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

imminent death, Dumitru Vinea (Păsările) feels responsible for the death of a workerin the factory, Liviu Dunca (Păsările) enters the crisis when he is pressured to supportan accusation he does not believe in, Paul Achim (Iluminări) is attracted by a youngresearcher in the institute, Nora Munteanu, but he also discovers an ironic hint behinda seemingly innocent question he is asked at an important congress, Paul Dunca (Apa)revolts against the order represented by the traditional family and the bourgeois wayof living, entering the reach of Piticu’s group, Miguel’s inner balance (Racul) isstrongly affected when he accepts the Don Athanasios’s diabolic plan and becomesaware of the absolute control this one holds.These situations mark deep changes in the characters’ lives. Their actions andthoughts rendered either from the perspective of an outsider or from that of thecharacter himself prove the lack of the will they once had and, consequently, theirinability to act and react in the manner they used to. The characters’ existential crisisbegins by what Karl Jaspers 21 called “the astonishment stage”, the charactersbecoming aware of the rigid norms and of the inner struggle following he discovery ofthe diversity of life.This important moment in the characters’ lives is used by the author to focuson the characters’ inner life, as he progressively abandons the depiction of exteriorsigns. The characters’ inner discourse encompasses the description of their feelingswhen discovering the new reality, but also the evocation of the past and itsretrospective interpretation.The extraordinary intuition Ivasiuc had, in our opinion, was that of buildingthe main characters (dr. Ilea, Ilie Chindriş, Ion Marina, Liviu Dunca, Dumitru Vinea,Paul Achim) retrospectively by means of revealing their past, by what Virginia Woolfcalled the “tunnelling process” 22 . The characters reach to move on the dialecticaltrajectory evoking present – evoked past, so that they attempt at explaining attitudesand feelings from the present by re-interpreting past events full of symbolicsignificance. Cristian Moraru states that the characters tell their past not to analysetheir feelings, but to look for that alienating something in the past that couldilluminate their present 23 .21 Karl Jaspers, Texte filosofice, Editura Politică, Bucureşti, 1986, pp. 5-11;22 Virginia Woolf, A Writer’s Diary, A Writer's Diary, The Hogarth Press, London, 1959, p. 160;23 Op.cit., p. 41;23