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Enigma Otiliei

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Enigma Otiliei
- Roman realist-obiectiv – Roman realist-balzacian – Proza/roman interbelic -
George Calinescu

Intr-un moment in care proza romaneasca experimenteaza cele mai noi modalitati narative care se manifesta in plan mondial, George Calinescu indeamna la clasicism si balzacianism, ca trepte necesare de evolutie. El considera ca tipul firesc de roman romanesc va fi inca o vreme acela obiectiv. Adept al legaturii romanului cu o viata moderna, criticul afirma ca pentru romanul romanesc nu este necesar modelul lui Proust, ci acela a lui Tolstoi si Balzac. Romanul trebuie sa fie interesat de cazurile individuale in masura in care acestea devin tipuri. Este maniera in care el creeaza romanul „Enigma Otiliei”, care apare in 1938, cu aceasta opera Calinescu inscriindu-se valoric printre marii romancieri ai literaturii interbelice.

Tema

Tematic, romanul ofera o fresca a burgheziei bucurestene, de la inceputul secolului al XX-lea prezentata in aspectele ei esentiale si sub determinare social-economica (banul ca valoare, intr-o societate degradata moral). Imaginea societatii constituie fundalul pe care se proiecteaza formarea unui tanar, care inainte de a-si face o carier, traieste experienta iubirii si a relatiei de familie. Astfel, „Enigma Otiliei” devine un roman al unei familii si o istorie a unei mosteniri.

Perspectiva narativa

Perspectiva narativa este obiectiva, incluzand viziunea „din-darat”sau „din spate”a unui narator omniscient/prezent si neimplicat. El stie, deci, mai mult decat personajele sale, in spatele carora se ascunde, fapt dovedit de limbajul uniformizat. Naratiunea este realizata la persoana a III-a.

Constructia subiectului

Compozitia include doua planuri narative care se impletesc pe intreaga durata a actiunii. Planul erotic urmeaza educatia sentimentala a lui Felix, dragostea lui pentru Otilia, plecarea neasteptata a acesteia, iar cel social are in centru goana clanului Tulea dupa mostenirea lui Mos Costache. Tehnica narativa folosita este cea a inlantuirii cronologice si cauzale a secventelor. Incipitul romanului tradeaza formula balzaciana in care este construit. Dupa fixarea temporala exacta a actiunii, inceputul lui iulie 1909, naratorul, prin tehnica focalizarii, fixeaza cadrul general de desfasurare a actiunii, apropiindu-se apoi si intrand pe strada Antim, unde se afla casa lui Costache Giurgiuveanu. Urmeaza o sumara prezentare a lui Felix, personaj martor, pentru ca apoi privirea sa se indrepte inspre elementele cadrului. In absenta acestora, naratorul adopta tehnica detaliului semnificativ, al carei rol este, ca si in romanele lui Balzac, de a indica trasaturile de caracter ale celor care traiesc acolo. Se remarca multimea de adjective introduse intr-un discurs despre arhitectura, imaginile vizuale detaliate sugerand meschinaria, zgarcenia, incultura si snobismul locatarilor prin imitarea arhitecturii clasice cu materiale ieftine sau prin amestecul de stiluri. Finalul este inchis si simetric cu incipitul prin descrierea strazii Antim si a casei lui Mos Costache, din perspectiva aceluiasi personaj, Felix, dar dupa 10 ani. Aspectul degradat al casei semnifica timpul devastator care aduce si moartea lucrurilor. Cuvintele „aici nu sta nimeni”, care incheie romanul, constituie o repetare a raspunsului pe care Mos Costache i-l daduse lui Felix in seara sosirii.

Conflictul

Conflictul romanului este exclusiv exterior si corespunde celor doua planuri narative. Conflictul erotic priveste rivalitatea dintre adolescentul Felix Sima si adultul Leonida Pascalopol pentru mana Otiliei, iar cel social este generat de averea lui Mos Costache si agreneaza doua personaje: Aglae si Stanica Ratiu.

Subiectul

Actiunea debuteaza cu sosirea tanarului Felix, ramas orfan, la unchiul si tutorele sau din Bucuresti, Costache Giurgiuveanu, pentru a se inscrie la facultatea de medicina. Aici o cunoaste pe Otilia, fiica sotiei lui Costache Giurgiuveanu, un batran avar. Cei doi tineri se indragostesc, dar Otilia isi da seama ca ar constitui o piedica in calea carierii lui Felix, care voia sa devina savant, si il paraseste, casatorindu-se cu mosierul Pascalopol, care ii oferea ocrotire si siguranta. Peste ani, Felix il intalneste pe Pascalopol in tren si acesta ii arata o fotogrqafie in care cu greu o recunoaste pe Otilia, recasatorita cu un bogatas din Argentina. In plan social, scriitorul urmareste istoria unei mosteniri vanata de oameni fara scrupule: Aglae Tulea (sora lui Costache Giurgiuveanu) si Stanica Ratiu (ginerele Aglaei). Batranul avar strange cu lacomie banii obtinuti din afaceri si mici „ciupeli”, ii tine asupra lui si cand are al doilea atac cerebral, este jefuit de Stanica Ratiu, fapt care-i provoaca moartea.

Personajele

Marele talent si modernitatea lui Calinescu se descopera in „primul rand” in modul in care acesta isi construieste personajele. Inca de la inceput se observa atentia scriitorului de a folosi tehnica focalizarii care permite o creionare exacta si complexa a caracteristicilor acestora, incepand cu datele externe (portret, fizic, gesturi). Caracterele astfel dezvaluite nu evolueaza pe parcursul romanului, dar trasaturile lor se ingroasa prin tehnica acumularii detaliilor (fapte, atitudini, replici, relatii intre personaje). Aceasta tendinta de tipicizare a personajelor ii confera lui George Calinescu posibilitatea de a realiza o galerie de figuri grotesti, introduse intr-un spectacol caricatural.

Costache Giurgiuveanu

Unul dintre „personajele cheie” ale romanului este Mos Costache, care se incadreaza din primele pagini ale romanului in tipologia avarului. Tehnica focalizarii, specifica romanului realist-balzacian, permite dezvaluirea caracterelor acestui personaj, pornind de la datele exterioare. Astfel, naratorul fixeaza in mod direct, chiar de la inceputul romanului, portretul batranului avar prin ochii lui Felix: un om mititel, putin adus de spate, „cu o chelie de portelan, cu fata spana, cu buzele galbene de prea mult fumat, cu ochii clipind rar si moale”. Este o aparitie care contrasteaza puternic cu felul in care Felix si-l imaginase pe tutorele sau. Mai mult, raspunsul de domeniul absurdului „aici nu sta nimeni”, il descumpaneste si mai tare. Portretul moral al avarului se configureaza prin caracterizare indirecta. Astfel, aspectul exterior si interior al casei din strada Antim, realizat prin tehnica detaliului semnificativ, trimite catre avaritia lui Costache Giurgiuveanu, dar si catre un parvenitism sugerat de arhitectura de prost-gust. In continuare, portretul moral al avarului se ingroasa prin tehnica acumularii detaliilor: fapte, gesturi, vestimentatie, relatiile intre personaje. Din statutul sau social de rentier, Mos Costache stie sa faca bani din inchirierea unor imobile sau localuri, carora li se adauga micile „ciupeli” de la Pascalopol, sau socotelile incarcate pentru intretinerea lui Felix. Ca orice avar, Costache Giurgiuveanu isi tine banii in casa si ii ascunde in diferite locuri. De aceea traieste mereu spaima ca-l vede cineva atunci cand umbla cu ei sau frica de a nu fi furat. Gesturile, balbaiala sau raguseala sunt instrumente ale avarului, pe care Costache Giurgiuveanu le facuse atunci cand vrea sa iasa dintr-o situatie: de obicei sa imprumute bani. Tinuta sa vestimentara pe care naratorul i-o realizeaza dupa primul atac cerebral proiecteaza personajul in registrul ridicolului: „ghetele de gumilastic, ciorapii de lana groasa, nadragii largi de stamba colorata, sfoara in loc de sireturi”. Pe masura ce familia Tulea umple incaperea, Mos Costache traieste adevarate sentimente de spaima. Zbuciumul lui ajunge la disperare atunci cand ceilalti se infrupta din mancare, vinul si agoniseala sa. Relatia cu sora lui, Aglae, si ginerele acesteia, Stanica Ratiu, sunt dominate de suspiciune, batranul fiind constient de faptul ca cei doi urmaresc averea lui. George Calinescu reuseste insa sa-si scoata personajul din tiparul clasic al avarului, conferindu-i un comportament variat, care oscileaza intre dorinta acestuia de a o infia pe Otilia, si astfel de a-i lasa mostenirea si imposibilitatea de a se desparti de bani. Mos Costache o iubeste sincer pe Otilia si, avand incredere in Pascalopol, vrea sa-i asigure viitorul. Pornirea generoasa este mereu amanata insa din cauza slabiciunii avarului. Exista si alte momente cand batranul iese de sub imparatia avaritiei si isi depaseste aceasta conditie: tine la Felix, isi aduce o menajera sa-l ingrijeasca, consulta un doctor si cheama un preot sa-i sfinteasca locuinta. Se poate spune ca personajul lui Calinescu se zbate intre dorinta de a deveni altul si obisnuinta avarului. Prima il face sa devina generos, tandru, protector fata de Otilia si Felix, dar nu poate invinge deprinderi de o viata.

Stanica Ratiu

Stanica Ratiu intruchipeaza tipul arivistului lipsit de scrupule, mergand pana la crima pentru bani. Tehnica focalizarii permite dezvaluirea caracterului acestui personaj, pornind de la datele exterioare (fizionomie, vestimentatie, gesturi, relatii cu alte personaje), astfel, infatisarea si tinuta vestimentara sunt ale unui om bine, de o sanatate agresiva, avand parul negru si cret si o mustata „in chip de musca”. Prin statutul sau social de avocat, chiar si fara procese, el reflecta clasa burgheza dornica de parvenire. Traind necununat cu Olimpia, una dintre fetele sotilor Tulea, Stanica era considerat un fel de ginere al Aglaei. Pentru arivistul lui Calinescu, banii reprezinta o filozofie de viata: temelia unei casatorii, renumele de avocat, succesul in viata politica si sociala. Spre deosebire insa de ceilalti arivisti din literatura romana (Dinu Paturica, Tanase Scatiu), care urmareste un plan riguros de imbogatire, Stanica sta mereu la panda, asteptand lovitura cea mare. In calitate de ruda, el este mereu prezent in casa lui Costache Giurgiuveanu, atras fiind de averea batranului. Asta nu-l impiedica pe avocat sa speculeze abil situatiile favorabile pentru a se chivernisi: imprumuta bani de la Pascalopol, pe care nu-i mai da inapoi, sustine ideile fixe ale lui Simion, sau il iscodeste pe Felix pe tema unui eventual testament facut de Costache Giurgiuveanu. Stanica este un obraznic si fara rusine, dar inventiv, asa incat dincolo de nesecata lui demagogie (critica il numeste „un Catavencu al ideii de paternitate”) se poate intrezari o minte ascutita. Mai viclean decat Mos Costache, Stanica exercita asupra batranului avar un atac neobosit, insuflandu-i teama de hoti sau ideea batranetii. Intr-o seara de decembrie aduce chiar un medic suspect ca sa-l consulte pe batran, cu intetia de a-l declara incapabil sa-si administreze averea. Indimidat de intrabarile ciudate ale „doctorului” si vulnerabil in fata celor doi intrusi, Giurgiuveanu abia reuseste sa puna capat acestei farse. Alta data, afland de intentia lui Mos Costache de a o infia pe Otilia, Stanica ii trimite o scrisoare anonima, plina de aluzii murdare, fapt care-i descopera lasitatea si perfidia. Intamplarea are efectul scontat si infierea nu va mai avea loc niciodata. In scena cand batranul avar sufera primul atac cerebral, familia Tulea ocupa „militareste”casa, asteptandu-l sa moara, fara a schita nici cel mai mic gest de compasiune. Stanica Ratiu isi arata din nou josnicia, devastand dulapurile cu provizii si opunandu-se bunelor intentii ale doctorului. Ulterior, cand Mos Costache se insanatoseste, el isi continua vizitele, cautand ascunzatoarea banilor. Simtind ca batranul se apropie de sfarsit (dupa ce suferise al doilea atac cerebral), ii smulge de sub saltea pachetul cu bani, provocandu-i moartea. Din aceasta fapta, Stanica Ratiu devine odios. Cu banii furati, el ajunge un om politic si proprietar al unui bloc-house, implinindu-si astfel destinul de arivist.

Otilia

Personaj eponim al romanului este Otilia Marculescu, al carei statut social si profil psihologic se modifica pe parcursul actiunii si pastreaza nota de mister evidentiata in titlul romanului. Personaj protagonist si mobil, Otilia nu se inscrie intr-o tipologie, osciland mereu intre „da si nu, intre solar si mister”, oferind mereu o alta fata. Ea este cea care il intamplina pe Felix Sima in seara de iulie 1909, cand tanarul descinde in casa din strada Antim. Crescuta de Costache, care se casatorise cu mama Otiliei, ea duce o viata lipsita de constrangeri, evoluand intre vizitele lui Pascalopol si frecventarea cursurilor la Conservator. Cateva mici evenimente (o vizita la mosia lui Pascalopol, o excursie la Paris) se inscriu in aceasta traiectorie, aparent calma. Dintr-o data, boala si apoi moartea lui Mos Costache schimba radical viata tinerei. Ramanand intr-o situatie incerta, intrucat Costache nu o infiase din zgarcenie si din teama Aglaei, Otilia este nevoita sa-si caute alt destin: dupa o noapte casta petrecuta in patul lui Felix, tanara va pleca impreuna cu Pascalopol. Principalul conflict al romanului se naste din lupta clanului Tulea pentru acapararea averii lui Mosc Costache. Fiinta superioara lumii care o inconjoara, Otilia se afla in afara acestui conflict pentru ca sinceritatea, candoarea si bunatatea o fac sa se detaseze de orice scop material si sa ierte, cu marinimie, rautatea celor din jur. Sugestive sunt doua scene: prima este cea in care batranul avar sufera cel dintai atac cerebral, iar familia Tulea ocupa „militareste”casa, asteptandu-l sa moara, fara a schita nici cel mai mic gest de compasiune. In tot acest rastimp, Otilia traieste o suferinta adanca, amplificata de sensibilitatea ei aparte. Mai tarziu, la moartea lui Mos Costache, impietrita de durere, ea isi arata inca o data superioritatea morala: „mie nu-mi trebuie absolut nimic”. Cea de-a doua scena este cea in care Otilia ii daruieste Auricai propriul pian, cu toate ca reprezenta o amintire de la mama ei. Otilia este caracterizata prin mai multe mijloace. Prin cuvintele autorului, ea este definita ca o proiectie lirica a acestuia: „Otilia este oglinda mea de argint”. Romanul incepe si se incheie cu cate o imagine a acestui personaj realizat din perspectiva lui Felix. Prima Otilie ii arata tanarului sosit in strada Antim „un cap prelung si tanar de fata, incarcat cu bucle cazand pe umeri” si ii intinde cu sinceritate un brat gol si delicat. Ultima Otilie (cea din fotografia pe care Pascalopol i-o arata lui Felix in tren) este imaginea unei doamne frumoase, cu linii fine, dar care nu mai era Otilia de alta data. Vraja se risipise o data cu scurgerea vremii. Intre cele doua momente se incheaga portretul moral al unei fapturi apartinut vietii si visului adolescentin. Pentru fiecare tanar, fata pe care a iubit-o la 18 ani ramane o enigma. Mediul in care traieste Otilia (caracterizare indirecta) ii releva sufletul de artista. Dezordinea din camera ei, descrisa in primul capitol al romanului, nu constituie decat exprimarea unui tumult sufletesc, imposibil de incadrat in anumite norme. Atitudinea, faptele, cuvintele personajelor constituie alte mijloace de caracterizare indirecta. In fiecare pagina a romanului se simte prezenta acestei fapturi gingase, nebunatice si nestatornice, amestec de exuberanta si seriozitate. Alergand prin gradina, catarandu-se pe capitele de fan de pe mosia lui Pascalopol sau revarsandu-si sensibilitatea in acordurile pianului, Otilia reprezinta insasi feminitatea. Personalitatea eroinei lui Calinescu se reflecta insa diferit in constiinta celorlalte personaje (tehnica oglinzilor), fapt care duce la crearea unei ambiguitati si a unei relativizari a personajului, starnind controverse: pentru Mos Costache este „Fe-fetita”, cuminte si iubitoare; pentru Felix este o fata „admirabila”, „superioara”, pe care nu o poate intelege; pentru Pascalopol – „un temperament de artista”; Stanica Ratiu – „o fata desteapta”; „o stricata” – Aglae; o rivala pentru Aurica. Dincolo de conventia vietii privita ca joc, Otilia este inteligenta, profunda si responsabila. Dupa noaptea pura petrecuta in patul lui Felix, ea ii marturiseste, intr-o scrisoare trimisa ulterior, teama de a nu fi o „dragoste nepotrivita pentru marele lui viitor”. Otilia este unul dintre cele mai fermecatoare personaje feminine din literatura romana, intruchipand misterul feminitatii adolescentine.

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...lower levels of pollution and other adverse effects on the biosphere and environment around it. It might sound something of similitude from science fiction of some perfect utopian future where robots serve as personal comfort assistants of the Human race, people travelling in flying cars or any such levitated contraptions and where we have trade relations with beings from another part of the Universe. To the contrary of the previous sentence, smart cities are not a part of a distant utopian future, but are happening now and the World Wide Web of the Internet has been the greatest tool in achieving it. In fact there are examples of Smart cities in the past such as Bletchley Park, where Professor Alan Turing deciphered the infamous Nazi cipher Enigma machine during World War II. Alan Turing who is often called the father of modern computing, is only fitting that he too once lived in a smart city that changed the course of history and we know and live now. Compared to the early 21st century, our way of living, at least in the Tier 1 and Tier 2 cities have changed radically. Many web enabled companies have come forward and radically changed various aspects of our lives, be it shopping, be it communicating with friends, be it deciding on a restaurant or any other thing. This concept of smart city has created a wave and motivated many innovators to come up with various product and services that has enabled the mass to act...

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Alan Turing: Organo-Therapy For Imosexual Teens

...In 1941 Alan Turing cracked the Enigma code, saving what military historians estimate to be somewhere between 14 to 21 million lives in WWII (Cashill, 2014). Born in London in 1912 Turing was an expert mathematician, computer scientist, cryptanalyst, philosopher, and theoretical biologist (IWM Staff, 2018). His work for the Allied powers won us a war (Disalvo, 2012). A decade later in 1952, Turing was arrested and convicted of “Gross Indecency” when authorities discovered this national hero was gay. He was sentenced to undergo what was called “organo-therapy,” or chemical castration. Within two years he was found dead of cyanide poisoning, still very much gay but now thoroughly defeated. Betrayed by the country he loved, publicly humiliated,...

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