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Comunicare şi creativitate : Interpretarea textului contemporan

Nicolau, Felix LU (2014)
Abstract
The necessity of a canon had been restated, but literature, meanwhile, had lost a good share of its public. The self-referential syndrome evolved into an epidemic: there was a problem of reader-response approach at that moment. The public shrank and the cultural world became endogamous. This meant that a large part of the public was actually made of writers who craved for climbing the literary ladder. Consequently, the narcissistic complex generated an artificial literature, if not a sheer devitalized metaliterature. Such a discourse had limited efficacy in terms of communication. If communication is a polyhedral concept (Parpală 2009: 13), this stage in the development of literature defied the idea of responsibility between the actors... (More)
The necessity of a canon had been restated, but literature, meanwhile, had lost a good share of its public. The self-referential syndrome evolved into an epidemic: there was a problem of reader-response approach at that moment. The public shrank and the cultural world became endogamous. This meant that a large part of the public was actually made of writers who craved for climbing the literary ladder. Consequently, the narcissistic complex generated an artificial literature, if not a sheer devitalized metaliterature. Such a discourse had limited efficacy in terms of communication. If communication is a polyhedral concept (Parpală 2009: 13), this stage in the development of literature defied the idea of responsibility between the actors implied in the process of communication (Caune 2000: 29). The feedback offered was mainly artificial. Even the hard stuff of literature, language, was affected by the lack of response from an expanded readership. Or, the quality of language is bound to decay when the experience of dialogue lacks.
Once the communist ideology erased, there emerged a new and hegemonic type of ideology, namely the canonical one, with reference to the streak of power involved in the process of selection for the canon. Literature is the court of language but, as Émile Benveniste put it, language reproduces the world by submitting it to its own organisation (Benveniste 2000: 5). This also means there is an inter-mirroring process between world and language and a transfer of qualities and faults in parallel. In order to avoid a biased and low-qualitative transfer between a highly organised system (language) and a loosely structured one (world and, why not, literature) we need plurilingualism and various theoretical approaches. The creator must have the chance to be in conversational terms with the system and not in a subordinate position. Liliana Ionescu-Ruxăndoiu defines conversation as the familiar type of oral, dialogic communication wherein two or more participants independently assume the role of the sender (Ionescu-Ruxăndoiu 1995: 29). However, the way we elaborate the canon does not correspond to the conversational mood. In order to build the matrix of communication (Gumperz and Hymes 1972: 103), that is the totality of communicative roles in a community, the actors should have the chance to swap roles: to act as senders and receivers in turns.
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author
alternative title
Communication and Creativity : The Interpretation of Contemporary Texts
publishing date
type
Book/Report
publication status
published
subject
keywords
creativity, communication, literature, criticism, canon (literature)
pages
514 pages
publisher
ProUniversitaria Publishing House
ISBN
978-606-647-837-3
language
Romanian
LU publication?
no
id
e14d1957-eb1a-47c4-adea-0508d296e56b
date added to LUP
2017-10-23 17:11:32
date last changed
2017-10-26 14:01:07
@book{e14d1957-eb1a-47c4-adea-0508d296e56b,
  abstract     = {The necessity of a canon had been restated, but literature, meanwhile, had lost a good share of its public. The self-referential syndrome evolved into an epidemic: there was a problem of reader-response approach at that moment. The public shrank and the cultural world became endogamous. This meant that a large part of the public was actually made of writers who craved for climbing the literary ladder. Consequently, the narcissistic complex generated an artificial literature, if not a sheer devitalized metaliterature. Such a discourse had limited efficacy in terms of communication. If communication is a polyhedral concept (Parpală 2009: 13), this stage in the development of literature defied the idea of responsibility between the actors implied in the process of communication (Caune 2000: 29). The feedback offered was mainly artificial. Even the hard stuff of literature, language, was affected by the lack of response from an expanded readership. Or, the quality of language is bound to decay when the experience of dialogue lacks. <br/>Once the communist ideology erased, there emerged a new and hegemonic type of ideology, namely the canonical one, with reference to the streak of power involved in the process of selection for the canon. Literature is the court of language but, as Émile Benveniste put it, language reproduces the world by submitting it to its own organisation (Benveniste 2000: 5). This also means there is an inter-mirroring process between world and language and a transfer of qualities and faults in parallel. In order to avoid a biased and low-qualitative transfer between a highly organised system (language) and a loosely structured one (world and, why not, literature) we need plurilingualism and various theoretical approaches. The creator must have the chance to be in conversational terms with the system and not in a subordinate position. Liliana Ionescu-Ruxăndoiu defines conversation as the familiar type of oral, dialogic communication wherein two or more participants independently assume the role of the sender (Ionescu-Ruxăndoiu 1995: 29). However, the way we elaborate the canon does not correspond to the conversational mood. In order to build the matrix of communication (Gumperz and Hymes 1972: 103), that is the totality of communicative roles in a community, the actors should have the chance to swap roles: to act as senders and receivers in turns. <br/>},
  author       = {Nicolau, Felix},
  isbn         = {978-606-647-837-3},
  keyword      = {creativity,communication,literature,criticism,canon (literature)},
  language     = {rum},
  pages        = {514},
  publisher    = {ProUniversitaria Publishing House},
  title        = {Comunicare şi creativitate : Interpretarea textului contemporan},
  year         = {2014},
}