Metafore obsedante şi tipare simbolice în opera lui Gib I. Mihăescu. Configurarea profilului dramatic în mitul personal auctorial

Abstract

The assimilation of the creative act as a method of integrating the character's memory in an authorial biographical context recovers a frame of existence. Beyond the detectable events of the author's life, the work is a fictional vector always subject to interpretation and reinterpretation by the lecturer. Gib I. Mihăescu, known especially as a short story writer and novelist from the interwar period, but awarded as a dramatist in 1926 for the drama Pavilion with shadows by the Romanian Drama Critics Association, through the specifics of his writing, reflects a closeness to the values of modernism adapted to the autochthonous ethos. To these are added preferred methods of construction such as ambiguity, the act of betrayal, the abyss of consciousness, in the short stories or dramas, and the novels access a wider spectrum of the manifestation of the character's consciousness, conceived in an emotional register, where the authorial profile insinuates itself as a critical instance, having the function of directing the narrated events. Investing the characters with a lucid conscience makes their path even more dramatic, the author preferring the confessional form of the first person, with the passage of time. This is how the transition from the conventional pattern of objectivism to the awareness of the devastating effects of the erotic failure inside the paper being is made, a process that records the degradation and falsification of some perspectives labeled with the term "bovarism" of the characters. Connoted dramatically, the paradigm of love constantly transgresses the form of the ideal, with the expectations and anticipations of the protagonists, a continuous hesitation between chance and destiny, only apparently in opposition.