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Eseuri: Stefan Arteni. The East-Central European Cultural Model. Part I
Scris la Thursday, February 05 @ 17:27:06 CET de catre asymetria |
East-Central Europe is
not a static abstraction. The complex pattern of interaction rises
out of the peculiar aspect of ‘limes’ ethos as the site
of continuity of the archaic and of a paradoxical fatalistic
optimism, and can provide a picture of comprehensive correspondences
in space and time - the multiscale and many-valued chronotope.
Stefan
Arteni
The
East-Central European Cultural Model. 1 . Cultural Polyglotism
Motto.
Through time's howling
clamor,
A voice of the nothing;
Through chattering
aeon,
A wailing of humans.
(Lucian Blaga)
A ‘limes’
runs through the middle of Europe, the old Roman ‘limes’
on the Danube.
Charlemagne created a
new borderline down the centre of Europe, the ‘Limes
Sorabicus’, that clearly marked also a cultural border.
In the early 1950s, the historian Oskar Halecki
sketched a model of Europe, identifying three macro-regions:
Western Europe, Central Europe and Eastern Europe. In Halecki’s
view, Central Europe consists of two parts – West-Central
Europe (Germany and Austria) and East-Central Europe (the territories
between Germany and Russia). Historically, East-Central Europe
includes the group of countries which fell under Soviet domination.
East-Central Europe is
not a static abstraction. The complex pattern of interaction rises
out of the peculiar aspect of ‘limes’ ethos as the site
of continuity of the archaic and of a paradoxical fatalistic
optimism, and can provide a picture of comprehensive correspondences
in space and time - the multiscale and many-valued chronotope. To
paraphrase Milan Kundera, it is a culture or a fate. If it may be
said that there is a longing for an escape from the terror of a
linear meaningless history – for example, after modernity’s
attempt at ‘memory erasure’, Boris Groys proposes
‘erasure of erasure’ to describe the contemporary
‘global’ situation - it may also be said that the
East-Central European cultural space, the ‘liminal locus’
where semiospheres come into contact, intersect and overlap,
necessarily denotes the potential of possibilities that culture is
able to realize by attempting to make sense of the past in the
present.
Maria Todorova suggests
that memory, identity, and historical legacy are the pertinent
categories of analysis. Piotr Piotrowsky speaks of “the other
Europe”, while
Arpad Szakolczai holds
that the area may be viewed as borderlands of Western civilization,
as located “between the both mythical and very real entities
‘West’ and ‘East’ “. However, “the
concept of Borderline is twofold”, remarks Alexander W.
Belobratow. “On the one hand it has a separating function and
on the other hand a binding one”. Unfortunately, notes
Szakolczai, the area has been stuck too long in transitoriness,
“in a precarious liminal condition”.
There may be an
alternative, non-canonized history of twentieth century culture, a
history of periphery input and dispersed diasporas, a history of the
omnipresence of present pasts playfully renegotiated by every new
work that is itself informed by what precedes it. One may also
underscore the ambivalence of the center and periphery concepts and
of the hierarchic differentiation center/periphery. Czeslaw Milosz
once remarked: “And the intellectual Paris of the 1950s and
the 1960s turned with expectation towards the East…It tells
the story of how a center, by losing faith in itself, changes
through resignation into a periphery”.
When one considers
culture, it is the intersubjective schemas pertaining to the
'consensual domain' that are relevant. Roy D'Andrade employs the
term 'cultural models'. According to D'Andrade, "a cultural
model is a cognitive schema that is intersubjectively shared by a
social group". A reinterpretation of Michael Kimmel's notion of
dynamic switches between culture-embedded ontologies through
image-schemata transformations and encompassing cases of partial
compatibility, may be horizontally extended to include non-linguistic
phenomena. In the case of
East-Central Europe, a world constantly wracked by changes that raise
again and again the identities dilemma and the threat of oblivion,
the cultural ‘Dasein’ of the individual consists of a
positive heterarchy that couples various languages and cultures
toward a cooperative survival unity, without giving up the autonomy
of parts. Evidently, there are several different cultural logics at
work at the same time, involving interaction and conflicting
interaction, and, occasionally, the phenomenon of mimetism,
understood both in the Girardian sense of ‘mimetic desire’,
and in the sense the term is used in biology, as a way to ‘trick’
the environment.
It must be borne in
mind that, as Caryl Emerson points out, “Central and East
Europeans (for all their contributions to the avant-garde) have
routinely stood up to Western models.” (To approach the
question of modernism’s relationship to tradition, it may be
briefly noted here that, paradoxically enough, to transgress is to
reaffirm a limit). Emerson argues that “exile, displacement,
multi-languagedness, heteroglossia, outsideness to oneself and thus
a taste for irony…” constitute the defining coordinates
of a unique heritage, a polycentered identity connected to
“finding themselves always between several cultures and unable
to lose themselves in any one of them…” or, so to
speak, "planted in each reality, informed by all,
circumscribed by none".
What is interesting
about multilingualism is the unique state of compound
multi-competence postulated by Istvan Kecskes and Tunde Papp, that
is a common underlying proficiency and two or more constantly
available interacting systems, none of which is the same as the
language system of a monolingual. Brian MacWhinney points out that
in case of childhood multilingualism, it appears that multiple
languages are acquired as separate entities. Ulrike Jessner argues
that the increased metalinguistic skills trigger a heightened
awareness of the arbitrary aspects of language, of cognitve styles
and of syntactic factors. All in all, the dynamic of systems creates
new structures and emergent properties within the playfulness and
variation of culture-specific metaphoric fields.
Language is a
repository of culture. The fact is that, in the age of Empires,
cultures located at a crossroads and subjected to repeated
colonization and assimilation attempts may feel the need of an
encounter with the cultures which exercise
widespread influence. Karen Wong
remarks that an individual needs “to become fluent in the
language of knowledge” and to acquire “the language of
the currently predominant culture”. The polyglot inhabits
someone else's culture, including ‘the’culture or
cultures. What this helps instigate, and continues to finesse, is a
cultural polyglotism. From the beginning, a translocal multi-identiy
web and a recursiveness of identity recreation, a being between and
astride cultures and moving across languages and cultural contextures
set side by side, imply a second-order perspective, an
experiential metacultural sensibility. An inner metalanguage,
multiple inheritances and multiple codings, are at work.
Second-order culture delineations are continuously reconstructed. The
new entities produced by the peripatetic impulse open up a
situational space which revels in the freedom of a horizonal
in-between transcending untranslatable knots. Doris Runey points out
that polyglots are "not 'in the world' but rather 'in worlds',
dwelling in the liminal space of simultaneous belongingness and
non-belongingness.
Stefan Arteni
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