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

sequences in which the events are told through Ştefania’s eyes (in Interludii but alsoin the other parts of the text), the doctor’s, from the perspective of the employees ofthe ministry or of the omniscient narrator, which trigger what Mircea Martin called“information unevenness” 36 . This technique of stripping characters of information andof facilitating the reader’s access to the characters’ intimate space is similar to that inInterval, with the difference that, multiplying perspectives, the discrepancy betweenwhat each character knows and what the reader knows is more significant.Another important aspect we have highlighted was that the fundamentalpreoccupation of the characters-focalizors in the first novels of Ivasiuc was to go intothe deep layers of the characters’ being, to investigate their inner life. Nevertheless,what sets these first novels apart is not the emphasis laid on the issues of inner life,which Ivasiuc, together with Marin Preda and Nicolae Breban succeeded in bringingforward in the 60s, but the writer’s preference for the reflexive discourse.Consequently, Ivasiuc’a aim was not to make a psychological analysis of thecharacters, but to go beyond that, towards the idea that can be grasped from thecharacters’ introspection, who are eager to find the origin of their emotions andfeelings.The preoccupation for the characters’ inner space strikes a shade over externalreality, which is subjected to a double subjectivization process, that of the selectionand perception of the characters, which leads to its strong alteration, to an image onlyvaguely connected to the reality the authorities would have liked to discover infiction. The weigh of the events which concern exteriority increases in the followingnovels, once the conflict is socialized, when focus is given to the environment in afactory, a research institute or within the political life. Ivasiuc’s return to thetraditional prose fiction in Păsările, after the absolute novelty of the perspective in thefirst three novels should not be regarded as a renunciation of the modern techniquesand the adoption of a more convenient creative modality, but as tailoring means tocontent, as an attempt to double the social issues by the objectiveness of the narrativeperspective.In what concern the focalized object, discussed in the subchapter A fiction of“acute issues”, we started from the idea expressed by Tobias Klauk and Tilmann36 Mircea Martin, Generaţie şi creaţie, Editura pentru Literatură, Bucureşti, 1969, p. 156;29