Keywords: Literary Journalism, Narrative Discursive Processes, Suspension of Disbelief, Concealing and Revealing Game Going through his literary journalism, the reader can see Ioan Petru Culianu evolving from a vulnerable young creator, retractable and sensitive to a mature writer, self-confident, motivated by the intent to recover and improve the reality of the native country he escaped from. The paper aims to point out the way Ioan Petru Culianu’s literary journalism plays the game of concealing and revealing information depending on the society he lived in, considering that in the first category of his short narratives written in the communist period the author builds imaginary worlds where he seeks refuge from an unbearable reality, whilst the maturity short narratives become revealing, being conceived as warnings or predictions. In his early short stories, Ioan Petru Culianu seems to make concessions on plausibility expressing reality as a symbolic representation of the objective reality encoded into symbolic objects functioning as leitmotifs, while in the maturity stories he makes a shift towards more authentic fictional narratives built on historical characters such as John the Cappadocian, Horemheb, Ibn Gubair, and Raymundus Lullus.
The theories of fictionality consider the lack of truthfulness to be the main characteristic of fiction, meant to immerse the reader into a different reality by using specific narrative discursive processes based on the reading complicity understood as a ”suspending disbelief” strategy in the way Coleridge coined it. The second category of literary journalism consists in the short prose pieces published in the cultural and literary magazines abroad, brought together in the volume La Collezione di Smeraldi published in Italy, reprinted in Romania under the title The Diaphanous Parchment. The first category of short stories written within the country was published in the communist period, included in the volume The Art of Fugue. This paper analyzes the short stories published by Ioan Petru Culianu in a range of periodicals issued in Romania and abroad such as: Cronica, Luceafarul, Erato / Harvard Book Review, Exquisite Corpse, Achab, Leggere and Agora. Keywords: cultural system, signs, symbols, magic, encoding and decoding. It is the process of attaching a symbolical value to an object that is afterwards absorbed into the consumer’s sphere of stored meanings and former experiences to generate a synthesis and afterwards instrument this artificial desire placed into the consumer’s mind to make him want that object and finally buy it. This is similar to the mechanism of encoding and decoding processes used in the advertising industry meant to influence the consumer’s behavior and his perception on a particular commodity. The magicians used to attach an intention to a particular image delivered to a subject which determined an automatic reaction within his mind that was then exploited by the operator.
The Renaissance culture was focused on the science of the magic, framework within which humans were perceived as image processors in an input-output mechanism meant to produce intended reactions and results. As a historian of religions and an imaginary analyst, he studied the role of the fantasy in the human cognition process and the connection between religious and magical procedures. Follow the instructions.Abstract: This paper analyzes the origins of advertising encoding and decoding processes identified in the Renaissance culture approached by Ioan Petru Culianu in his works, especially in the volume Eros and Magic in the Renaissance.
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