Angela Martin translated and edited an anthology of representation from the works of the important Swiss critic Jan Starubinsky, in 1993, entitled Seductive. Sadness, nostalgia, irony. The friendship that subsequently developed between the scholar-critic and the translator-critic turned into an intellectual connection and a literary stimulus that would contribute to a continuing interest in the famous Geneva School. Interest aroused in the 60s of the last century by Vladimir Strino, and then planted by university professors Romol Monteneau, Ion Pope and Myrcia Martin. Angela Martin has joined them since 2014, and publishes in the magazine cultureArticle “Fullness of the Possible”. Subsequent research has slightly altered this title so that the volume entrusted to the Transylvanian School Publishing House, in 2022, bears the title Jan Starubinsky: Fullness is possible. The writer’s admiration for the helmet has remained constant and we find that she resumes it in the same terms since 1993: “Jan Starubinsky is the greatest humanist that Switzerland and Europe can presently offer to the world.” This ground-based enthusiasm aims to emphasize the fascination with the encyclopedic dimension of the work and the interests of this psychiatrist as well as writer, critic, philosopher, literary historian and comparative. It is rare that in times of numerous revolutions and developments we meet a scientist with a broad introduction to disciplines with potential opportunities for intervention. Such an approach converges with what the author wants it to be possible fullness. In passing, I recall that the topic has been followed by the author in many articles published in the past, and resumed in Vol.: “methodology without method” (Important Notebooks2020), “Work life, work life” (the heater2020), “Rousseau is my most famous patient” (cultural observer2020), and “the doctor and his brother.”And the the painter”(Literary conversations2021), among others. Borrowing the expression used by Rousseau, we can say that Jan Starubinsky, in turn, became a patient of Angela Martin.
Rodica Zinn anticipates an introduction to the volume in question, and is in turn enthusiastic, after the vortex of Angela Martin’s admiration for the Swiss critic’s ecology of the world’s life (home, family), his creative laboratory (library), and the instant harmony of the universe. music) that Starobinski thought and created. The reader is cautioned that the view inside the new book dedicated to the Swiss does not conform to the canons of criticism, but rather to a vision with a broad horizon (and as far as possible to update): “the background to my reading is an anthropological tapestry” relating to nature transition A legacy in the crisis conditions that society is going through today. It is clear that psychoanalysis does not lose its need to investigate contemporary reality. All the better!
the sound Jan Starubinsky: Possible to be full It confirms the author’s intent to join – and she has done so successfully – the select club of post-classical literary criticism. Memory is asked to remember for posterity a moment in literary history. Who anticipates postmodernism or asserts its necessity and who, paradoxically, can be its victim at any time. Angela Martin probably thought of avoiding that danger by releasing the new volume, much to my admission, as if it were an appeal. to his house: I have written these articles since 2014, with the feeling that I do not respond to imaginative messages, but to a comprehensive background condition, which has increased over the years in harmony with the readings of his books, but also with a passion for criticism against me “live” in the nearest neighborhood.argument).
A particular critique such as that practiced by Starobinski and the Geneva School of Criticism raises some of the fundamental issues that the author raises in the context of the relationship between the literary critic and the psychiatrist. Further: “To what extent can medical thinking, if philosophical, be separated from philosophical and literary reasoning?” (“Russo is my most famous patient”). We find a more appropriate answer to these questions in Van Gogh’s article (The doctor and his “brother” the painter). Faced with such a complex question of life (“What is life, how much is it?”, Eminescu’s words), Angela Martin’s book aims to open up a new horizon of understanding. Stylistically, it is worth noting what we might call the feminist poetics of confession, which corresponds only to practice, and wholly considered, and which we find in the volume devoted to an authentic “case of psychiatry”, Dear Fernando Pessoa, (Editora Freema, 2021). Pessoa, like Van Gogh, is an excellent example of psychoanalysis.
Angela Martin recounts the steps of meeting, friendship and cooperation with Jan Starubinsky in minute detail. The first visit foretells the development towards the imminent intimacy: “But a humble smile appeared in the doorway: only then did I feel that the same face would follow shyly. It was a warm and calm smile, purified as if it was an older and well-established cause of delight, enveloping, as in a healthy aura, an entity Professor. The picture is far from the classical picture of the world. It is therefore natural that, behind a solid original work, we discover a strong character. The author assures us that no matter how we search, we will not find anywhere expressed in the work of Juan Starubinsky “the intent of the critic, however vague , to commit to a way he will unconditionally present it.” Nor the direction of the Geneva School?, the question comes naturally. The charm that the Geneva critic conveys to the author stems from the elegance of the model, with Jan Starubinsky stating somewhere: “To Marcel Raymond, a reader confessions Based on Dreams of a pedestrian lonelyI owe him Rousseau’s first attachment”(Our only garden, our only garden). It is worth noting the collective intimacy, equal to duty, which allows to close the elite circle of Raymond-Rousseau-Starobinsky, as part of the Geneva School. The “dreams” of Gaston Bachelard, one of the members of this school, turned in Starobinski into anthropological insights. Thus, the methods of investigating the causes of the crisis of modern society were completed.
The nature and nature of Jan Starubinsky’s complete work is a good introduction to European literary criticism of the last century. It is not easy to conquer this world, being rather one of the academic elite. The method of investigation of a literary work requires extensive scientific “treatment”, outside the classical canon. The subtitle that Angela Martin chose to illustrate the book indicates an attempt at research and connections that classic criticism ignored: possible fullness – It is really possible, even on the way to Geneva, fullness? To understand a formula such as an encyclopedia that was limited to the world of literary criticism. Enthusiasts say, from the perspective of ambition, it would be desirable. But the formula also faces many postmodern attacks. Modern man seems too hasty to accept another life in analytical or anthropological terms. If we consider criticism as a window through which we can penetrate into the realm of the world created by man, and not by God, then we have in Angela Martin’s book a test of the appropriateness of this method. It is not easy to get into the world of Starobinsky. Existentialists put us in front of the duality of the human soul. freud foot unaware Human nature, a fact that cannot be disputed or easily understood, because above all, unaware he is Given In itself. The trait of uncontrolled freedom. At most, from the outside, censorship can be exercised, of course with unexpected effects. Critics in Geneva, including Starobinski, do dissections to make the Enlightenment possible awareness – awareness From unaware. The problem goes well beyond the classical canon. Such criticism appears to be directed at an elite academic circle.
Angela Martin’s book is an echo of her charm comprehensive review Of the Swiss, it is practiced by representatives of the Geneva School. Choice, of course, should be understood as an expression of the independence of action and the monetary universe. The freedom of movement is for the soul. We understand it, as such, as fiction. For we cannot, otherwise, imagine the map of Jan Starobinski’s existence other than this: it unfolds completely in the vast depths of his library.” Here is a possible argument in support of this hypothesis which Starobinski himself gives us: “It is treated as a symptom by psychologists, as a social product or At least as a sign in relation to the universal structure of society, the work of art is relative, deprived of its magical isolation. Unexpected relationships appear, meanings appear that are intertwined between the work and its “environment”, between the work and the “unconscious” of its author. Therefore, neither works alone, nor the hand of friends about a great author, will attract our attention: the new thing that sociology or psychology embraces is a set of meanings or forces in which the work and the writer no longer have their own traditions. Site “.
This is a guide with which we can move forward, also through Angela Martin’s book, towards accepting the specificity of the Geneva School.