2773:. The episode, which the text itself indicates is just one in a series of Nichifor's conquests among his female clients, highlights the seducer's verbose monologue, which covers accounts of his unhappy marriage, allusions about the naturalness of physical love, and intimidating suggestions that wolves may be tempted to attack the wagon (prompting the young woman to seek refuge in his arms). The seducer's behavior, Constantinescu notes, presents an alternative to the theme of old age as a time of immobility: "the still-green old man, the rake, the joker who enjoys his amorous escapades, while justifying them by the natural course of life". Nichifor mostly expresses himself with the help of folk sayings, which he casually mixes in with personal observations about the situation. The background to the plot is a record of various
2556:. The resulting effect, Călinescu argued, was not that of "a confession or a diary", but that of a symbolic account depicting "the childhood of the universal child." According to Vianu, the text is especially illustrative of its author's "spontaneous passage" between the levels of "popular" and "cultured" literature: "The idea of fictionalizing oneself, of outlining one's formative steps, the steady accumulation of impressions from life, and then the sentiment of time, of its irreversible flow, of regret for all things lost in its consumption, of the charm relived through one's recollections are all thoughts, feelings and attitudes defining a modern man of culture. No popular model could have ever stood before Creangă when he was writing his
2319:, but, according to Călinescu, the rural setting provides a sharp contrast to the classical motif. Persecuted by her stepmother and stepsister, the kind and loving daughter of the old man is forced into a position of servitude reflecting the plight of many peasant women in Creangă's lifetime. In this case, the old man is negatively depicted as cowardly and entirely dominated by his mean wife. The focal point of the narrative is the meeting between the good daughter and Holy Sunday. The latter notices and generously rewards the girl's helpful nature and mastery of cooking; in contrast, when her envious sister attempts the same and fails, she ends up being eaten by serpent-like creatures (
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642:. Proud of this tradition, she insisted that her son pursue a career in the Church. According to his own recollection, the future writer was born on March 1, 1837—a date which has since been challenged. Creangă's other statements mention March 2, 1837, or an unknown date in 1836. The exactitude of other accounts is equally unreliable: community registers from the period gave the date of June 10, 1839, and mention another child of the same name being born to his parents on February 4, 1842 (the more probable birth date of Creangă's younger brother Zahei). The imprecision also touches other aspects of his family life: noting the resulting conflicts in data,
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which represent, in fact, two characteristic steps and two sociopolitical models in the evolution of
Romanian structures which ... were confronting themselves in a process that would later prove decisive." According to the same commentator, the two plus Eminescu are their generation's great writers, with Slavici as one "in their immediate succession." While listing what he believes are elements bridging the works of Creangă and Caragiale, other critics have described as strange the fact that the two never appear to have mentioned each other, and stressed that, although not unlikely, a direct encounter between them was never recorded in sources.
1234:'s shop he had established shortly before being dismissed. This stage marked a final development in Creangă's conflict with the church hierarchy. Summoned to explain why he was living the life of a shopkeeper, he responded in writing by showing his unwillingness to apologize, and indicated that he would only agree to face secular courts. The virulent text notably accused the church officials of being his enemies on account of his "independence, sincerity, honesty" in supporting the cause of "human dignity". After the gesture of defiance, the court recommended his defrocking, its decision being soon after confirmed by the
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2434:), which can miraculously trap anything in existence. In order to circumvent the laws of nature, Ivan subsequently makes use of both his magical item and his innate shrewdness. In one such episode, pretending not to understand the proper position of bodies inside a coffin, he tricks impatient Death into taking his place, and traps her inside. Eventually, he is allowed to keep his life, but is promised an eternity of old age, which he ingeniously counterbalances by attending an endless succession of wedding parties, and therefore never having to feel sad.
1627:, quoting its claim that "the invisible hand of God" was what made seeds grow into plants. Creangă replied with a measure of irony, stating that "had God not pierced the skin over our eyes, we would be unable to see each other's mistakes". Nevertheless, Călinescu argued, Nădejde's comments had shaken his adversary's religious sentiment, leading Creangă to question the immortality of the soul in a letter he addressed to one of his relatives in the clergy. According to other assessments, he was himself an atheist, albeit intimately so.
2560:, but, surely, neither could the cultured prototypes of the genre, the first autobiographies and memoirs of the Renaissance". Grădinaru and essayist Mircea Moț analyzed the volume as a fundamentally sad text, in stated contrast with its common perception as a recollection of joyful moments: the former focused on moments which seem to depict Nică as a loner, the latter highlighted those sections which include Creangă's bitter musings about destiny and the impregnability of changes. A distinct interpretation was provided by critic
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2378:", whose eponymous peasant hero is characterized by what Șerban Anghelescu calls "idiocy serving to initiate", or, according to Gabriela Ursachi, "complete, and therefore sublime, stupidity." The first part of the story shows Dănilă exchanging his oxen for an empty bag—a set of dialogues which, George Călinescu argued, is almost exactly like a comedy play. In what was described as a complete reversal in characterization, the hero uses intelligence and ruse to trick and frighten several devils. Contrarily, "
2644:. A similar piece, "The Flax and the Shirt", reveals the circuit of fibers from weed-like plants into recycled cloth, leading to the conclusion that "all things are not what they seem; they were something else once, they are something else now;—and shall become something else." The technique employed by Creangă has the flax plant teaching the less knowledgeable textile, a dialogue which Călinescu likened to that between old women in a traditional society. Included alongside the two stories were:
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2267:" partly illustrates the notion that parental love subdues even physical repulsion, showing an elderly peasant couple cherishing their adopted porcine son, who, unbeknown to them, is enchanted. The creature instantly offsets his parents' sadness and immobility by his witty intelligence. Having applied his perseverance and spells to erect a magical bridge, the piglet fulfills the requirement for marrying the emperor's daughter, after which it is uncovered that he is a
1504:, and completed as many as 22 of his poems. Creangă introduced his younger friend to a circle of companions which included Zahei Creangă, who was by then a cantor, as well as Răceanu, priest Gheorghe Ienăchescu, and clerk Nicșoi (all of whom, Călinescu notes, had come to share the raconteur's lifestyle choices and his nationalist opinions). Eminescu was especially attracted by their variant of simple life, the rudimentary setting of Creangă's house and the group's
1824:. This view complements George Călinescu's definition, placing the Moldavian author in the company of Slavici and Caragiale as one of the "great prose writers" of the 1880s. Lucian Boia, who noted that "the triad of Romanian classics" includes Creangă alongside Eminescu and Caragiale, also cautioned that, compared to the other two (with whom "the Romanians have said almost all there is to say about themselves"), Creangă has "a rather more limited register".
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2072:. Born much earlier, Creangă showed up where there exists an ancient tradition, and therefore a species of erudition, ... in a mountain village ... where the people is unmixed and keeping ." Outlining his own theory about the aspects of "national specificity" in Romanian letters, he expanded on these thoughts, listing Creangă and Eminescu as "core Romanians" who illustrated a "primordial note", complemented by the "southern" and "
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1781:. Creangă's complex take on individuality and the art of writing was attested by his own foreword to an edition of his collected stories, in which he addressed the reader directly: "You may have read many stupid things since you were put on this Earth. Please read these as well, and where it should be that they don't agree with you, take hold of a pen and come up with something better, for this is all I could see myself doing and did."
2397:("frowzy" or "lacking in freshness"), and the wording reflects rural attitudes about men who fail to marry during a certain age interval. Toward the end, the story focuses on a corrupt old woman who tries to trick Stan's new wife into committing adultery, but fails and is banished to the remotest area of Hell. Viewed by Călinescu as Creangă's "most original manner of dealing with the fabulous", and paralleled by him with Caragiale's
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and kill their baby. This, essayist and chronicler Simona
Vasilache argues, highlights "a family-based division" of illogical behavior, in which women are depicted as the main propagators of both "astonishing nonsense" and "prudent stupidity". Instead, literary critic Ion Pecie identified inside the narrative a meditation on "the link between spirit and nature", with the unpredictable ball of salt representing the equivalent of a "
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2544:. George Călinescu proposed that, like his fairy tales, the book illustrates popular narrative conventions, a matter accounting for their special place in literature: "The stories are true, but typical, without depth. Once retold with a different kind of gesticulation, the subject would lose all of its lively atmosphere." Also based on the techniques of traditional oral accounts, it features the topical interventions of a
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963:, and in particular of the new methods of teaching reading and writing. During and after completing normal school, he was assigned to teaching positions at Trisfetite. While there, he earned the reputation of a demanding teacher (notably by accompanying his reports on individual students with characterizations such as "idiot", "impertinent" or "envious"). Accounts from the period state that he made use of
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teaches that greed can shatter families, while offering symbolic retribution to men who are unhappy in marriage. The old man's rooster, chased away by the old woman for being unproductive, ends up amassing a huge fortune, which he keeps inside his belly and regurgitates back into the courtyard; the jealous old woman ends up killing her favorite hen, who has failed in replicating the rooster's feat.
2814:, pieces collectively known as "corrosives" and which have for long treated with discretion by literary historians. In Călinescu's view, this chapter in Creangă's literature created another link between the Moldavian writer and the Renaissance tradition of Rabelais: "All Rabelaisians have penetrated deeply into the realm of vulgarity." The taste for titillating accounts was also cultivated by
2837:, recounts how a peasant disrespectful of divinity has his entire maize harvest transformed into male genitalia, but is able to turn out a profit by catering to the sexual appetites of women. The final section, seen by Gârbea as a sample of anticlerical jeers recorded by "the defrocked Creangă", depicts the rape of a priest by one such sexual object. Although explicit, literary historian
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write it short." Contrarily, the writer's posterity referred to it as one of the greatest
Romanian contributions to the genre: according to George Călinescu, the insight into Nichifor's musings resulted in transforming the writing as a whole into "the first great Romanian novella with a stereotypical hero", while Voinescu described the entire story as "a true masterpiece."
1897:", passing from "erudite beauty" to "obscene laughter". Some of the expressions characteristic of Creangă's style are obscure in meaning, and some other, such as "drought made the snake scream inside the frog's mouth", appear to be spontaneous and nonsensical. Another specific trait of this language, commented upon by Vianu's and compared by him to the aesthetics of
2161:". Z. Ornea sees the main protagonists in Creangă's comedic narratives as, in effect, "particularized incarnations of the same symbolic character", while the use of humor itself reflects the traditional mindset, "a survival through intelligence, that of a people with an old history, whose life experience has for centuries been concentrated into gestures and words."
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memories of his childhood, how could we not recognize the sincerity in Creangă's heart-warming evocation of his childhood's village?" The book stays true to life in depicting ancient customs: discussing the impact of paganism on traditional
Romanian customs, Marcu Beza communicated a detail of Creangă's account, which shows how January 1 celebrations of
1593:. The two failed to reconnect, and their relationship ended. After one of the meetings, he recorded that the delusional poet was carrying around a revolver with which to fend off unknown attackers—among the first in a series of episodes which ended with Eminescu's psychiatric confinement and death during June 1889. Around that time, Creangă, like other
2845:, and noting that they still display the author's place as a "great stylist", Voinescu also signaled the texts' "very obvious" debt to folkloric sources. In his definition, Ion Creangă is "possibly the only writer" to draw on the legacy of "luscious popular jests" found in local "erotic folklore". Nevertheless, according to literary critic
1923:, who had mentioned it as a main proof of affiliation to realism. The distinctive manner of characterization through "realistic dialogues" is seen by Vianu as a highly personal intervention and indicator of the Moldavian writer's originality. Both Vianu and Călinescu discussed this trait, together with the technique of imparting
2938:. It was set up as the first of Romania's "memorial houses" on April 15, 1918. Restored the same year and again in 1933–1934, it houses an important part of Creangă's personal items and the first known among Creangă's portraits, painted by his contemporary V. Mușnețanu. While Constantin Creangă had a successful career in the
1380:, all of Creangă's biographers have come to dismiss Maiorescu's statement. Several sources mention that the future writer was introduced to the society by Eminescu, who was an active member around 1875. This and other details lead Ornea to conclude that membership was granted to Creangă only after the summer break of 1875.
2008:, the accounts appeal to cultured tastes, having as the generation of comedy and volubility as their main purpose. According to Vianu's assessment Creangă was "a supreme artist" whose use of "typical sayings" attests "a man of the people, but not an anonymous and impersonal sample." These verdicts, directly contradicting
3788:. New monuments honoring the writer include a bust unveiled in Târgu Neamț, the work of sculptor Ovidiu Ciobotaru. The patrimony associated with Creangă's life has also sparked debates: local authorities in Târgu Neamț were criticized for not maintaining the site near his house in its best condition, while the
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referred to "the great secret of the man who has managed to transfer unaltered the code of popular creativity into the immanence of the cultured one." In Braga's assessment, this synthesis managed "the impossible", but the difficulty of repeating it with each story also resulted in mediocre writings:
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as the rough equivalent of Creangă's interest in the peasantry. The same parallelism is explained by Ornea as a consequence of the two authors' social outlook: " have cemented aesthetically the portrayal of two worlds. Creangă's is the peasant world, Caragiale's the suburban and urban one. Two worlds
800:, this was done either "for aesthetic reasons" (as his new name, literally meaning "branch" or "bough", "sounds good") or because of a likely discovery that Ștefan was not his real father. Dan Grădinaru, a researcher of Creangă's work, believes that the writer had a special preference for the variant
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ideology in particular: while the group shared his nostalgic outlook on the rural past in stark contrast to the modernized world, the
Moldavian author could "maintain, intelligently, the middle ground between contraries". Likewise, Mircea Braga reacted against the perception of Creangă as announcing
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argued that such conclusions "may seem excessive", but that they were ultimately validated by the literary work being "a plurality of levels". A similar piece is the prose fable "The Story of a Lazy Man": fed up with the protagonist's proverbial indolence, which has led him as far as to view chewing
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quest, handed down by a king to his three sons: the most fit among them is supposed to reach the court of the Green
Emperor, who is the king's brother, and succeed him to the throne. According to Călinescu, the mission bases itself on travels undertaken by young men in Creangă's native region, while
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which always keeps things under watch. The narrator sides with the three young women in depicting their violent retribution, showing them capturing their oppressor, torturing her until she is left speech impaired, and leaving her on the brink of death. The mother-in-law's end turns into a farce: the
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in order not to antagonize sides during literary debates (notably, by declaring himself "for against" during a two-option vote), his irony in reference to his own admirers (such as when he asked two of them to treasure the photograph of himself in the middle and the two of them on either side, while
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decided that it was not possible for one to know if the writer's parents were married to each other (and, if so, if they were on their first marriage), nor how many children they had together. At a time when family names were not legally required, and people were primarily known by various nicknames
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A second museum entirely dedicated to the writer was opened at his Târgu Neamț home in 1951, and donated to the state by his successors in 1965. During the following decades, it reportedly became the most visited memorial house in
Romania. The authorities also financed a new cultural center, raised
3206:, to whom Călinescu reproached having largely ignored Creangă in his nonfictional texts. Creangă's writings also earned followers among the more radical wing of the modernist scene. The authenticity and originality of Creangă's prose were highlighted and treasured by the influential modernist venue
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Several of the book's episodes have drawn attention for the insight they offer into the culture, structure and conflicts of traditional society before 1900. Commenting on this characteristic, Djuvara asserted: "even if we take into account that the grown-up will embellish, transfigure, 'enrich' the
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opposes the two fictional monarchs, with the Red
Emperor replicating an ancient tradition which attributes malignant characteristics to the color. By contrast, the Green Emperor probably illustrates the ideals of vitality and healthy lifestyle, as hinted by his culinary preference for "lettuce from
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sees the good girl marrying not Prince
Charming, but a simple man described as "kind and industrious"—this outcome, Călinescu assessed, did not in effect spare the old man's daughter from a life of intense labor. A story very similar to "The Old Man's Daughter ..." is "The Purse a' Tuppence", which
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genres involved collecting and transforming narratives circulating throughout his native region, which intertwine with his characteristic storytelling to the point where they become original contributions. According to Călinescu, the traditional praise for Ion Creangă as a creator of literary types
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for a world of independent landowning peasants, and argued that Creangă's literary and political outlook were both essentially conservative. Ornea commented: "One could say that it was through that the writer debuted and that, within the space of his work it became, in its own right, an expression
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that surfaced the first gesture of transmitting a literary direction to some writers of rural extraction: a phenomenon of great importance, the neglect of which would render unexplainable the entire subsequent development of our literature." Also referring to cultural positioning within and outside
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rooms, she shared Creangă's peasant-like existence. This lifestyle implied a number of eccentricities, such as the former deacon's practice of wearing loose shirts throughout summer and bathing in a natural pond. His voracious appetite, called "proverbial gluttony" by George Călinescu, was attested
1053:. Around 1867, his wife Ileana left him. After that moment, Creangă began losing interest in performing his duties in the clergy, and, while doing his best to hide that he was no longer living with his wife, took a mistress. The marriage's breakup was later attributed by Creangă himself to Ileana's
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Divan, even though both were in favor of 'Union'. It's only that the old ones wanted a negotiated 'Union', and the young ones a 'Union' done without proper thinking, as it came to pass." According to Muguraș Constantinescu: " opposes the intelligence of common folk, their common sense, their humor
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With "Human
Stupidity", Creangă builds a fable about incompetence in its absolute forms. The story centers on a peasant's quest to find people who are less rational than his wife, having been infuriated by her panic at the remote possibility that a ball of salt could fall from its place of storage
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to people preferring a quieter celebration. The work also offers details on the traditional roles of a rural society such as that of Humulești, in the context of social change. Muguraș Constantinescu highlights the important roles of old men and women within Nică's universe, and especially that of
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schemes made it into his writings, where it became a defining trait. As part of this process, Călinescu assessed, "Creangă acts as all his characters in turn, for his stories are almost entirely spoken. ... When Creangă recounts, the composition is not extraordinary, but once his heroes begin
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Although he occasionally downplayed his own contribution to literature, Creangă himself was aware that his texts went beyond records of popular tradition, and made significant efforts to be recognized as an original author (by corresponding with fellow writers and willingly submitting his books to
3158:, whose contribution attempts to elucidate the more mysterious parts of the writer's vocabulary, and educator Dumitru Furtună, whose biographical studies provided a main source for subsequent research. By then, interest in Creangă's life and writings had diversified. This phenomenon first touched
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journal to either modify it or refrain from publishing it altogether. This was complemented by its author's own self-effacing assessment: calling the text "a childish thing", he suggested to Maiorescu that revisions were needed, stating "I have written it long, because there was no time for me to
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intent, chopped off his long hair, one of the traditional marks of an Orthodox priest. The latter gesture scandalized his superiors, particularly since Creangă explained himself using an ancient provision of canon law, which stipulated that priests were not supposed to grow their hair long. After
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himself condemns his subordinate to service the peasant. Călinescu highlights the naturalness of exchanges between the two protagonists, the latter of whom assumes the endearing form of a frail boy, Chirică, who ends up moving in with Stan and entering his service. The writing was also noted for
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While their author continued to receive praise for his main contributions, the erotic tales were most often kept hidden from the public eye. George Călinescu summarized this contrast by stating: "The 'corrosives' left by Creangă are not known publicly." An exception to this rule was Kirileanu's
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with a preventive or didactic purpose, even in cases were the fault was trivial or imagined, concluding: "Here, ... Creangă loses much of his depth." Pecie's conclusion was treated with reserve by Grigurcu, who believed that, instead, the narrator refrains from passing any judgment on "the
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Despite assuming the external form of traditional literature, Ion Creangă's interests and creative interventions, Călinescu noted, separated him from his roots: "peasants do not have entirely cultured gifts. ... Too much 'atmosphere', too much dialogic 'humor', too much polychromy at the
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in-between characters' replies, as creating other meeting points between Creangă and his counterpart Caragiale. Partly replicating in paper the essence of social gatherings, Ion Creangă often tried to transpose the particular effects of oral storytelling into writing. Among these characteristic
1512:, the capital city, regularly receiving letters in which Creangă was asking him to return. He was however against Eminescu's plan to marry Veronica Micle, and made his objection known to the poet. In 1879, as a sign that he was formalizing his own affair with Tinca Vartic, Creangă purchased the
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ideal of authenticity. He also became treasured for his talkative and jocular nature, self-effacing references to himself as a "peasant", and eventually his debut works, which became subjects of his own public readings. His storytelling soon earned him dedicated spectators, who deemed Creangă's
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wrote: "Romanians consider Ion Creangă a classic writer belonging to the modern age. His work can be read and understood by the entire range of social classes, in all the provinces of our country. In spite of the abundant presence of Moldavian words in his writings, the work would not remain a
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aristocracy and the peasant category, closely reflecting, according to historian Philip Longworth, a conflict mounting during the second half of the 19th century. The same is argued by Ornea, who also proposes that the protagonist offers insight into Creangă's own conservative reflexes and his
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critic Ruth S. Lamb, the writer's style merges "the rich vocabulary of the Moldavian peasant" with "an original gaiety and gusto comparable to that of Rabelais." According to George Călinescu: " got the idea that he was a clever man, like all men of the people, and therefore used irony to make
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George Călinescu also assessed that these literary connections served to highlight the elevated nature of Creangă's style, his "erudite device", concluding: "Writers such as Creangă can only show up in places where the word is ancient and equivocal, and where experience has been condensed into
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by recovering authenticity, and reacting against those cultural imports it deemed excessive, the group notably encouraged individual creativity among peasants. Reflecting back on Maiorescu's role in the process, George Călinescu wrote: "A literary salon where the personal merit would take the
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with closely studying Creangă's methods, investigations which produced a report evidencing Creangă's laborious and physical approach to the creative process. The latter also involved his frequent exchanges of ideas with Vartic, in whom he found his primary audience. In addition to his fiction
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performance, as well as for defiantly claiming that there was "nothing scandalous or demoralizing" in what he had seen, and reportedly further antagonized the monks by firing a gun to scare off the rooks nesting on his church. The latter incident, which some commentators believe fabricated by
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went through many editions during the late 19th century. The impact of his works was also a contributing factor to preserving a noted interest in rural subjects, a subsequent defining trait in modern Romanian literature. Discussing "stylistic harmony", which he believed to be bridging all of
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referred to Creangă as a predecessor when, in 1937, he urged his congregation to refrain from purchasing merchandise sold by Jews (a measure which he believed was a practical alternative to the Jews' forced eviction). In 1939, as part of a press campaign targeting Călinescu's work, the
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sympathetically but controversially referred to his friend as "a primitive and uncouth talent". Maiorescu's critical texts also provide little individual coverage of Creangă's contributions, probably because these failed to comply exactly with his stratification of literary works into
2064:, whose style mixes erudite playfulness with popular tastes. These contextual traits, researchers assess, did not prevent Creangă's overall work from acquiring a universal aspect, particularly since various of his writings use narrative sequences common throughout world literature.
1170:, maintaining that, unlike others, he was not afraid of doing so. Confronted by Metropolitan Calinic himself, Creangă allegedly argued that he could think of no other way to eliminate rooks, being eventually pardoned by the prelate when it was ruled that he had not infringed on
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character who assumes his real identity only by night. Although the plot is supposed to deal with imperial magnificence in fairy tale fashion, the setting is still primarily rural, and the court itself is made to look like an elevated peasant community. According to researcher
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in 1898. The Gruber copies were sold to a Dr. Mendel, and only a part of them was recovered by exegetes, alongside various fragments accidentally discovered at Iași market, where they were being used for wrapping paper. The collection, structured into a whole by folklorist
2129:. The latter habit was notably illustrated by his answer to people who would ask him for money: "not since I born was I as poor as I was poor yesterday and the day before yesterday and last week and last week and throughout life". His joyfulness complemented his overall
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before Creangă's death. Reportedly, the decision to begin writing down his stories had been the direct result of Eminescu's persuasion. His talent for storytelling and its transformation into writing fascinated his new colleagues. Several among them, including poet
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The frequent comparison between Creangă and Caragiale in particular is seen by Vianu as stemming from both their common "wide-ranging stylistic means" and their complementary positions in relations to two superimposed phenomenons, with Caragiale's depiction of the
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beauty", and since readers from outside the writer's native area could confront it "with some irritation." For Călinescu, the result nevertheless displays "an enormous capacity of authentic speech", also found in the works of Caragiale and, in the 20th century,
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forefront did not exist and, had Creangă been born two decades earlier, he would not have been able to present 'his peasant material' to anyone. Summoning the creativity of the peasant class and placing it in direct contact with the aristocrats is the work of
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some assessment, his superiors agreed not to regard this action as more than a minor disobedience. He was temporarily suspended in practice but, citing an ambiguity in the decision (which could be read as a banishment in perpetuity), Creangă considered himself
2255:", in which Creangă makes ample use of a traditional theme in Romanian humor, which portrays mothers-in-law as mean, stingy and oppressive characters. The embodiment of such offensive traits, she is also shown to be ingenious, pretending that she has a hidden
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sees an inversion of the natural roles, an episode which, ethnologist Șerban Anghelescu notes, is dominated by "the culinary fire": the goat exercises her brutal revenge by trapping and slowly cooking the predator. This approach partly resonates with that of
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members in general found Creangă more of an entertainer rather than a serious writer, and treasured him only to the measure where he illustrated their theories about the validity of rural literature as a source of inspiration for cultured authors. Therefore,
705:. Among his colleagues was a female student, Smărăndița popii (known later as Smaranda Posea), for whom he developed an affection which lasted into his adult life, over decades in which the two no longer saw each other. He was taught reading and writing in
3294:", which left writers with "no solid tradition to draw on, and precious little chance to evade ... the vigilant morals of a straitlaced public." The nationalist aspects of Ion Creangă's public discourse were however approved of and recovered by the
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depiction of the cunning and immoral stranger. The plot shows the wolf making his way into the goat's house, where he eats the two older and less obedient kids, while the youngest one manages to escape by hiding up the chimney—the symbolism of which was
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other realistic elements alluding to everyday life, such as the overtly colloquial exchange between Chirică and Satan, or the episodes in which the young devil helps Stan woo a peasant woman. Although relatively young, Stan himself is referred to as
2648:, a writing which, Mircea Braga argued, is not as much didactic as it is a study in dialogue; "The Bear Tricked by the Fox", which uses legendary and humorous elements in an attempt to explain why bears are the tail-less species among mammals; and
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The tale builds on intricate symbolism stemming from obscure sources. It features what Muguraș Constantinescu calls "the most complex representation of Holy Sunday", with mention of her isolated and heavenly abode on "flower island". A background
1851:, their accumulation making Creangă's work very difficult to translate, George Călinescu reacted against claims that the narratives reflected antiquating patterns. He concluded that, in effect, Creangă's written language was the equivalent of a "
3492:, a state-run institution, was founded in Bucharest, and its subsequent activity included staging several of the writer's fairy tales for a junior public. Among such contributions were two adaptation of "Harap Alb", directed respectively by
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Creangă's detractors, was judged absurd by the ecclesiastical authorities, who had been further alarmed by negative reporting in the press. When told that no clergyman other than him had been seen using a gun, Creangă issued a reply deemed "
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Relations between Creangă and Grigoriu were exceptionally tense. Only weeks after his wedding, the groom, who had probably agreed to marriage only because it could facilitate succeeding Grigoriu, signed a complaint addressed to Metropolitan
2886:, the latter of whom obtained the works from Tinca Vartic. The first edition was published as two volumes, in 1890–1892, but the project came to an abrupt halt due to Gruber's insanity and death. Creangă's final known work, the fragment of
2743:
and the pleasure of allegorical discourse to the pompous and hollow speeches of some politicians". In this context, Cuza's presence is depicted as both legitimate and serendipitous, as he takes a personal interest in curbing boyar abuse.
3662:, Creangă was one of the Romanian-language writers whose works were still allowed for publishing by the new authorities. This provided local contributors to Romanian literature contact with older cultural models, directly inspiring the
3846:
2310:
1344:
orientation", represented by both Maiorescu and Negruzzi, but was still fundamentally committed to Maiorescu's agenda in the field of education. Literary historians Carmen-Maria Mecu and Nicolae Mecu also argue that, after attending
438:
3403:
By the second half of communist rule, several new approaches in the critical assessment of Creangă's literature were emerging. His work became a main topic of critical interest and the sole subject of many works, to the point where
2004:
expense of linear epic movements. The peasant wants the bare epic and desires the unreal." The commentator passed a similar judgment on the author's use of ancient sayings, concluding that, instead of crystallizing and validating
921:, before his position as deacon was cut out of the budget and his belongings were evicted out of his temporary lodging in 1864. He contemplated leaving the city, and even officially requested a new assignment in the more remote
1524:("The Geography of Iași County"), followed soon after by a map of the same region, researched by Creangă and Răceanu. A final work in the area of education followed in 1880, as a schoolteacher's version of Maiorescu's study of
2833:, "Tale of the Dick" or "Tale of the Cock"). The former shows its cunning hero having intercourse with a priest's daughter, moving between prose and verse to describe the act. "The Tale of All Tales", which makes ample use of
847:, but, not being of the necessary age, was instead handed a certificate to attest his school attendance. He was soon after married, after a brief courtship, to the 15-year-old Ileana, daughter of Priest Ioan Grigoriu from the
1855:
museum", and even contrasted by the writer's more modern everyday parlance. Also discussing the impression that Creangă's work should be read with a Moldavian accent, noted for its "softness of sound" in relation to standard
2587:
leader" David Creangă. The latter, she notes, is an "enlightened man" displaying "the wisdom and balance of the ripe age", a person able to insist on the importance of education, and a churchgoer who frowns on "his wife's
1588:
Despite his activity being much reduced, he still kept himself informed about the polemics agitating Romania's cultural and political scene. He was also occasionally hosting Eminescu, witnessing his friend's struggle with
2260:
eldest and most intelligent of the killers manipulates her victim's dying sounds into a testament partitioning her wealth, and a thin decorum is maintained at the funeral ceremony by the daughters' hypocritical sobbing.
2052:, one of Moldavia's leading chroniclers. While he made his own comparison between Creangă and Pann, Tudor Vianu concluded that the Moldavian writer was in fact superior, as well as being more relevant to literature than
3064:
Directly influenced by Creangă, several early 20th century and interwar authors within the new traditionalist trend explicitly stood for the legacy of folkloric, spontaneous and unskilled literature: the peasant writer
1860:, Călinescu cautioned against interpretative exaggerations, maintaining that the actual texts only offer faint suggestions of regional pronunciation. Contrasting Creangă with the traditions of literature produced by
1485:("Guide to Reading by Writing in the Phonetic System"). It was supposed to become a standard textbook for the training of teachers, but was withdrawn from circulation soon afterward, when the Catargiu cabinet fell.
3174:("The Catechists from Humulești")—a literary contribution judged "superfluous" by George Călinescu, who noted that the original was already "dramatic" in style. The writer's stories also became an inspiration for
2194:, postulating the prevalence of three ancient and related narrative pretexts throughout his contributions: the preexistence of a "perturbing situation" (attributable to fatality), the plunging of the hero into a
2599:
Another significant part of the account, detailing Creangă's education, shows him frustrated by the old methods of teaching, insisting on the absurd image of children learning by heart and chanting elements of
2734:, his main interest, according to the stories themselves, was in curbing the boyars' infringement of peasant rights. The stories' narrator directs his hostility not at boyars in general, but at the younger
1913:
talking, their gesticulation and wording reach a height in typical storytelling." According to the critic, discovering this "fundamental" notion about Creangă's work was the merit of literary historian and
8454:
Scientific Collection «INTERCONF» Proceedings of the 1st International and Practical Conference „Science, Education, Innovation: Topical Issues and Modern Aspects”, Tallinn, Estonia: Uhingu Teadus juhatus
1868:, Călinescu also argued in favor of a difference in mentality: the "balance" evidenced by Moldavian speech and illustrated in Ion Creangă's writings is contrasted by the "discoloration and roughness" of "
1580:
with accelerated and debilitating episodes. He was also severely overweight, weighing some 120 kilograms (over 250 pounds), with a height of 1.85 meters (6 feet), and being teasingly nicknamed
3007:
A more thorough evaluation of Creangă's literature began after 1900. At the time, it became a topic of interest to the emerging traditionalist and populist trend, illustrated by the two venues rivaling
3365:, which lasted between 1948 and 1989, the critical evaluation of Ion Creangă's work went through several periods, complementing political developments. Throughout the first part of this interval, when
1424:. By that the late 1870s, he was secretly redirecting political support from the former Factionalists to his new colleagues, as confirmed by an encrypted letter he addressed to Negruzzi in March 1877.
1777:
and Creangă's "somewhat surreptitious" method of blending his own style into the folkloric standard, likening it to the historical process whereby local painters improvised over the strict canons of
621:
The family had reached a significant position within their community: Ștefan sin Petre had made a steady income from his itinerant trade in wool, while his wife was the descendant of the Creangăs of
3432:, this approach controversially reevaluated various Romanian writers, Creangă included, presenting them as figures who anticipated most developments on the world stage. Papu's own conclusion about "
2636:
scold the byproducts of their work for having forgotten their lowly origin. The inspiration behind this theme was identified by Călinescu as "The Story of a Gold Coin", written earlier by Creangă's
7402:
3515:, was created as a main publisher of children's literature, and its output included editions of Creangă's own works. The new editions were illustrated by several visual artists of note, among them
2677:
of his own immobility." Braga interpreted the story as evidence of "the primacy of ethics" over social aspects in the local tradition. Ion Pecie saw in the story proof of Creangă's own support for
2288:. The story introduces three additional characters, old women who assess and reward the efforts of the virtuous: Holy Wednesday, Holy Friday and Holy Sunday. They represent a mix of Christian and
3243:, the 19th century writer became better known to an international audience. This process produced translations into English, some of which, Călinescu argued, reached significant popularity among
2252:
1433:
434:
3000:
2403:
on account of its realist approach to the supernatural, "Stan Pățitul" is, according to Vianu, untraceable in its inspiration: " folk origin could not be identified, but it is not dismissible".
2930:
2028:
passed a similar judgment, believing that Creangă was motivated by a "strictly intellectual sensuousness" and the notion that "pleasure arises from gratuitousness", while Manolescu's colleague
1243:
1192:
525:
7426:
3565:
3489:
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are to be taken into account, one finds himself in a different country." Ornea, who noted that Eminescu effectively shared Creangă's worldview, believed the latter to have been dominated by
6949:
3452:—a conclusion which literary historian Florin Mihăilescu has seen as proof of Papu's "exegetic obsession", lacking in "sense of humor, not just sense of reality." One of Papu's disciples,
2761:("Old Man Nichifor Slyboots") establishes a connection with the language of fairy tales, being located in a legendary and non-historical age. It details the elaborate seduction of a young
8301:
Romania: Cultural Identity and Education for Civil Society. Romanian Philosophical Studies, V. Cultural Heritage and Contemporary Change, Series IVA, Eastern and Central Europe, Volume 24
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1420:
politics, and, like his new friend Eminescu, voiced support for the group's nationalist faction, in disagreement with the more cosmopolitan and aristocratic segment led by Maiorescu and
1396:("Old Man Creangă" or "Father Creangă"), which was a sign of respect and sympathy. Among Ion Creangă's most dedicated promoters were Eminescu, his former political rival Iacob Negruzzi,
3476:" stands as "the character who dominates world history in our century". Left outside the scope of this critical interest, the "corrosives" were left out of new Creangă readers (such as
811:
Having witnessed, according to his own claim, the indifference and mundane preoccupations of his peers, Creangă admitted to having taken little care in his training, submitting to the
2934:
nevertheless fell into disrepair. It was eventually purchased by an "Ion Creangă Committee", whose members included Constantin Creangă, Kirileanu and the ultra-nationalist politician
3131:
3914:
2874:
Soon after the Creangă's death, efforts began to collect his manuscript writings and the updated versions of his printed works. This project involved his son Constantin, alongside
823:, while pursuing an affair with the daughter of a local priest. According to his own statement, he was a philanderer who, early in his youth, had already "caught the scent" of the
7945:
7940:
3313:
accused the literary historian of having exposed Creangă's biography for the sake of compromising the "genial Moldavian" by turning him into "an unfrocked epileptic and a drunk."
2979:
stranger to its readers. What other European culture can take pride in having a classic writer read by all categories of readers?" The "thematic grip of the village" was noted by
1147:
2604:
and even whole texts. The narrator refers to this method as "a terrible way to stultify the mind". The negative portrayal of teaching priests was commented by writer and critic
1936:(an expression literally meaning "that word", but covering the sense of "as word goes around"). One example of this connects the notions of abundance and personal satisfaction:
3279:
2056:, the prime collector of tales in 19th-century Wallachia. Also making use of the Rabelais analogy, literary chronicler Gabriela Ursachi found another analogy in local letters:
7568:
6183:
2092:
with the writer's place of birth, an affluent village in an isolated region, contrasting heavily with the 19th century Wallachian countryside: "if the mud hut villages of the
2202:
which brings the triumph of good over evil (often as a brutal and uncompromising act). Like their sources and predecessors in folklore, these accounts also carry transparent
1364:
proposed to transform the club into a political party. The information was considered dubious by Z. Ornea, who argued that the episode may have been entirely invented by the
8758:
1223:
By then a teacher at the 1st School for Boys, on Română Street, Creangă was ordered out of his secular assignment in July 1872, when news of his status and attitude reached
701:, Ion Creangă was sent to primary school, an institution then in the care of Orthodox Church authorities, where he became noted for his rebellious attitude and appetite for
3480:'s 1970 edition), being, according to a 1976 essay by scholar George Munteanu, "still unpublishable" for lack of "a general level of aesthetic education" among Romanians.
1412:
who rarely took the floor during public debates, and who were avid listeners of his literary productions (it was to this latter gathering that Creangă later dedicated his
2347:
3320:, which shows Creangă listening to Eminescu reading his poems. Two busts of the author were erected in Iași, respectively at his grave site and, in 1932, the gardens of
2441:", one of Ion Creangă's most complex narratives, carries a moral defined by Călinescu as "the gifted man will earn a reputation under any guise." The story opens with a
1788:
promoters was Eminescu, himself noted for expressing a dissenting social perspective which only partly mirrored Maiorescu's take on conservatism. According to historian
5792:
3837:), both of which were noted for resorting exclusively to antiquated slang. In 2004, another one of Creangă's stories was subjected to a Postmodern interpretation, with
3780:) signed a decision to posthumously revert the decision to exclude Ion Creangă from among the Moldavian clergy. The public polled during a 2006 program produced by the
3251:
assessed that the variants used antiquated words and "sounded terrible" in English. Among the series of early English-language versions was a 1920 edition of Creangă's
3117:
1872:". He also criticized those views according to which Creangă's variant of the literary language was "beautiful", since it failed to "please everyone on account of some
970:
In parallel, he was beginning his activities in support of education reform. By 1864, he and several others, among them schoolteacher V. Răceanu, were working on a new
8092:
7878:
7111:
2182:
is erroneous, since his characters primarily answered to ancient and linear narrative designs. The conclusion is partly shared by Braga, who links Creangă's tales to
3611:
3121:
in honor of the writer. Creangă's various works also provided starting points for several other writers of diverse backgrounds. They included representatives of the
2125:
and implicitly assigning them the role of thieves), and his recourse to puns and proverbs which he usually claimed to be citing from oral tradition and the roots of
1255:
for "tiny hut"), a small house located on the outskirts of Iași. Officially divorced in 1873, he was living there with his lover Ecaterina "Tinca" Vartic. A former
1224:
6696:
2818:
members, who discreetly signaled their wish to hear more explicit content by asking Creangă to recount stories from "the wide street". A product of this context,
1065:. Creangă's accusations, Călinescu contends, are nevertheless dubious, because the deacon persisted in working for the same monastery after the alleged incident.
8012:
6606:
3804:
2898:
2838:
3833:. The book included versions of the text in English (the work of Alistair Ian Blyth) and French (translated by Marie-France Ionesco, the daughter of playwright
3700:
3587:
2928:
Shortly after her lover's death, Tinca Vartic married a man who lived in the same part of Iași. The target of organized tourism from as early as 1890, the Iași
7510:
3602:
3330:
1356:
The exact date of his reception is a mystery. According to Maiorescu's own recollections, written some decades after the event, Creangă was in attendance at a
752:
After returning to school between late 1849 and early 1850, Creangă was pulled out by his financially struggling father, spent the following period working in
426:
3866:
2489:, also connects the servant-prince's antagonists with various reflections of ethnic strife in Romanian folklore: the Red Emperor as standing for the medieval
3659:
2961:
The popularity of Ion Creangă's accounts outside his regional and dialectal context, together with his own contribution as an educator, played a part in the
1816:
literature. This verdict is found in several of Vianu's texts, which uphold Creangă as a great exponent of his generation's literature, comparable to fellow
2673:, he seals his own fate by asking: "But are your bread crumbs soft?" The peculiar effect of this moral is underlined by Anghelescu: "The lazy man dies as a
2464:
creatures. Călinescu described as "playful realism" the method through which Creangă outlined the mannerisms of several other characters, in particular the
3717:
3597:
3159:
7395:
3895:
8335:
6571:
6362:
4807:
3497:
2846:
2661:
2379:
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rule, and was probably among the rioters. At around the same time, he began circulating antisemitic tracts, and is said to have demanded that Christians
882:
418:
8066:
7514:
7097:
4171:
3838:
3799:
Creangă's work was also subject to rediscovery and reevaluation. This implied the publishing of his "corrosives", most notably in a 1998 edition titled
2561:
1230:. Upset by the circumstances, and objecting in writing on grounds that it did not refer to his teaching abilities, he fell back on income produced by a
6742:
3413:
2987:, who investigated its impact on "some of the most revered names in the history of Romanian literature", from Creangă and Slavici to interwar novelist
2537:
1287:. This is said to have taken place in summer 1875, when Eminescu was working as an inspector for Maiorescu's Education Ministry, overseeing schools in
1115:
917:, and, in December 1860, fathered a son, Constantin. His life still lacked in stability, and he decided to move out of Grigoriu's supervision and into
778:
471:
priest with an unconventional lifestyle, Creangă made an early impact as an innovative educator and textbook author, while pursuing a short career in
8733:
8713:
8318:
7996:
7824:
7423:
3891:
3179:
3048:. Tudor Vianu however noted that, unlike Eminescu's outlook, Creangă's "authentic ruralism" did not complement the "spiritual complications", global
1500:, his fellow poet and previous landlord, Eminescu even moved inside the house, where he reputedly pursued his discreet love affair with woman writer
947:, who served as his teacher and supervisor, and whence he graduated as the first in his class (June 1865). Embittered by his own experience with the
7542:
4320:
3871:
1616:
8541:"The Story of the Pig". Hog Bridegrooms (tales of Aarne-Thompson-Uther type 441 in which a beautiful maiden is forced to marry a hog or a hedgehog)
7002:
3887:
3457:
3309:
2669:. This upsets the sensibility of a noblewoman who happens to witness the incident. When she offers to take the lazy man into her care and feed him
6101:
7961:
5853:
3678:. The endorsement of Creangă's public image within the Moldavian SSR was also reflected in art: in 1958, the writer's bust, the work of sculptor
2883:
2211:
2138:
1465:
629:
3821:
8718:
8217:
Muguraș Constantinescu, "Figures et représentations du vieillir et de la vieillesse dans les contes de Ion Creangă", in Alain Montandon (ed.),
8155:
7478:
7362:
6995:
4478:
3883:
3679:
3346:
3299:
2476:("Eat-All") help the hero overcome seemingly impossible tasks set by the Red Emperor, by ingesting unnaturally huge amounts of food and drink.
2029:
1549:
8500:
7130:
4999:
3808:
3061:
a "series" of authors, noting that, for all imitation, he was "an exceptional and, as far as Romanian literary history goes, unique creator."
2596:
who bothers his morning sleep, only to be tricked into releasing it by old man, who understands the bird's vital role as village alarm clock.
1079:
By the second half of the 1860s, the future writer was also pursuing an interest in politics, which eventually led him to rally with the more
500:, Creangă helped propagate the group's cultural guidelines in an accessible form. Later critics have often described him, alongside Eminescu,
7804:
7335:
7187:
3713:
2841:
argued, the text "is refined and full of charm". While acknowledging both "corrosives" for their "popular charm" in the line of Rabelais and
6575:
5004:
2592:." The seniors' regulatory role within the village is evidenced throughout the book, notoriously so in the episode where the boy captures a
2068:
unchanging formulas. It would have been more natural for such a prose writer to have emerged a few centuries later, into an era of Romanian
1276:
8511:
3830:
3493:
3408:
assessed that "everything has been said about Creangă". Within this exegetic phenomenon, an original interpretation of his stories from an
2233:
in prose, opposing the eponymous characters, caricatures of a garrulous but hard-working woman and her restless sons, to the sharp-toothed
1761:("popular", that is anonymous or collective) and otherwise. Tudor Vianu's theory defines Creangă as a prime representative of the "popular
792:(a variant of his given name and a family name based on his patronymic), the adolescent student eventually adopted his maternal surname of
7366:
7326:
3369:
was politically imposed on Romanian letters, Creangă was spared the posthumous censorship which affected several other classical writers (
978:("A New Method of Writing and Reading for the Use of 1st Grade Primary Course Students"). It mainly addressed the issues posed by the new
8608:
1268:
760:("Spinster"). He only returned in third grade some four years later, having been sent to the Târgu Neamț public school, newly founded by
7134:
3993:
8653:
7799:
7446:
3792:
where he once lived was controversially put up for sale by its private owners in 2009, at a time when city hall could not exercise its
889:, and demanding to be allowed a divorce. The response to this request was contrary to his wishes: he was ordered into isolation by the
6671:
5255:
5244:
5233:
3928:, and streets or squares were also named in the writer's honor in cities throughout Romania: Târgu Neamț, Iași, Fălticeni, Bucharest,
8633:
8457:
8045:
1203:
Creangă eventually moved out of the monastery, but refused to relinquish his key to the church basement, and, in what was probably a
851:, where he is believed to have been in training as a schoolteacher. The ceremony took place in August 1859, several months after the
2829:
content survive as samples of Creangă's erotic authorship: "The Tale of Ionică the Fool" and "The Tale of All Tales" (also known as
2781:
or antisemitic: Nichifor voices the belief that priests crossing one's path will produce bad luck, as well as the claim that Jewish
8753:
6543:
4863:
1932:. He also often interrupted his narratives with concise illustrations of his point, often in verse form, and usually introduced by
8603:
7414:
2374:, most often with the comedic intent of showing such personages behaving like regular people. A defining story in this series is "
1291:: reportedly, Eminescu was fascinated with Creangă's talents as a raconteur, while the latter admired Eminescu for his erudition.
8683:
8382:
4814:
4569:
2796:
illustrated its ambivalence toward Creangă. Maiorescu found the text "interesting in its way and decisively Romanian", but asked
2382:" shows its hero fraternizing with a lesser demon. Following the opening episode, in which the latter accidentally eats a bit of
1585:("Tubby") by his friends (although, according to testimonies by his son and daughter-in-law, he did not actually look his size).
8515:
7070:
3282:
as the first critical edition of his entire literature. According to critic Adrian Solomon, the Romanian tradition of silencing
2141:'s report contended, Creangă's writing relied on him being "a strong sensual and auditive type", and a "very emotional" person.
17:
8738:
6124:
2206:, ranging from the regulation of family life to meditations about destiny and lessons about tolerating the marginals. However,
1721:
the group, Carmen-Maria Mecu and Nicolae Mecu took the acceptance of "literate peasants" such as Creangă as exemplary proof of
1489:
1332:
literary club presided upon by Maiorescu, whose cultural and political prestige was increasing. This event, literary historian
733:, handing him into the care of a middle-aged woman, Irinuca. Ion Creangă spent several months at Irinuca's remote house on the
7623:
2468:
creatures who provide the youngest prince with additional and serendipitous assistance. In one noted instance, the characters
2048:. Within local tradition, the literary historian saw a symbolic connection between Creangă and the early 18th century figure,
1812:. 20th century critics have described Creangă as one of his generation's most accomplished figures, and a leading exponent of
8708:
8658:
8367:
8272:
8212:
7222:
6858:
6774:
3104:
2076:" group of Caragiale and others. Claiming that the "core" presence had "not primitive, but ancient" origins, perpetuated by "
7649:
4610:
4178:
2564:, who reacted against the tradition of viewing Creangă's actual childhood as inseparable from his own subjective rendition.
2149:
himself seem stupid." In Călinescu's view, the author's antics had earned him a status equivalent to that of his Wallachian
1642:
leader would not respond to his request, and, during his final years, switched allegiance to the literary circle founded by
574:
trader Ștefan sin Petre Ciubotariul and his wife Smaranda. His native area, bordering on heavily forested areas, was in the
8643:
8504:
3768:". The latter tour saw Moldovan politicians and cultural delegates demanding, and obtaining, that they be allowed to visit
2738:
ones, whom he portrays as gambling on Moldavia's future: " a clash of ideas opposing old boyars to the youth of Moldavia's
2446:
the subsequent episodes in the narrative reinforce the impression of familiarity, from the "peasant speech" adopted by the
2293:
1928:
touches were interrogations addressed to the readers as imaginary listeners, and pausing for effect with the visual aid of
1084:
590:. Another characteristic of the area, which left an impression on Creangă's family history, was related to the practice of
8728:
7674:
7285:
3878:(1996). There were also several post-1989 theatrical adaptations of Ion Creangă's texts, contributed by various Romanian
3853:
published a personal take on "The Story of a Lazy Man". Ion Creangă's own didactic tales have remained a presence in the
1769:
doyen himself), cautioning however that Creangă's example was never mentioned in such a context by Maiorescu personally.
1392:("Ioan Gadabout"). Although still in his forties, the newcomer was also becoming colloquially known to his colleagues as
1157:, his consecutive actions show that he was "going out of his way for scandal". He was initially punished for attending a
1112:
626:
7991:
2033:"from among his few texts, even fewer are located on the relatively highest level of the relative aesthetic hierarchy".
8723:
8663:
8019:
3761:
3712:. Also during that period, "The Goat ..." and "The Purse a' Tuppence" were made into animated shorts (directed by
2632:
fables written as lively dialogues, among them "The Needle and the Sledge Hammer", in which the objects of traditional
2371:
8489:
7697:
6369:
1118:. It is likely that Creangă shared the outlook of other Factionalists, according to which secession was preferable to
848:
8618:
8613:
8440:
8403:
8390:
8326:
8308:
8290:
8251:
8230:
8150:
8142:
8129:
7911:
7729:
7490:
6898:
6846:
6727:
6416:
5869:
5624:
5399:
1869:
7965:
6613:
1967:
In other cases, the short riddles relate to larger themes, such as divine justification for one's apparent fortune:
885:, denouncing his father in law as "a killer", claiming to have been mistreated by him and cheated out of his wife's
8688:
8070:
5476:
3683:
3350:
2962:
2422:, while, according to researcher of children's literature Muguraș Constantinescu, the main character is similar to
2137:
habits: his accounts are often marked by a special interest in describing acts related to food and drink. Overall,
1844:
1634:
removed Creangă from his schoolteacher's post, and he subsequently left for Bucharest in order to petition for his
1336:
argued, followed a time of indecision: as a former Factionalist, Creangă was a natural adversary of the mainstream
1252:
729:
in late 1848, David Creangă withdrew his grandson from the local school and took him to a similar establishment in
3606:
1881:. According to the same commentator, the dialectical interventions formed a background to a lively vocabulary, a "
1388:
fictional universe a "sack of wonders" at a time when the author himself had started casually using the pseudonym
8693:
8678:
7761:
6328:
3753:
3372:
1658:, Son of the Mare"). He died after an epileptic crisis, on the last day of 1889, his body being buried in Iași's
8519:
7092:
2532:
2523:
2512:
1452:
1264:
by contemporary accounts. These depict him consuming uninterrupted successions of whole meals on a daily basis.
697:
381:
8743:
3233:
2762:
1139:
7821:
3992:. Creangă's name was assigned to several landmarks and institutions in post-Soviet Moldova. Among them is the
3232:
contributed various prose works which borrow some of Creangă's storytelling techniques to depict the lives of
1729:
8748:
8623:
8493:
8484:
6890:
4890:
Călinescu, p. 445, 480; Ornea (1998), p. 232–233, 239–241, 244–245; Vianu, Vol. II, p. 210–212
4246:
3757:
3122:
2678:
2153:
counterpart Caragiale, with the exception that the latter found his inspiration in urban settings, matching "
2084:", he asserted: "Creangă shows our civilization's contemporaneity with the world's oldest civilizations, our
515:
Ion Creangă was posthumously granted several honors, and is commemorated by a number of institutions in both
496:. Although viewed with reserve by many of his colleagues there, and primarily appreciated for his records of
3380:
was omitted from critical commentary, and readers were instead referred to Creangă as a realist critical of
2965:, at a new phase in which many dialectal variations were incorporated into the spoken language. His primers
1773:
critical scrutiny). Vianu commented at length on the exact relationship between the narrative borrowed from
8648:
8638:
8359:
3389:
3366:
3248:
2088:
age." The alternating national and regional characteristics in Creangă's writings are related by historian
1469:
writing, the emerging author followed Maiorescu's suggestion and, in 1876, published a work of educational
1416:). In parallel to his diversified literary contribution, the former priest himself became a noted voice in
1302:
1088:
479:. His literary debut came late in life, closely following the start of his close friendship with Romania's
476:
1808:, and in particular his claim that rural authenticity lay hidden by a "superimposed stratum" of urbanized
1728:
Maiorescu is known to have had much appreciation for Creangă and other writers of peasant origin, such as
1068:
8668:
8628:
8479:
7705:
7539:
6785:
Braga, p. 199–200; Ornea (1998), p. 238; Vianu, Vol. III, p. 38, 79–80, 209, 211, 242, 244
4317:
3773:
3749:
3191:
3092:
2222:
2012:
theories, were mirrored by several other 20th century exegetes belonging to distinct schools of thought:
873:
by his father in law's church, he was ordained in December of the same year, assigned to the position of
430:
7024:
6999:
3202:, two biographical novels centered on Eminescu's amorous life, written by the prominent interwar critic
3073:, an agriculturalist by profession, who took inspiration from his techniques of rendering dialogue; and
2430:. In the beginning of the account, God rewards the soldier's exemplary charity by granting him a pouch (
2414:
serviceman, is shown rebelling against Heaven and Hell, and ultimately accomplishing the human ideal of
2144:
Ion Creangă's sense of humor was instrumental in forging the unprecedented characteristics of his work.
831:). In August 1855, circumstances again forced him to change schools: confronted with the closure of his
8243:
7779:
7041:
3826:
3469:
3376:). His work was officially praised for its aesthetic qualities, but its association with the condemned
2264:
1307:
987:
964:
761:
706:
3570:
3154:, dedicated important segments of their activity to the works of Ion Creangă. Other such figures were
8534:
8524:
7601:
6766:
3765:
718:
7590:
7475:
5722:
Beza, p. 104–105; Călinescu, p. 484; Ornea (1995), p. 84; Vianu, Vol. II, p. 215
4342:
Călinescu, p. 479; Ornea (1998), p. 233–234, 235. See also Vianu, Vol. II, p. 32, 207
3605:" and the 1985 film "Ramasagul" which was based on "The Bag with 2 Coins". The series also includes
2485:
the garden of the bear". Historian Adrian Majuru, building on earlier observations made by linguist
1010:("The Little Bird in Wintertime"). The book was followed in 1871 by another such work, published as
734:
8545:
8530:
8222:
7597:
6714:
Jürgen Erfurt, "Dimensiunile sociolingvistice ale limbii române vorbite", in Klaus Bochmann (ed.),
3777:
2731:
2343:
2178:
2105:", Vianu contrarily asserted: "Creangă's nostalgia ... has an individual, not social, sense."
1646:(where he was introduced by Gruber). Among Creangă's last works was a fourth and final part of his
843:. Ștefan sin Petre's 1858 death left him without means of support, and he requested being directly
579:
563:
468:
402:
199:
7297:
7184:
3045:
1915:
1158:
1153:
By 1868, Creangă's rebellious stance was irritating his hierarchical superiors, and, according to
3918:
3663:
3539:
prize. A major project of the time involved Creangă translations into other languages, including
2517:
2013:
1517:
1462:
1057:
affair with a Golia monk, and rumors spread that Ileana's lover was a high-ranking official, the
764:
571:
8598:
7853:
7535:
3052:
perspective and intellectual background associated with these trends, making Creangă "the least
8356:
Inventing the Jew. Antisemitic Stereotypes in Romanian and Other Central East-European Cultures
8264:
8204:
7694:
7323:
3785:
3070:
2545:
2282:, the text is, outside of its humorous context, a distant reworking of ancient legends such as
2108:
The witty and playful side of Creangă's personality, which became notorious during his time at
2041:
2036:
Călinescu viewed such intellectual traits as shared by Creangă with his Wallachian counterpart
1852:
967:
in disciplining his pupils, and even surpassed the standards of violence accepted at the time.
929:
925:. Since January 1864, when the Faculty of Theology had been closed down, he had been attending
3551:). During the same epoch, Creangă and his stories first became sources of inspiration for the
3512:
2486:
2101:
of the world that was about to vanish." Commenting on Creangă's "robust realism" and lack of "
8028:
7920:
7196:
7139:
7075:
6719:
6622:
6378:
6337:
4944:
Ornea (1998), p. 200, 232–233, 244–245; Vianu, Vol. I, p. 304; Vol. II, p. 210
4823:
4619:
4255:
4187:
3949:
3667:
3544:
2705:
2375:
2218:
vein of some traditional narratives, by featuring "grotesqueries" and "illogical surprises".
1809:
1700:
922:
852:
586:, textile manufacturing and related occupations, and noted for preserving the older forms of
414:
376:
5140:
Călinescu, p. 480; Vianu, Vol. II, p. 211, 212. See also Ornea (1995), p. 443
3505:
3255:, translated by Lucy Byng and published by Marcu Beza. It was also during the interwar that
3033:
1920:
1792:, the "authentic Moldavian peasant" that was Creangă also complemented Eminescu's own "more
914:
8703:
8698:
6668:
6408:
5252:
5241:
5230:
3985:
3854:
3393:
3147:
2879:
2735:
2458:"), the prince is three times tested and aided by Holy Sunday, who doubles as the queen of
2122:
2061:
1659:
1569:
1474:
1458:
1349:, the author was able to assimilate some of its innovative teachings into his own style of
1080:
948:
894:
769:
575:
472:
116:
5616:
4490:
3421:
3155:
2045:
1497:
730:
684:
31:
8:
8050:
7858:
7833:
7769:
7586:
7519:
7000:" 'O, țară tristă, plină de humor! De asta iubesc România' " (interview with Paul Bailey)
6552:
4868:
4574:
3781:
3720:). In 1978, an operatic version of "The Goat and Her Three Kids" was created by composer
3465:
3424:, the recovery of nationalist discourse into official dogma also encouraged the birth of
3271:
2947:
2892:
2798:
2714:
2363:
2005:
1924:
1638:
rights. Having hoped to be granted assistance by Maiorescu, he was disappointed when the
1442:
1275:, his friend Maiorescu granted Creangă the position of schoolteacher in the Iași area of
860:
753:
587:
450:
8186:
8176:
7180:
6866:
6540:
3548:
3325:
3017:
2246:
by Dan Grădinaru, who claims it constitutes an allusion to Creangă's own childhood. The
1508:
escapades. Circumstances drew the two friends apart: by 1877, Eminescu had relocated in
1167:
1154:
797:
643:
611:
8673:
8427:
Radu Voinescu, "Romanian Erotic Literature", in Gaëtan Brulotte, John Phillips (eds.),
7411:
3921:
3772:. In 1993, answering a petition signed by a group of cultural personalities from Iași,
3540:
3453:
3317:
3283:
3100:
2834:
2419:
2174:
1857:
1830:
1821:
1805:
1801:
1695:
The impact of Ion Creangă's work within its cultural context was originally secured by
1643:
1397:
1361:
1119:
1100:
501:
398:
219:
106:
8351:
4811:
3913:
Creangă's name was assigned to several education institutions, among them Bucharest's
3129:, who was inspired by Creangă's narrative style in writing his fantasy and verse play
2822:
itself is said to have had at least one sexually explicit variant, circulated orally.
1272:
639:
8559:
8473:
8436:
8418:
8399:
8386:
8363:
8322:
8304:
8286:
8268:
8247:
8226:
8208:
8167:
8146:
8125:
8101:
7725:
6894:
6842:
6770:
6723:
6701:
6412:
5865:
5620:
5395:
5346:
Ornea (1998), p. 237; Vianu, Vol. I, p. 305, 306; Vol. II, p. 211, 214
3793:
3705:
3552:
3405:
3362:
3229:
3175:
3083:
literary circle acclaimed as "a new Creangă", and who made ample use of a modernized
2905:
in 1902 and 1906. In addition to being mentioned in the memoirs of several prominent
2811:
2641:
2569:
2427:
2057:
2025:
1865:
1671:
1413:
1213:
979:
971:
582:. The surrounding region's population preserved an archaic way of life, dominated by
458:
442:
351:
204:
152:
8303:, Council for Research in Values and Philosophy, Washington, 2004, p. 181–193.
5468:
4763:
3834:
3825:
writers. A trilingual edition of Creangă's original text was published in 2006 as a
2021:
1557:
1014:("The Children's Teacher") and co-authored by V. Răceanu. It included several prose
8568:
8345:
8075:
7974:
7620:
7540:"Promovarea culturii costă bani, bani și iarăși bani!" (interview with Jenö Farkas)
7165:
6838:
3969:
3690:. His works were illustrated by one of the Moldavian SSR's leading visual artists,
3671:
3582:
3556:
3420:("Creangă and the Golden Bough"). During the final two decades of communism, under
3397:
3385:
3217:
3151:
2854:
2842:
2778:
2766:
2723:
2722:
complex views on the union, while outlining several connections which the brand of
2601:
2284:
2195:
2093:
2017:
1878:
1762:
1631:
1525:
1377:
956:
836:
812:
689:
679:
567:
454:
265:
80:
4881:
Călinescu, p. 479; Ornea (1998), p. 234; Vianu, Vol. II, p. 209–210
3740:
3695:
3473:
3256:
2943:
2407:
2384:
1650:, most likely written during 1888. The book remained unfinished, as did the story
1383:
Gradually or instantly, Creangă made a positive impression by confirming with the
1186:
918:
538:
410:
144:
Short story writer, educator, folklorist, poet, textile worker, cleric, politician
8163:
8023:
7915:
7828:
7783:
7765:
7701:
7632:
7627:
7546:
7494:
7482:
7430:
7418:
7406:
7330:
7301:
7289:
7191:
7159:
7006:
6830:
6675:
6617:
6547:
6373:
6332:
6129:
5259:
5248:
5237:
4818:
4614:
4607:
4485:
4324:
4250:
4182:
4175:
3861:
3816:
3639:
3260:
3203:
3183:
3163:
3056:
among our writers." According to Ornea, Creangă has "nothing in common" with the
2951:
2902:
2858:
2612:, in line with various satirical works targeting the Romanian clergy: "Creangă's
2609:
2423:
2274:
2112:
and constituted a significant part of his appeal, was reflected into a series of
2053:
1909:
1890:
1590:
1496:, where he was looked after by the couple. For five months after quarreling with
1341:
1073:
1050:
900:
870:
542:
8555:
8337:
Intelectualii și promovarea socială (pentru o morfologie a câmpului universitar)
8256:
7936:
3925:
3857:
after 2000, particularly in areas of education targeting the youngest students.
3850:
3460:, claimed that Creangă was equal to, or even more important than world classics
2770:
2605:
1663:
1432:
Autumn 1875 is also often described as his actual debut in fiction prose, with "
913:
In 1860, Creangă enlisted at the Faculty of Theology, part of the newly founded
5793:"Thoughts about a Possible History of Gaster's Presence in Romanian Literature"
3907:
3651:
3592:
3384:
society. In 1948, the new authorities granted him posthumous membership in the
3244:
3126:
2999:
2988:
2910:
2579:
2415:
2243:
2126:
2102:
1902:
1774:
1753:
1520:
in exchange. That same year, he, Răceanu and Ienăchescu published the textbook
1501:
1353:, and thus helped diffuse its message outside the purely academic environment.
1315:
1280:
1227:
1143:
991:
952:
944:
828:
816:
741:
infection and his hastened departure for Pipirig, where he cured himself using
497:
483:
446:
7433:
republished by the Institute for Cultural Memory; retrieved September 10, 2009
7282:
4635:
Călinescu, p. 435; Ornea (1998), p. 231; Vianu, Vol. II, p. 207
3704:: an adaptation of "Ivan Turbincă" and one of the successful samples of early
3616:
1488:
After losing his job as school inspector following the decisions of a hostile
1288:
1091:. An agitator for his party, Creangă became commonly known under the nickname
8592:
8539:
8452:
Corina, Iordan. Linguistic and Cultural Characteristics of Creangă's Speech.
8235:
6878:
6738:
6097:
5337:
Ornea (1998), p. 236–239, 252, 258–259; Vianu, Vol. II, p. 211, 214
3997:
3929:
3845:("A Report about Harap Alb"). In 2009, Țurlea followed up with a version of "
3729:
3687:
3631:
3620:
3516:
3448:
3425:
3354:
3208:
3112:
3041:
3022:
2980:
2975:
2939:
2875:
2442:
2145:
2089:
1778:
1675:
1607:
1553:
1421:
1373:
1284:
1204:
1104:
960:
932:
480:
372:
8016:
3524:
3079:
2730:. Although Roată, a real-life person, was a representative of the pro-union
2269:
2247:
1655:
1134:"). He was eventually selected as one of the Factionalist candidates for an
8549:
7011:
6945:
6758:
6366:
4329:
3694:, who also painted a portrait of the author. In 1967, Ioviță and filmmaker
3655:
3627:
3532:
3477:
3136:
3066:
3049:
2984:
2774:
2698:
2670:
2633:
2326:
2234:
2199:
2187:
2130:
1894:
1733:
1679:
1540:
1401:
1318:, referred to as "the eminent writer and the greatest poet among Romanians"
1019:
1003:
983:
774:
615:
603:
591:
505:
487:
249:
224:
8171:
7904:
7487:
3977:
3789:
3501:
3436:", outlined in a 1983 volume, depicted Creangă as a direct predecessor of
2921:("Electorals"). The same author referred to his counterpart in one of his
2694:
832:
782:
607:
559:
334:
70:
8410:
8282:
8196:
8134:
7849:
7223:"Despre mitocritică, mitanaliză, arhetipuri și alți demoni critici" (III)
6882:
6610:
5387:
3941:
3721:
3675:
3443:
3409:
3324:
neighborhood. After 1943, another such piece was unveiled in Bucharest's
3240:
3225:
3074:
2826:
2629:
2553:
2399:
2367:
2226:
2170:
2049:
1882:
1793:
1789:
1709:
1624:
1505:
1470:
1437:
1376:. According to Ornea's assessment, with the exception of literary critic
1329:
1231:
1146:. The episode is supposed to have taken place at the earliest during the
1032:
999:
820:
746:
390:
244:
8422:
5122:
Călinescu, p. 480; Vianu, Vol. I, p. 303; Vol. II, p. 210
4776:
Călinescu, p. 479; Vianu, Vol. I, p. 302; Vol. II, p. 214
4679:
Călinescu, p. 479; Vianu, Vol. I, p. 302; Vol. II, p. 208
3957:
1716:
is itself ... an aristocratic society. Nevertheless, it is through
1662:. His funeral ceremony was attended by several of Iași's intellectuals (
695:
After an idyllic period, which is recounted in the first section of his
457:
of rural inspiration. They are accompanied by a set of contributions to
8469:
8117:
7887:
7658:
7573:
7551:
7227:
6950:"From the Musical Folklore of Children to the Comic Opera for Children"
5319:
Călinescu, p. 413; Ornea (1998), p. 57–58, 65, 67, 70–71, 157
3879:
3709:
3691:
3635:
3528:
3520:
3429:
3287:
3221:
3088:
3029:
3013:
2935:
2782:
2481:
2451:
2315:
2279:
2191:
2077:
2037:
1898:
1667:
1545:
1311:
1279:. During the same period, Ion Creangă met and became best friends with
1209:
905:
897:, being allowed to go free only on promise to reconcile with Grigoriu.
844:
710:
656:
648:
465:
422:
214:
7758:
6325:
4758:
3917:, and to an annual prize granted by the Romanian Academy. There is an
3103:, while the reworking of regional folklore themes earned intellectual
8432:
7742:
7400:
de Șerban Foarță, după Ion Creangă (Teatrul de Păpuși din Timișoara)"
5861:
3440:
3433:
3381:
3295:
3263:
3213:
3187:
3026:
2955:
2617:
2549:
2460:
2438:
2351:
2302:
2256:
2215:
2183:
2154:
2097:
1873:
1861:
1598:
1509:
1450:
would publish 15 works of fiction and the four existing parts of his
1256:
1171:
1163:
1058:
856:
595:
406:
368:
364:
170:
165:
50:
7854:*articleID_5796-articles_details.html "Povestea poveștilor ..."
7240:
Boia (2001), pp. 79–81; Mihăilescu, pp. 149, 153, 158, 171
6833:, "The Memoirs of N. Batzaria: The Young Turks and Nationalism", in
4899:
Ornea (1998), p. 233, 239–240, 245; Vianu, Vol. II, p. 210
3937:
3933:
3829:
project, with illustrations made for the occasion by graphic artist
3099:, combined Creangă's storytelling techniques with the traditions of
2746:
2158:
2116:. These accounts detail his playing the ignorant in front of fellow
1736:. Late in life, he used this connection to challenge accusations of
1564:
1368:
leader, and noted that it contradicted both Negruzzi's accounts and
877:
in Holy Trinity Church, and, in May 1860, returned to Forty Saints.
8577:
8573:
8372:
8240:Între Orient și Occident. Țările române la începutul epocii moderne
4313:
3725:
3342:
3291:
3143:("Inside a Swallow's Nest") borrows from "The Flax and the Shirt".
3084:
3069:, whose memoirs borrow stylistic elements from Creangă's accounts;
2754:
Seen by Romanian critic Radu Voinescu as an extended anecdote, the
2710:
2690:
2683:
2666:
2494:
2465:
2289:
2134:
2113:
2081:
2069:
1929:
1848:
1800:
notes that the poet used Creangă's positions to illustrate his own
1797:
1744:
1577:
1350:
1333:
1054:
865:
785:
599:
583:
394:
194:
74:
5029:
Ornea (1998), p. 236–237; Vianu, Vol. II, p. 18, 210–211
4243:
2909:, Creangă had his political career fictionalized and satirized by
2652:("Five Loafs of Bread"), which serves as a condemnation of greed.
2454:
Red Emperor. Forced to pass himself off as a foreign servant (or "
2418:. The plot retells a theme present in both Romanian tradition and
998:
became one the period's most circulated textbooks. In addition to
713:
techniques, before the overseeing teacher, Vasile a Ilioaiei, was
8299:
in Education for a Civil Society", in Magdalena Dumitrana (ed.),
5864:, Cambridge, Massachusetts & London, 2006, p. 227, 247.
5480:
3965:
3945:
3870:
of 1992 (an adaptation of "The Old Man's Daughter ...") and
3643:
3536:
3304:
3150:, a new generation of critics, most notably George Călinescu and
3108:
3096:
2922:
2755:
2589:
2490:
2450:
known as the Bald Man, to the "crass vulgarity" evidenced by the
2447:
2359:
2338:
2333:
2073:
1740:
1635:
1602:
1369:
1324:
1267:
In May 1874, soon after taking over Minister of Education in the
1123:
1045:
804:, generally used in more learned circles, instead of the variant
738:
726:
702:
622:
534:
520:
516:
492:
386:
271:
234:
97:
27:
Moldavian - born writer, raconteur and school teacher (1837–1889)
7569:"Adrian Pintea, un actor extraordinar și un profesor desavîrșit"
4702:
Călinescu, p. 479. See also Vianu, Vol. II, p. 208–209
1197:
1135:
1108:
1062:
1040:
990:(which had been officially discarded in 1862). Largely based on
926:
840:
530:
449:, his writings occupy the middle ground between a collection of
102:
8341:
8191:
Ion Creangă; Viața și opera ("Ion Creangă; His Life and Works")
7112:"Nature and Architecture: The Parks and Gardens of the Capital"
6679:
5364:
Vianu, Vol. II, p. 217; Vol. III, p. 208–209, 211–212
5263:
3981:
3973:
3953:
3578:
2674:
2657:
2593:
2541:
2498:
2411:
2321:
2238:
2207:
874:
634:
625:, a family of community leaders. The latter's members included
405:
includes narratives structured around eponymous protagonists ("
239:
229:
3036:. The new editions of his works enlisted the collaboration of
2717:. The texts convey a sense of tension between the traditional
1843:
Highlighting Ion Creangă's recourse to the particularities of
1597:, was involved in a clash of ideas with the emerging Romanian
901:
Beginnings as schoolteacher and clash with the Orthodox Church
5419:
Vianu, Vol. I, p. 305; Vol. II, p. 136–137, 221–222
3961:
3860:
New films based on Creangă's writings include, among others,
3461:
3437:
3321:
2718:
2628:
Creangă's contribution to literature also covers a series of
2574:
2455:
2389:
2297:
2230:
2203:
2040:, in turn linking both writers to the satirical component of
1886:
1235:
1217:
1126:
Jewish business. He is thought to have coined the expression
1030:(a borrowing of the fictional folk character better known as
1015:
976:
Metodă nouă de scriere și cetire pentru uzul clasei I primară
886:
742:
714:
209:
7773:
4089:
Călinescu, p. 477, 478; Vianu, Vol. II, p. 206–207
4064:
Călinescu, p. 477. See also Vianu, Vol. II, p. 206
3752:, which signaled the end of communism, closely preceded the
3595:
in the title role. Popescu-Gopo also directed the 1976 film
533:, which, in 1918, was opened as the first memorial house in
7294:
4587:
Ornea (1998), p. 231, 234; Vianu, Vol. II, p. 207
3803:("The Tale of the Tales of the 80s Generation"). Edited by
3508:
also completed work on a stage version of "Ivan Turbincă".
2869:
2765:
bride by a worldly Moldavian wagoner, on the route between
2584:
2085:
1131:
721:
at some point before 1848. After another teacher, whom the
8277:
Ruth S. Lamb, "Romanian Drama", in Stanley Hochman (ed.),
6763:
The Columbia Literary History of Eastern Europe Since 1945
6184:"Khazar Jews. Romanian History and Ethnography" (excerpts)
6125:"Spațiul fascinant în care muzica se întîlnește cu filmul"
5921:
Călinescu, p. 481, 483; Constantinescu, p. 65–66
5328:
Călinescu, p. 413; Ornea (1998), p. 57–58, 70–71
4046:
Călinescu, p. 477, 488; Djuvara, p. 226–227, 244
3396:
controversially described Creangă as a writer indebted to
3095:, who divided his career between Romania and the southern
1220:
clothes everywhere, a matter which caused public outrage.
1142:, as documented by the memoirs of his conservative rival,
835:
school, Creangă left for the Central Seminary attached to
614:, his father's origin may have been further southwest, in
566:, a former village which has since been incorporated into
7679:
Patrimoniul istoric și arhitectural al Republicii Moldova
7675:"Busturi / Sculptură și pictură monumentală: Ion Creangă"
6436:
Constantinescu, p. 61; Ornea (1998), p. 242–243
5079:
Vianu, Vol. I, p. 305; Vol. II, p. 209, 220–221
3569:(starring child actor Ion Bocancea as the young Nică and
3428:. In one of its aspects, theorized by cultural historian
3267:
2994:
2954:, earning his reputation by redesigning much of downtown
1483:
Povățuitoriu la cetire prin scriere după sistema fonetică
8279:
The McGraw-Hill Encyclopedia of World Drama. Vol. 4: O-S
8201:
Avangarda românească și complexul periferiei: primul val
8181:
Istoria literaturii române de la origini pînă în prezent
6524:
Călinescu, p. 479, 488; Vianu, Vol. II, p. 213
5602:
Călinescu, p. 482; Vianu, Vol. II, p. 217, 219
5215:
Călinescu, p. 480; Vianu, Vol. II, p. 211, 212
4631:
4629:
3910:
show using both Creangă's original and Nedelciu's text.
2974:
Romania's social and literary environments, philosopher
2024:. Writing during the second half of the century, critic
4015:
Călinescu, p. 477; Vianu, Vol. II, p. 206–207
3708:, it was also noted for the musical score, composed by
3615:, focuses on the friendship between Creangă (played by
1901:, sees much of Creangă's prose being set to a discreet
610:-born peasants, while, according to literary historian
7515:"Fantasy & Science Fiction. Premiile care au fost"
6497:
Călinescu, p. 486–487; Constantinescu, p. 62
5206:
Ornea (1998), p. 236; Vianu, Vol. II, p. 212
5047:
Ornea (1998), p. 232; Vianu, Vol. II, p. 210
4518:
Ornea (1998), p. 234; Vianu, Vol. II, p. 208
3555:. Among the first were two contributions of filmmaker
3290:
made "The Tale of All Tales" circulate "rather like a
1322:
At around the same time, Creangă also began attending
8417:, Vol. I-III, Editura Minerva, Bucharest, 1970–1971.
5898:
Călinescu, p. 482; Constantinescu, p. 64–65
5880:
Călinescu, p. 482; Constantinescu, p. 63–65
4626:
3472:, while asserting that the eponymous protagonist of "
1708:." His cogenerationist and fellow literary historian
773:
string of reforms. A colleague of future philosopher
508:, as one of the most accomplished representatives of
8759:
Members of the Romanian Academy elected posthumously
3559:, both released in the early 1960s and based on the
3298:
of the 1920s and '30s. High-ranking Orthodox cleric
3247:
readers of Romanian literature. In contrast, writer
1492:
executive, Mihai Eminescu spent much of his time in
1177:
1095:("Priest Sour Cream"). In April 1866, shortly after
1002:
texts, it also featured Creangă's isolated debut in
541:, one of the leading Romanian architects during the
355:; March 1, 1837 – December 31, 1889), also known as
6841:, Leiden, Boston & Cologne, 2002, p. 565.
6653:
Braga, p. 215; Vianu, Vol. II, p. 212–213
6411:, Houndmills & London, 1997, p. 136, 155.
5373:
Braga, p. 213; Vianu, Vol. II, p. 215–216
4735:
Călinescu, p. 479; Vianu, Vol. II, p. 209
4693:
Călinescu, p. 479; Vianu, Vol. II, p. 208
4479:"Spațiul viral al geniului: o cameră și un ceardac"
4360:
Călinescu, p. 479; Vianu, Vol. II, p. 207
4268:
Călinescu, p. 478; Vianu, Vol. II, p. 207
4209:
Călinescu, p. 477; Vianu, Vol. II, p. 207
4138:
Călinescu, p. 477; Vianu, Vol. II, p. 206
3847:
The Old Man's Daughter and the Old Woman's Daughter
3626:The legacy of Ion Creangă was also tangible in the
2665:food as an effort, his fellow villagers organize a
2311:
The Old Man's Daughter and the Old Woman's Daughter
1241:In the meantime, Creangă moved into what he called
1072:Ion Creangă's home (present-day Creangă Museum) in
1022:, "Human Stupidity", to which later editions added
439:
The Old Man's Daughter and the Old Woman's Daughter
6681:Patrimoniul istoric și arhitectural, Iași, România
5265:Patrimoniul istoric și arhitectural, Iași, România
3182:, two Romanian composers who worked in children's
2849:, "The Tale of All Tales" may in fact be based on
2536:is, together with a short story about his teacher
2292:traditions, by being both personifications of the
2229:illustration of motherly love, Creangă produced a
674:
638:David, and her uncle Ciubuc Clopotarul, a monk at
606:: on his maternal side, the writer descended from
486:and their common affiliation with the influential
7740:Dumitru Nicodim, "Podul de flori de la Prut", in
7712:, 1-2/2004, p. 63–64, 65, 66, 68, 69, 71, 72
6564:
6562:
5953:Braga, p. 210; Constantinescu, p. 66–67
4731:
4729:
4689:
4687:
4685:
4514:
4512:
3902:(from "Human Stupidity") and Gheorghe Hibovski's
3003:Ion Creangă, as depicted on a 1937 Romanian stamp
2552:, and reflects in part the literary canon set by
1765:" guidelines (as sporadically recommended by the
1408:(roughly, "small game") section, which comprised
8590:
7941:"Fata babei și fata 'moșului'-autor încă tânăr!"
7592:Bessarabia. Russia and Roumania on the Black Sea
5563:Vianu, Vol. I, p. 306; Vol. II, p. 221
5070:Vianu, Vol. I, p. 305; Vol. II, p. 210
4723:Vianu, Vol. I, p. 302; Vol. II, p. 209
1990:So that I may marvel at things having found me.
1440:first publish in October by the club's magazine
943:), where he first met the young cultural figure
756:, and became known by the occupational nickname
8340:, Editura Nereamia Napocae, Cluj-Napoca, 2002;
8295:Carmen-Maria Mecu, Nicolae Mecu, "Paradigms of
7594:: Chapter XXIX, "The Moldavian Soviet Republic"
6835:Studies on Ottoman Social and Political History
6769:, New York & Chichester, 2008, p. 55.
6208:Braga, p. 208; Vianu, Vol. II, p. 207
5231:"Ansamblul funerar al scriitorului Ion Creangă"
3764:, were consecrated by 1990 events such as the "
2689:Partly didactic in scope, several of Creangă's
1838:
749:mastered by his maternal grandmother Nastasia.
598:communities on both sides of the mountains, in
578:foothills, and included into what was then the
8435:, New York & Abingdon, p. 1127–1131.
7870:
7868:
7800:"Un tînar artist, cu un palmares impresionant"
7695:"Trei eseuri despre moștenirea lui Igor Vieru"
7441:
7439:
6559:
6294:Braga, p. 206–207; Călinescu, p. 485
6116:
6114:
5634:
5632:
5469:"The Stylistics of the Parts of the Speech in
4726:
4682:
4509:
3650:, formed part of the Soviet curriculum in the
3591:, a loose adaptation of "Harap Alb", starring
3581:story). In 1965, celebrated Romanian director
2060:, an early 19th-century representative of the
1975:
1944:
737:, before the proximity of goats resulted in a
30:"Creangă" redirects here. For other uses, see
8398:, Vol. II, Editura Minerva, Bucharest, 1998.
7185:"Nimeni nu poate sări peste umbra epocii lui"
6661:
6659:
6532:
6530:
6093:
6091:
6089:
5931:
5929:
5927:
5394:, Reaktion Books, London, 2001, p. 247.
4991:
4989:
4987:
4985:
4983:
4599:
4597:
4595:
4593:
4470:
4468:
4466:
4464:
4462:
4460:
4458:
4456:
4454:
4452:
4450:
4448:
4446:
4444:
4442:
4440:
4438:
4436:
3984:, etc. A quarter in northern Bucharest, near
1310:book in Creangă's collection. Creangă's 1878
951:, Creangă became an enthusiastic promoter of
8193:, Editura pentru Literatura, Bucharest, 1964
8158:, postface and bibliography to Ion Creangă,
7358:
7356:
7354:
6599:
6597:
6178:
6176:
5858:Dada East. The Romanians of Cabaret Voltaire
5787:
5785:
5223:
5221:
4973:
4971:
4561:
4559:
4557:
4555:
4553:
4551:
4549:
4547:
4545:
4535:
4533:
4502:
4500:
4434:
4432:
4430:
4428:
4426:
4424:
4422:
4420:
4418:
4416:
4306:
4304:
4302:
4300:
4298:
4296:
4294:
4235:
4164:
4076:
4074:
4072:
4070:
3220:. Likewise, while formally affiliating with
3212:, in particular by its literary chroniclers
3194:". Creangă was also a secondary presence in
1099:Cuza was toppled by a coup, and just before
7865:
7612:
7610:
7436:
7275:
7273:
6355:
6353:
6351:
6349:
6347:
6111:
6079:
6077:
5963:
5961:
5959:
5629:
4855:
4853:
4800:
4798:
4796:
4794:
4792:
4790:
4788:
4786:
4784:
4782:
4751:
4749:
4747:
4745:
4743:
4741:
4292:
4290:
4288:
4286:
4284:
4282:
4280:
4278:
4276:
4274:
4233:
4231:
4229:
4227:
4225:
4223:
4221:
4219:
4217:
4215:
4162:
4160:
4158:
4156:
4154:
4152:
4150:
4148:
4146:
4144:
3146:With the interwar period and the spread of
2540:(titled "Popa Duhu"), one of Creangă's two
2527:in manuscript form, introductory paragraphs
1959:It will laugh even harder for cabbage pie.
1516:in her name, paying his former landlord 40
1039:In February 1866, having briefly served at
855:between Moldavia and its southern neighbor
8552:edited and/or translated by D. L. Ashliman
8526:Roumanian Stories. Translated by Lucy Byng
8139:History and Myth in Romanian Consciousness
7724:, G.K. Hall, New York, 1978, p. 479.
7422:, Vol. XXVIII, Nr. 7-8, July–August 1983;
7315:
7313:
7311:
6697:"Nepotul lui Creangă a clădit Bucureștiul"
6656:
6527:
6466:
6464:
6462:
6460:
6102:"Enemies and Friends of Man II" (excerpts)
6086:
5924:
5297:
5295:
5193:
5191:
5189:
5187:
5185:
5057:
5055:
5053:
4980:
4851:
4849:
4847:
4845:
4843:
4841:
4839:
4837:
4835:
4833:
4710:
4708:
4590:
4406:
4404:
4402:
4400:
3894:'s take on "The Goat and Her Three Kids",
2917:, into a character of his satirical poems
2497:"), the Bald Man as a popular view of the
2388:dedicated by Stan to those who honor God,
2169:Part of Ion Creangă's contribution to the
1630:In 1887, the National Liberal Ministry of
974:, which saw print in 1868 under the title
461:, collectively known as his "corrosives".
8379:Anii treizeci. Extrema dreaptă românească
8225:, Clermont-Ferrand, 2005, p. 59–71.
7351:
7071:"Mihai Eminescu în iconografia românilor"
6594:
6390:
6388:
6173:
6166:
6164:
6162:
5981:
5979:
5977:
5975:
5973:
5782:
5739:
5737:
5646:
5644:
5571:
5569:
5218:
4968:
4542:
4530:
4497:
4413:
4390:
4388:
4386:
4067:
3886:'s variant of "Harap Alb" (with music by
3286:and sexually explicit literature through
1107:intervened to quell a separatist riot in
1049:Isaia Vicol Dioclias into the service of
808:that was consecrated by his biographers.
788:in 1854. After having been registered as
667:("Nică of Ștefan of Petru", occasionally
301:
8734:Free and Independent Faction politicians
8714:People from the Principality of Moldavia
8501:"The Mother with Three Daughters-in-Law"
7607:
7270:
6716:Limba română vorbită în Moldova istorică
6344:
6254:
6252:
6250:
6143:
6141:
6139:
6074:
6058:
6056:
6054:
5956:
5908:
5906:
5904:
5550:
5548:
5546:
5544:
5525:
5523:
5521:
5519:
5517:
5515:
5513:
5511:
5509:
5454:
5452:
5383:
5381:
5379:
5285:
5283:
5166:
5164:
5109:
5107:
5105:
5103:
4961:
4959:
4779:
4738:
4666:
4664:
4662:
4652:
4650:
4384:
4382:
4380:
4378:
4376:
4374:
4372:
4370:
4368:
4366:
4271:
4212:
4141:
4125:
4123:
4121:
4119:
4117:
4115:
3994:Ion Creangă Pedagogical State University
3811:, it featured a Postmodern reworking of
3739:
3527:, while "Harap Alb" became a project of
3341:
3266:on the Romanian writer, originally as a
2998:
2870:Estate, family and early cultural impact
2853:, a pornographic leaflet circulating in
2620:school would discourage any candidate."
2516:
2337:
1998:
1563:
1539:
1427:
1301:
1185:
1067:
904:
688:("The House in Humulești"), painting by
678:
651:, the boy was known to the community as
553:
8550:Folklore and Mythology Electronic Texts
7476:"Cu ochii copiilor, pentru bucuria lor"
7308:
7161:Membrii post-mortem al Academiei Române
6457:
5355:Ornea (1998), p. 124, 238–239, 252
5292:
5182:
5050:
5016:
5014:
4830:
4705:
4397:
4113:
4111:
4109:
4107:
4105:
4103:
4101:
4099:
4097:
4095:
4033:
4031:
4029:
4027:
4025:
4023:
4021:
3412:perspective was written by philosopher
3388:. The following year, at the height of
3115:published a specialized magazine named
3111:Creangă". During the 1910s, folklorist
2810:bordered on Creangă's contributions to
2164:
1712:issued a similar verdict, commenting: "
1283:, posthumously celebrated as Romania's
441:"). Widely seen as masterpieces of the
14:
8591:
8490:"Danillo Nonsuch" ("Dănilă Prepeleac")
8446:
6385:
6159:
5970:
5734:
5641:
5566:
5482:American, British and Canadian Studies
2995:Early 20th century and interwar echoes
2309:A similar perspective was favored by "
2253:The Mother with Three Daughters-in-Law
1434:The Mother with Three Daughters-in-Law
1043:Pantelimon Church, he was welcomed by
777:in the class of priest and theologian
717:off the street and conscripted by the
435:The Mother with Three Daughters-in-Law
8719:19th-century Eastern Orthodox priests
8535:DXARTS/CARTAH Electronic Text Archive
8071:"Relatare despre un București altfel"
7968:Fratele mai deștept al lui Kalașnikov
7621:"Copilăria: o recuperare postmodernă"
7602:DXARTS/CARTAH Electronic Text Archive
6247:
6136:
6051:
5901:
5817:Călinescu, p. 430, 479, 493, 449
5541:
5506:
5449:
5376:
5280:
5161:
5100:
4956:
4812:"Ion Creangă între natură și cultură"
4659:
4647:
4363:
3996:, founded on the basis of Chișinău's
3278:Creangă reader of 1938, published by
2942:, one of the writer's two grandsons,
2504:
2342:Depiction of Hell in an 18th-century
350:
8348:'s George Bariț Institute of History
8315:De la proletcultism la postmodernism
8261:Trecute vieți de fanți și de birlici
8223:Presses Universitaires Blaise Pascal
8124:, Swedenborg Press, New York, 2007.
7822:"Casa lui Creangă scoasă la vânzare"
6743:"The Museum of the Romanian Village"
5613:Cervantès conteur. Écrits et paroles
5593:Vianu, Vol. II, p. 216–221, 229
5253:"Mormântul scriitorului Ion Creangă"
5011:
4092:
4055:Călinescu, p. 477, 517, 974–975
4018:
3316:Creangă inspired a 1920 painting by
2623:
2358:Several of Creangă's characteristic
2334:Devil-themed stories and "Harap Alb"
2190:takes on the themes and purposes of
1969:
1938:
1535:
1532:("Rules of the Romanian Language").
1294:
8285:, New York, 1984, p. 239–252.
6669:"Bojdeuca scriitorului Ion Creangă"
3874:'s Moldovan-Romanian co-production
3646:). Initially, his writings, titled
2406:Another account in this series is "
1743:in the face of criticism from more
1690:
24:
8609:Romanian collectors of fairy tales
8383:Editura Fundației Culturale Române
8183:, Editura Minerva, Bucharest, 1986
7722:Bibliographic Guide to Music, 1978
7681:database; retrieved August 3, 2009
7305:database; retrieved August 3, 2009
6684:database; retrieved August 3, 2009
5268:database; retrieved August 3, 2009
3801:Povestea poveștilor generației '80
3337:
3166:dramatized a section of Creangă's
3139:, whose didactic children's story
1259:who had earlier leased one of the
453:and an original contribution to a
25:
8770:
8654:Romanian male short story writers
8463:
8429:Encyclopedia of Erotic Literature
8143:Central European University Press
6857:Aurelian I. Popescu, postface to
6199:Constantinescu, p. 68–69, 71
5242:"Bustul scriitorului Ion Creangă"
3784:nominated Creangă 43rd among the
3634:(which, as the larger section of
2300:-like patrons of the wilderness (
2214:argues, they also illustrate the
1988:Lord, give me that I did not own,
1103:was selected to replace him, the
537:. His direct descendants include
425:indebted to conventional forms ("
397:. Creangă's main contribution to
8634:19th-century Romanian memoirists
8581:
8082:
8057:
8035:
8003:
7981:
7952:
7927:
7894:
7840:
7811:
7789:
7749:
7734:
7715:
7684:
7665:
7652:Un hectar de umbră pentru Sahara
7639:
7580:
7558:
7526:
7501:
7465:
7456:
7385:
7376:
7342:
7261:
7252:
7243:
7234:
7212:
7203:
7171:
7150:
7121:
7104:
7082:
7060:
7051:
7034:
7018:
6986:
6977:
6974:Cernat, p. 76, 143, 200–201
6968:
6959:
6939:
6930:
6921:
6912:
6903:
6893:, Madison, 1998, p. 16sqq.
6881:, "The Vampire in Roumania", in
6872:
6859:Constantin S. Nicolăescu-Plopșor
6851:
6824:
6821:Călinescu, p. 635, 726, 930
6815:
6806:
6797:
6788:
6779:
6752:
6732:
6708:
6687:
6647:
6638:
6629:
6585:
6518:
6509:
6500:
6491:
6482:
6473:
6448:
6439:
6430:
6421:
6397:
6315:
6306:
6297:
6288:
6279:
6270:
6261:
6238:
6229:
6220:
6211:
6202:
6193:
6150:
6065:
6042:
6039:Braga, p. 209, 210, 212–213
6033:
6024:
6015:
6006:
5997:
5988:
5947:
5938:
5915:
5892:
5883:
5874:
5847:
5838:
5829:
5820:
5811:
5802:
5773:
5764:
5755:
5746:
5725:
5716:
5707:
5698:
5689:
5680:
5671:
5662:
5653:
5605:
5596:
5587:
5578:
5557:
5477:Lucian Blaga University of Sibiu
5310:Mecu & Mecu, p. 186–187
4759:"Muzeul Literaturii Române Iași"
3744:Creangă on a 2014 Romanian stamp
3105:Constantin S. Nicolăescu-Plopșor
632:, as well as Smaranda's father,
375:. A main figure in 19th-century
333:
304:–1873)
49:
8754:Burials at Eternitatea cemetery
8046:"Povestea și regizorul-păpușar"
7992:"Lectura—plăcere sau supliciu?"
7295:Complexul Muzeal Județean Neamț
7135:"Canonul literar proletcultist"
7015:, Vol. III, Nr. 110, March 2006
6803:Vianu, Vol. II, p. 213–214
6644:Vianu, Vol. II, p. 212–213
6506:Oișteanu, p. 189, 223, 349
6488:Călinescu, p. 486–487, 488
6021:Călinescu, p. 482–483, 484
5713:Vianu, Vol. I, p. 304, 306
5695:Călinescu, p. 487–488, 975
5619:, Madrid, 1989, p. 81–82.
5532:
5497:
5488:
5461:
5440:
5431:
5422:
5413:
5404:
5367:
5358:
5349:
5340:
5331:
5322:
5313:
5304:
5271:
5209:
5200:
5173:
5152:
5149:Vianu, Vol. II, p. 211–212
5143:
5134:
5125:
5116:
5091:
5082:
5073:
5064:
5041:
5032:
5023:
4947:
4938:
4929:
4920:
4911:
4902:
4893:
4884:
4875:
4770:
4717:
4696:
4673:
4638:
4581:
4521:
4354:
4345:
4336:
4318:"Nonconformisme celebre (1997)"
4262:
4203:
4194:
3849:"; a year later, his colleague
3754:dissolution of the Soviet Union
3660:Soviet occupation of Bessarabia
3642:, and later became independent
3573:as the grown-up narrator), and
3488:during 1984–1989. In 1965, the
3373:Censorship in Communist Romania
3135:. Another such author was poet
2946:, became one of the celebrated
675:Childhood, youth and ordination
297:
8684:Romanian educational theorists
8122:Paganism in Roumanian Folklore
7324:"Bijuteria de pe Valea Ozanei"
7143:, Nr. 27/2008 (republished by
6515:Ornea (1998), p. 237, 252
5835:Călinescu, p. 56, 487–488
4333:, Vol. V, Nr. 26, January 2008
4132:
4083:
4058:
4049:
4040:
4009:
3609:'s biographical film of 1989,
3543:(a celebrated contribution by
3490:Ion Creangă Children's Theater
3186:, who adapted, respectively, "
2963:evolution of standard Romanian
1889:", which contained "hilarious
1820:members Eminescu, Slavici and
1747:traditionalists. Nonetheless,
1611:magazine. This occurred after
1360:meeting of 1871, during which
859:, effected by the election of
725:portray as a drunk, died from
13:
1:
8739:Romanian political candidates
8565:Works by or about Ion Creangă
8520:"The Tale of Ionică the Fool"
8456:No. 2(38). pp. 520–525.
8111:
7283:"Muzeul Memorial Ion Creangă"
7093:"Grădina busturilor rătăcite"
6891:University of Wisconsin Press
6722:, Leipzig, 2002, p. 31.
6427:Ornea (1998), p. 242–243
6267:Ornea (1998), p. 235–236
6244:Constantinescu, p. 62–63
6083:Constantinescu, p. 70–71
6003:Constantinescu, p. 67–68
5967:Constantinescu, p. 66–67
5761:Ornea (1998), p. 240–244
5410:Ornea (1998), p. 239–241
5392:Romania: Borderland of Europe
4953:Ornea (1998), p. 232–233
4935:Ornea (1998), p. 230–232
4926:Ornea (1998), p. 230–231
4908:Ornea (1998), p. 234–236
4608:"Mărturii despre Ion Creangă"
4506:Ornea (1998), p. 233–234
4351:Ornea (1998), p. 233–236
3735:
3484:in the immediate vicinity of
3361:During Romania's restrictive
2362:are infused with themes from
1957:The mouth will laugh for pie,
1725:"diversity" and "tolerance".
1216:altogether and began wearing
1130:("Not even a needle from the
8659:Romanian short story writers
8360:University of Nebraska Press
6869:, Craiova, 1987, p. 145
6720:Leipziger Universitätsverlag
6541:"Erosul ca formă a revoltei"
6405:The Making of Eastern Europe
6312:Braga, p. 206, 208, 212
6012:Braga, p. 207, 210, 212
5038:Mecu & Mecu, p. 187
4917:Mecu & Mecu, p. 189
4176:"O monografie spectaculoasă"
3915:Ion Creangă National College
3819:, a leading theorist of the
3638:, had been part of interwar
2806:The narrative approaches of
2513:Childhood Memories (Creangă)
1977:Dă-mi, Doamne, ce n-am avut,
1864:in what became the standard
1839:Narrative style and language
1089:Free and Independent Faction
1006:, with a naïve piece titled
869:. Having been employed as a
819:on his colleagues, and even
779:Isaia "Popa Duhu" Teodorescu
548:
477:Free and Independent Faction
7:
8644:19th-century Romanian poets
8604:Romanian children's writers
8580:(public domain audiobooks)
8480:Romanian Cultural Institute
7786:; retrieved August 16, 2009
7706:National Library of Moldova
7604:; retrieved August 16, 2009
7493:September 11, 2011, at the
7481:September 11, 2011, at the
7348:Lamb, p. 243, 248, 249
7329:September 20, 2011, at the
6965:Călinescu, p. 801, 807
6611:"Dacă talent nu e ..."
6303:Călinescu, p. 317, 485
6217:Vianu, Vol. II, p. 220
6071:Vianu, Vol. II, p. 215
5779:Vianu, Vol. II, p. 214
5638:Călinescu, p. 480, 488
5437:Vianu, Vol. II, p. 217
5301:Vianu, Vol. II, p. 213
5197:Vianu, Vol. II, p. 212
5061:Vianu, Vol. II, p. 211
4864:"Poveștile cu poale-n brîu"
4714:Vianu, Vol. II, p. 209
4644:Vianu, Vol. II, p. 207
4527:Braga, p. 205–206, 215
4410:Vianu, Vol. II, p. 208
4200:Călinescu, p. 477, 479
4080:Călinescu, p. 477, 478
3652:Moldavian Autonomous Region
3236:communities from Moldavia.
3192:The Goat and Her Three Kids
3093:Nicolae Constantin Batzaria
2223:The Goat and Her Three Kids
1404:, as well as the so-called
1314:identify it as a gift from
839:, in Moldavia's capital of
665:Nică al lui Ștefan a Petrei
431:The Goat and Her Three Kids
379:, he is best known for his
357:Nică al lui Ștefan a Petrei
10:
8775:
8729:Clergy removed from office
8166:, 1987, p. 199–220.
8017:"Râzi tu, râzi, Harap-Alb"
7827:December 20, 2009, at the
7782:February 20, 2008, at the
7545:February 20, 2012, at the
7300:February 17, 2009, at the
6616:December 10, 2008, at the
6546:February 13, 2009, at the
6258:Constantinescu, p. 62
6156:Călinescu, p. 484–485
6147:Constantinescu, p. 70
6062:Constantinescu, p. 69
6030:Călinescu, p. 482–483
5994:Constantinescu, p. 68
5935:Călinescu, p. 483–484
5912:Constantinescu, p. 65
5889:Constantinescu, p. 64
5731:Călinescu, p. 974–975
5668:Vianu, Vol. I, p. 306
5659:Călinescu, p. 487–488
5494:Călinescu, p. 480–481
5428:Călinescu, p. 477–514
5158:Călinescu, p. 445–446
5020:Constantinescu, p. 61
4977:Călinescu, p. 479–480
4767:; retrieved August 3, 2009
4613:November 15, 2010, at the
4539:Călinescu, p. 478–479
4484:September 2, 2009, at the
3470:Johann Wolfgang von Goethe
3446:and his celebrated volume
3280:Editura Fundațiilor Regale
2913:, who transformed him, as
2825:Two stories with explicit
2697:, a representative to the
2510:
2313:". Here, the theme echoes
1796:" peasanthood. Similarly,
1576:By the 1880s, Creangă had
1140:Romanian Deputies' Chamber
849:church of the Forty Saints
781:, Creangă was sent to the
29:
8724:Romanian Orthodox priests
8664:Romanian textbook writers
7914:January 21, 2010, at the
7764:October 23, 2006, at the
7429:December 2, 2008, at the
7057:Ornea (1995), p. 443
6927:Ornea (1998), p. 238
6767:Columbia University Press
6445:Ornea (1998), p. 242
6276:Ornea (1998), p. 235
5826:Ornea (1998), p. 243
5770:Ornea (1998), p. 241
5704:Călinescu, p. 10, 24
5458:Ornea (1998), p. 244
5446:Ornea (1998), p. 229
5088:Ornea (1998), p. 234
4965:Ornea (1998), p. 236
4670:Ornea (1998), p. 231
4181:November 2, 2010, at the
3843:Relatare despre Harap Alb
3758:Moldova–Romania relations
3418:Creangă și Creanga de aur
3259:published the first-ever
3172:Catiheții de la Humulești
3141:Într-un cuib de rândunică
2864:
2608:as proof of the author's
1463:experimental psychologist
1253:Moldavian regional speech
1008:Păsărica în timpul iernii
669:Nic-a lui Ștefan a Petrei
332:
327:
311:
281:
258:
187:
179:
158:
148:
140:
123:
112:
88:
57:
48:
41:
8619:Romanian fantasy writers
8614:Romanian erotica writers
8546:University of Pittsburgh
8531:University of Washington
8054:, Nr. 103, February 2002
7598:University of Washington
7417:August 26, 2011, at the
7405:August 26, 2011, at the
7288:August 15, 2006, at the
4872:, Nr. 462, February 2009
4003:
3778:Patriarch of All Romania
3630:, and especially in the
3511:A new publishing house,
3349:'s bust of Ion Creangă (
3087:dialect. Similarly, the
2708:, and the newly elected
2704:which voted in favor of
2682:community's instinctual
2410:", whose protagonist, a
1699:. Seeking to revitalize
1522:Geografia județului Iași
1085:Romanian liberal current
580:Principality of Moldavia
564:Principality of Moldavia
558:Ion Creangă was born in
75:Principality of Moldavia
8709:People from Târgu Neamț
8689:Romanian schoolteachers
8516:"The Tale of All Tales"
8512:"The Purse a' Tuppence"
7700:August 4, 2009, at the
7555:, Nr. 880, January 2007
7523:, Nr. 290, October 2005
7258:Boia (2001), p. 80
7249:Mihăilescu, p. 158
7190:August 4, 2012, at the
6983:Cernat, p. 76, 143
6887:The Vampire: A Casebook
6674:April 19, 2023, at the
6454:Braga, p. 208, 211
6285:Gârbea, p. 127–128
5485:, Vol. V, December 2004
5258:April 23, 2017, at the
5247:April 22, 2017, at the
5236:April 23, 2017, at the
3762:potential reunification
2348:Sfântul Elefterie Vechi
2225:", written mainly as a
2080:wisdom" and "energetic
2014:Pompiliu Constantinescu
1979:Să mă mir ce m-a găsit.
1948:De vărzare și mai tare.
1685:
1128:Nici un ac de la jidani
909:Ion Creangă as a deacon
765:Grigore Alexandru Ghica
352:[iˈonˈkre̯aŋɡə]
348:Romanian pronunciation:
8694:Christian creationists
8679:Realism (art movement)
8097:, de Ziua Păcălelilor"
8044:Eugenia Anca Rotescu,
8022:July 28, 2011, at the
7626:July 21, 2011, at the
7209:Braga, p. 199–200
7005:July 21, 2011, at the
6936:Călinescu, p. 785
6918:Călinescu, p. 705
6909:Călinescu, p. 714
6635:Voinescu, p. 1128
6479:Braga, p. 208–209
6470:Voinescu, p. 1127
6372:July 28, 2011, at the
6331:July 28, 2011, at the
6170:Călinescu, p. 485
6123:Ana-Maria Plămădeală,
6048:Călinescu, p. 483
5985:Călinescu, p. 484
5844:Braga, p. 207–213
5743:Călinescu, p. 975
5650:Călinescu, p. 486
5584:Călinescu, p. 667
5575:Călinescu, p. 482
5554:Călinescu, p. 488
5538:Călinescu, p. 631
5529:Călinescu, p. 481
5289:Călinescu, p. 397
5179:Călinescu, p. 546
5170:Călinescu, p. 545
5113:Călinescu, p. 480
5097:Călinescu, p. 445
4817:April 5, 2009, at the
4394:Călinescu, p. 479
4323:July 21, 2011, at the
4249:July 28, 2011, at the
4129:Călinescu, p. 478
4037:Călinescu, p. 477
3786:100 greatest Romanians
3745:
3682:, was assigned to the
3601:, which was based on "
3566:Amintiri din copilărie
3553:Romanian film industry
3358:
3071:Constantin Sandu-Aldea
3004:
2888:Făt-frumos, fiul iepei
2820:Moș Nichifor Coțcariul
2808:Moș Nichifor Coțcariul
2790:Moș Nichifor Coțcariul
2759:Moș Nichifor Coțcariul
2748:Moș Nichifor Coțcariul
2706:Moldo-Wallachian union
2528:
2366:, fictionalizing God,
2355:
2044:, and specifically to
2042:Renaissance literature
1986:
1976:
1973:
1955:
1946:De plăcinte râde gura,
1945:
1942:
1845:Moldavian regionalisms
1730:Ion Popovici-Bănățeanu
1652:Făt-frumos, fiul iepei
1605:group, rallied around
1573:
1561:
1530:Regulile limbei române
1319:
1212:. He relinquished his
1200:
1113:Moldavian Metropolitan
1076:
930:Trei Ierarhi Monastery
910:
692:
663:, or more formally as
627:Moldavian Metropolitan
594:and the links between
8744:Censorship in Romania
8396:Junimea și junimismul
8013:Marina Constantinescu
7883:de Creangă la export"
7367:"Ion Creangă Theater"
6539:Constantin Cubleșan,
6367:"Un soi de revizuiri"
5944:Beza, p. 104–105
5503:Călinescu, p. 10
5471:Memories of Childhood
4656:Oișteanu, p. 140
4606:Cornelia Ștefănescu,
4570:"Preoția lui Creangă"
3950:Drobeta-Turnu Severin
3743:
3345:
3107:a reputation as "the
3046:Ștefan Octavian Iosif
3002:
2971:Învățătoriul copiilor
2899:Gheorghe T. Kirileanu
2583:his grandfather and "
2578:players reenacting a
2546:first-person narrator
2520:
2341:
2179:children's literature
1999:Creangă's specificity
1621:Învățătoriul copiilor
1567:
1543:
1428:Literary consecration
1305:
1189:
1071:
1012:Învățătoriul copiilor
980:Romanian alphabetical
908:
682:
554:Background and family
403:children's literature
200:children's literature
8749:People with epilepsy
8624:Romanian folklorists
8574:Works by Ion Creangă
8556:Works by Ion Creangă
8478:translations in the
8160:Povești și povestiri
7946:Săptămâna Financiară
7710:Magazin Bibliografic
7536:Gabriela Adameșteanu
7474:György Györfi-Deák,
7396:"Cronica dramatică:
7042:"Loosening the Lace"
6705:, September 26, 2006
6409:Macmillan Publishers
6226:Djuvara, p. 226
5752:Djuvara, p. 227
5131:Nastasă, p. 110
3882:. Some of these are
3603:The Story of the Pig
3331:Rotunda Scriitorilor
3148:modernist literature
3091:activist and author
2967:Metodă nouă ...
2880:Grigore Alexandrescu
2736:Romantic nationalist
2265:The Story of the Pig
2165:Most prominent tales
2121:comparing it to the
2062:Transylvanian School
1925:subjective narration
1660:Eternitatea Cemetery
1570:Eternitatea Cemetery
1475:phonemic orthography
1459:Grigore Alexandrescu
996:Metodă nouă ...
895:ecclesiastical court
829:traditional costumes
770:Regulamentul Organic
523:. These include the
427:The Story of the Pig
117:Eternitatea Cemetery
18:Ion Creangă (writer)
8649:Romanian male poets
8639:Romanian memoirists
8447:Relevant literature
8385:, Bucharest, 1995.
8321:, Constanța, 2002.
8313:Florin Mihăilescu,
8267:, Bucharest, 2008.
8246:, Bucharest, 1995.
8219:Figures du vieillir
8207:, Bucharest, 2007.
8095:Povestea Poveștilor
8051:Observator Cultural
7891:, December 20, 2006
7881:Povestea Poveștilor
7862:, Nr. 20, July 2000
7859:Observator Cultural
7808:, September 3, 2009
7770:Romanian Television
7746:, May 9, 1990, p. 4
7587:Charles Upson Clark
7520:Observator Cultural
6863:Tivisoc și Tivismoc
6591:Gârbea, p. 130
6553:Convorbiri Literare
5277:Nastasă, p. 65
5008:, February 28, 2006
4869:Observator Cultural
4862:Șerban Anghelescu,
4575:Convorbiri Literare
4568:Constantin Coroiu,
4494:, December 20, 2005
3904:Povestea poveștilor
3855:Romanian curriculum
3813:Povestea poveștilor
3782:Romanian Television
3774:Metropolitan Daniel
3760:, and moves toward
3513:Editura Ion Creangă
3466:William Shakespeare
3272:University of Paris
2901:, was published by
2893:Convorbiri Literare
2890:, was published by
2799:Convorbiri Literare
2715:Alexandru Ioan Cuza
2521:The second part of
2364:Christian mythology
2294:liturgical calendar
2198:-type challenge, a
1784:An exception among
1701:Romanian literature
1619:publicly ridiculed
1568:Creangă's grave in
1544:Creangă (top) with
1448:Convorbiri Literare
1443:Convorbiri Literare
1178:Defrocking and the
965:corporal punishment
861:Alexandru Ioan Cuza
377:Romanian literature
8669:Romanian fabulists
8629:Romanian humorists
8506:Childhood Memories
8495:Childhood Memories
8488:(various issues):
8145:, Budapest, 2001.
7990:Cristina Lazurca,
7837:, January 21, 2009
7462:Braga, p. 216
7447:"All Those Images"
7394:Sanda Diaconescu,
7267:Braga, p. 199
7110:Narcis Dorin Ion,
7091:Constantin Ostap,
6812:Braga, p. 213
6794:Braga, p. 215
6403:Philip Longworth,
6394:Braga, p. 212
6324:Simona Vasilache,
5686:Braga, p. 214
5677:Braga, p. 200
5000:"Balurile Junimii"
4242:Gabriela Ursachi,
3746:
3718:Constantin Condrea
3701:Se caută un paznic
3612:Un bulgăre de humă
3607:Nicolae Mărgineanu
3598:Povestea dragostei
3588:De-aș fi Harap Alb
3571:Ștefan Ciubotărașu
3545:Hungarian-Romanian
3454:national communist
3392:, official critic
3359:
3132:Înșir'te mărgărite
3123:Symbolist movement
3101:Turkish literature
3034:Garabet Ibrăileanu
3032:, among which was
3005:
2679:capital punishment
2533:Childhood Memories
2529:
2524:Childhood Memories
2506:Childhood Memories
2472:("Drink-All") and
2420:Ukrainian folklore
2356:
2094:Danube flood plain
1921:Garabet Ibrăileanu
1858:Romanian phonology
1831:petite bourgeoisie
1822:Ion Luca Caragiale
1644:Nicolae Beldiceanu
1574:
1562:
1453:Childhood Memories
1398:Alexandru Lambrior
1362:Gheorghe Costaforu
1320:
1269:Conservative Party
1225:Education Minister
1201:
1077:
915:University of Iași
911:
719:Moldavian military
698:Childhood Memories
693:
685:Casa din Humulești
576:Eastern Carpathian
502:Ion Luca Caragiale
475:politics with the
382:Childhood Memories
323:December 19, 1860)
107:Kingdom of Romania
8560:Project Gutenberg
8368:978-0-8032-2098-0
8362:, Lincoln, 2009.
8273:978-973-23-1977-2
8265:Cartea Românească
8213:978-973-23-1911-6
8205:Cartea Românească
8102:Evenimentul Zilei
7879:"Liiceanu scoate
7693:Gheorghe Vrabie,
7445:Arina Stoenescu,
7382:Lamb, p. 248
7145:România Culturală
7069:Cornel Munteanu,
6775:978-0-231-13306-7
6702:Evenimentul Zilei
6572:Mircea Iorgulescu
6363:Gheorghe Grigurcu
5808:Lamb, p. 243
5791:Simona Brânzaru,
5617:Casa de Velázquez
4808:Gheorghe Grigurcu
4491:Jurnalul Național
3900:Prostia omenească
3867:Tusea și junghiul
3794:pre-emption right
3766:Bridge of Flowers
3684:Alley of Classics
3658:). Following the
3648:Moldavian Stories
3577:(focusing on the
3498:Zoe Anghel Stanca
3422:Nicolae Ceaușescu
3406:Nicolae Manolescu
3390:Soviet occupation
3367:socialist realism
3351:Alley of Classics
3176:Alfred Mendelsohn
3156:Șerban Cioculescu
2948:modern architects
2847:Mircea Iorgulescu
2812:erotic literature
2788:The reception of
2662:Gheorghe Grigurcu
2660:". His colleague
2642:Vasile Alecsandri
2624:Didactic writings
2572:opposed the loud
2428:Till Eulenspiegel
2344:Romanian Orthodox
2123:crucifixion scene
2058:Ion Budai-Deleanu
2046:François Rabelais
2026:Nicolae Manolescu
1996:
1995:
1965:
1964:
1866:literary language
1810:ethnic minorities
1672:Dumitru Evolceanu
1623:over its take on
1536:Illness and death
1498:Samson Bodnărescu
1390:Ioan Vântură-Țară
1308:Romanian Cyrillic
1214:clerical clothing
1083:group within the
988:Cyrillic spelling
883:Sofronie Miclescu
707:Cyrillic alphabet
490:literary society
469:Romanian Orthodox
459:erotic literature
451:folkloric sources
443:Romanian language
341:
340:
315:Constantin (born
259:Literary movement
205:erotic literature
133:Ioan Vântură-Țară
92:December 31, 1889
32:Creangă (surname)
16:(Redirected from
8766:
8585:
8584:
8569:Internet Archive
8415:Scriitori români
8346:Romanian Academy
8334:Lucian Nastasă,
8333:
8187:George Călinescu
8177:George Călinescu
8106:
8090:
8086:
8080:
8076:Ziarul Financiar
8065:
8061:
8055:
8043:
8039:
8033:
8029:România Literară
8011:
8007:
8001:
7989:
7985:
7979:
7975:Ziarul Financiar
7960:
7956:
7950:
7949:, April 24, 2009
7935:
7931:
7925:
7921:România Literară
7902:
7898:
7892:
7876:
7872:
7863:
7848:
7844:
7838:
7819:
7815:
7809:
7797:
7793:
7787:
7757:
7753:
7747:
7738:
7732:
7719:
7713:
7692:
7688:
7682:
7673:
7669:
7663:
7662:, Nr. 11-12/2005
7647:
7643:
7637:
7618:
7614:
7605:
7584:
7578:
7566:
7562:
7556:
7534:
7530:
7524:
7509:
7505:
7499:
7473:
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7231:, Nr. 11-12/2006
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7197:România Literară
7181:Ioana Pârvulescu
7179:
7175:
7169:
7166:Romanian Academy
7158:
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7140:România Literară
7129:
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7101:, August 5, 2008
7090:
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7076:Foaia Românească
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6855:
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6379:România Literară
6361:
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6338:România Literară
6326:"Drobul de sare"
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3988:, is also named
3876:Dănilă Prepeleac
3670:prose pieces by
3619:) and Eminescu (
3583:Ion Popescu-Gopo
3557:Elisabeta Bostan
3535:, earning him a
3414:Vasile Lovinescu
3398:Russian folklore
3386:Romanian Academy
3363:communist period
3326:Cișmigiu Gardens
3284:obscene language
3239:In stages after
3218:Benjamin Fondane
3160:Romanian theater
3152:Vladimir Streinu
2843:Geoffrey Chaucer
2839:Alex. Ștefănescu
2785:sold "poisons".
2750:and "corrosives"
2724:social criticism
2602:Romanian grammar
2538:Isaia Teodorescu
2424:German tradition
2376:Dănilă Prepeleac
2285:Cupid and Psyche
2018:Benjamin Fondane
1981:
1970:
1950:
1939:
1916:Viața Românească
1908:The recourse to
1891:double entendres
1879:Mihail Sadoveanu
1806:Romanian culture
1802:ethnonationalist
1691:Cultural context
1632:Dimitrie Sturdza
1526:Romanian grammar
1490:National Liberal
1378:Vladimir Streinu
1168:George Călinescu
1116:Calinic Miclescu
1111:, instigated by
1026:("A Story") and
957:education reform
949:education system
837:Socola Monastery
813:drinking culture
762:Moldavian Prince
612:George Călinescu
570:city, the on of
519:and neighboring
455:literary realism
415:Dănilă Prepeleac
354:
349:
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96:(aged 52) (
95:
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8582:
8485:Plural Magazine
8466:
8449:
8352:Andrei Oișteanu
8344:version at the
8331:
8319:Editura Pontica
8164:Editura Minerva
8114:
8109:
8105:, April 1, 2009
8091:Oana Botezatu,
8088:
8087:
8083:
8079:, June 20, 2008
8063:
8062:
8058:
8041:
8040:
8036:
8024:Wayback Machine
8009:
8008:
8004:
8000:, March 7, 2009
7997:Glasul Aradului
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7953:
7933:
7932:
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7916:Wayback Machine
7903:Tudorel Urian,
7900:
7899:
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7877:Gabriela Lupu,
7874:
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7628:Wayback Machine
7616:
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7567:Gabriela Lupu,
7564:
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7532:
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7511:Michael Hăulică
7507:
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7483:Wayback Machine
7471:
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7461:
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7451:Plural Magazine
7444:
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7431:Wayback Machine
7419:Wayback Machine
7407:Wayback Machine
7391:
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7386:
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7371:Plural Magazine
7361:
7352:
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7331:Wayback Machine
7319:
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7290:Wayback Machine
7279:
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7221:Iulian Băicuș,
7218:
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7192:Wayback Machine
7177:
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7127:
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7122:
7116:Plural Magazine
7109:
7105:
7088:
7087:
7083:
7079:, February 2006
7066:
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7061:
7056:
7052:
7046:Plural Magazine
7039:
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7029:Plural Magazine
7023:
7019:
7007:Wayback Machine
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6831:Kemal H. Karpat
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6182:Adrian Majuru,
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4010:
4006:
3896:Mihai Mălaimare
3892:Cristian Pepino
3862:Mircea Daneliuc
3817:Mircea Nedelciu
3750:1989 Revolution
3738:
3706:Moldovan cinema
3640:Greater Romania
3394:Barbu Lăzăreanu
3340:
3338:Under communism
3270:thesis for the
3261:French-language
3234:Jewish Romanian
3204:Eugen Lovinescu
3184:musical theater
3180:Alexandru Zirra
3164:I. I. Mironescu
2997:
2952:interwar period
2903:Editura Minerva
2872:
2867:
2752:
2626:
2610:anticlericalism
2548:in the form of
2515:
2509:
2336:
2275:Prince Charming
2196:rite of passage
2188:anthropological
2167:
2054:Petre Ispirescu
2001:
1992:
1989:
1983:
1978:
1961:
1958:
1952:
1947:
1910:oral literature
1841:
1693:
1688:
1591:mental disorder
1538:
1430:
1300:
1273:Lascăr Catargiu
1184:
1074:Golia Monastery
1051:Golia Monastery
903:
817:practical jokes
796:. According to
790:Ioan Ștefănescu
767:as part of the
677:
640:Neamț Monastery
596:ethnic Romanian
556:
551:
543:interwar period
421:"), as well as
393:, and his many
361:Ioan Ștefănescu
347:
318:
316:
307:
295:
291:
288:
287:Ileana Grigoriu
277:
254:
175:
136:
119:, Iași, Romania
101:
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8464:External links
8462:
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8067:Stelian Țurlea
8056:
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7980:
7978:, May 20, 2010
7951:
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7893:
7864:
7839:
7834:România Liberă
7810:
7788:
7748:
7733:
7714:
7683:
7664:
7648:Aliona Grati,
7638:
7619:Răzvan Voncu,
7606:
7579:
7577:, June 8, 2007
7557:
7525:
7500:
7488:Caiete Silvane
7464:
7455:
7435:
7424:text facsimile
7384:
7375:
7350:
7341:
7339:, May 18, 2002
7307:
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7098:Ziarul de Iași
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6871:
6850:
6823:
6814:
6805:
6796:
6787:
6778:
6751:
6731:
6707:
6686:
6655:
6646:
6637:
6628:
6593:
6584:
6558:
6526:
6517:
6508:
6499:
6490:
6481:
6472:
6456:
6447:
6438:
6429:
6420:
6396:
6384:
6343:
6314:
6305:
6296:
6287:
6278:
6269:
6260:
6246:
6237:
6228:
6219:
6210:
6201:
6192:
6172:
6158:
6149:
6135:
6110:
6085:
6073:
6064:
6050:
6041:
6032:
6023:
6014:
6005:
5996:
5987:
5969:
5955:
5946:
5937:
5923:
5914:
5900:
5891:
5882:
5873:
5846:
5837:
5828:
5819:
5810:
5801:
5781:
5772:
5763:
5754:
5745:
5733:
5724:
5715:
5706:
5697:
5688:
5679:
5670:
5661:
5652:
5640:
5628:
5611:Michel Moner,
5604:
5595:
5586:
5577:
5565:
5556:
5540:
5531:
5505:
5496:
5487:
5467:Anca Mureșan,
5460:
5448:
5439:
5430:
5421:
5412:
5403:
5375:
5366:
5357:
5348:
5339:
5330:
5321:
5312:
5303:
5291:
5279:
5270:
5217:
5208:
5199:
5181:
5172:
5160:
5151:
5142:
5133:
5124:
5115:
5099:
5090:
5081:
5072:
5063:
5049:
5040:
5031:
5022:
5010:
4998:Silvia Craus,
4979:
4967:
4955:
4946:
4937:
4928:
4919:
4910:
4901:
4892:
4883:
4874:
4829:
4778:
4769:
4764:Dacia Literară
4737:
4725:
4716:
4704:
4695:
4681:
4672:
4658:
4646:
4637:
4625:
4589:
4580:
4541:
4529:
4520:
4508:
4496:
4477:Adrian Pârvu,
4412:
4396:
4362:
4353:
4344:
4335:
4270:
4261:
4211:
4202:
4193:
4172:Luminița Marcu
4140:
4131:
4091:
4082:
4066:
4057:
4048:
4039:
4017:
4007:
4005:
4002:
3908:fringe theater
3888:Nicu Alifantis
3839:Stelian Țurlea
3835:Eugène Ionesco
3737:
3734:
3593:Florin Piersic
3575:Pupăza din tei
3504:-based author
3458:Dan Zamfirescu
3339:
3336:
3310:Porunca Vremii
3127:Victor Eftimiu
3040:intellectuals
2996:
2993:
2989:Liviu Rebreanu
2911:Iacob Negruzzi
2871:
2868:
2866:
2863:
2831:Povestea pulei
2751:
2745:
2732:National Party
2625:
2622:
2580:fertility rite
2562:Luminița Marcu
2511:Main article:
2508:
2503:
2487:Lazăr Șăineanu
2416:cheating Death
2372:army of devils
2335:
2332:
2244:psychoanalyzed
2166:
2163:
2127:Romanian humor
2103:sentimentality
2022:Ion Negoițescu
2006:local folklore
2000:
1997:
1994:
1993:
1984:
1963:
1962:
1953:
1840:
1837:
1775:oral tradition
1754:Iacob Negruzzi
1692:
1689:
1687:
1684:
1558:Slănic-Moldova
1537:
1534:
1502:Veronica Micle
1429:
1426:
1316:Mihai Eminescu
1299:
1293:
1281:Mihai Eminescu
1228:Christian Tell
1183:
1176:
1164:Nasreddinesque
1144:Iacob Negruzzi
945:Titu Maiorescu
902:
899:
893:, the supreme
853:personal union
827:(the skirt in
735:Bistrița River
676:
673:
588:local folklore
555:
552:
550:
547:
498:oral tradition
484:Mihai Eminescu
339:
338:
330:
329:
325:
324:
313:
309:
308:
293:
289:
286:
285:
283:
279:
278:
276:
275:
268:
262:
260:
256:
255:
253:
252:
247:
242:
237:
232:
227:
222:
217:
212:
207:
202:
197:
191:
189:
185:
184:
181:
177:
176:
174:
173:
168:
162:
160:
156:
155:
150:
146:
145:
142:
138:
137:
135:
134:
131:
127:
125:
121:
120:
114:
110:
109:
90:
86:
85:
59:
55:
54:
46:
45:
42:
26:
9:
6:
4:
3:
2:
8771:
8760:
8757:
8755:
8752:
8750:
8747:
8745:
8742:
8740:
8737:
8735:
8732:
8730:
8727:
8725:
8722:
8720:
8717:
8715:
8712:
8710:
8707:
8705:
8702:
8700:
8697:
8695:
8692:
8690:
8687:
8685:
8682:
8680:
8677:
8675:
8672:
8670:
8667:
8665:
8662:
8660:
8657:
8655:
8652:
8650:
8647:
8645:
8642:
8640:
8637:
8635:
8632:
8630:
8627:
8625:
8622:
8620:
8617:
8615:
8612:
8610:
8607:
8605:
8602:
8600:
8597:
8596:
8594:
8579:
8575:
8572:
8570:
8566:
8563:
8561:
8557:
8554:
8551:
8547:
8543:
8542:
8538:
8536:
8532:
8528:
8527:
8523:
8521:
8517:
8513:
8509:
8507:
8502:
8498:
8496:
8491:
8487:
8486:
8481:
8477:
8475:
8471:
8468:
8467:
8459:
8455:
8451:
8450:
8442:
8441:1-57958-441-1
8438:
8434:
8430:
8426:
8424:
8420:
8416:
8412:
8409:
8405:
8404:973-21-0562-3
8401:
8397:
8394:
8392:
8391:973-9155-43-X
8388:
8384:
8380:
8377:
8376:
8374:
8371:
8369:
8365:
8361:
8357:
8353:
8350:
8347:
8343:
8339:
8338:
8332:(in Romanian)
8330:
8328:
8327:973-9224-63-6
8324:
8320:
8316:
8312:
8310:
8309:1-56518-209-X
8306:
8302:
8298:
8294:
8292:
8291:0-07-079169-4
8288:
8284:
8280:
8276:
8274:
8270:
8266:
8262:
8258:
8255:
8253:
8252:973-28-0523-4
8249:
8245:
8241:
8237:
8236:Neagu Djuvara
8234:
8232:
8231:2-84516-281-2
8228:
8224:
8220:
8216:
8214:
8210:
8206:
8202:
8198:
8195:
8192:
8188:
8185:
8182:
8178:
8175:
8173:
8169:
8165:
8161:
8157:
8154:
8152:
8151:963-9116-96-3
8148:
8144:
8140:
8136:
8133:
8131:
8130:1-4067-4345-3
8127:
8123:
8119:
8116:
8115:
8104:
8103:
8098:
8096:
8089:(in Romanian)
8085:
8078:
8077:
8072:
8068:
8064:(in Romanian)
8060:
8053:
8052:
8047:
8042:(in Romanian)
8038:
8031:
8030:
8025:
8021:
8018:
8014:
8010:(in Romanian)
8006:
7999:
7998:
7993:
7988:(in Romanian)
7984:
7977:
7976:
7971:
7969:
7963:
7962:Andrei Terian
7959:(in Romanian)
7955:
7948:
7947:
7942:
7938:
7934:(in Romanian)
7930:
7923:
7922:
7917:
7913:
7910:
7908:
7901:(in Romanian)
7897:
7890:
7889:
7884:
7882:
7875:(in Romanian)
7871:
7869:
7861:
7860:
7855:
7851:
7847:(in Romanian)
7843:
7836:
7835:
7830:
7826:
7823:
7820:Dan Pricope,
7818:(in Romanian)
7814:
7807:
7806:
7801:
7796:(in Romanian)
7792:
7785:
7781:
7778:
7776:
7771:
7767:
7763:
7760:
7756:(in Romanian)
7752:
7745:
7744:
7737:
7731:
7730:0-8161-6858-X
7727:
7723:
7718:
7711:
7707:
7703:
7699:
7696:
7691:(in Romanian)
7687:
7680:
7676:
7672:(in Romanian)
7668:
7661:
7660:
7655:
7653:
7646:(in Romanian)
7642:
7635:
7634:
7629:
7625:
7622:
7617:(in Romanian)
7613:
7611:
7603:
7599:
7595:
7593:
7588:
7583:
7576:
7575:
7570:
7565:(in Romanian)
7561:
7554:
7553:
7548:
7544:
7541:
7537:
7533:(in Romanian)
7529:
7522:
7521:
7516:
7512:
7508:(in Romanian)
7504:
7497:
7496:
7492:
7489:
7484:
7480:
7477:
7472:(in Romanian)
7468:
7459:
7453:, Nr. 30/2007
7452:
7448:
7442:
7440:
7432:
7428:
7425:
7421:
7420:
7416:
7413:
7408:
7404:
7401:
7399:
7398:Ivan Turbincă
7392:(in Romanian)
7388:
7379:
7373:, Nr. 30/2007
7372:
7368:
7364:
7359:
7357:
7355:
7345:
7338:
7337:
7332:
7328:
7325:
7322:Florin Rusu,
7320:(in Romanian)
7316:
7314:
7312:
7304:
7303:
7299:
7296:
7291:
7287:
7284:
7280:(in Romanian)
7276:
7274:
7264:
7255:
7246:
7237:
7230:
7229:
7224:
7219:(in Romanian)
7215:
7206:
7200:, Nr. 23/2009
7199:
7198:
7193:
7189:
7186:
7182:
7178:(in Romanian)
7174:
7167:
7163:
7162:
7157:(in Romanian)
7153:
7146:
7142:
7141:
7136:
7132:
7128:(in Romanian)
7124:
7118:, Nr. 32/2008
7117:
7113:
7107:
7100:
7099:
7094:
7089:(in Romanian)
7085:
7078:
7077:
7072:
7067:(in Romanian)
7063:
7054:
7048:, Nr. 26/2005
7047:
7043:
7037:
7031:, Nr. 21/2004
7030:
7026:
7021:
7014:
7013:
7008:
7004:
7001:
6997:
6993:(in Romanian)
6989:
6980:
6971:
6962:
6956:, Nr. 30/2007
6955:
6951:
6947:
6942:
6933:
6924:
6915:
6906:
6900:
6899:0-299-15924-8
6896:
6892:
6888:
6884:
6880:
6879:Agnes Murgoci
6875:
6868:
6864:
6860:
6854:
6848:
6847:90-04-12101-3
6844:
6840:
6836:
6832:
6827:
6818:
6809:
6800:
6791:
6782:
6776:
6772:
6768:
6764:
6760:
6755:
6749:, Nr. 24/2004
6748:
6744:
6740:
6739:Mircea Eliade
6735:
6729:
6728:3-936522-08-1
6725:
6721:
6717:
6711:
6704:
6703:
6698:
6694:(in Romanian)
6690:
6683:
6682:
6677:
6673:
6670:
6666:(in Romanian)
6662:
6660:
6650:
6641:
6632:
6626:, Nr. 40/2008
6625:
6624:
6619:
6615:
6612:
6608:
6604:(in Romanian)
6600:
6598:
6588:
6581:
6577:
6576:"Mărunțișuri"
6573:
6569:(in Romanian)
6565:
6563:
6555:
6554:
6549:
6545:
6542:
6537:(in Romanian)
6533:
6531:
6521:
6512:
6503:
6494:
6485:
6476:
6467:
6465:
6463:
6461:
6451:
6442:
6433:
6424:
6418:
6417:0-333-66804-9
6414:
6410:
6406:
6400:
6391:
6389:
6382:, Nr. 23/2003
6381:
6380:
6375:
6371:
6368:
6364:
6360:(in Romanian)
6356:
6354:
6352:
6350:
6348:
6341:, Nr. 44/2007
6340:
6339:
6334:
6330:
6327:
6322:(in Romanian)
6318:
6309:
6300:
6291:
6282:
6273:
6264:
6255:
6253:
6251:
6241:
6232:
6223:
6214:
6205:
6196:
6190:, Nr. 27/2006
6189:
6185:
6179:
6177:
6167:
6165:
6163:
6153:
6144:
6142:
6140:
6132:
6131:
6126:
6121:(in Romanian)
6117:
6115:
6108:, Nr. 24/2004
6107:
6103:
6099:
6098:Tudor Pamfile
6094:
6092:
6090:
6080:
6078:
6068:
6059:
6057:
6055:
6045:
6036:
6027:
6018:
6009:
6000:
5991:
5982:
5980:
5978:
5976:
5974:
5964:
5962:
5960:
5950:
5941:
5932:
5930:
5928:
5918:
5909:
5907:
5905:
5895:
5886:
5877:
5871:
5870:0-262-19507-0
5867:
5863:
5859:
5855:
5854:Tom Sandqvist
5850:
5841:
5832:
5823:
5814:
5805:
5799:, Nr. 23/2004
5798:
5794:
5788:
5786:
5776:
5767:
5758:
5749:
5740:
5738:
5728:
5719:
5710:
5701:
5692:
5683:
5674:
5665:
5656:
5647:
5645:
5635:
5633:
5626:
5625:84-86839-08-4
5622:
5618:
5614:
5608:
5599:
5590:
5581:
5572:
5570:
5560:
5551:
5549:
5547:
5545:
5535:
5526:
5524:
5522:
5520:
5518:
5516:
5514:
5512:
5510:
5500:
5491:
5484:
5483:
5478:
5474:
5472:
5464:
5455:
5453:
5443:
5434:
5425:
5416:
5407:
5401:
5400:1-86189-103-2
5397:
5393:
5389:
5384:
5382:
5380:
5370:
5361:
5352:
5343:
5334:
5325:
5316:
5307:
5298:
5296:
5286:
5284:
5274:
5267:
5266:
5262:, entries in
5261:
5257:
5254:
5250:
5246:
5243:
5239:
5235:
5232:
5228:(in Romanian)
5224:
5222:
5212:
5203:
5194:
5192:
5190:
5188:
5186:
5176:
5167:
5165:
5155:
5146:
5137:
5128:
5119:
5110:
5108:
5106:
5104:
5094:
5085:
5076:
5067:
5058:
5056:
5054:
5044:
5035:
5026:
5017:
5015:
5007:
5006:
5001:
4996:(in Romanian)
4992:
4990:
4988:
4986:
4984:
4974:
4972:
4962:
4960:
4950:
4941:
4932:
4923:
4914:
4905:
4896:
4887:
4878:
4871:
4870:
4865:
4860:(in Romanian)
4856:
4854:
4852:
4850:
4848:
4846:
4844:
4842:
4840:
4838:
4836:
4834:
4827:, Nr. 44/2004
4826:
4825:
4820:
4816:
4813:
4809:
4805:(in Romanian)
4801:
4799:
4797:
4795:
4793:
4791:
4789:
4787:
4785:
4783:
4773:
4766:
4765:
4760:
4756:(in Romanian)
4752:
4750:
4748:
4746:
4744:
4742:
4732:
4730:
4720:
4711:
4709:
4699:
4690:
4688:
4686:
4676:
4667:
4665:
4663:
4653:
4651:
4641:
4632:
4630:
4623:, Nr. 15/2003
4622:
4621:
4616:
4612:
4609:
4604:(in Romanian)
4600:
4598:
4596:
4594:
4584:
4577:
4576:
4571:
4566:(in Romanian)
4562:
4560:
4558:
4556:
4554:
4552:
4550:
4548:
4546:
4536:
4534:
4524:
4515:
4513:
4503:
4501:
4493:
4492:
4487:
4483:
4480:
4475:(in Romanian)
4471:
4469:
4467:
4465:
4463:
4461:
4459:
4457:
4455:
4453:
4451:
4449:
4447:
4445:
4443:
4441:
4439:
4437:
4435:
4433:
4431:
4429:
4427:
4425:
4423:
4421:
4419:
4417:
4407:
4405:
4403:
4401:
4391:
4389:
4387:
4385:
4383:
4381:
4379:
4377:
4375:
4373:
4371:
4369:
4367:
4357:
4348:
4339:
4332:
4331:
4326:
4322:
4319:
4315:
4311:(in Romanian)
4307:
4305:
4303:
4301:
4299:
4297:
4295:
4293:
4291:
4289:
4287:
4285:
4283:
4281:
4279:
4277:
4275:
4265:
4259:, Nr. 50/2004
4258:
4257:
4252:
4248:
4245:
4240:(in Romanian)
4236:
4234:
4232:
4230:
4228:
4226:
4224:
4222:
4220:
4218:
4216:
4206:
4197:
4191:, Nr. 21/2000
4190:
4189:
4184:
4180:
4177:
4173:
4169:(in Romanian)
4165:
4163:
4161:
4159:
4157:
4155:
4153:
4151:
4149:
4147:
4145:
4135:
4126:
4124:
4122:
4120:
4118:
4116:
4114:
4112:
4110:
4108:
4106:
4104:
4102:
4100:
4098:
4096:
4086:
4077:
4075:
4073:
4071:
4061:
4052:
4043:
4034:
4032:
4030:
4028:
4026:
4024:
4022:
4012:
4008:
4001:
3999:
3998:normal school
3995:
3991:
3987:
3983:
3979:
3975:
3971:
3967:
3963:
3959:
3955:
3951:
3947:
3943:
3939:
3935:
3931:
3927:
3923:
3920:
3916:
3911:
3909:
3905:
3901:
3897:
3893:
3889:
3885:
3881:
3877:
3873:
3869:
3868:
3863:
3858:
3856:
3852:
3848:
3844:
3840:
3836:
3832:
3828:
3824:
3823:
3818:
3814:
3810:
3806:
3802:
3797:
3795:
3791:
3787:
3783:
3779:
3775:
3771:
3767:
3763:
3759:
3755:
3751:
3742:
3733:
3731:
3730:Grigore Vieru
3727:
3724:, based on a
3723:
3719:
3715:
3711:
3707:
3703:
3702:
3697:
3696:Gheorghe Vodă
3693:
3689:
3685:
3681:
3677:
3673:
3669:
3665:
3661:
3657:
3653:
3649:
3645:
3641:
3637:
3633:
3632:Moldavian SSR
3629:
3624:
3622:
3621:Adrian Pintea
3618:
3614:
3613:
3608:
3604:
3600:
3599:
3594:
3590:
3589:
3584:
3580:
3576:
3572:
3568:
3567:
3562:
3558:
3554:
3550:
3546:
3542:
3538:
3534:
3530:
3526:
3522:
3518:
3517:Corneliu Baba
3514:
3509:
3507:
3506:Șerban Foarță
3503:
3499:
3495:
3491:
3487:
3481:
3479:
3475:
3474:Ivan Turbincă
3471:
3467:
3463:
3459:
3455:
3451:
3450:
3449:The Open Work
3445:
3442:
3439:
3435:
3431:
3427:
3426:protochronism
3423:
3419:
3415:
3411:
3407:
3401:
3399:
3395:
3391:
3387:
3383:
3379:
3375:
3374:
3368:
3364:
3356:
3352:
3348:
3344:
3335:
3333:
3332:
3328:, as part of
3327:
3323:
3319:
3318:Octav Băncilă
3314:
3312:
3311:
3306:
3301:
3297:
3293:
3289:
3285:
3281:
3275:
3273:
3269:
3265:
3262:
3258:
3257:Jean Boutière
3254:
3250:
3246:
3242:
3237:
3235:
3231:
3227:
3223:
3219:
3215:
3211:
3210:
3209:Contimporanul
3205:
3201:
3197:
3193:
3189:
3185:
3181:
3177:
3173:
3169:
3165:
3161:
3157:
3153:
3149:
3144:
3142:
3138:
3134:
3133:
3128:
3124:
3120:
3119:
3114:
3113:Tudor Pamfile
3110:
3106:
3102:
3098:
3094:
3090:
3086:
3082:
3081:
3076:
3072:
3068:
3062:
3059:
3055:
3051:
3047:
3043:
3042:Ilarie Chendi
3039:
3035:
3031:
3028:
3024:
3023:Nicolae Iorga
3020:
3019:
3015:
3011:
3001:
2992:
2990:
2986:
2982:
2977:
2976:Mircea Eliade
2972:
2968:
2964:
2959:
2957:
2953:
2949:
2945:
2944:Horia Creangă
2941:
2940:Romanian Army
2937:
2933:
2932:
2926:
2924:
2920:
2916:
2915:Popa Smântână
2912:
2908:
2904:
2900:
2895:
2894:
2889:
2885:
2884:Eduard Gruber
2881:
2877:
2876:A. D. Xenopol
2862:
2860:
2856:
2852:
2848:
2844:
2840:
2836:
2835:vulgar speech
2832:
2828:
2823:
2821:
2817:
2813:
2809:
2804:
2801:
2800:
2795:
2791:
2786:
2784:
2780:
2776:
2775:superstitions
2772:
2768:
2764:
2760:
2757:
2749:
2744:
2741:
2737:
2733:
2729:
2726:professed by
2725:
2720:
2716:
2713:
2712:
2707:
2703:
2701:
2696:
2692:
2687:
2685:
2680:
2676:
2672:
2668:
2663:
2659:
2653:
2651:
2647:
2643:
2639:
2635:
2631:
2621:
2619:
2615:
2611:
2607:
2603:
2597:
2595:
2591:
2586:
2581:
2577:
2576:
2571:
2565:
2563:
2559:
2555:
2554:frame stories
2551:
2547:
2543:
2539:
2535:
2534:
2526:
2525:
2519:
2514:
2507:
2502:
2500:
2496:
2492:
2488:
2483:
2477:
2475:
2471:
2467:
2463:
2462:
2457:
2453:
2449:
2444:
2443:coming of age
2440:
2435:
2433:
2429:
2425:
2421:
2417:
2413:
2409:
2408:Ivan Turbincă
2404:
2402:
2401:
2396:
2391:
2387:
2386:
2381:
2377:
2373:
2369:
2365:
2361:
2353:
2349:
2345:
2340:
2331:
2328:
2324:
2323:
2318:
2317:
2312:
2307:
2305:
2304:
2299:
2295:
2291:
2287:
2286:
2281:
2276:
2272:
2271:
2266:
2261:
2258:
2254:
2249:
2245:
2240:
2236:
2232:
2228:
2224:
2219:
2217:
2213:
2212:Tom Sandqvist
2209:
2205:
2201:
2197:
2193:
2189:
2185:
2180:
2176:
2172:
2162:
2160:
2156:
2155:Nasreddinisms
2152:
2147:
2142:
2140:
2139:Eduard Gruber
2136:
2132:
2128:
2124:
2119:
2115:
2111:
2106:
2104:
2099:
2095:
2091:
2090:Neagu Djuvara
2087:
2083:
2079:
2075:
2071:
2065:
2063:
2059:
2055:
2051:
2047:
2043:
2039:
2034:
2031:
2027:
2023:
2019:
2015:
2011:
2007:
1991:
1985:
1982:
1980:
1972:
1971:
1968:
1960:
1954:
1951:
1949:
1941:
1940:
1937:
1935:
1931:
1926:
1922:
1918:
1917:
1911:
1906:
1904:
1900:
1896:
1893:and indecent
1892:
1888:
1884:
1880:
1875:
1871:
1870:Wallachianism
1867:
1863:
1859:
1854:
1853:glossological
1850:
1846:
1836:
1833:
1832:
1825:
1823:
1819:
1815:
1811:
1807:
1803:
1799:
1795:
1791:
1787:
1782:
1780:
1779:Byzantine art
1776:
1770:
1768:
1764:
1760:
1755:
1750:
1746:
1742:
1739:
1735:
1731:
1726:
1724:
1719:
1715:
1711:
1707:
1702:
1698:
1683:
1682:among them).
1681:
1677:
1676:Nicolae Iorga
1673:
1669:
1665:
1661:
1657:
1653:
1649:
1645:
1641:
1637:
1633:
1628:
1626:
1622:
1618:
1614:
1613:Contemporanul
1610:
1609:
1608:Contemporanul
1604:
1600:
1596:
1592:
1586:
1584:
1579:
1571:
1566:
1559:
1555:
1554:balneotherapy
1551:
1547:
1542:
1533:
1531:
1527:
1523:
1519:
1515:
1511:
1507:
1503:
1499:
1495:
1491:
1486:
1484:
1480:
1476:
1472:
1467:
1466:Eduard Gruber
1464:
1460:
1455:
1454:
1449:
1445:
1444:
1439:
1435:
1425:
1423:
1422:Petre P. Carp
1419:
1415:
1411:
1407:
1403:
1399:
1395:
1391:
1386:
1381:
1379:
1375:
1374:A. D. Xenopol
1371:
1367:
1363:
1359:
1354:
1352:
1348:
1343:
1339:
1335:
1331:
1327:
1326:
1317:
1313:
1309:
1304:
1297:
1292:
1290:
1286:
1285:national poet
1282:
1278:
1274:
1270:
1265:
1262:
1258:
1254:
1251:, both being
1250:
1246:
1245:
1239:
1237:
1233:
1229:
1226:
1221:
1219:
1215:
1211:
1206:
1199:
1195:
1194:
1188:
1181:
1175:
1173:
1169:
1165:
1160:
1156:
1151:
1149:
1148:1871 suffrage
1145:
1141:
1137:
1133:
1129:
1125:
1121:
1117:
1114:
1110:
1106:
1105:Romanian Army
1102:
1098:
1094:
1093:Popa Smântână
1090:
1086:
1082:
1075:
1070:
1066:
1064:
1060:
1056:
1052:
1048:
1047:
1042:
1037:
1035:
1034:
1029:
1025:
1021:
1017:
1013:
1009:
1005:
1001:
997:
993:
989:
985:
981:
977:
973:
968:
966:
962:
961:modernization
958:
954:
950:
946:
942:
938:
934:
933:normal school
931:
928:
924:
920:
919:Bărboi Church
916:
907:
898:
896:
892:
888:
884:
878:
876:
872:
868:
867:
862:
858:
854:
850:
846:
842:
838:
834:
830:
826:
822:
818:
814:
809:
807:
803:
799:
795:
791:
787:
784:
780:
776:
772:
771:
766:
763:
759:
755:
754:wool-spinning
750:
748:
744:
740:
736:
732:
728:
724:
720:
716:
712:
711:peer tutoring
708:
704:
700:
699:
691:
687:
686:
681:
672:
670:
666:
662:
658:
654:
650:
645:
641:
637:
636:
631:
630:Iacob Stamati
628:
624:
619:
617:
613:
609:
605:
601:
597:
593:
589:
585:
581:
577:
573:
569:
565:
561:
546:
544:
540:
539:Horia Creangă
536:
532:
528:
527:
522:
518:
513:
511:
507:
503:
499:
495:
494:
489:
485:
482:
481:national poet
478:
474:
470:
467:
462:
460:
456:
452:
448:
444:
440:
436:
432:
428:
424:
420:
416:
412:
411:Ivan Turbincă
408:
404:
400:
396:
392:
391:short stories
388:
384:
383:
378:
374:
373:schoolteacher
370:
366:
362:
358:
353:
345:
336:
331:
326:
314:
310:
284:
280:
274:
273:
269:
267:
264:
263:
261:
257:
251:
248:
246:
243:
241:
238:
236:
233:
231:
228:
226:
223:
221:
218:
216:
213:
211:
208:
206:
203:
201:
198:
196:
193:
192:
190:
186:
182:
178:
172:
169:
167:
164:
163:
161:
157:
154:
151:
147:
143:
139:
132:
130:Popa Smântână
129:
128:
126:
122:
118:
115:
113:Resting place
111:
108:
104:
99:
91:
87:
82:
79:(now part of
76:
72:
68:March 1, 1837
60:
56:
52:
47:
40:
37:
33:
19:
8540:
8525:
8505:
8494:
8483:
8453:
8428:
8414:
8395:
8378:
8355:
8336:
8314:
8300:
8296:
8278:
8260:
8257:Horia Gârbea
8239:
8218:
8200:
8190:
8180:
8159:
8156:Mircea Braga
8138:
8121:
8100:
8094:
8084:
8074:
8059:
8049:
8037:
8032:, Nr.27/2005
8027:
8005:
7995:
7983:
7973:
7967:
7954:
7944:
7937:Horia Gârbea
7929:
7919:
7906:
7896:
7886:
7880:
7857:
7842:
7832:
7813:
7803:
7791:
7774:
7751:
7741:
7736:
7721:
7717:
7709:
7686:
7678:
7667:
7657:
7651:
7641:
7636:, Nr. 2/2009
7631:
7591:
7582:
7572:
7560:
7550:
7528:
7518:
7503:
7486:
7467:
7458:
7450:
7410:
7397:
7387:
7378:
7370:
7363:Cornel Todea
7344:
7334:
7293:
7263:
7254:
7245:
7236:
7226:
7214:
7205:
7195:
7173:
7160:
7152:
7144:
7138:
7123:
7115:
7106:
7096:
7084:
7074:
7062:
7053:
7045:
7036:
7028:
7025:"Marcu Beza"
7020:
7012:Dilema Veche
7010:
6996:Marius Chivu
6988:
6979:
6970:
6961:
6953:
6946:Viorel Cosma
6941:
6932:
6923:
6914:
6905:
6886:
6874:
6862:
6853:
6834:
6826:
6817:
6808:
6799:
6790:
6781:
6762:
6759:Harold Segel
6754:
6746:
6734:
6715:
6710:
6700:
6689:
6680:
6649:
6640:
6631:
6621:
6587:
6582:, Nr. 8/2006
6579:
6551:
6520:
6511:
6502:
6493:
6484:
6475:
6450:
6441:
6432:
6423:
6404:
6399:
6377:
6336:
6317:
6308:
6299:
6290:
6281:
6272:
6263:
6240:
6231:
6222:
6213:
6204:
6195:
6187:
6152:
6133:, April 2002
6128:
6105:
6067:
6044:
6035:
6026:
6017:
6008:
5999:
5990:
5949:
5940:
5917:
5894:
5885:
5876:
5857:
5849:
5840:
5831:
5822:
5813:
5804:
5796:
5775:
5766:
5757:
5748:
5727:
5718:
5709:
5700:
5691:
5682:
5673:
5664:
5655:
5612:
5607:
5598:
5589:
5580:
5559:
5534:
5499:
5490:
5481:
5470:
5463:
5442:
5433:
5424:
5415:
5406:
5391:
5369:
5360:
5351:
5342:
5333:
5324:
5315:
5306:
5273:
5264:
5211:
5202:
5175:
5154:
5145:
5136:
5127:
5118:
5093:
5084:
5075:
5066:
5043:
5034:
5025:
5003:
4949:
4940:
4931:
4922:
4913:
4904:
4895:
4886:
4877:
4867:
4822:
4772:
4762:
4761:, hosted by
4719:
4698:
4675:
4640:
4618:
4583:
4573:
4523:
4489:
4356:
4347:
4338:
4330:Dilema Veche
4328:
4264:
4254:
4205:
4196:
4186:
4134:
4085:
4060:
4051:
4042:
4011:
3989:
3926:Neamț County
3912:
3903:
3899:
3884:Cornel Todea
3875:
3872:Tudor Tătaru
3865:
3859:
3851:Horia Gârbea
3842:
3820:
3812:
3805:Dan Petrescu
3800:
3798:
3776:(the future
3769:
3747:
3699:
3680:Lev Averbruh
3664:experimental
3656:Transnistria
3647:
3628:Soviet Union
3625:
3610:
3596:
3586:
3574:
3564:
3560:
3533:Sandu Florea
3510:
3485:
3482:
3478:Iorgu Iordan
3447:
3417:
3402:
3377:
3370:
3360:
3347:Lev Averbruh
3329:
3315:
3308:
3300:Tit Simedrea
3276:
3252:
3238:
3230:Ion Călugăru
3207:
3199:
3195:
3171:
3167:
3145:
3140:
3137:Elena Farago
3130:
3116:
3078:
3067:I. Dragoslav
3063:
3057:
3054:Sămănătorist
3053:
3050:social class
3038:Sămănătorist
3037:
3016:
3009:
3006:
2985:Harold Segel
2970:
2966:
2960:
2929:
2927:
2918:
2914:
2906:
2891:
2887:
2873:
2850:
2830:
2827:pornographic
2824:
2819:
2815:
2807:
2805:
2797:
2793:
2789:
2787:
2783:apothecaries
2779:anticlerical
2758:
2753:
2747:
2739:
2727:
2709:
2699:
2688:
2671:bread crumbs
2654:
2649:
2645:
2637:
2634:metalworking
2627:
2613:
2606:Horia Gârbea
2598:
2573:
2566:
2557:
2531:
2530:
2522:
2505:
2478:
2473:
2469:
2459:
2436:
2431:
2405:
2398:
2394:
2383:
2380:Stan Pățitul
2357:
2327:happy ending
2320:
2314:
2308:
2301:
2283:
2268:
2262:
2235:Big Bad Wolf
2220:
2200:happy ending
2184:ethnological
2168:
2150:
2143:
2131:Epicureanism
2117:
2109:
2107:
2066:
2035:
2030:Mircea Braga
2009:
2002:
1987:
1974:
1966:
1956:
1943:
1933:
1914:
1907:
1903:poetic meter
1895:onomatopoeia
1842:
1829:
1826:
1817:
1813:
1794:metaphysical
1785:
1783:
1771:
1766:
1758:
1748:
1737:
1734:Ioan Slavici
1727:
1722:
1717:
1713:
1705:
1696:
1694:
1680:Artur Stavri
1664:Vasile Burlă
1651:
1647:
1639:
1629:
1620:
1617:Ioan Nădejde
1612:
1606:
1594:
1587:
1583:Burduhănosul
1582:
1575:
1550:N. A. Bogdan
1529:
1521:
1513:
1493:
1487:
1482:
1478:
1451:
1447:
1441:
1431:
1417:
1414:erotic texts
1409:
1405:
1402:Vasile Pogor
1393:
1389:
1384:
1382:
1365:
1357:
1355:
1346:
1342:cosmopolitan
1337:
1323:
1321:
1306:Page from a
1295:
1266:
1260:
1248:
1242:
1240:
1222:
1202:
1191:
1179:
1159:Iași Theater
1152:
1138:seat in the
1127:
1096:
1092:
1078:
1044:
1038:
1031:
1027:
1023:
1020:sketch story
1011:
1007:
1004:lyric poetry
995:
994:principles,
984:Romanization
982:standard, a
975:
969:
941:Trei Sfetite
940:
936:
912:
890:
879:
864:
824:
810:
805:
801:
793:
789:
775:Vasile Conta
768:
757:
751:
722:
696:
694:
683:
668:
664:
660:
659:formed from
652:
633:
620:
616:Transylvania
604:Transylvania
592:transhumance
557:
529:building in
524:
514:
512:literature.
509:
506:Ioan Slavici
491:
488:conservative
463:
419:Stan Pățitul
385:volume, his
380:
360:
356:
343:
342:
270:
250:sketch story
225:lyric poetry
94:(1889-12-31)
36:
8704:1889 deaths
8699:1837 births
8599:Ion Creangă
8470:Ion Creangă
8411:Tudor Vianu
8283:McGraw-Hill
8197:Paul Cernat
8135:Lucian Boia
7924:, Nr.3/2005
7850:Paul Cernat
7805:Evenimentul
7798:Gina Popa,
7775:Mari Români
7677:, entry in
7498:, June 2009
7336:Evenimentul
7292:, entry in
6883:Alan Dundes
6678:, entry in
5388:Lucian Boia
4244:"Decembrie"
3990:Ion Creangă
3970:Târgu Mureș
3942:Cluj-Napoca
3919:Ion Creangă
3880:dramaturges
3722:Zlata Tkach
3714:Anton Mater
3676:Leo Butnaru
3672:Vlad Ioviță
3617:Dorel Vișan
3549:András Sütő
3500:. In 1983,
3444:Umberto Eco
3441:semiotician
3249:Paul Bailey
3241:World War I
3226:avant-garde
3118:Ion Creangă
3077:, whom the
3075:Ion Iovescu
3058:Sămănătorul
3030:Poporanists
3018:Sămănătorul
2767:Târgu Neamț
2686:reaction".
2650:Cinci pâini
2570:Saint Basil
2550:soliloquies
2466:allegorical
2400:Kir Ianulea
2368:Saint Peter
2227:picturesque
2210:researcher
2192:fairy tales
2171:short story
2078:stereotyped
2050:Ion Neculce
1885:" type of "
1862:Wallachians
1790:Lucian Boia
1710:Tudor Vianu
1625:creationism
1477:favored by
1471:methodology
1438:short story
1394:Moș Creangă
1330:upper class
1289:Iași County
1271:cabinet of
1232:tobacconist
1205:modernizing
1087:, known as
1081:nationalist
992:Maiorescu's
953:Maiorescu's
821:shoplifting
747:folk remedy
745:extract, a
690:Aurel Băeșu
649:patronymics
584:shepherding
568:Târgu Neamț
473:nationalist
447:local humor
423:fairy tales
344:Ion Creangă
245:short story
159:Nationality
81:Târgu Neamț
43:Ion Creangă
8593:Categories
8118:Marcu Beza
8112:References
7888:Cotidianul
7659:Contrafort
7574:Cotidianul
7552:Revista 22
7228:Contrafort
6718:, Vol. I,
3831:Ioan Iacob
3822:Optzeciști
3756:. Renewed
3736:After 1989
3710:Eugen Doga
3692:Igor Vieru
3668:Postmodern
3636:Bessarabia
3529:comic book
3525:Lívia Rusz
3521:Eugen Taru
3494:Ion Lucian
3456:ideologue
3430:Edgar Papu
3334:monument.
3288:censorship
3222:Surrealism
3125:, such as
3080:Sburătorul
3025:, and the
3014:right-wing
2936:A. C. Cuza
2919:Electorale
2640:colleague
2482:antithesis
2474:Flămânzilă
2452:antagonist
2316:Cinderella
2280:Marcu Beza
2270:Făt-Frumos
2248:dénouement
2038:Anton Pann
1934:vorba ceea
1899:Classicism
1874:acoustical
1668:A. C. Cuza
1656:Făt-Frumos
1546:A. C. Cuza
1446:. In all,
1312:marginalia
1190:Creangă's
1055:adulterous
986:replacing
937:Trisfetite
891:Dicasterie
815:, playing
657:hypocorism
319:1860-12-19
215:fairy tale
141:Occupation
83:, Romania)
64:1837-03-01
8674:Junimists
8529:, at the
8508:(excerpt)
8497:(excerpt)
8433:Routledge
8244:Humanitas
8172:258621848
7909:reloaded"
7907:Harap Alb
7768:, at the
7759:"Top 100"
7743:Dreptatea
7704:, in the
7596:, at the
7164:, at the
7131:Ion Simuț
5862:MIT Press
5475:, in the
3986:Colentina
3978:Timișoara
3841:'s novel
3827:Humanitas
3809:Luca Pițu
3790:Fălticeni
3698:released
3585:released
3541:Hungarian
3502:Timișoara
3434:Harap Alb
3382:bourgeois
3296:far right
3264:monograph
3214:Ion Vinea
3188:Harap Alb
3089:Aromanian
3085:Muntenian
3027:left-wing
3021:, led by
2983:academic
2956:Bucharest
2907:Junimists
2851:Parapilla
2695:Ion Roată
2691:anecdotes
2618:catechism
2439:Harap Alb
2352:Bucharest
2257:third eye
2239:satirical
2216:absurdist
2118:Junimists
2114:anecdotes
2098:nostalgia
1849:archaisms
1603:atheistic
1599:socialist
1595:Junimists
1552:, during
1510:Bucharest
1461:, tasked
1410:Junimists
1298:reception
1257:laundress
1210:defrocked
1172:canon law
1155:Călinescu
1059:protopope
955:ideas on
857:Wallachia
833:Fălticeni
798:Călinescu
783:Fălticeni
644:Călinescu
618:-proper.
608:Maramureș
560:Humulești
549:Biography
466:defrocked
407:Harap Alb
395:anecdotes
369:raconteur
328:Signature
183:1864–1883
166:Moldavian
71:Humulești
8578:LibriVox
8373:Z. Ornea
8020:Archived
7912:Archived
7825:Archived
7780:Archived
7762:Archived
7698:Archived
7624:Archived
7543:Archived
7491:Archived
7479:Archived
7427:Archived
7415:Archived
7403:Archived
7327:Archived
7298:Archived
7286:Archived
7188:Archived
7003:Archived
6672:Archived
6614:Archived
6544:Archived
6370:Archived
6329:Archived
5256:Archived
5245:Archived
5234:Archived
5005:Ieșeanul
4815:Archived
4611:Archived
4482:Archived
4321:Archived
4314:Z. Ornea
4247:Archived
4179:Archived
3958:Ploiești
3770:Bojdeuca
3726:libretto
3688:Chișinău
3561:Memories
3486:Bojdeuca
3410:esoteric
3355:Chișinău
3307:journal
3292:samizdat
3253:Memories
3168:Memories
3109:Oltenian
2981:American
2931:Bojdeuca
2923:epigrams
2711:Domnitor
2693:involve
2667:lynching
2638:Junimist
2630:didactic
2614:Memories
2558:Memories
2495:Red Jews
2432:turbincă
2385:mămăligă
2370:and the
2360:novellas
2159:Miticism
2157:" with "
2151:Junimist
2146:American
2135:gourmand
2133:and his
2082:fatalism
2070:humanism
2010:Junimist
1930:ellipsis
1883:hermetic
1814:Junimist
1804:take on
1798:Z. Ornea
1767:Junimist
1759:poporane
1745:populist
1738:Junimist
1723:Junimist
1648:Memories
1615:founder
1578:epilepsy
1514:Bojdeuca
1506:bohemian
1494:Bojdeuca
1473:and the
1418:Junimist
1406:caracudă
1385:Junimist
1372:kept by
1366:Junimist
1351:pedagogy
1338:Junimist
1334:Z. Ornea
1277:Păcurari
1261:Bojdeuca
1249:Bujdeuca
1244:Bojdeuca
1193:Bojdeuca
1180:Bojdeuca
1097:Domnitor
1000:didactic
866:Domnitor
845:ordained
825:catrință
786:seminary
758:Torcălău
731:Broșteni
723:Memories
709:through
600:Moldavia
572:Orthodox
526:Bojdeuca
510:Junimist
387:novellas
367:writer,
365:Romanian
363:, was a
312:Children
195:Anecdote
171:Romanian
153:Romanian
149:Language
124:Pen name
8567:at the
8423:7431692
8297:Junimea
6580:Cultura
3966:Suceava
3946:Craiova
3922:commune
3644:Moldova
3547:author
3537:Eurocon
3531:artist
3438:Italian
3378:Junimea
3305:fascist
3245:British
3228:author
3200:Bălăuca
3190:" and "
3097:Balkans
3010:Junimea
2950:of the
2855:Italian
2816:Junimea
2794:Junimea
2777:, some
2756:novella
2728:Junimea
2684:eugenic
2616:of the
2590:bigotry
2542:memoirs
2491:Khazars
2448:villain
2412:Russian
2346:mural (
2325:). The
2322:balauri
2208:Swedish
2175:fantasy
2110:Junimea
1919:editor
1818:Junimea
1786:Junimea
1763:realism
1749:Junimea
1741:elitism
1718:Junimea
1714:Junimea
1706:Junimea
1697:Junimea
1640:Junimea
1636:pension
1518:florins
1479:Junimea
1370:minutes
1358:Junimea
1347:Junimea
1325:Junimea
1296:Junimea
1124:boycott
1120:Carol's
1101:Carol I
1046:hegumen
1024:Poveste
923:Bolgrad
794:Creangă
739:scabies
727:cholera
715:lassoed
703:truancy
623:Pipirig
562:in the
535:Romania
521:Moldova
517:Romania
493:Junimea
399:fantasy
306:
294:
290:
272:Junimea
266:Realism
235:novella
220:fantasy
98:seizure
8458:online
8439:
8421:
8402:
8389:
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8342:e-book
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3974:Tecuci
3954:Oradea
3938:Brașov
3934:Brăila
3579:hoopoe
3224:, the
3012:: the
2865:Legacy
2859:French
2771:Piatra
2763:Jewish
2740:ad hoc
2700:ad hoc
2675:martyr
2658:sphinx
2646:Pâcală
2594:hoopoe
2499:Tatars
2470:Setilă
2395:stătut
2221:With "
2204:morals
2074:Balkan
1572:, Iași
1560:, 1885
1041:Iași's
1033:Păcală
1028:Pâcală
1018:and a
1016:fables
972:primer
927:Iași's
875:deacon
871:cantor
635:Vornic
300:
282:Spouse
240:satire
230:memoir
180:Period
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4185:, in
4004:Notes
3962:Sibiu
3924:, in
3462:Homer
3322:Copou
3162:when
2719:boyar
2702:Divan
2575:buhai
2390:Satan
2298:fairy
2290:pagan
2231:fable
2086:Asian
1887:argot
1436:", a
1328:, an
1236:synod
1182:years
1166:" by
1132:kikes
887:dowry
743:birch
296:(
292:
210:fable
188:Genre
8474:IMDb
8437:ISBN
8419:OCLC
8400:ISBN
8387:ISBN
8364:ISBN
8323:ISBN
8305:ISBN
8287:ISBN
8269:ISBN
8248:ISBN
8227:ISBN
8209:ISBN
8168:OCLC
8147:ISBN
8126:ISBN
7777:site
7726:ISBN
7168:site
6895:ISBN
6843:ISBN
6771:ISBN
6724:ISBN
6413:ISBN
5866:ISBN
5621:ISBN
5396:ISBN
3930:Arad
3906:, a
3807:and
3748:The
3716:and
3674:and
3523:and
3496:and
3468:and
3371:see
3216:and
3198:and
3196:Mite
3178:and
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2969:and
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2303:zâne
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1400:and
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1109:Iași
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