epresented by a proliferation of analepses, which take a great variety of forms withthis writer.Synthesizing extensive analepses from the point of view of their form showsthat Ivasiuc’s fiction is characterized by the wide use of completing externalhomodiegetic analepses, followed by the completing external heterodiegetic onesThey both have the unique function to complete the first narrative, to enlighten thereader regar<strong>din</strong>g previous events, but they also meet the author’s intention to highlightthe characters’ personality and destiny through their past. In this subchapter we havealso referred to short analepses (usually punctual ones, external, internal or mixed,which create the sensation of a concentration of details, some of them evanescent, notalways easy to place in the narrative scheme), to the cases of repeating analepses andof completing analepses taking the form of the iterative ellipsis/ paralipsis. Besidesthis, we have also remarked the isolated role prolepses play in Ivasiuc’s fiction.Using Genette’s terms, we have also showed that the principle the writer use<strong>din</strong> grouping analepses was that of the obsessional syllepses, which allow theconstruction of a narrative tissue in which the points represented by the events in thelife of the character himself or in that of the others’ (which he considers relevant) areall interconnected by the same ideas, which give semantic coherence to the text. Thelack of chronology surely had subversive connotations in itself, since fiction wasrequired at the time to have a form which did not impinge on the reception of themessage. Furthermore, the anachronological order should be regarded as a plea for theexistence of the complexity of the world, of the heterogeneous and discontinuouscharacter of life, for the existence of a subjective consciousness and of an inner timewhich is no longer he same for everybody.The second subchapter, From the subjective time to the time of facts, analysingIvasiuc’s fiction from the point of view of the duration, reveals that in most of thewriter’s works the short duration of the history is allotted a long text, which points tothe existence of an anisochrony in the sense of slowing down events in the history.The essential characteristic of Ivasiuc’s first works is represented by the characters’reflexive digressions, following the internalization of extrospections, thesubjectivization of the data of the objective reality and the characters’ tendency toalways express their view on past happenings, which are submitted to reinterpretation.This subchapter also mentions the role of the scene, of the description and of theellipsis.32
The conclusions of the thesis give emphasis to the novel elements broughtabout by the introduction of the concepts of concrete author, abstract author, concretereader, abstract reader and ketman in the study of the fiction of the 60s generation,and about the analysis of creating subversiveness through narrative techniques.This final part of the paper also resumes the main conclusions we havereached by applying the concepts from narratology in Alexandru Ivasiuc’s fiction,highlighting the advantages entailed by studying “the historic time”, “the writer’stime” and “the reader’s time”, as well as by the tools offered by post-structuralistnarratology, which contribute to clarifying the context in which the writers of the 60screated, to explaining the compromises they made and the double meaning of themessage they envisaged.In addition, we have underlined the difficulty related to the retrospectiveconstruction of the shades of meaning encompassed by the writer’s fiction and the riskof over-interpretation. We have also expressed our belief that the extension of thestudy on the fiction of other writers of the 60’s generation would complete themeanings we have underlined and would contribute to the creation of an overview ofthis period in the Romanian literature from the point of view of the narrativetechniques. This would definitely offer an excellent opening for a comparativeapproach with other literary generations or, synchronously, with tendencies existing inother literatures belonging to the former communist bloc.33
- 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 20 and 21: the two main directions existing in
- 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 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