Trialogue [EN]

Prof.univ.dr. Ardian Kycyku

[Interdisciplinary essay(s) on the special bonds between literature, exile and the languages chosen by literature to protect Memory and Metaphor]

1. Statement (selected)

“Trialogue” is an intention of creating a comprehensive, comparatively explained image of today’s world, literature and writer as a condition seen through the lens of a devoted literature, which will not accept any alteration. Literature is not the arrival point of this book, but the fundamental starting point to discover the quality of life in this glimpse of time that that shows to be as definitive and memorable. A quality that depends entirely on faith in the Creator and on protection of written and spoken language.

Being at the same time parabolic, encyclopedic and anthological*, created with the purpose, devoid of any pathetic sentiments, of „Improving the quality of life” at the European Academy of Performing Arts**, the book uses dialectics as a reaction to all endangered balances and maintaining the rhythm required to naturally refresh literary dictionaries and encyclopedias. Therefore the book:
· presents unknown or poorly expressed pieces of information from two cultures, similar and with close destinies, the Albanian and Romanian ones, so as to re-connect or refresh a few broken strings of an old partnership which, unfortunately, is currently closed in extra-literary matters;
· perceives the East as an extended cultural form of the Balkans, and the West – as a politically restrained form of all-time Europe;
· enriches the information regarding the cultural activities of Albanians in Romania during various times, but also their contribution not only toward their own culture, but to the Romanian and European ones;
· tangles the truth regarding bilingualism as first and foremost proof of the richness and strength of a language which some authors move from – partially or completely - , then of the absorption abilities of the host-literature, which bears the marks of the former’s qualities of metaphoric memory;
· talks in detail, with conviction and honesty about books that continue to make history, though they are intentionally kept in the shadows so as to justify the evolution of daily and in trend volumes, thus confusing the natural flow of literature which doesn’t produce masterpieces and fundamental books in accordance with biological or historical agendas;
· raises again awareness in academia on the negative role that editing, translations and media have if they obey the trends of the present without following the truth that only the style – in a larger sense – and independent aesthetics are the singular elements which stop literature from overcoming its own sign system, its own mission;
· untangles the role of new criteria that harm the natural flow of known and accepted national literatures (including their universal values) and tend to break scientific criteria which have been proving in all these decades profound and exact knowledge of the literary phenomenon, objectivity, a strong moral compass, idealism, and which apply to the harmony of art and science;
· describes and explains the methods through which certain books/authors are punished on extra-literary grounds, and other books/authors (recognized as official or EU-thors) are overestimated based on similar grounds;
· transmits those pieces of information, value judgments and sustained or possible conclusions, with a style that does not extend the tyranny of convictions regarding various social movements and changes (or of any other nature, for that matter) which touch literature’s and society’s balance;
· does not present itself as an anarchist alternative which could raise doubts or attack the studies and modalities of literary research so far, but as a completion of those, considering that literary research and its impact on a citadel’s life meet various obstacles, due to a theoretic overflow and a “dry” style (with roots from exact sciences), but also due to a turn of the reader’s attention towards only material and biological fulfillment;
· perceives creative suffering also as a frailness of the artistic being (the metaphorical animal) to raise at the level of the beauty and harmony of a world which, in the absence of plans and rushed acts (euphemism) of man, is a masterpiece-prefect state;
·  invites metaphors and the details of the literary life to be raised – in a natural way and when needed – at the level of the scientific argument, not just because of the depth of knowledge they contain, but also to maintain a balance between written, read and heard information, a state that refreshes the act of scientific research;
· applies some of the principles of comparative literature, together with imagology principles, specifically towards literary epochs and their traits, intending for modernism and postmodernism to be studied as living phenomena, not museum artifacts;
· uses bibliography according to the principles: not so many books/sources, as (only) the ones that are compulsory;
· reminds the reader of the sacrifices made by the literary devotees along historical and literary epochs, even for the sake of the truth that suffering and sacrifices for the ideal-book (as an irreplaceable intermediary between this initial world and the one that follows) select the essences of periods, unify epochs based on quality, not history, giving oblivion what it’s due, meaning events and / or affirmations which proclaim themselves as essential, non-recurring, and inarguable.

The base of the books’ “method” is created through empathy, inspiration, and metaphor. For this reason, some scientific messages may appear as too literary or artistic, but they do not allow any contradictions from other data, being just expressed in a different manner. At a first read, it may create the impression that the interdisciplinary account doesn’t go beyond the borders of an eclectic mix of details, but the pyramid form of constructing the whole through overlaid details, will help the reader live and know the process through which the selection, assimilation and expression of bits create a book. A book that is developed and gains identity through this bond of details coming from disciplines which, in means and essence, exclude one another.

2. Content & topics

Instead of plural 
[The hormone against the neuron. Compared exile. Language – home to the being, but especially, the being – home of Language. Biological welfare - a dimension of anonymity. Structure: crystal and pyramid, or science in literature and vice-versa. Metaphore - essential means in researching literature] 

I. From the borders of the present to the present without borders 
[Brief about borders, constraints and exile(s) in Albanian letters. An authentic writer has no body. Outism, or the present against the perennial]

II. Space still held hostage 
[Ex Oriente lux. There, where eating is better and suffering more beautiful. Sufferance extracts the name from number. A new Age, or just another hundred years. Spiritual cacophonies, or the transfixed language of the egocentric in The Barrel of Metaphors

III. Uni-versum 
[The Reward from and in metaphors. A new image of the fratricide. We kill before we are born]

IV. A grammar of exile – in two "foreign" languages 
[Literary discipline / matter as a scientific proof. History puts the quotation marks on the literary discipline / matter - the art of writing. Exile is not a disease, but neither will it ever heal.]

V. Double mirror
[Two languages, two literatures, the same border. Literature as an extention of the heart. The slums of the world, the worlds of the Slums. The Systems and the heart, or Ideology and Judas-ology] 

VI. The Language of realms, the realms of the Language
[Literature, languages, the "I" of the writer. The personal experience of writing in two languages. Moving the writer: between banishment and envoying. An author in two lives - two lives in an author. The "Ancient languages - new Literatures" group. Bidentity. The Corner in the Superior Geometry]

VII. Presspective(s) 
[Dreamy Europe and the dream of Europe. Europa de vis și visul de Europa. Unity in immunity. The book Fair towards a book for the Fair. When the euphemism kills empathy. Topos and Tropos. Solatius vanitatum, or the Nickname & Like generation.] 

Instead of singular
[The history of ink - drowned in blood. The history of blood - redeemed through ink. The map and history of subculture. Selfie / Selfish / Selfishing. Futurology, humanism, tourism. The end of the world in the virtual and vice-versa. Blood history – recovered through ink. The map and the history of subculture. Futurology, humanism, tourism. The end of the world in virtual and vice-versa. Style – textual alter-ego and dimension of credibility. “The Apocalypse was written so as not to happen”.]


“In the contemporary epoch – which can be named as the multilateral war of the hormone against the neuron and the body against the book – literature seems to have lost its purpose and power to select and protect essences which need not be forgotten as they teach human beings how not to get out of their own signs system. The freedom of speech, sustained by human rights, only extends on the surface and loses its depth, affecting the quality of life or keeping it contained at the limits of survival and biological fulfillment. The overflow of auxiliary pieces of information has already created the conviction that this period is the most important one in humanity’s history and due to discoveries, evolutions, catastrophes, the mix of races and cultures, will remain decisive and not be forgotten”.
[Translated by Dr. Alice Teodorescu]

* In the sense of: absorbs information from as many credible sources as necessary, selects the essence with a detached eye, and presents them so as to awake in the reader questions, desires and the need for other researches.
** The author of the tagline and Copyright A. Kycyku