the two main directions existing in the research field: the analysis of the characterfrom a semiotic perspective, which fosters the character’s dependence on the context,on the elements which bring about its existence, and the mimetic-realist perspective,which considers the character as a representation of the human being, an entity whichcan always be studied independently, bearing characteristics which make possible apsychological, sociological, moral or philosophical analysis. Furthermore, we havereferred to the typologies of the character as proposed by E.M. Forster (flat and roundcharacters), Joseph Ewen (classification accor<strong>din</strong>g to the characters’ complexity,development, inner life), Vasile Popovici (monological, dialogical and trialogicalcharacters), Vladimir Propp (establishing the correspondence between characters andactions, the number of characters in fairytales and the number of functions), JulienGreimas (referring to the categories of actants and the degree to which modalities areaccomplished), Jaap Lintvelt (characters are classified accor<strong>din</strong>g to the functions theyfulfil).As regards the place of the character within narratology, we have firstpresented Gérard Genette’s perspective, who states that the analysis of the charactershould not be part of the narratological analysis, given that the character is but “a texteffect”, entirely depen<strong>din</strong>g on the discourse. Genette’s conclusion is that a rightapproach of the issue of the character in narratology should only consider the meansof characterisation 19 .Then we moved towards the contributions of post-structuralist narratologists(Bal, Rimmon-Kenan), who initiated the study of the character starting both from thelevel of the history and from that of the story. They underlined that characters, eventhough they are not human beings, can be modelled by authors and readers accor<strong>din</strong>gto their own views on the people in the world. Drawing on Gérard Genette andSeymour Chatman, Shlomith Rimmon-Kenan 20 considers the character a constructwhich can be described in terms of a network of features, which are defined asrelatively stable qualities signalled in the text by means of different “indicators”,decoded by readers in accordance with a code of reference. This code of reference isthe one which connects the text and the context, since it relies on the knowledge thereader has about the situation presented in the narrative, about that type of character,and on the reader’s personal experience, all of this being automatically applied with a19 Gérard Genette, Nouveau discourse du récit, op.cit., p. 94;20 op.cit., pp. 59-71;20
view to deco<strong>din</strong>g the meaning. The indicators Rimmon-Kenan brings forward aredivided into “direct definitions” and “indirect presentations”. The former categoryrefers to the most obvious technique of characterization: the direct mention of thecharacter’s feature by the narrator, by another character or by the character himself/herself (self-characterization). Among those indicators which do not mention thefeature, but expose or exemplify it indirectly, letting the reader make the connectionwith a particular feature, Rimmon-Kenan refers to: actions, speech, appearance andenvironment. To these categories the researcher adds analogy, which she does notconsider as a separate indicator of characterization, but a way to strengthen it, able tofoster the character’s features both through similitude and contrast, implicitly orexplicitly.The reader’s task is to detect these indicators, to see which type ofcharacterization prevails in a text or for a particular character, so as to subsequentlyestablish connections between these fin<strong>din</strong>gs and the character involved, the theme ofthe literary work and the traits of the literary period it belongs to.In the first subchapter dedicated to analysing characters in Alexandru Ivasiuc’sprose fiction, The public image: a bunch of winners, we have emphasized the fact thatthe writer makes the characters’ portrayal by means of socium. Thus he depictscharacters boasting a significant social success; the characters are intellectuals, notpeople from the proletarian layer, the favourite environment of the realist/socialistfiction, still strongly valorized by the Party ideology at the time when Ivasiuc’s workswere published. With just few exceptions, the main characters are also representativesof the social elite, with a well established reputation and position. Thus, dr. Ilea fromVestibul is a neurologist of repute, specialized in morphology, but also a universityprofessor, Ilie Chindriş, the main character in Interval is a historian and universitylecturer, Ion Marina from Cunoaştere de noapte is “an important magistrate in a keyministry”, Dumitru Vinea from Păsările is the general manager of the plant in a townfrom Transylvania, Paul Achim from Iluminări is a researcher, just like Ilea, alsobeing a member of the Academy and a deputy, hol<strong>din</strong>g the most important managingposition in a Research Institute, Paul Dunca is an appreciated lawyer in his nativetown from Northern Transylvania, Miguel from Racul is the personal assistant of themighty governor of a state in Latin America.Prosopography, sometimes extensively used in the text, completes thecharacters’ portrayal. But none of the characters are given a complete physical21
- Page 2 and 3: TABLE OF CONTENTSINTRODUCTION .....
- Page 4 and 5: SUMMARYThe doctoral thesis Narrativ
- Page 6 and 7: politics in Romania revealed the au
- Page 8 and 9: names began to emerge: Nicolae Breb
- Page 10 and 11: was awarded (two prizes of the Writ
- Page 12 and 13: with the text through the opinions
- Page 14 and 15: integrate elements involving both n
- Page 16 and 17: omniscience, from the discourse cha
- Page 18 and 19: “zero degree narratee”, any dev
- Page 22 and 23: portrayal, but one based on signifi
- Page 24 and 25: What the characters discover after
- Page 26 and 27: The analysis on the character also
- Page 28 and 29: internal, the focalized can be perc
- Page 30 and 31: Koppe 37 , that the relation focali
- Page 32 and 33: epresented by a proliferation of an
- Page 34 and 35: BIBLIOGRAPHYI. OPERA LUI ALEXANDRU
- Page 36 and 37: 6. Popescu-Neveanu, Paul, Dicţiona
- Page 39 and 40: 45. Neagu, Fănuş, Cartea cu priet
- Page 41 and 42: 21. Călinescu, George, Scriitori s
- Page 43 and 44: 60. Iser, Wolfgang, The Implied Rea
- Page 45 and 46: 98. Pârvulescu, Ioana, Prejudecă
- Page 47 and 48: 140. Selejan, Ana, Literatura româ
- Page 49 and 50: 14. Dimisianu, Gabriel, USR sau SSR
- Page 51 and 52: 3. Blandiana, Ana, Scriitorul şi P
- Page 53 and 54: 25. Pier, John, La narratologie all