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Lina
Luciri ciudate și neliniștitoare irizează aceste descrieri de lumi recluse din Lina, ca răsfrîngeri ale unor colcăiri infernale din afund. Sînt zone în romanele sale unde impresia de amenințare a viului se intensifică pînă la halucinant și teroare învecinînd reprezentările argheziene, prin aceste elemente, cu proiecțiile de climat obsesional și reverberări simbolice ale unor Franz Kafka sau Dino Buzzati. Modernitatea lui Arghezi este mai mult decît un fapt stilistic: ea decurge dintr-o atitudine față de problemele omului într-o lume care-i primejduise acestuia, în atîtea rînduri, valorile fundamentale. -- Gabriel Dimisianu
326 pages, Hardcover
First published January 1, 1942
21 people want to read
About the author
Tudor Arghezi
111 books43 followersTudor Arghezi (Romanian pronunciation: [ˈtudor arˈɡezi]; 21 May 1880 – 14 July 1967) was a Romanian writer, best known for his contribution to poetry and children's literature. Born Ion N. Theodorescu in Bucharest (where he also died), he explained that his pen name was related to Argesis, the Latin name for the Argeş River.
Arghezi is perhaps the most striking figure of Romanian interwar literature, and one of the major poets of the 20th century. The freshness of his vocabulary represents a most original synthesis between the traditional styles and modernism. He has left behind a vast oeuvre, which includes poetry, novels, essays, journalism, translations and letters.
The impact of his writings on Romanian poetic language was revolutionary, through his creation of unusual lyrical structures, new sub-genres in prose - such as the poetic novel, the "tablet" (tableta) and the "ticket" (biletul).[46] He excelled at powerful and concise formulations, the shock value of which he exploited to startle lazy or conformist thinking, and his writings abound in paradoxes, as well as metaphysical or religious arguments.[47] Evidencing the satirical genre's leading role throughout Arghezi's literary career, George Călinescu argued that it had become a contributing factor to much of his poetry and prose fiction.[48]
Arghezi re-established an aesthetic of the grotesque, and experimented at length with prosody.[43] In much of his poetry (notably in his Flori de mucigai and Hore), Arghezi also built upon a tradition of slang and argot usage, creating an atmosphere which, according to Călinescu, recalled the universe of Anton Pann, as well as those of Salvatore Di Giacomo and Cesare Pescarella.[49] He introduced a vocabulary of intentional ugliness and decay, with the manifest goal of extending the limits of poetic language, the major theme in his Cuvinte Potrivite; nevertheless, the other half of Arghezi's poetic universe was that of family life, childhood, and small familiar spaces, rendered in minutely detailed poems.[50] In an era when the idea of the impossibility of communication was fashionable, he stood against his contemporaries through his strong belief in the power of the written word to communicate ideas and feelings — he was described by Tudor Vianu as "a fighting poet, subject to attacks as well as returning them".[51]
Despite his association with the Communist regime, Arghezi is widely acknowledged as a major literary figure. His work has traditionally been a staple of Romanian literature textbooks for decades.
Arghezi is perhaps the most striking figure of Romanian interwar literature, and one of the major poets of the 20th century. The freshness of his vocabulary represents a most original synthesis between the traditional styles and modernism. He has left behind a vast oeuvre, which includes poetry, novels, essays, journalism, translations and letters.
The impact of his writings on Romanian poetic language was revolutionary, through his creation of unusual lyrical structures, new sub-genres in prose - such as the poetic novel, the "tablet" (tableta) and the "ticket" (biletul).[46] He excelled at powerful and concise formulations, the shock value of which he exploited to startle lazy or conformist thinking, and his writings abound in paradoxes, as well as metaphysical or religious arguments.[47] Evidencing the satirical genre's leading role throughout Arghezi's literary career, George Călinescu argued that it had become a contributing factor to much of his poetry and prose fiction.[48]
Arghezi re-established an aesthetic of the grotesque, and experimented at length with prosody.[43] In much of his poetry (notably in his Flori de mucigai and Hore), Arghezi also built upon a tradition of slang and argot usage, creating an atmosphere which, according to Călinescu, recalled the universe of Anton Pann, as well as those of Salvatore Di Giacomo and Cesare Pescarella.[49] He introduced a vocabulary of intentional ugliness and decay, with the manifest goal of extending the limits of poetic language, the major theme in his Cuvinte Potrivite; nevertheless, the other half of Arghezi's poetic universe was that of family life, childhood, and small familiar spaces, rendered in minutely detailed poems.[50] In an era when the idea of the impossibility of communication was fashionable, he stood against his contemporaries through his strong belief in the power of the written word to communicate ideas and feelings — he was described by Tudor Vianu as "a fighting poet, subject to attacks as well as returning them".[51]
Despite his association with the Communist regime, Arghezi is widely acknowledged as a major literary figure. His work has traditionally been a staple of Romanian literature textbooks for decades.
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January 30, 2024
Romanul "Lina" era descris de Tudor Arghezi că fiind: „Cartea asta ilustrează un moment al vieţii mele de tânăr căutător al unei activităţi de pe urma căreia să-mi câştig o oarecare existenţă; ea aduce o lume total ignorantă şi necunoscută cititorului şi ar merita o altfel de discuţie decât o fac majoritatea cronicilor. Fără să fie un manifest căutat, cartea este tabloul viu al unei epoci (…). O vreme de felurite învălmăşeli şi abuzuri, care au determinat crize de conştiinţă, de caractere (…)“.
Citind cartea, uneori, vedeam in personajul Ion Trestie pe Iona, doar ca spre deosebire de acesta din urmă, animalul mitic in care este pierdut Trestie este burta fabricii de zahar. Totuși creierul meu a mai asociat cartea si cu Moby Dick, descrierile angrenajelor din fabrica de zahar parca sunt descrierile lui Herman Melville despre balenele.
Oricum peste toate tronează iubirea eliberatoare care scot din pântecele fabricii de zahar pe Ion si Lina, parca eliberând astfel pe Iona si Căpitanul Ahab.
Citind cartea, uneori, vedeam in personajul Ion Trestie pe Iona, doar ca spre deosebire de acesta din urmă, animalul mitic in care este pierdut Trestie este burta fabricii de zahar. Totuși creierul meu a mai asociat cartea si cu Moby Dick, descrierile angrenajelor din fabrica de zahar parca sunt descrierile lui Herman Melville despre balenele.
Oricum peste toate tronează iubirea eliberatoare care scot din pântecele fabricii de zahar pe Ion si Lina, parca eliberând astfel pe Iona si Căpitanul Ahab.
Displaying 1 of 1 review