THE TRANSIMAGINARY AND THE HYMENEUTIC ART
THE TRANSIMAGINARY AND THE HYMENEUTIC ART

Summary/Abstract: The study is an innovative one because it sets the base, also in Romania, for the transdisciplinary paradigm. It thus contributes to the institution, in the meta-language of the theory of culture/literature/art of new concepts like: the transimaginary (the symbolic and poetic capacity of the artist to describe, as if he had seen them or even more, as if he had created them himself, the worlds beyond), the trans-style (alchemic transcendence of the rhetoric language, as a transgression of persintology to other dimensions of expression of the spirit which let himself Ŗcontaminatedŗ by the thirst of idealism by the perfecting of the inaugural/instituting gesture). The method is evidently coagulated and descends from the relief of argumentation: non/transgression Ŕ a fundamental method of (trans) hymeneutic. The discovery would consist in the aspect that any hymenology deals, as a new science, with the weave of the masterpiece, with its texture, with the masterpiece as a weaving of signs in a composition. If ostensiotics defines the ostension of an object of art and as sign-shape, aplastic and apictorial, inaugural/institutive, the hymeneutics of the imaginary will be an art of interpretation and will be based on a method called non/transgression. Transgression is not the denial of the interdiction to Ŗpenetrateŗ/to decode a painting, but on the contrary its transgression and completion. This is because it unveils without committing a crime. On the contrary: hymeneutics reveals the hidden, forgotten, occult meaning that is the primordial or original one.

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