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

the metadiegetic stories in Interval, Păsările and Apa), they are all intradiegeticnarratees just like the one in Vestibul, but unlike him, they are second degree or thirddegree narratees. In most of the cases mentioned above, the presence of the narratee iswell marked in the text through direct addresses of the intradiegetic narrators,narrators-characters who pass massages to other characters.In Vestibul, the narratee is the addressee of the letters, the medical studentwhom Dr. Ilea recurrently addresses in the text using second person pronouns, so thenarratee is very much visible in the text. In this case, the game which Ivasiucintroduces is very interesting, with letters never to be sent, a technique which effacesthe narrator’s communicative function and stresses its testimonial function, so that itsreceptive role stands out as the most important. We can speak of the same narratornarrateeidentity in the case of Olga’s monologue as well as those of Ilie Chindriş inInterval, of Liviu Dunca in Pasarile, of Ştefania in Cunoaştere de noapte or ofMiguel in Racul, as these characters are, in turns, producers and receivers of their ownthoughts which they weigh, but do not estrange.In addition, we have referred to the cases in which the narrator and thenarratee are different stances. Real communication can sometimes be detectedbetween them (Liviu Dunca-Iulia, în Păsările, Petru-Olga în Interval), but there arealso case in which the impression conveyed is that of elements placed in totallyparallel positions, lacking any real connection (Liviu Dunca-Margareta in Păsările,Olga-Ilie Chindriş in Interval).What we have considered particularly worth mentioning in the case of therelation narrator-narratee at the intradiegetic level was the intimate, secret connectionwhich arises between the intradiegetic narrator and the abstract reader, especiallygiven the imperfect communication narrator-narratee. This is because even though thenarratee does not receive or perceive the message of the narrator, the reader does.Thus, because of the readers’ wider knowledge as compared to that of theintradiegetic narrates and considering the common experiences they have with thenarrators-characters, the reader empathises with the issues the narratees present,becoming a sort of sympathetic confessors and compensating the natural interpersonalconnection which remains only a wish in the fictional world, mirror of the real one.The next subchapter of the third chapter of the thesis deals with anotherintratextual instance, the character. Within the theoretical part, which defines theconcept, we have focused on the important works that discussed the character and on19