Tot despre modelul grec în cultura română: parabole ... - Caiete Critice

Romanticism and Chaos Theory
rents). The conclusion of these researches is
that from disordered, turbulent states,
ordered states are born, which again go into
chaotic states from which again new
ordered states are generated, ad infinitum 5 .
The passage from order to disorder is
made by entering a “bifurcation epoch” –
corresponding to the “Übergangszeitalter”
or the age of passage, about which the
romantics speak: now appear the chaotic
attractors 6
(resulting from fluctuations)
which trigger the transition towards disorder.
When systemic stabilization begins, the
so-called “periodic or punctual attractors” 7
appear.
In this respect, Novalis for instance considered
war as being the strongest expression
of turbulence, confusion, chaos, these
being for him also the sign of the age of passage,
“Übergangszeitalter”, towards something
new. His famous hero, Heinrich von
Ofterdingen, must thus become a poet in an
epoch of turbulence precisely because this
affords the possibility that new structures
emerge 8 . In other words, disruptions in the
historical continuum emerge, such that
transitions towards something new become
possible by phenomena of discontinuity, of
“deep transformations” 9 .
The conclusion of chaos theory is that
there is no chaos 10 .
This is the same as saying that: 1) “being
is and can only be” (Parmenides); 2) “since
life cannot be quench’d, Life exuded” 11
(William Blake): here “life” can be read as
“order”: for the romantics order is a sort of
“cascading” phenomenon, which is paradoxically
always descensional-ascensional
and ascensional-descensional, in accordance
with the paradox of indeterminate
determinacy – such as in Spirit, and determined
indeterminacy – such as in animate
matter: in other words, infinite spirit and
finite matter, which form what we call the
paradox of “interfinitude”; 3) close to equilibrium
order tends towards disorder, and
far from equilibrium disorder tends
towards order, up to the moment when the
emergence of an even more complex order
takes place (Glansdorff and Prigogine).
5 Willy Obrist, Archetypen, Natur- und Kulturwissenschaften bestätigen C. G. Jung, 1990, p. 221.
6 See the term also in Ilya Prigogine, Isabelle Stengers, Das Paradox der Zeit – Zeit, Chaos und Quanten, 1993,
p. 114-118.
7 E. Laszlo, The Choice: Evolution or extinction?, 1994, p. 93, apud Ken Wilber, Sex, Ecology, Spirituality, 1995,
p. 75.
8 Ira Kasperowski, Mittelalterrezeption im Werk des Novalis, 1994, p. 218.
9 See Schiller who considered silence, Ruhe, as a condition of culture, Bedingung der Kultur, unlike Novalis,
who considered war as a historical-philosophical category, the exemple that Novalis adopted being the
crusades, his model of the romantic age of passage; in this respect, Roche shows that Schiller’s definition for
idyllic silence is practically similar to Hölderlin’s “living silence”, lebendige Ruhe. Cf. Mark William
Roche, Dynamic Stillness, Philosophical Conceptions of Ruhe in Schiller, Hölderlin, Büchner, and Heine, 1987,
p. 90.
10 Ken Wilber, Sex, Ecology, Spirituality, 1995, p. 75.
11 William Blake, Cãrþile Profetice, Cei Patru Zoa, 1998, VIII, 417, p. 401.
53