Paul Goma. Adameva: The game of Narrative Instances. Part 1
Being a part of a complex analysis, the actual study aims to reveal, beyond the “generic” allegiance and the genesis of the novel, how a “new formula” of knowledge of narratorial identity takes shape according to a downward path of the three pronominal references. It seeks the operation of knowledge generated by the inter-time, the changes occurred in relation to other ages and their materialization in the corpus of the three persons.
Another point is to illustrate how the author, in order to take revenge against the ban system, turns to an “I” sequestered between two dates and two contradictory rhythms: the outer rhythm of everyday dating and the inner rhythm of remembering. On the other hand, we can see, however, a complementary relationship between the two categories because the one who tries to know himself (“à se connaître”, the diarist) wants, in fatal way, to become known by his writing (“à se faire connaître”, the author of memoirs). In this way, in addition to rigorously analyzing the behavior of his fellows, the narrator analyzes himself. Therefore, he becomes his own object of study; he studies himself starting with his responsibility as a human and ending with his responsibility as a writer.
In fact, it is a knowledge that is not carried out no matter how, but through consciousness, it means objectively. Hence the (auto) -observation, -analysis, -irony. Beyond this, the text highlights the concern for revealing details, for the characteristic notes with aesthetic and knowledge value, and finally, for the particular images designed to create a more unique painting as, starting from the principle of an unrepeatable life, it provides a good creative premise from the beginning.
Keywords: Paul Goma, Adameva, Lăteşti, forced domicile, narrative instances, revealing details, dialectic of alterity
1. Paul Goma, Adameva, Curtea Veche Publishing, Bucureşti, 2008, p. 99.
2. decât în mod simbolic şi ironic de ,,editura” autorului: Paul Goma, Lăteşti, Editura Autorului, 1997.
3. Virgil Podoabă, Metamorfozele punctului. În jurul experienţei revelatoare, Paralela 45, Piteşti, 2004, p. 272.
4. Paul Goma, op. cit., p. 99.
5. Expresie întrebuinţată de Virgil Podoabă în studiul Istmul şi continentele Goma. Experienţa de la Lăteşti. Cerneala de funingine, cerneala aurie, op. cit., p. 272.
6. Ibidem, p. 273.
7. Paul Goma, op. cit., p. 133.
8. Ibidem, p. 165.
9. Ibidem, p. 7.
10. Ibidem, p. 8.
11. Virgil Podoabă, Adameva sau Cartea recapitulativă a experienţei creatoare, în Punctul critic: pagini despre şi de confesso-literatură. Studii şi mărturii, Paralela 45, Piteşti, 2007, pp. 128-129.
12. Maurice Chapelan, apud Eugen Simion, Ficţiunea jurnalului intim, I. Există o poetică a jurnalului, Univers Enciclopedic, Bucureşti, 2001, pp. 242, 246.
13. Plutarh, Alexandru, în Vieţi paralele. Alexandru şi Cezar, Vol. IX, Editura Ştiinţifică, Bucureşti, 1957, p. 21.
14. Paul Goma, op. cit., pp. 5-6.
15. Eugen Simion, op. cit., pp. 227-228.
16. ,,Sigur-sigur: trebuie să fii dus, transportat, căruţat, dilegentuit, faţă-n faţă cu genunchele cele nunchéle, ca să angajezi preliminariile dulci inimei (s.n.), ochilor – şi coapsei, cum atât de frumos glăsuieşte Scriptura”, Paul Goma, op. cit., p. 9.
17. Ibidem, pp. 13-14.
18. Virgil Podoabaă, op. cit., p. 125.
19. Bernard Valette, Romanul. Introducere în tehnicile moderne de analiză literară, Traducere de Gabriela Abăluţă, Cartea Românească, f.l, 1997, p. 54.
20. Virgil Podoabă, Metamorfozele punctului. În jurul experienţei revelatoare, ed. cit, p. 291.
21. Georges Poulet, Conştiinţa critică, Traducere şi prefaţă de Ion Pop, Univers, Bucureşti, 1979, pp. 326-327.
22. Paul Goma, op. cit., p. 15.
