PSALMII LUI TUDOR ARGHEZI. O PERSPECTIVĂ SEMIO-DISCURSIVĂ
TUDOR ARGHEZI’S PSALMS. A SEMIO-DISCURSIVE APPROACH
Emilia PARPALĂ
Facultatea de Litere
Universitatea din Craiova, str. Al. I. Cuza, nr. 13
Abstract
Tudor Arghezi’s Psalms represent a hypertext which, compared to the Biblical hypotext, reveals the modern dissonance of the poetic religious communication. We plea for an extensive and unitary corpus, which would include the entire Arghezian dialectic of the sacred, thereby letting aside texts with the same title but with a different isotopy.
The semio-discursive approach of the Psalms proposed by this article focuses on the following aspects:
a) the mythological designation of divinity through indexes (of existence or of interdiction), which we have called the metonymic signs of the Sign;
b) definite descriptions and transcodification; the semiotic isotopies: the chronotope, kinetics, proxemics and the senses;
c) the semantic-syntactic modeling. We have identified two semantic axes (“identifying” and “communication”) and an (anti)symmetrical syntax whereby the dramatic discourse (dialogic soliloquy) appears to be pathetic and redundant.
We also infer the (crisis) ethos of the enunciator who displays a variety of attitudes, affects and strategies meant to reinstitute communication with the divine Sign and to bring forth some certitudes. Arghezi’s baroque imagination conveys a vacillation between a primitive materialism (to touch divinity) and a surrogate of communication by substitutes.
Although the subversive recourse to semiotics is by now obsolete (Balotă, 1979; Parpală, 1984), the semiotic point of view is relevant for elucidating the psalms’ referentiality, their actional and communicative dimension, which is inaccessible to hermeneutics. Arghezi’s prayer is thinking, and thought cannot exist but in signs and through signs.
Key words: dramatic discourse, semiotic isotopies, semantic model, reference, sign.
Cuvinte cheie: discurs dramatic, izotopii semiologice, model semantic, referinţă, semn.