{"id":1566,"date":"2016-11-14T09:33:36","date_gmt":"2016-11-14T08:33:36","guid":{"rendered":"http:\/\/agora.xtec.cat\/iescorbera\/?p=1566"},"modified":"2016-11-17T17:56:20","modified_gmt":"2016-11-17T16:56:20","slug":"club-de-lectura-2","status":"publish","type":"post","link":"https:\/\/agora.xtec.cat\/iescorbera\/portada\/club-de-lectura-2\/","title":{"rendered":"Club de lectura"},"content":{"rendered":"

<\/h1>\n

UMBERTO ECO<\/b><\/h6>\n
\u25ba <\/span>Elp\u00e8ndol de Foucault<\/b><\/i><\/span><\/span><\/span><\/h6>\n
Ed. Lumen (cast.)<\/span><\/h6>\n
Novembre 2016<\/span><\/span><\/span><\/h6>\n

<\/p>\n

\u00a0<\/span><\/div>\n
Umberto\u00a0Eco (1932-2016) \u00e9s una de les figures intel\u00b7lectuals m\u00e9s atractives del panorama de les lletres europees dels \u00faltims quaranta \u00a0anys. Fil\u00f2sof, ling\u00fcista, semi\u00f2tic, expert en el tema de la\u00a0comunicaci\u00f3, coneixedor de l\u2019est\u00e8tica, assagista perspica\u00e7,\u00a0cr\u00edtic literari, novel\u00b7lista d\u2019\u00e8xit.., el seu nom evoca el\u00a0perfil d\u2019aquells autors que han sabut conciliar en les seves\u00a0novel\u00b7les l\u2019erudici\u00f3 hist\u00f2rica i el rigor acad\u00e8mic amb un estil literari captivador capa\u00e7 d\u2019atreure l\u2019atenci\u00f3 d\u2019un espectre\u00a0molt ampli de lectors mitjan\u00e7ant una alqu\u00edmia argumental en la qual\u00a0la intriga i el misteri s\u00f3n ingredients recurrents entre molts\u00a0altres recursos literaris la dissecci\u00f3 dels quals \u2014en el seu cas\u2014no ens lliurar\u00e0 la clau de l\u2019\u00e8xit de les seves obres.\u00a0<\/span><\/div>\n
Al\u00a0seu assaig <\/span><\/span><\/span>Opera\u00a0aperta<\/i><\/span><\/span><\/span>,\u00a0Eco sostenia que les obres d\u2019art tenen una estructura subjacent que\u00a0suporta d\u2019altres estructures tot possibilitant una pluralitat \u00a0d\u2019interpretacions i sentits que pugnen entre si davant de\u00a0l\u2019espectador per convertir-se en l\u2019estructura dominant, \u00e9s a\u00a0dir, en aquella estructura subjacent que procurem expressar quan\u00a0comencem la nostra intervenci\u00f3 tot dient: \u00abEn darrer terme, all\u00f2nque l\u2019obra planteja \u00e9s…\u00bb<\/span><\/span><\/span><\/div>\n
No\u00a0\u00e9s el nostre prop\u00f2sit abordar en aquestes poques l\u00ednies cap estudi\u00a0de l\u2019obra d\u2019Eco en el sentit que apunt\u00e0vem anteriorment, per\u00f2\u00a0s\u00ed que voldr\u00edem suggerir que no anem desencaminats si ens acostem\u00a0a la seva lectura a partir de la seg\u00fcent analogia: <\/span><\/span><\/span>El\u00a0p\u00e8ndol de Foucault\u00a0<\/i><\/span><\/span><\/span>\u00e9s a la literatura esot\u00e8rica all\u00f2 mateix que el <\/span><\/span><\/span>Quixot\u00a0<\/i><\/span><\/span><\/span>respecte dels llibres de cavalleries \u2014dos estructures subjacents\u00a0semblants que generen un mateix efecte sobre el lector, efecte que\u00a0podr\u00edem qualificar de cat\u00e0rtic. Malgrat la similitud dels\u00a0plantejaments, una difer\u00e8ncia rellevant s\u2019aprecia entre el <\/span><\/span><\/span>Quixot\u00a0<\/i><\/span><\/span><\/span>i <\/span><\/span><\/span>El\u00a0P\u00e8ndol<\/i><\/span><\/span><\/span>:\u00a0en el primer la bogeria tracta de realitzar un ideal de just\u00edcia en un m\u00f3n de rufians que es burla de les excentricitats del boig; en el\u00a0segon, la bogeria es deslliga de tot ideal \u00e8tic i s\u2019apropa al\u00a0costat fosc i diab\u00f2lic de la naturalesa humana. <\/span><\/span><\/span><\/div>\n
Quant\u00a0a la trama argumental, l\u2019obra, escrita en primera persona per\u00a0Casaubon, narra el projecte editorial concebut per tres\u00a0col\u00b7laboradors de l\u2019editorial Garamond \u2014el propi narrador,\u00a0Jacopo Belbo i Diotallevi\u2014 que consisteix en la publicaci\u00f3 d\u2019una Hist\u00f2ria dels metalls en el curs de la qual els tres amics, un dels\u00a0quals \u00e9s una especialista en l\u2019orde dels templers, comencen a\u00a0divagar sobre la possibilitat que alguns membres d\u2019aquell orde\u00a0hagessin sobreviscut i ideat un pla conspirador de control del m\u00f3n\u00a0mitjan\u00e7ant la manipulaci\u00f3 de forces ocultes fruit d\u2019un\u00a0coneixement esot\u00e8ric curosament ocultat. A partir d\u2019aquest moment,\u00a0la imaginaci\u00f3 d\u2019Umberto Eco, aliada amb la seva erudici\u00f3, comen\u00e7a\u00a0a desplegar un ventall de ramificacions d\u2019aquell tronc conspirador\u00a0que arriba a connectar els templers amb la c\u00e0bala, els rosacreus, F.\u00a0Bacon, la ma\u00e7oneria, els Protocols dels savis de Si\u00f3 i un llarg etc\u00e8tera de manifestos i personatges que els tres amics comencen a\u00a0lligar amb una l\u00f2gica basada en l\u2019analogia segons la qual tot es\u00a0relaciona amb tot mitjan\u00e7ant misterioses versemblances a l\u2019abast\u00a0tan sols de les ments m\u00e9s subtils. I aquesta \u00abl\u00f2gica m\u00edstica\u00bb,\u00a0que salta per damunt de les mon\u00f2tones cadenes de la seq\u00fcencialitat\u00a0deductiva i de l\u2019exig\u00e8ncia de provar tot all\u00f2 que es va dient,\u00a0s\u2019acaba apoderant de la ment de tots tres a l\u2019extrem\u00a0d\u2019allunyar-los totalment de la realitat portant-los a un m\u00f3n\u00a0al\u00b7lucinatori regit per una idea fixa respecte de la qual tot serveix per confirmar-la. Sedu\u00efts per la combinat\u00f2ria d\u2019una\u00a0l\u00f2gica que no \u00e9s pr\u00f2pia de la ra\u00f3 sin\u00f3 del deliri (la ra\u00f3 est\u00e0\u00a0equivocada) perdran de vista finalment el l\u00edmit que separa la\u00a0realitat de la ficci\u00f3; i animats per certs personatges iniciats en el m\u00f3n esot\u00e8ric \u2014com l\u2019enigm\u00e0tic Agli\u00e8\u2014 que aniran\u00a0corroborant els encerts en les elucubracions dels tres protagonistes\u00a0es crearan un estat de convicci\u00f3 en les seves fantasies que tindr\u00e0\u00a0conseq\u00fc\u00e8ncies funestes.<\/span><\/span><\/div>\n
El\u00a0P\u00e8ndol de Foucault\u00a0<\/i><\/span><\/span><\/span>no \u00e9s simplement l\u2019intent de desmitificar el m\u00f3n sectari de la tradici\u00f3 herm\u00e8tica i ocultista amb la seva visi\u00f3 desvariada de la\u00a0realitat, sin\u00f3 que esdev\u00e9 alhora \u2014particularment en el seu darrer\u00a0cap\u00edtol\u2014 un exercici de lucidesa on la saviesa es reconeix tal en\u00a0la mesura en qu\u00e8 es despulla de tot sentit per descobrir que el seu\u00a0misteri consisteix a no ser, com si la comprensi\u00f3 de tot arrib\u00e9s en\u00a0el moment en qu\u00e8 ja no queda res per comprendre. La gran revelaci\u00f3,\u00a0aquella a la qual arriba Casaubon al final del text quan es troba a\u00a0la sala del Conservatori de les Arts i el Oficis on est\u00e0 instal\u00b7lat\u00a0el p\u00e8ndol de Foucault, \u00e9s doncs que no hi ha res a comprendre, que\u00a0el pensament necessitat d\u2019un sentit de l\u2019exist\u00e8ncia oblida que\u00a0trama aquesta idea necess\u00e0ria amb el teixit que extreu de si mateix\u00a0com a forma d\u2019amagar el secret de la pr\u00f2pia bogeria (insuportable\u00a0levitat de l\u2019\u00e9sser). I sobre la manca de sentit, sobre el silenci\u00a0i la pau final s\u2019aixeca una certesa: que hi ha moments en qu\u00e8\u00a0se\u2019ns presenta una ocasi\u00f3 que justifica tota una vida, el nostre naixement i la nostra mort, i que aquesta ocasi\u00f3 potser forma ja\u00a0part del nostre passat, tot i que no estem disposats a recon\u00e8ixer-ho.\u00a0I a vegades ni tan sols reconeixem quina ha estat aquesta ocasi\u00f3, a\u00a0l\u2019aguait d\u2019una altra, quan la vertadera ja l\u2019hem tinguda. <\/span><\/span><\/span><\/div>\n
[A.D.]<\/span><\/span><\/div>\n

 <\/p>\n

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