ordre et beauté,/Luxe, calme et volupté".
As
kavyapurusha (spirit of poetry) meets
sahityavidya (appreciative criticism) making her his bride in Vidarbha and
creating Vaidarbhi Riti, the modern poetic
mind travels within the
temple of the nature -
correspondence/ lila (play) of
the heaven with the
earth - in Cythere, Icaria,
Lesbos, to a Limbus,
a sunset, a mist mixed with rain, a Paris,
a Cocagne Land, a Capua,
a Parnassus. But in the island of Venus, the temple is changed in a
hanged alter ego. Like following descendita ad inferna of Ulysses,
Aeneas, Jesus, Dante, 'Chaque jour vers l'Enfer nous descendons d' un pas', and
analogically to Bhavabhuti introducting the
scene of Madhava's selling flesh in the crematory, in the course of development
of Rasa of love, Baudelaire contemplates the divine essence in the corpse
of Venus. Being the correspondence of the life with the death, of the spleen
with the eternal ideal, the journey never ends. Diabolical or paradisiacal, the
poetic correspondences reveal through the prayoga of the poet a self-poetry as
rasavada and sarasvatyastattvam, an alchemy of grief which will be transformed
by Rimbaud in an alchemy of verb. Over versed poetics - like in Horace and
alamkara sastra -, among dense perfumes, with vaporized and, in its divine
momentum - before the loss of paradise -, centralized self, the poet remains
the stranger, the mysterious of his first prose poem, the lover as in
Kalidasa's 'Neghaduta', of the clouds,
the going clouds, the marvelous clouds, clouds which are imitating his life and
are thinking through him as also he thinks through the things, the clouds like
the perfumes of the 'Correspondences', "ayant 1' expansion des choses
infinies".
2. Reading Baudelaire within Sanskrit context,
beyond the poet as voyant in the temple of clouds, the correspondences are to
be felt individually from both Indian and Latin carmen-kavya through the
ancient epos, Camoens' epic India,
Eminescu's rig-vedic romanticism,
even if it is said, for instance, about Edwin Arnold's translation of 'Gitagovinda' that is "so unrecognizable
baudlerized". To remember Baudelaire as a translator, "People accuse
me, of imitating Edgar Poe! Do you know why I translated Poe so patiently?
Because he was like me. The first time I opened a book of his I saw, with
horror and delight, not just the subjects I had dreamt of, but
sentences I had thought of, and written by him twenty years before"(1864).
3. For
the modern poet - Rimbaud: "Je
suis un autre" - on reading-Mallarmé could contradict one reading -
Baudelaire, a continent's apophatic
avantgardism could be secretly
rebelled by the ancient diction of another universe but through such
unfaithfulness within confidence he creates the fidelity of the
poetry to itself. The critical mind seems to mingle the poet and poetry, from
Thibaudet's stake on Baudelaire or Paul Bourget's enjoyment to Brunetiere's
protest, last century, and in our
age between a programmatic bio-bibliographical exhaustiveness (George Blin,
Henri Peyre, Claude Picnois, Marcel Raymond, W. T. Bandy, Robert T.Carge, Alfred Edward Carter a.e.) and "attemptative"(Sartre) or simply
existentialistic work (Buter), esoteric (Pierre Emmanuel) or semiotic
isotopic (Roman Jakobson and Claude
Levy-Strauss). Poet of the poet - as
Holderlin interpreted by Heidegger -, through his spiritual encounters -De
Maistre, Poe, Delacroix, E.T.A. Hoffmann, de Quincey, Wagner -,Baudelaire
revealed his own aesthetics having as
a method the sincerity of
self, and the new as ultimate
aesthetic obsession. What he
said about Poe could have been written at the first person. Between asatya (non
- existent) and utpadya (created by imagination) to Te Deum / opium
sahitya and to include verse in the most of prose-critical glass is to
transfer stanzas from"
"Correspondences" or "Les
Phares" in antara-sloka.
In Kalidasa's
comparison of poetry to Ardhanariswara (the symbolic image of Siva representing one half of his body as Parvati) the goddess Parvati is Vak or Jalva (parole)
and god Paramosvara is Artha (logos/conventum), their union as Ardhanariswara
signifying, as V.Raghavan reminds it, the greatest ideal of poetry variously
emphasized as sahitya, sammitatva,
etc. For Baudelaire, the poetry
- this fruit of the sensitivity of imagination - is absolutely true only into
another world. But the poet himself, in and out of the two halves for two
persons of symbolon or the Lohengrin's
secret of Graal, comes self devouringly to another world as Heautontimorumenon, that
Greek-Latin comic character bantered by Goethe as
anologen of poetes from his
age, of a tragic irony after
Baudelaire.
The words from the
dictionary of external nature, says Baudelaire, have to be selected and
arranged by the creative
artist using the
imagination, "la reine des facultées", an
almost divine faculty,
giving to the poet
or to the musician
the capability of translating
the hieroglyphs of
the spiritual reality. Only the
imagination comprises the poetry. The true imagination of the true poet, who is
also always a critic and a reader. As mystery of creation either in written
word, music or painting, there is a blank, lacuna, to be fulfilled by the
imagination of the reader or listener, which suggests similar ideas in
different minds. And through which we can find in different times and spaces
Kalidasa's corresponding imaginative sympathy of the audience, the whole
Sanskrit emphasis on sahradaya,-l' homne de lettres, l'homme
d'esprit -, answering
"le poète, le prêtre
et le soldat,
l'homme qui chante,
1' homme qui bonit,
l'homme qui sacrifie
et se sacrifie".
OLD BRANCUSI READING FROM MILAREPA
OF THE REDISCOVERY OF
SELF
Dr. GEORGE ANCA
s
Among the author's contributions in
brancusology and indobrancusology: "Constantin
Brancusi", and "The Schools of Brancusi",
films, 1976; "Brancusi in Italy" and "The Feast of
Brancusi", papers at Tirgu-Jiu, 1976;"Brancusi at Indore",
Indore, 1978; "Brancusi's philosophy of plying", paper at the 10th International Congress of Anthropological and
Ethnological Sciences,
(ICAES), New Delhi, 1978; "Maiastra", a play, The International Academy "Mihai
Eminescu", Delhi, 1982; "Feminine Theoanthropoetics", paper at the 12th ICAES, Zagreb, 1988;
"From Brancusi to Milarepa. A reversed travelogue", in print at
"Scrisul romanesc" Publishing House,
Craiova; the present paper is an excerpt from this book, adapted to the theme
of the Congress of Geriatrics and
Gerontology through Brancusi'' 's views on old age as well as a few unpublished evocations made by
some of his old acquaintances.
"I
have changed the blue color of my cloth - Brancusi eventually intimated to
Petre Pandrea - into yellow and white as a
consequence of advanced age". Another time, during a conversation (Tischreden)), we can listen to him
developing an elaborated theory of
human relationships based on presence of the old: "For me the true
pedagogues of the children seem to be the Grandparents. So it happens in my
homeland, in Gorj. If one doesn't have an old man at home, in a house
full of children, has to by one. Grandchildren might be from his seed. The
Grandparents temper, by their simple
presence, the married couples and guide their progeny through life, handling
them the torch of their own experience
and of the forerunners. The old men are the treasurers. The rural familial cell remains an
exemplary model for the townspeople who lose their elementary intuitions and
instincts of love, to their ruin, and get to the degeneration of their natural
self. The married couple „sleeps in the same bed and in the same cemetery". We have the Charming -
Prince, an ideal betrothed, an ideal husband,
a brave householder and founder, and a grandfather - pedagogue to the
grandchildren". "The daughter's duty towards her father is to help
him against the weakness of the old age and to close his eyes". "The
duty of the virgins from Gorj is to be beautiful at 17, married at 18-19,
hardworking housewives during all their
life, not to allow gossips about them, like about Julius Caesar's wife, to wash and feed their
brothers, then husbands and children, and later on to become godmothers, along
with their loving and loved husbands up to beyond the grave. Their destiny is of a second rank... "It is
probable that the transcription, from
memory, of the famous collocutor's repartee includes also the rhetoric specific to the
memorialistic commentator, and thus every reader
will judge, in his own way, returning to the master's sculpture, the thought of
the obsessing wise man.
A doubtless Brancusi's saying (cf. C.Giedeon
Welkar) - "I am no longer in this world, no longer attached to my person.
I am far removed from myself, among essential things". - is extended by
the same Pandrea to an exclusivist discourse in his superb pan brancusian
comparative manner "It is the aphorism of stoicism and
Buddhism. Both of them preach self detachment and the peace of self
forgetfulness. The nirvana pessimistic ataraxy is 
broken and
converted at Brancusi into serenity, peace and inner Joy. Brancusi had two favorite poets
Eminescu and Milarepa. Eminescu was
the poet of his school years and youth in Romania, where he stayed up to 26 years. The Schopenhauerlike Buddhism of the Junimea outstanding members
like Maiorescu, Eminescu and P. P .Carp,
has also its way into the mind, sensitivity and reverie of the apprentice from the Craiova Crafts School, and the student of the Bucharest Fine Arts
School. His favorite book was
Milarepa. The Tibetan asceticism conjugates with the austerity, frugality, simplicity and serenity
of the patriarchal Carpathian rurality in front of life and the cosmic space
(Petre Pandrea, "Brancusi. Amintiri şi
exegeze", Meridiane, Bucureşti, p. 242).
broken and
converted at Brancusi into serenity, peace and inner Joy. Brancusi had two favorite poets
Eminescu and Milarepa. Eminescu was
the poet of his school years and youth in Romania, where he stayed up to 26 years. The Schopenhauerlike Buddhism of the Junimea outstanding members
like Maiorescu, Eminescu and P. P .Carp,
has also its way into the mind, sensitivity and reverie of the apprentice from the Craiova Crafts School, and the student of the Bucharest Fine Arts
School. His favorite book was
Milarepa. The Tibetan asceticism conjugates with the austerity, frugality, simplicity and serenity
of the patriarchal Carpathian rurality in front of life and the cosmic space
(Petre Pandrea, "Brancusi. Amintiri şi
exegeze", Meridiane, Bucureşti, p. 242).
In fact,
Brancusi read the French version of the biography of Milarepa, "Mila Khabun" or "Namthar",
under the title "Milarepa. Ses crimes - ses épreuves - son Nirvana",
translated from the Tibetan
by Jacques Bacot, Paris, 1925. The translator compared, in the preface, the European sculpture - expressing the effort of thought through the crispate of
the entire body - with the
oriental art thinking, detached, flesh liberated, with the expression of serenity of the Buddhist
smile.
Brancusi's reading from Milarepa and his journey to India (1938) go together, as well as his Endless
Column continues Eminescu's Glossa. For us, an introduction, today,
to the songs of Milarepa could
be made by Brancusi's sculptures, on the ground of the sculptor's meditation
about the poet's biography.
Through Branousi'
's option, the book in the sculptor's studio is a hypostasis as an
intertwining of the spiritualized matter with the whisper-silence of the
universal song.
Peter Neagoe, in
his novel "The Saint of Montparnasse" - published in Romania in 1977, Cluj-Napoca -
looks at Constantin making, a
"Bible" for himself during several years out of the poems of the Tibetan, and out of the poet a
foretoken protector, not without
allusions to the Upanishads and so clarifying the form of the bird, of his
"Maiastra" started, as a personal unmistakable series, in 1910. Neagoe' s biographical fiction sets the character in Indore and Târgu-Jiu,
between the Endless Column - over
thirty meters high, and the projected temple of Meditation. In his native
Romania he should have searched his youth while in
India "the spirituality lacking to the Occident". There the temple of love and peace was never
built, and the three wonderful birds remained without shelter.
In "Laus
Daedali" by Vasile Pârvan, "the reader refinds Brancusi under the name of Alegenor"
(V.G. P aleolog). And in the play
"Endless Column" by Mircea Eliade, under the name of Brancusi, we meet Milarepa from
"Namthar". But within this character meet together especially the symphonic tonality from Parvan's memorial and the perfume of the hermeneutic fantasy in Eliade's play whose conflict of explicit fiction is
namely Brancusi's reading from
Milarepa, a reading - avatar, with the cosmic strength of the ancient Sanscrit scriptures brought to the scale of the inner Milarepian - Brancusian man.
The Fata makes a pair to that Tara in
Marpa's and Milarepa's dream of searching, in India, the formula of
resurrection, transcribed here
in "Rudra Mantra". Fata: "spiral following spiral, and so you
gently make your way, floating, floating effortlessly and however without
flying, as birds fly, and then arrive, Master, you arrive into the heart of the
labyrinth, you sees the great light (Brancusi rests his head over the arms and falls
asleep), the light about which Buddha speaks, Master Buddha and Milarepa, and others; and then
you understand what you were aware
long ago, what you knew from the Upanishads, when you read for the first time that invocation
you repeated so many times: From
Nonbeing bring me to Being, from the darkness bring me to light, from the death guide me to immortality; (she recites,
almost whispering, the Sanskrit text:) asato mā sad gamaya, tanaso mā jyotir
gamaya mrtyor mārtam gamaya..."
Both Brancusi's
option and its evolution within the memory and imagination of those who shared it refer to the Namthar, the
biography of Milarepa he read thinking about himself, read again by Neagoe and Eliade, thinking of Brancusi,
up to the melting of two in one.
After what the "biographical" atmosphere crystallized, taken or not into account, we can see
in the songs Grubut of Milarepa confirmations, now as if in a reversed way,
between two spirits from distant times and
spaces. The poems dedicated to Brancusi, poet to poet - "Buddha
sourit/Dans ton pressoir à rêves" (Louis Guillaume, A Brancusi)
- send, all at once, not only to the
lyrical meanings of the sculpture, but they come in continuation of Tibetan songs which, without
being properly known, seem to
have been independently commented in Brancusian statues and maxims; Brancusi
would not have been the reincarnation of Milarepa - but some of his sculptures
seem an answer to some poems
from Grubum as well as those from the epos and tongues in Gorj.
Brancusi: Maxims
Milarepa: Grubum/ Hundred Thousand Songs
Branousi: Les théories
sont échantillons sans valeur.
Actions speak
louder than words.
Milarepa: Meaninglessly you'd worship
symbols and Sutras without
faith and faithfulness.
Brancusi: To see far away, that is one
thing; to go there, that is another.
Milarepa: It 's easy to look at
Darmakaya/But not so to fulfill unto it.
Brancusi: My life has been but a succession
of marvelous events.
Milarepa: In the golden Mandala/I've spent
many sacred holydays.
A shadow jumps
from Himalaya read by Beauty
under the name of Milarepa read again from out of Brancusi's longing the book Grubum carves the air.
I've met witnesses of old Brancusi's
glory, in Romania and
India, now old and famous themselves. The Romanian-universal self of the artist is
rediscovered, proteic and comforting, at any evocative reply. A few unedited fragments follow.
Dimitrie Cuclin:
What was Brancusi's inward idea? In all the objects he
took an interest in he intended to discover the elemental, the essential, as
the closest one to the core of the world and life and so the closest to the logical
truth. The essence is the
immaterial from beyond the cosmic space; the substance is the same immaterial,
drifted, besotted, and formed in cosmic space, in
the world.
Miliţă Pătraşcu, Bucharest, 1976: Brancusi
brought a novelty into the world. He has discovered the emanation of the matter and its concentration in volume. Up to
him the sculpture was subdued to
anatomy, with different understandings according to the
devotion of the author. Brancusi liberated the sculpture from feeling and made it rational, creating the volume with a spiritual emanation.
Mister
Tiwari, Indore, 1978:
Brancusi used to think much and speak
little, he was a great philosopher, his work is the one of a great thinker, he has carved the
soul of birds ", (Mr. Tiwari
was secretary to the Maharaja of
Indore, Bahadur Holkar Yeshwant Rao, Brancusi's host in 1938).
Mrs. Celia Paleolog, Craiova, 1975: I came
out and I saw a carriage and an
old, old man, with white beard, long, up to the ground, coat. He was walking so
slowly-slowly on the way.
Asvaghosa's
BUDDACARITA:
28. "Good charioteer, who is this man with
white hair, supporting himself
on the staff in his hand, with his eyes veiled by the brows, and limbs relaxed and bent? Is this some transformation in him, or his original state, or mere
chance ?"
"Old age it is called, that which has broken
him down -
the murderer of beauty, the ruin of vigor, the birthplace of
sorrow, the grave of pleasure, the destroyer of memory, the
enemy of the senses.
the murderer of beauty, the ruin of vigor, the birthplace of
sorrow, the grave of pleasure, the destroyer of memory, the
enemy of the senses.
For he too suckled milk in his infancy, and later
in course
of time he crawled on the ground; in the natural order he became
a handsome youth and in the same natural order he has now
reached old age".
of time he crawled on the ground; in the natural order he became
a handsome youth and in the same natural order he has now
reached old age".
At these words the king's son started
a little and addressed the charioteer thus, "Will this evil come upon me
also?
"Then, charioteer said to him":
"Then, charioteer said to him":
"Inevitably
by force of time my long - lived lord will
know this length of his days. Men are aware that old age: just destroys beauty and yet they seek it".
know this length of his days. Men are aware that old age: just destroys beauty and yet they seek it".
34. Then, since his mind was purified by his
intentions in the past and his good
merit had been accumulated through countless epochs, he was perturbed in his lofty soul at hearing of old age, like a bull on hearing the crash of a
thunderbolt near by.
35. Fixing his eye on the old man, he
sighed deeply and shook his head: and
looking on the festive multitude he uttered these words in his perturbation:
36. "Thus old
age strikes down indiscriminately memory and beauty and valor, and yet with such a sight before its eyes the world is not perturbed" (Tr. S. H.
Johnston). And still one
more imaginary discourse of Brancusi - Milarepa in Mircea E1iade's play
"Endless Column":
"... I was envious on poets and musicians for in their works
they have at hand a mean which us,
sculptors, architects, painters have not. They have at hand
the silence... When they want to say
something which cannot be said in words or
sounds they say it introducing between the
words or sounds the silence...
...Well, you imagine that in the center of the labyrinth the Minotaur wouldn't have been;
imagine that, arrived there, Theseus
or any other hero, anybody else
would have had such an
experience that he would have awoken all at
once face to face to
himself.
NOTES
1. It
may be not a rumor about the ethnographer's identity and intentions (1985
Murphy) as "these rumors can
be best understood as symbolic markers of the progressive development of rapport". Searching for anthropological symbols I red by the way on Urban Rats; symbol,
symptom and symbiosis (1986, Wundram & Ruback) - "The Rodents thrive on human resources like no other animal, and, in spite of the universal horror they elicit and endless attempt to eradicate them, the rats remain.
Rats continue to survive primarily because when citizens provide ample food and habitat for creatures they
abhor, unwittingly creating a population of vermin that
is both a symptom and a symbol of urban decay". After
writing, in India, a novel on the people living in the
streets and "inventing" the "language" of crabs and
ants, back to Romania in a huge library, I started a
Rot navel, stopped by life and revolution, probably
stimulated to restart by such research.
be best understood as symbolic markers of the progressive development of rapport". Searching for anthropological symbols I red by the way on Urban Rats; symbol,
symptom and symbiosis (1986, Wundram & Ruback) - "The Rodents thrive on human resources like no other animal, and, in spite of the universal horror they elicit and endless attempt to eradicate them, the rats remain.
Rats continue to survive primarily because when citizens provide ample food and habitat for creatures they
abhor, unwittingly creating a population of vermin that
is both a symptom and a symbol of urban decay". After
writing, in India, a novel on the people living in the
streets and "inventing" the "language" of crabs and
ants, back to Romania in a huge library, I started a
Rot navel, stopped by life and revolution, probably
stimulated to restart by such research.
2. University
of Minnesota Press, Series Concepts in
Social Thought: Democracy. Citizenship. Freedom. Bureaucracy. Socialism. Liberalism. Ideology. Conservatism.
Prosperty. Status. Jeremy Bentham's Panopticon is a
ultra symbolic hyperbola in Bauman's Freedom. Full title
in Bentham: Panopticon or the Inspector House, containing the Idea of a new Principle of Construction applicable to any Sort of Establishment, in which persons of
any description axe to be kept under Inspection and in
particular to Penitentiary-House, Prisons, House of
Industry, Manufactories, Mad-House, Lazarettos, Hospitals and Schools: with a Plan of Management adapted to the Principle.
Social Thought: Democracy. Citizenship. Freedom. Bureaucracy. Socialism. Liberalism. Ideology. Conservatism.
Prosperty. Status. Jeremy Bentham's Panopticon is a
ultra symbolic hyperbola in Bauman's Freedom. Full title
in Bentham: Panopticon or the Inspector House, containing the Idea of a new Principle of Construction applicable to any Sort of Establishment, in which persons of
any description axe to be kept under Inspection and in
particular to Penitentiary-House, Prisons, House of
Industry, Manufactories, Mad-House, Lazarettos, Hospitals and Schools: with a Plan of Management adapted to the Principle.
A comparison between Ceauşescu and Tigran the
Great
of Armenia (95-55 BC) both for historical mentality of
dictatorship and systematization (1990 Callatay) suggests a vertical axis, out of horizontal communication, and differing from psycho biographies of paranoid dictators.
of Armenia (95-55 BC) both for historical mentality of
dictatorship and systematization (1990 Callatay) suggests a vertical axis, out of horizontal communication, and differing from psycho biographies of paranoid dictators.
The rebellion of Romanian Wallachians led by
Nicolae
Horia against the Austrian Empire at the time of Joseph
II in Transylvania in 1784, anti-feudal rebellion crushed with
much bloodshed, was not only reported in the press, but
also made familiar to large sections of population
through the "Bänkellied" and the puppet theatre.
Horia against the Austrian Empire at the time of Joseph
II in Transylvania in 1784, anti-feudal rebellion crushed with
much bloodshed, was not only reported in the press, but
also made familiar to large sections of population
through the "Bänkellied" and the puppet theatre.
For someone Doina may sound like dhyana/zen, and
if
through meditation anyone can become a Buddha, perhaps
through revolution anyone can become a Judas. Along
with dor and colind "doina" was quite offered by stylists to a world thesaurus (totem, guru, taboo, ashram)
but for the time being at least "golan" tends to internationalization.
through meditation anyone can become a Buddha, perhaps
through revolution anyone can become a Judas. Along
with dor and colind "doina" was quite offered by stylists to a world thesaurus (totem, guru, taboo, ashram)
but for the time being at least "golan" tends to internationalization.
Antique books of stones ("Lithica"), of
general
interest to anthropogeologues can be actual one day by
discovering supposed libraries in Bucegi Mountains.
interest to anthropogeologues can be actual one day by
discovering supposed libraries in Bucegi Mountains.
Bessarabia was represented by children from
Magurele,
Tartaul, Orhei, Sipoteni, Tiganca, Trebujeni. Those
from Bucharest, back home on 17 August, learned after
weeks about liberation of their idol student or that
Iraq was to start a war - "it is serious, isn't it?"
Tartaul, Orhei, Sipoteni, Tiganca, Trebujeni. Those
from Bucharest, back home on 17 August, learned after
weeks about liberation of their idol student or that
Iraq was to start a war - "it is serious, isn't it?"
Aitmatov's
legendary character of Mancur made
date
in Bessarabia (mancurtization by pressing a camel skin
on the skull of child so hairs grew reversed by penetrating the brain then after having no idea about his
ancestral dignity; a young poet of us thought of man-
curt-miner's casket).
in Bessarabia (mancurtization by pressing a camel skin
on the skull of child so hairs grew reversed by penetrating the brain then after having no idea about his
ancestral dignity; a young poet of us thought of man-
curt-miner's casket).
In a desymbolization-resymbolization pass-time,
children played "the odious and the
sinister" (process setting), "meeting game", "strike
game", "Victoria Palace", "Street Pression
Game", "Vote by stealing", "Students and Miners
Game", "Iraq and
Kuweit Game" (1990 Garbea).
"Gaudeamus became a Bessarabia of the USSR
which is Romanian television"; cellulose Enterprise on theBank of Danube became a "small New
York" (July l0, 1990,
manifestation in Turnu-Severin with portrait
of Ceausescu, "don't you see it was
better on his time"?
Initials ("p.c.r. escape us from f.s.n.",august,1990, Bucharest)
reformulating linguistically political attitudes. Linguistic symbols (metaphors
are obvious in monstrous and yet selected lists exemplified in the paper any of
each, in legions, being developed from quick puns or caricatures to endless
jeremiads and
apocalypses. Very option for such materiality was intentioned to avoid political temptation of paranoia, or acculturating paradise image, and to remain in a post-revolution prescience purgatory. Watching therapeutically assumptions like this last/first one to and with.
apocalypses. Very option for such materiality was intentioned to avoid political temptation of paranoia, or acculturating paradise image, and to remain in a post-revolution prescience purgatory. Watching therapeutically assumptions like this last/first one to and with.
The origin of symbolic, logical and national
thought, (1971 Biberi: 173/181) might be searched in bio-mental attitudes of
totality, summing up the whole biological and psychological life of the
individuality, realized on evolving levels gradually higher. Entire human
thought, of symbolic nature, is the result of some structural schemes, the symbols, the signs being not by definition, other
than categories of disparate facts and objects, united between them by an
analogical scheme. Symbolic thought of the primitive and of the child is found
to the normal man not only during the sleep but also in daily life or in
superior activities of thought. Human thought, essentially symbolic, recognizes
in the mechanism of structural scheme a
fundamental fact.
JEAN-YVES-CONRAD
Un om universal între noi: omagiu lui
Benjamin Fondane, la INALCO din Paris
(Institutul Naţional ai Limbelor şi
Culturilor Orientale)
“Cǎlǎtorie lui Benjamin Fundoianu prin culture”
25 februarie 2005. Traversez
Caruselul de la Luvru şi podul spre cheieul stâng a Senei. Este o zi de iarna
frumoasǎ, cu cerul senin, cu soare, iar cu zapada şi gheaţa pe trotoar. În
acest moment, eu sǎrbǎtoresc în gând pe Nicolae Radu (La mulţi ani!, de 71 ani,
domnule doctor!), un medic anestesist care s-a nascut în valea Oltului, care
trǎieşte în Franţa lânga capitala galilor, iar care a facut şi el un exerciţiu
de admiraţie într-o cartea frumoasǎ („Jurnal african”) pentru acest om
universal pe care o sǎrbǎtorim azi: Benjamin Vecsler, cunoscut sub pseudonimul
literar Benjamin Fundoianu sau Benjamin Fondane (1898-1944).
În salonul de onoare de la nr.
5 Str. Lille, exact vizavi de casa unde a murit Tristan Tzara, se întâlnesc azi
prietenilor unui om care este în deplin un om modern, un poet şi filosof,
desigur, pentru cǎ aşa este mai cunoscut, iar un om care este universal prin
forţa lui de a se interesa la diferite domenii ale culturii. Dacǎ este de
reţinut numai un cuvânt de aceşti 9 ore petrecute împreunǎ cu Benjamin Fundoianu,
este caracterul sau transdisciplinar, o deschidere puternicǎ spre tot ce
reprezintǎ cultura. Cum a observat-o bine acad. Basarab Nicolescu, specialist
recunoscut în acest domeniu, pe urmele lui Ştefan Lupascu, acest caracteristic
este o sursa imensǎ de cercetari nu numai pentru Asociaţie Prietenilor lui
Benjamin Fundoianu (Preşedinte: Eric Freedman, profesor la Universitate din
Orléans – Franţa -) care a co-organizat întâlnirea aceastǎ împreunǎ cu
Consiliul Ştiinţific la Institutul Naţional şi Culturelor Orientale (Secţie
româna: lectoara Magda Cârneci, poet şi eseist), care a primit grupul cu mare
prietenie, iar şi pentru studenţi. Intervenţiile au fost întretǎiate de
poeziile poetului rostite de cǎtre actriţa Eve Griliquez, nascuta la Galaţi şi
care a trǎit copilǎrie la Brǎila, care a cunoscut opera lui Benjamin Fondane
prin un alt poet francez de origina românǎ, Claude Sernet (Ernst Spirt, zis
Mihai Cosma, zis).
Deschiderea, cu moderatoara
Magda Cârneci, a avut loc în prezenţa Excelenţei Sale Andrei Magheru,
ambasadorul român la UNESCO, care a venit împreunǎ cu Ion Macovei,
ministru-consilier la UNESCO şi Horia Bǎdescu, consilier pentru cultura şi
francofonie la ambasada românǎ din Paris. Cuvântul de deschidere a avut-o
Monique Jutrin (Universitatea Tel-Aviv, care a fost împiedicat sa vin la
ultimul moment), prin Claire Gruson, universitar. Prin evocarea vieţii lui
Benjamin Vecsler, de la naştere la Iaşi pâna la ultimul cuvânt de la Auschwitz,
înainte de a fi gazat la Birkenau, la 3 octombrie 1944, Monique Jutrin a facut
un lucru de memorie. Dânsa a anunţat cǎ dupǎ când numele lui Benjamin Fondane a
fost înscris pe zidul rezistanţelor de la Pantheon, dupǎ când a fost pus o
placa, în 1999, pe zidul de la Str. Rollin nr. 6, ultima casa marelui om de cultura
de origine românǎ unde a fost arestat de Gestaltspolizei la 7 martie
1944 împreunǎ cu sora sa, vǎduva Lina Pascal, dupǎ când a aparut la 23 ianuarie
2005 numele sau (şi ale sorei) pe zidul deportatiilor în lagǎre, este prevazut
în acest an 2005 inaugurarea unei piaţeta care se afla la capǎtul strezii
Rollin. Ar fi un omagiu meritat.
Apoi a intervenit Olivier
Salazar-Ferrer (Alianţa francezǎ din Glasgow), care a scris o monografie despre
Fondane în colecţie „Românii din Paris” la editura OXUS (directorul:
Serge Cagnolari; directorul de colecţie: acad. Basarab Nicolescu), care a
rostit cu mare competenţa despre „Cosmopoetica rǎtǎcierei”. Am fost captivat cǎ
toţi când a intervenit Claire Gruson despre „Fundoianu la Caietele sudului”,
o revista care a aparut 50 de ani întregi la Marsilia, cu directorul Jean
Ballard, la care a colaborat Benjamin Fundoianu în mod regular, împreunǎ cu
alte scriitori de seamǎ. Este de reamintit cǎ Claire Gruson a scris o teza
despre revistei aceastǎ. Şedinţa de dimineaţa s-a încheiat cu Preşedintele Eric
Freedman, care a rostit despre „Fundoianu-Sernet: o corespondenţa din anul
1927”. Eric Freedman a evocat 4 scrisori între ambele prieteni care s-au
cunoscut la Bucureşti şi care au colaborat la o revista împreunǎ, iar care s-au
întâlnit din nou şi la Paris. Scrisori pe care a gǎsit-o sunt deţinute la
biblioteca privatǎ Getty de la Los Angeles. Un moment captivant şi mişcator,
unde Eric Freedman a rostit şi despre prietenie cu Constantin Brâncuşi, aratând
pasǎrele de la noul Muzeu de Arta Modernǎ de la New York pe care a vizitat-o o
saptamâna înainte.
Dupǎ o discuţie care a avut
loc şi în timpul mesei, a moderat Olivier Salazar-Ferrer. A intervenit primul
acad. Basarab Nicolescu, cu un subiect pe care a înaltat la sumit:” Dialogul întrerupt:
Fundoianu, Lupascu şi Cioran”. Afǎrǎ de consideraţiile elevate relativ la
filozofie şi la mecanica cuanticǎ, mai ales despre statul „T” lui Ştefan
Lupascu, Basarab Nicolescu a relatat episodul de la 8 martie 1944, când Cioran
împreunǎ cu Lupascu au obţinut eliberarea lui Benjamin Fundoianu de la Drancy,
dânsul fiind cǎsǎtorit cu Geneviève Tissier, care nu a fost evroaicǎ, iar
Fundoianu a refuzat, neputând sa lasa sora sa Lina sa fie singurǎ.
Apoi a intervenit Dominique
Guedj, care a rostit în contrario despre un text ale tinereţei: „Monologul
nebunului”, pe care a citit-o în traducerea francezǎ lui Marlène Braester.
Dânsa, prin interpretarea textului, a pus în evidenţa continuitatea operei lui
Benjamin Fundoianu şi maturitate sale, o personalitate care, desigur, a fost
influenţat de filozofi Jules de Gaultier şi Leon Chestov, iar dânsul a avut
întotdeaunǎ o viziune ale lumii propria. În continuitate filozoficǎ ale
discursului a rostit cu mare competenţa Ramona Fotiade, profesoara de filozofie
la Unversitatea din Glasgow (iar şi soţia lui Olivier Salazar-Ferrer), despre
„Omul revoltat şi absurdul în gândirea existentialǎ lui Bejnamin Fundoianu”.
Intervenţiile de dupǎ amiazǎ s-au terminat cu Magda Cârneci, cu „Traducerea în
limba românǎ ale poeziei Ulysse, a lui Fundoianu”, unde dânsa a pus în evidenţa
aportul specific ale Franţei la cultura românǎ (şi invers), Parsiul fiind o
capitala culturalǎ pentru românii (Mi-a venit bineînţeles în inima cuvântul ca
autorul carţii „România, capitala… Paris”). Dupǎ un recital de poezii a lui
Benjamin Fundoianu rostite de cǎtre Eve Griliquez, în prezenţa noului
Preşedinte INALCO-lui, specialist în limba şi civilizaţie mongole, Olivier
Salazar-Ferrer a prezentat pe laptopul imagine care s-au regasit despre filmul
Tararira, un film imaginat de cǎtre Benjamin Fundoianu cu un budget enorm
pentru epoca, care s-a facut la Buenos Aires în anul 1936. Filmul a disparut…
Cine ştie…
S-a încheiat ziua (avea venit
noaptea) de studie cu un pahar de prietenie, la care au participat Michel
Carassou, director la Editura Paris-Méditerranée, legatar literar şi editorul a
lui Benjamin Fundoianu, Dinu Flamând, poet şi jurnalist, Philippe Loubière,
care a tradus (între altele) Lucian Blaga din limba românǎ (Piteşti, Ed.
paralela 45, 2003), un poet flamând impreunǎ cu poeţi şi studenţi de la
Langues’O care sunt interesate cu opera lui Benjamin Fundoianu. N-am gândit
atunci la cei care nu au putut sa veni: D-na Monique Jutrin, bineînţeles, iar
şi români, Mircea Martin, Ion Pop, Radu I. Petrescu sau Remus Zǎstroiu, între
altele. Când mǎ întoarceam la staţie de metrou Luvru-Palatul Regal, am vazut pe
piramida Luvrului (care a fost încǎ deschis, cǎ în fiecare vineri searǎ) umbra
lui Benjamin Fundoianu… A trecut un îngeraş…
Corespondenţă din Paris de la Jean-Yves CONRAD, 25
februarie 2005
FROM
EDUCATION LIBRARY
Ministerul Educatiei Nationale
Biblioteca
Pedagogic` Na\ional`
I.C.Petrescu"
Str. Zalomit- 12
70714- Bucure]ti
Romania
Tel fax: 3110323
Email:pedagogical_library@yahoo.com
October,
25, 2000
Bucharest
Dear Mr. Wade
Thank you very much for your letter of September 29, 2000.
I came to read on October 23, 2000, I guess due to my own other obligations. It
is quite a long time since Williamsburg Congress was held in America. The
session on Beauty of Peoples lasted for 3-4 hours with papers from about 10
countries. I am sending you a brochure "Beauty and Prison" and
another "Asian Temptation", the last one sustained at the 2000
Congress in Beijing.
I am sorry to say that our
colleague, the senior writer Mircea Santimbreanu passed away last year, at 72.
We are forward to publishing about
100 abstracts on Beauty proposed mostly by Romanian contributors to
Williamsburg Congress and we will send you a copy of the same.
We are working under three entities
presided by myself: International Academy "Mihai Eminescu",
Ethnological Society of Romania, Romanian - Indian Cultural Association.
Presently we are organizing an institute Asia- Africa in which I wait you to be
a part. Obviously, the Beauty of Peoples remains a working project within our
new deal. Another project, which we are proposing to the Florence 2003
Congress, will have as a theme "the anthropological perspective on the
philosophy of joy".
I am interested to learn from you
and also to participate as a writer anthropologist at some international and
local conferences.
With
kind regards
Sincerely,
Dr. George Anca
Director
General of the National Library of Education
Ministerul Educatiei Nationale
Biblioteca
Pedagogic` Na\ional`
I.C.Petrescu"
Str. Zalomit- 12
70714- Bucure]ti
Romania
Tel fax: 3110323
Email: pedagogical_library@yahoo.com
To
the Council of Europe
Attn.
Mr. Director Gabriele Mazza
October, 25, 2000
Bucharest
Dear Director Gabriele Mazza,
We are introducing ourselves as the National Library of
Education in Romania dealing with a net of 42 districts of educational
libraries and through them with all the school libraries in the country. We are
processing information in education including that belonging to the Council of
Europe for the whole Romania.
We enjoy it to have a good
collaboration with Mr. Wilson Barrett who will be retiring and we are looking
forward to receiving news and documents in continuation by your kind
agreement.
With
kind regards
Sincerely,
Dr.
George Anca
Director General of the
National Library of Education
Ministerul Educatiei Nationale
Biblioteca
Pedagogic` Na\ional`
I.C.Petrescu"
Str. Zalomit- 12
70714- Bucure]ti
Romania
Tel fax: 3110323
Email:pedagogical_library@yahoo.com
October,
25, 2000
Bucharest
To
Mr. Wilson Barrett
Council
of Europe
Dear
Mr. Barrett,
Thank you for your letter of October 6, 2000 on your
retiring and please believe me I am moved by the abolishment of the
Documentation Center for Education in Europe. I am most grateful to you for the
opportunity you have offered me with wise understanding of our difficult
transition towards something quite unknown. You are almost only international
personality who helped genuinely a national documentation library on education.
During these years I happened to see
some representatives of the Council of Europe present in Romania and I was
waiting somehow to meet you here. I still hope, even more now as you can find
easier some time, to host lectures of yours in this country.
Once again thanking you from all my
heart and wishing you best of your expectations,
Sincerely
yours,
Dr. George Anca
Director General of the
National Library of Education
Ministerul Educatiei Nationale
Biblioteca
Pedagogic` Na\ional`
I.C.Petrescu"
Str. Zalomit- 12
70714- Bucure]ti
Romania
Tel fax: 3110323
Email: pedagogical_library@yahoo.com
October,
25, 2000
Bucharest
Dear Mr. S.
Ramakrishnan,
We got your letter with a great
pleasure and thought of an immediate reply.
I will never forget the unique
sacred atmosphere in your institution on the bank of the ocean, your great
personality, the illuminating talks and books you beautifully shared with us.
Last
March we have inaugurated with participation of H.E Mr. Rajiv Dogra- the
Ambassador of India in Bucharest the Indian Library as a special section of the
National Library of Education, whose general director I am.
In this regard we shall be grateful if Bharatiya Vidya
Bhavan can give us any kind of help and support consisting in books donations
or other exchange cultural programs, to the extend of considering us a branch
in Romania of Bharatiya Vidya Bhavan.
The mentioned regional conference on
India is not yet finalized, but we are about to set on also another project,
which is a Research Institute Asia- Africa.
Looking forward to
receiving your reply,
Sincerely
yours,
Dr.
George Anca
Director General of the
National Library of Education
Ministerul Educatiei Nationale
Biblioteca
Pedagogic` Na\ional`
I.C.Petrescu"
Str. Zalomit- 12
70714- Bucure]ti
Romania
Tel fax: 3110323
Email: pedagogical_library@yahoo.com
To the National
Library of India
To
Mr. Director General,
Dear
Mr. Director General,
We
are pleased to inform you that last March we have inaugurated with the
participation of H.E. Mr. Rajiv Dogra - the Ambassador of India in Bucharest,
the Indian Library, as a section of the National Library of Education. We are
hosting also Romanian- Indian Cultural Association presided by myself.
Following
to a visit to your library and a discussion with the director of ICCR, Mr.
Himachal Som, we succeeded in sending our colleague Vlad Sovarel to you in
order to catalogue Romanian books in your great library. He may represent us
also for the opening of a book-exchange between our institutions. We hope you
can assist Indian studies in Romania by sending us fundamental classical and
recent works of and on Indian culture.
Thanking
you for collaboration,
Yours sincerely,
Dr.
George Anca
Director General of the
National Library of Education
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