Rez 1 - Doctorate ULBS - "Lucian Blaga" din Sibiu

In the final part of the subchapter, departing from the axis proposed by Leechand Short 11 to indicate the narrator’s control over the narrated facts and from CristianMoraru’s finding that “the narrator sees and knows more and more, and, therefore, isable to do more in the world of the discourse” 12 , we have made a correlation betweenthe principle of power, control and the narrator’s authority in Ivasiuc’s work, as wellas between his authority in the fictional universe and the political authority in the realuniverse. The conclusion we have come to is that there is a gradual transition from theabsolute freedom offered by the narrator to the character’s voice in Vestibul, from thecomplicity between narrator and characters in Interval, Cunoaştere de noapte,Păsările, by introducing the personal filter of the characters, to an ever stricter controlof the narrating voice over the main character by the unique voice of the narratoroutside the diegetic universe, who masters both the inner and the outer world of thecharacters, becoming a correlative of the communist oppressive tyranny.The second intratextual instance dealt with in the second chapter of the presentthesis is the narratee. The term was first mentioned by Roland Barthes 13 in his 1966study, but was left without a definition, being only introduced as the counterpart ofthe narrator in the reception of the text. The author who drew attention to the term wasGérard Genette 14 in his Discours du recit, where he defined it as “the instance whichis addressed by the narrator”, placing it thus at the same diegetic level andemphasizing its importance in the narrative discourse. Starting from the typologycoined in Discours du récit, several authors such as Gerald Prince, Shlomith Rimmon-Kenan, James Phelan developed the concept. The major novelty that their studiesbring is that related to the difference that has to be operated between concrete author,abstract author and narrator on the one hand, and concrete reader, abstract reader andnarratee, on the other hand.Like Genette 15 , Prince 16 draws attention to the fact that the presence of thenarratee has to be accepted even in those cases when the narrator seems to address noone in particular. To clarify this aspect, Prince puts forward a general portrait of the11 Geoffrey N. Leech; Michael H. Short, Style in Fiction. A Linguistic Introduction to English FictionalProse, Longman, London & New York, 1981, p. 324;12 Cristian Moraru, Proza lui Alexandru Ivasiuc, Editura Minerva, Bucureşti, 1988, p. 200;13 Roland Barthes, Introduction à l’analyse structurale des recits, în Communications, nr. 8, 1966, p.10;14 Gérard Genette, Narrative Discourse..., op.cit., pp. 259-262;15 Ibid., p. 260;16 Gerald Prince, Introduction to the study of the narrate, in Jane P. Tompkins (Ed.), op.cit., pp. 10-17;17