Barka i autopoetika: simboličke forme vode, plovila i putovanјa u "Starom zavetu" i u "Romanu o Londonu" Miloša Crnјanskog

Abstract

Uz moralne implikacije, aktivne u pamćenju drugih drevnih naroda, priča o potopu tek u kulturi Jevreja dobija prirodnofilozofske, teološke i etnotehničke zaklјučke, jer njihovo razumevanje prirode, po Peteru Sloterdijku, okončava matrističku iluziju tvorevine i utvrđuje da je čovek ontološki naspraman nepouzdanoj, problematičnoj prirodi. Nojevo građenje barke, kao reakcija na gubitak tla, zasniva istoriju konstruktivizma, tehnološke svesti i zrelosti humanih bića. Prepoznata kao princip kompleksne istorije Izrailјa, barka nije samo „materijalna struktura” nego je i autopoetičko plovilo "Starog zaveta" - simbolička forma objava, saveza, putovanja, trauma, nade, spasenja. U velikoj priči „o opasnim pustolovinama izabranog naroda”, Avramova i Mojsijeva barka istorijski potenciraju i dramatizuju vrednost prve barke, jer posle potopa „biti Jevrejin značilo je trpeti pod imperijama, lavirati između imperija ili tražiti od imperija zaštitu, a nikad ne moći, niti poželeti, da sam izgradiš sopstveno, jednako moćno carstvo” (Sloterdijk 2015: 242-243). Ako istoriju sveta sagledamo kao izveštaj o putovanju barke, onda su i naracija o lutanju naroda i brodolomnim sudbinama mnogih pojedinaca u "Romanu o Londonu" Miloša Crnjanskog, vizije nadolaska vode i potopa, a osobito figure barki, čunova, čamaca i brodova, kao nagoveštajni znakovi rešavanja sudbine humanog principa, neke od onih simboličkih formi preko kojih se može uočiti kako sebe iskazuje, specifikuje i razume poetika ove knjige i poetika srpske modernističke proze. U knjizi Crnjanskog problematizuje se „san o obali na koju se može pristati posle potopa” (Sloterdijk 2015: 249), pa preobražaj kopna u prostor plimne pretnje, sveta u okeansku pustoš, naša pitanja o principu barke, inherentnom romanu, pozicionira i u mišlјenje o ontologiji fikcionog grada.

One of the most known stories in "The Old Testament" is the story of the flood. That story represents the culture of the Jewish memory but is also present in traditions of other ancient nations. The narrative about the flood and Noah's ark has moral implications and philosophical, theological, and ethno-technical conclusions. After the flood, the ancient Jews were experiencing nature as a hostile phenomenon. Their way of understanding nature is different in relation to other nations. Their understanding of nature is the end of a matristic illusion about creation, and it assumes that humans are ontologically opposed to an unreliable, problematic nature. Noah built the ark as a reaction to losing ground. Just that action and that object make up the first moment of constructivism, technological consciousness, and the maturity of human beings. The ark is a principle of the complex history of Israel. It does not constitute only the material structure, but is also an autopoietic vessel of "The Old Testament": it is a symbolic form of revelations, alliances, travels, traumas, hopes, and salvations. "The Old Testament" is the story about the dangerous travels of one, chosen nation. To be Jewish meant suffering under empires, manoeuvring among empires, or seeking protection from empires, but never being able to build your own, equally powerful empire (Sloterdijk 2015: 242-243). In the "Novel about London" written by Miloš Crnjanski, I see the story about the Jewish complex of modern history. The wanderings of strangers, their shipwreck fates, the visions of the river Thames, the ocean and the flood above the city, and in particular the figures of arks, barges, boats, and ships - are some of the elements of the Jewish semiotics and ontology in literary fiction.