Etic şi estetic în opera lui Titus Popovici
Ethic and Aesthetic in the Works of Titus Popovici

Summary/Abstract: Titus Popovici succeeds, with his first novel, The Stranger (1955), to impose himself in the literary world of his time just by treating themes formally imposed by the communist regime. But he gets beyond the form dictated by the same ideology, and thus, the fund is enriched and relativized. By multiplying the narrative voices, a veiled message is revealed. Hence, the abstract author removes the political label from his work, but, unfortunately, the concrete authors’s life options determined the postdecembrist critics to read Titus Popovici’s novel only from this ideological/ethical point of view. Yet, not the subversive message of the abstract author, intentionally or unconsciously used also by the concrete authour, offers value to the novel, but its aesthetic dimension of the discourse. Titus Popovici combines various traditional narrative techniques with modern methodes, which approach his style of that of the postmoderns. His text is impregnated with cultural allusions that harmoniously fuse with rough, or even licentiousness, language. The autoreferentiality is usually determined under the veil of fine irony, which define the author’s writing. Through all these insertions, the author comes to the fragmentation of his novel, thus he prolongs the aesthetic dimension and he delays the relevation of the ideological message. Titus Popovici makes his discourse ambiguous and offers it the modern/postmodern vitality through the game of narrative techniques, analepses or narrative ellipsis, through the temporal expansions or compressions, through the narrative collage etc. Thus, with his first novel, published at just 25 years old, Titus Popovici proves his literay talent, using all the weapons taken not only from his predecessors from the interwar period, but also from the new writers in the universal literature, detaching his work from the conventional simplicity and offering aesthetic value to his novel.

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