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The Name of a Rose

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ANALIZA ROMANA 'IME RUŽE'

Eco se prvenstveno proslavio svojim književnim djelima koja su nastala primjenom semiotike. To su Ime ruže, Foucaltovo njihalo i Otok prvoga dana. Sam je Eco svoje romane okarakterizirao kao «tvrdoglave pokušaje da se razumiju mehanizmi po kojima svijetu oko sebe dajemo značenje». (Nöth, 2004: 126) Umberto Eco je svoj roman utemeljio na rukopisu redovnika iz 14. stoljeća. Eco je taj rukopis preveo na talijanski s, kako šaljivo kaže, neogotičkog prijevoda na francuski latinskog izdanja iz 17. stoljeća djela koje je krajem 14. stoljeća na latinskom napisao njemački redovnik. (Eco, 2004: 8)
Na samome početku romana objašnjeno je računanje vremena u djelu koje je ustanovljeno crkvenim kanonima i vremenima molitve. Tada čitatelj odmah sklapa fikcionalni sporazum s modelom autora jer se sam čitatelj vjerojatno nikad nije našao u situaciji da na taj način mjeri vrijeme. Također prihvaća nacrt samostana i njegovu lokaciju unatoč mogućnosti da čitatelj nikad nije bio u Italiji, a i da je bio, prihvaća činjenicu da se na objašnjenom mjestu nalazio samostan bez obzira na moguću pogrešku modela autora.
Treba također razjasniti tko govori u romanu. Jonathan Culler u svojoj Književnoj teoriji skreće pozornost na to da, pri interpretaciji teksta, treba obratiti pozornost na nekoliko važnih pitanja: * Tko govori? – Imamo pripovjedača u «prvom licu» koji može biti protagonist, a isto tako može biti manje važan lik u djelu, a i samo promatrač. Također imamo pripovjedača u trećem licu za kojeg ne znamo je li muško ili žensko te ne sudjeluje u radnji djela. U romanu Ime ruže govori Adson, učenik mudroga Vilima. On vrlo detaljno prenosi i dijaloge koji su se odvijali u njegovoj prisutnosti. Budući da roman «piše» osamdesetogodišnji Adson prisjećajući se vremena kada je bio osamnaestogodišnjak, postavlja se pitanje piše li roman osamdesetogodišnji Adson ili osamnaestogodišnji Adson? Eco objašnjava da obojica govore, i to namjerno. (Eco, 2004: 490) Stariji Adson javlja se cijelo vrijeme. O korištenju prvog lica više u poglavlju kasnije. * Tko kome govori? – Pripovjedač se obraća čitateljima koji su ponekad implicitni ili konstruirani, a ponekad eksplicitno određeni. Ovdje se Adson često obraća čitatelju. Navest ćemo primjer sa samoga kraja romana:
«No ove su mi nepotpune stranice pravile društvo sav život koji mi je otad preostao da preživim, često sam im se obraćao kao proročištu, i gotovo da imam dojam kako je ono što sam na ovim listovima napisao, a što ćeš ti, neznani čitatelju, sada čitati, tek skup kojegdje napabirčenih podataka, slikovna pjesma, golem akrostih koji ne kaže i ne ponavlja ništa do ono na što su me uputili ovi odlomci, a više ne znam jesam li ja dosad govorio o njima ili su oni progovorili na moja usta.» (Eco, 2004: 468) * Kada tko govori? – Vrijeme radnje nekoga romana može biti paralelno s određenim događajem, neposredno nakon nekog događaja (epistolarni romani) te poslije završenoga događaja (najčešći slučaj). Adson, kao osamdesetogodišnjak, piše dugo vremena nakon završene radnje, no budući da piše na temelju vlastitih zapisa koje je napravio kao osamnaestogodišnjak, može li se sa sigurnošću tvrditi da je pripovjedni tekst nastao nakon ili tijekom određene radnje? Moguće da nijedan odgovor nije u potpunosti točan jer ni sam pripovjedač, dakle Adson, nije stalno jedna te ista osoba; on je i osamnaestogodišnjak i osamdesetogodišnjak. Tako da bi se moglo reći da se dio radnje odvija nakon završenog događaja, a dio neposredno nakon nekog događaja jer je Adson tada pisao svoje bilješke kao osamnaestogodišnjak. * Kakvim jezikom tko govori? – Jezik određenoga romana može biti različit, a to ovisi o raznim čimbenicima, kao npr. starost osobe, razina obrazovanja itd. U romanu Ime ruže nailazimo na kombinaciju različitih jezika. Kao prvo, jezika u doslovnom smislu riječi jer se u samostanu nalaze redovnici iz različitih krajeva Europe pa često dolazi do šumova u komunikacijskom kanalu. Sam se osamnaestogodišnji Adson ne snalazi u komunikaciji na svim jezicima koji su prisutni u samostanu. Nadalje, postoje stariji redovnici koji iza sebe imaju veliko životno iskustvo te komuniciraju na određenoj razini te nerijetko razgovaraju o trenutnom stanju u Crkvi, povijesti, razmišljanjima, djelima koje čitaju… Zatim je tu aktant djevojke koja zadovoljava pohotne redovnike i predstavlja neuki puk, a ostvaruje se u akteru djevojke s kojom je osamnaestogodišnji Adson spolno općio. Na kraju imamo i Adsona kao osamnaestogodišnjaka koji predstavlja tinejdžera koji se još ne može u potpunosti poistovjetiti sa starijim redovnicima te kojeg muče neki tipični problemi karakteristični za to životno razdoblje kao što je, primjerice, zaljubljenost u seljanku i razmišljanje o vlastitom izgledu. Ovaj je roman, dakle, izuzetno polifoničan. * S kojom ovlasti tko govori? – Kazivati priču znači uzeti određenu ovlast koju bi slušatelji trebali priznati. (Culler, 2001: 103) Kada netko napiše da je, primjerice, Ivan bio izrazito samouvjeren, lijep i šarmantan, mi automatski navedenu informaciju uzimamo zdravo za gotovo. Tako osamnaestogodišnji Adson, kao i osamdesetogodišnji Adson, s velikim poštovanjem govore o svom načitanom i iznimno obrazovanom učitelju Vilimu pa ga tako i svaki čitatelj gleda s velikim poštovanjem ne promišljajući previše o mogućnosti da Vilim i nije tako dobar akter.

Prije svakoga poglavlja u romanu se javljaju i «sažeci» poglavlja koji unaprijed najavljuju što će se dogoditi. Ovdje se radi o nekoj drugoj pripovjednoj instanci budući da se Adson spominje u trećem licu jednine u svim sažecima poglavlja. Ti se sažeci uglavnom sastoje od jedne rečenice, no dovoljno su informativni da sažmu sadržaj nadolazećeg poglavlja. Sam pripovjedač uvodi makropoziciju prije čitanja samoga odlomka te tako, na neki način, olakšava čitatelju prolazak kroz tekst.
Ranije su objašnjene analepsa i prolepsa. Pripovjedač, odnosno Adson, često koristi prolepsu i vjerojatno se u takvim situacijama radi o osamdesetogodišnjem Adsonu. Primjer:
«No obuzdaj svoju nestrpljivost, nestašni moj jeziče. Toga se dana, naime, o kojemu govorim, i to prije noći, dogodiše još mnoge stvari, o kojima će biti dobro da izvjestim.» (Eco, 2004: 41)
Model autora u ovom romanu priča priču dosta opširno, s mnogo pojedinosti. Sam Eco, u kasnijem osvrtu na roman, objašnjava da Adson cijelo vrijeme govori koristeći figuru misli pretericiju te objašnjava stvari koje su tek spomenute, uvodi enciklopedijske pojmove jer je takav bio stil srednjovjekovnog kroničara. (Eco, 2004: 492)
Zanimljivo je što Eco piše o znakovima unutar samog svog romana. Kao prvo, redovnik Vilim i učenik Adson cijelo vrijeme slijede nekakve znakove pomoću kojih pokušavaju riješiti misteriju niza ubojstava koja su se dogodila u samostanu. Također, samim tim postupkom navode čitatelja da slijedi znakove, donosi vlastite zaključke i stvara pretpostavke tko bi mogao biti ubojica i što se događa u samostanu. Kako Vilim i Adson stvaraju krive pretpostavke slušajući priče ostalih redovnika, tako navode i samoga čitatelja na pogrešan trag. U romanu su prikazane i skice i znakovi na koje nailaze Vilim i Adson da bi čitatelja što bolje uputili u priču. Priča o semiotici vrlo je vješto ukomponirana u radnju romana jer povremeno i sami redovnici vode rasprave o znakovima.
POSTMODERNIZAM

Postmoderna je istodobno periodizacijski, tipologijski i kulturnopovijesni pojam. Začet je u književnoznanstvenim krugovima 60-ih godina, a u široj se intelektualnoj javnosti etablira 70-ih godina 20. stoljeća. (Biti, 2000: 396) Sama definicija pojma poprilično je nejasna i predmetom je raznih filozofskih, socioloških, teorijskih rasprava. Postmodernisti pokazuju velik interes za masovnu kulturu i kič. Isto se tako brišu modalne i žanrovske granice među tekstovima, i to podjednako u njihovoj proizvodnji i u refleksiji o njima. (Biti, 2000: 397) Sam se Eco osvrnuo na postmodernu kao kontekst u kojem je nastao roman. Prvo napominje da je moguće ponovo se vratiti fabuli, čak i u obliku citata drugih fabula. Također skreće pozornost na činjenicu da se danas pojam postmoderne upotrebljava kako kome padne na pamet i ironizira činjenicu da se granica postmoderne cijelo vrijeme pomiče unatrag te dodaje da bi ta granica mogla doći do Homera kako je krenulo. Smatra da svako razdoblje ima svoju postmodernu kao što svako razdoblje ima svoj manirizam te se pita je li postmoderna možda suvremeni naziv za manirizam. Idealni postmodernistički roman morao bi prevladati prepirke između realizma i irealizma, čiste književnosti i angažirane književnosti, proze za elitu i proze za masu… (Eco, 2004: 503)
Eco tvrdi da se postmoderni odgovor moderni sastoji od shvaćanja da prošlost, budući da zaista ne može biti uništena zbog toga što njena destrukcija vodi tišini, mora biti ponovo posjećena, ali sa ironijom, sa odsustvom nevinosti. On tvrdi da postoje tri načina tog “posjeta”, a to su romansa, hvalisava priča i povijesni roman. Eco ističe da je prilikom pisanja Ime ruže težio ka posljednjem. Međutim, Linda Hutcheon snažno zastupa tezu da je Ime ruže primjer par excellance povijesne metafikcije. Povijesna metafikcija pripovijeda prošlost sa dubokom sviješću o načinu na koji se ta narativizacija obavlja.
Najupečatljiviji dio povijesnog aspekta ovog romana je susret dvaju izaslanstava, papinskog i franjevačkog. Ovaj susret se odvija na “neutralnom tlu”, prostoru benediktinske opatije. Eco ističe da je riječ o citatu preuzetom iz jedne srednjevjekovne kronike napisane u XIV stoljeću, ali da to čitatelj ne mora znati.
Ironijski otklon prema događajima o kojima pripovijeda je uočljiv u nekoliko dijelova. Ime ruže je roman sa trostrukim uokvirenjem. Pred nama leži Adsonov rukopis koji je pretrpio nekoliko intervencija. U prvom redu se misli na Valletove zabilješke, tj. na zabilješke koje je on napravio služeći se predloškom euridita Mabillona, da bi na kraju ta tri teksta pomogla Ecovom pripovjedaču da ispripovijeda događaje. Sa stanovišta teorije citatnosti Valletov tekst predstavlja interliterarni citat i to metacitat, književni tekst komunicira sa poetikom srednjeg vijeka. Ovakav okvir daje romanu slobodu “ne-historijske nedosljednosti”, dok odveć precizno kazalo i napomena, te napomene u tekstu idu na izuzetnu znanost. Treba naglasiti da se i kazalu i napomeni treba pristupiti kao integralnim dijelovima romana. Težnja za dosljednošću se ogleda u citatima iz djela Les heures benedictines objavljenog 1925. u Parizu, u izdavačkoj kući Grosset. Ova dosljednost napadno insistira na vremenskoj preciznosti i njenoj važnosti za život benediktinskih redovnika. S druge strane, riječ je ipak o rukopisu, povlaštenom motivu postmoderne književnosti. Čini se da većina postmodernih romana polaže svoje isključivo pravo na ovaj motiv, spomenimo neke: Bijela tvrđava Orhana Pamuka, Terra nostra Carlosa Fuentesa, Babilonska biblioteka Jorge Luisa Borgesa. Onda nije ni čudo što pripovjedač u kazalu kaže: «Naravno rukopis» (Eco,2004: 1)
Ovaj ironijski otklon problematizira i povijesne pretenzije na neprikosnovenu istinitost. Činjenice na koje se povijest poziva nisu ništa drugo do nečiji tekst o nekom događaju, koji najvjerojatnije teško zaobilazi intervencije onih koji do njega dođu dajući im slobodu osobne interpretacije napisanog. Postmoderna ovakve tekstove stavlja pod svijetlo preispitivanja i sumnje u njihovu istinitost.

Roman Ime ruže odvija se u srednjem vijeku te sam Eco napominje da je puno vremena proveo proučavajući srednji vijek. U ponekim je intervjuima napominjao da sadašnjost poznaje preko malih ekrana, a srednji vijek izravno jer je bio u izravnom doticaju s brojnim originalnim srednjovjekovnim zapisima. Osim što se radnja odvija u srednjem vijeku, Eco je samo pripovijedanje pokušao prilagoditi tom razdoblju. Često nailazimo na intertekstualnost, naročito iz Biblije. Sam roman započinje biblijskim citatom:
«U početku bijaše Riječ, i Riječ bijaše kod Boga – i Riječ bijaše Bog.» (Eco, 2004: 13)

Roman je pun i stvarnih povijesnih činjenica, a izvor za to jesu srednjovjekovne kronike. Zanimljivo je spomenuti i vrijeme radnje, a to je krajem studenoga u planini kada je dovoljno hladno za klanje prasaca što je bilo potrebno za scenu ubijenog redovnika koji naglavačke leži u kotlu krvi, a sve je to potaknuto biblijskim tekstom Otkrivenja.

Postavlja se pitanje o žanrovskom određenju romana? On počinje kao krimić, no u tom se krimiću vrlo malo otkriva, a detektiv pretrpi poraz. (Eco, 2004: 497) U tom krimiću ima vrlo malo seksa, puno teologije, malo akcije i puno krvi. (Eco, 2004: 496) Također se postavlja pitanje u kolikoj je mjeri Ime ruže povijesni roman? Kao što sam već napomenula, pojedini likovi iz djela uistinu su postojali, iako nisu enciklopedijski poznati, no to nije ni bitno jer se mnogi povijesni romani temelje na likovima koji nisu poznati široj javnosti. Može se reći da se ne može točno odrediti žanr ovome romanu. Eco spominje i svoj problem koji je nastao kada je roman donio izdavačima. Savjetovali su mu da skrati prvih sto stranica jer su previše zamorne. On to nije htio učiniti jer te stranice, kako kaže, imaju inicijacijsku funkciju i izgrađuju čitatelja. Ovaj roman briše i spomenute granice proze za elitu i proze za masu. Dijalozi između redovnika o stanju u Crkvi i nekim događajima prosječnom bi se čitatelju mogli činiti poprilično naporni, ali zato je tu osamnaestogodišnji Adson koji govori o svojim problemima, kojem nisu jasne neke stvari, koji se zaljubljuje i prolazi kroz muke svakog prosječnog adolescenta te se na taj način stvara prihvatljiva ravnoteža.
PRIPOVJEDANJE U PRVOM LICU
Pripovjedačeva ironijska naznaka u kazalu od manje je važnosti ako uzmem u obzir da je Ime ruže u cijelosti roman napisan u prvom licu, što sam već spomenula ranije. Pripovijedanje događaja u prvom licu a priori konotira subjektivnost, koju povijest po svojoj prirodi ne trpi. Ime ruže ima sve osobine autobiografskog romana, jer pripovjedno “JA” zrelog, ostarjelog redovnika Adsona pripovijeda i o putu sazrijevanja drugog “JA”, “JA” koje pripada benediktinskom iskušeniku Adsonu, sudioniku u događajima. Udaljenost ili povezanost između ova dva “JA” je u teoriji pripovijedanja primjećena, ali nikada dovoljno razjašnjena.
Odabir lica po važna je i u teoriji recepcije (Rožajac, 2003.). Rožajac navodi Lockmanna koji smatra da za čitatelja postoji razlika u “vjerodostojnosti” ispričanog iskaza prema tome da li je to iskaz u trećem ili prvom licu jednine. On smatra da “nepouzdanost” pripovjedača u prvom licu nije međutim primarno sazdana u svojstvu osobnosti njegova lika u romanu, već u ontološkoj bazi položaja pripovjedača u prvom licu. On može na temelju svoje pozicije u sferi likova i na temelju svoje fizički determinirane ličnosti, iz čega proizilazi određena ograničenost njegovog perceptivnog i spoznajnog horizonta, posjedovati samo subjektivan i time ograničeno valjan nazor o ispripovijedanim događajima.
U kontekstu romana Ime ruže to bi značilo da sa velikim oprezom trebamo pristupiti povijesnom diskursu romana, ali zadržati taj oprez i pri susretu sa povijesnim tekstovima koji postoje van fikcionalnog konteksta. Na to nas upozorava i naredni citat iz Imena ruže u kojem Adson govori o nedostatku vjerodostojnosti u svakom tekstu koji nije Božija riječ:
U početku bijaše Riječ, i Riječ bijaše kod Boga - i Riječ bijaše Bog. Ona u početku bijaše kod Boga, a zadaća bi vjerna redovnika bila svaki dan, poput psalama ponizno ponavljati taj jedini nepreinačivi događaj za koji možemo ustvrditi da je neprijeporno istinit.
(Eco, 2004: 21)
Uz to najčešće se u povijenim tekstovima čuju samo glasovi pojedinaca dok nasuprot njima stoji more drugih glasova, glasova koji nemaju pravo na priču. Problem “nijemosti drugih” u Imenu ruže aktualizira jedini ženski lik, lik seljanke, vještice. To je ujedno i jedini lik koji nije imenovan, a odsustvo imenovanja implicira odsustvo postojanja. Adson kaže:
Jedinoj zemaljskoj ljubavi u svojem životu nisam znao niti ikada doznadoh ime.
(Eco, 2004: 330)
Djevojka govori pučkim italijanskim jezikom, jezikom koji “učene poliglote u opatiji” ne razumiju. Ironično, zar ne? Njoj se oduzima pravo na obranu od svima jasno lažne optužbe, dopuštajući da “činjenice” u vidu crne mačke i trava govore u njeno ime. Ove inkriminirajuće činjenice utiru put ka samo jednom mjestu, lomači.
Adsonova pripovjedačka djelatnost je motivirana željom da se istinito predoče događaji u opatiji, pri čemu pripovijedanje nije linearno. “Adson pripovjedač” se često upliće u priču o “Adsonu akteru”, a ovakvo udvajanje uvjetovano je vremenskom distancom i potrebom pripovjedača da skrene pažnju na čin pripovijedanja.
Autorov izbor prvog lica ne tiče se samo stilističkih nego i strukturnih uzroka. Ime ruže je sazdano iz tri ravnopravna diskursa, a prvo lice predstavlja njihovu sabirnu točku, točku koja ih slaže u integralnu cjelinu.
Na nivou diskursa krimi priče ova narativna strategija ima posebnu važnost. Statično motrište omogućava utjecaj točno određenog broja i informacija koje omogućavaju čitatelju da ravnopravno sudjeluje u procesu rješavanja zločina, što je jedno od osnovnih pravila kriminalističke priče. Uz to ne smijemo zanemariti činjenicu da ovako koncipirano pripovijedanje pojačava intertekstualnu vezu sa Doylovim pričama o avanturama Sherlocka Holmesa. Vilim i Adson su citatni likovi, oni su Ecov Holmes i Watson. Samo ćemo napomenuti da i kod Doyla poziciju pripovjedača drži detektivski pomoćnik govoreći o zgodama koje kucaju na vrata u ulici Baker.

POPIS LITERATURE:

1. Biti, Vladimir, 2000. Pojmovnik suvremene književne i kulturne teorije, Zagreb: Matica hrvatska 2. Culler, Jonathan, 2001. Književna teorija – vrlo kratak uvod, Zagreb: Biblioteka AGM 3. Eco, Umberto, 2004. Ime ruže, Zagreb: Globus media, Biblioteka Jutarnjeg lista 4. Hutcheon, Linda, 1996. Poetika postmodernizma: Istorija, teorija, fikcija. Novi Sad. Svetovi. 5. Nöth, Winfried, 2004. Priručnik semiotike, Zagreb: Ceres 6. Rožajac, Mirela, 2003. Aktualizacija matrice krimi priče u postmodernoj književnosti, Univerzitet u Sarajevu

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