H. Bonciu - Knowledge

1410: 1870:. During a far-reaching literary debate of late 2008, Cernat has also criticized those postmodern authors who, in his view, overrate H. Bonciu and Constantin Fântâneru to the detriment of interwar classics. Such conclusions were mirrored by other authors. As one of Bonciu's defenders, Irimescu sees him as one "condemned to endure outside the literary canon", who would not receive recognition "either because of the times, or because of the people." Essayist Magda Ursache made particularly strong comments regarding perceived attempts at revising the canon "with the help of a hammer", to favor Bonciu and other avant-garde writers. 46: 1195:, he alternated critique with professional respect, concluding that Bonciu's talent deserved "a better fate." He was to elaborate on the topic in 1937, when he wrote: "The essential merit of novels is a stylistic violence that is still restrained by the remarkable dignity of language and accuracy in the artistic finish. As for the substance, so to say: a sexual release, an obsession haunts therein; the writer's art will not hide his desolation." For Călinescu, one of Bonciu's interests as a storyteller is his ability to merge a 886:"). According to Lovinescu, that persona clashes badly with Bonciu's demand for sensitivity: " is the eternal convalescent of an unforgiving disease: literaturitis. Whatever subject one may wish to explore, in less than five minutes the conversation, like in some kind of dance, retreats back to art, naturally his own art, to what he has written, writes, will write, to the torture that is his writing process, to his elevated concepts on beauty, to the eternity of art versus the lies of the present, and so on." 1145:: "These three authors would create a new way of making literature, which took a tiny bit from all the currents and movements of its time. We are dealing with books where, emerging out of an evidently surreal depictions, one comes across dialogues heavily impregnated with the absurd." The Bonciu–Blecher comparison is more controversial: various reviewers have noted that, while Bonciu visualizes the suffering of himself and others, Blecher records his real-life combat with 974:. In his 1937 companion to 20th century literature, Eugen Lovinescu described him as a paradoxical, outdated and eccentric author: "the eagerness for novelty, for situations and expressions dominates ; but since the novelty dates back to the age of Expressionism, it is currently more outdated than the most up-to-date literature." Writing in 2005, Simona Vasilache presented Bonciu as "a lonely dreamer, terrified by the world like a baby is of bad dreams". Researcher 995:. His fragmentary poetic devices, alongside the uncertainty of his belonging to any literary genre, are sufficient elements for Bonciu's classification as an unusual author." The same is noted by critic Florina Pîrjol, who reads in Bonciu "a strange mix of the Expressionistic grotesque and the Surrealistic tenderness." In his wartime biographical essay, George Călinescu further argues that Bonciu's overall contribution mixes together " 1474:), whose confession to Bonciu is also rendered as a detailed story. The murder was carried out for an absurd reason, and the Man with Copper Beak is haunted by the memory. He does not regret Sinidis' death, but consumed by another, unwitting, murder: his improvised weapon has also pierced through a malevolent dwarf who lived in Sinidis' body, and whom Sinidis despised. 1207:

nonconformity." Author Alina Irimescu recommends Bonciu for his depiction of life's "chaos", but concludes: " a middling writer, blinded by the tendencies of his time, who astounds and does not always have a more profound support." Florina Pîrjol defines Bonciu's forte as being his portraiture, but notes that his narratives lack "dynamism and coherence".

813:, had openly demanded jail terms for both Bonciu and Bogza. A while after, Bogza latter protested vehemently, calling the anti-modernist campaign an "offensive toward darkness and intolerance", while noting that the modest circulations of his and Bonciu's avant-garde work could not justify the scale of repression. Bonciu found an unexpected backer in 1227:, pessimistic and sarcastic. His general tone is nonetheless shrill, because the author, although he masters the notion of poetry, lacks an artistic persona, being more of an intelligent amateur." Writing in 2005, Simuț found Bonciu "outdated" and "utterly modest" as a poet, linking his work in the field with the late-19th-century 1697:

The plot is in large part focused on the eponymous "boarding house", in fact a brothel. There are three correspondents of the "black notebook", which obsess about the themes other than death: "Book of the Flesh", "Book of the Wine", "Book of the Soul". The sexual act is again depicted in key moments

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Others have noted that Bonciu's main intent is in rendering the feeling of being crushed by evil nature, the violence of which requires the subversion of lyrical convention, and even of all rational dealings with his public. As argued by Crohmălniceanu: "Everything becomes a chemical chart for the

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Such nuances notwithstanding, H. Bonciu's contribution was readily annexed to the school of Romanian Expressionism. Dan Grigorescu traces the literary phenomenon to its source: "In what concerns H. Bonciu, critics have passed a more resolute judgment than on any other Romanian writer to have ever

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are all Romantic. The Expressionistic parts are the elevation of each moment into an idea, the obfuscation of things into symbolic smoke, the metaphysical interpretation of everyday tragedy. Beyond these, the habit of seeing dramas and issues in all moments of life comes from the German-Jewish

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made remarkable by the brutal force of its imagery. They told him it could not be published, because of one crude word that harmed the entire sonnet. The poet thereafter turned into another person, with another kind of poems. All of these had an internal structure never before seen in Romanian

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exercise in which protagonist advises writer how to best perform his task. The background themes are despair and solitude: Ramses is on the search for someone to share his existential burden, and the narrative grows to include, according to Crohmălniceanu, an "entire gallery of tormented yet

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According to researcher Alina Ianchiș, Bonciu's isolation and his lack of "self-affirmation" contributed to the ambiguous or dismissive assessments of his work by academic contemporaries. The writer only returned to critical attention in 1964, when Crohmălniceanu first lectured on him at the

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This is contrasted by other verdicts. In 21st-century reviews, Bonciu was variously described as an author from the "second shelf" or "bottom bench" of Romanian literary culture. Ion Simuț writes that Bonciu, a "minor writer", generally displays "the tricks and clichés of aesthetic and moral

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In Bonciu's novels and his poetry, the sexual function is a tool of apparent liberation, man's only possible flight from existential despair. Beyond the 1937 scandal, Bonciu's breach of sexual convention in his literary subjects was especially criticized by mainstream literati. According to

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been considered a bearer of Expressionist ideas: he was without doubt the one who generated least debate." After it became a point of reference, the definition of Bonciu's work as "Expressionist" created some debate among 20th-century scholars. The issue was notably raised by researcher

1060:, illustrated one of Bonciu's works. In Călinescu's interpretation, the "grotesque" drawing brings to life "a moment of dementia", and this is analogous to Bonciu's own intentions: "H. Bonciu, who despises realism and claims to be writing 'with the red of my arteries and the green of my 1179:

notes that, within the self-censoring Romanian literature, Bonciu was one of the very few who ventured to lift the "prude barrier" and actually depict the sexual contact, while Cernat suggests that Bonciu's original denunciators barely hid their politicized agenda: "a

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mixtures; Marian Victor Buciu focuses on Bonciu as a meeting point between the "Naturalist typology" and Expressionism, noting that his Surrealism is less supplied. Nevertheless, Călinescu supposes an ideological link between Bonciu and the Romanian Surrealists at

1689:, opens with the meeting between Ramses and the storyteller; Sinidis has been afflicted by muteness, but, at the very time of this encounter, a bizarre accident forces his voice back. The two then proceed to reconstruct the missing portions of Sinidis' life, an 1532:, but has to defend his ideas against the dwarf that lives inside him. The creature then forces his host into an unloving marriage with Zitta, and Ramses' murder occurs just as he decides to end it; he and his murderer then make their way into an infernal 1223:, Bonciu repeatedly disregarded them for convenience. Since the 1930s, various reviewers have consequently described him as semi-failed and lacking structure. George Călinescu's is a mixed review: "H. Bonciu brings into his poetry a pathos of 541:

a bottle. Just about every afternoon, the cart would stop on the dot at Unirii Square, facing Traian Café, where would habitually play a game of chess. Waiting for his master, the gray-haired cart driver would fall asleep on his seat".

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In 1924, Bonciu married a Gabriela Kimmel, living, until 1934, in relative isolation from the literary scene. Early in the 1930s, the family had moved back to Iași, where Bonciu set up a new business in the production and distribution of

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as a single edition. It carries a preface by Babeți, and is a conscious attempt to reassess Bonciu as one of the major Romanian writers of his time. The reception was lukewarm and the iconoclastic intent criticized by other specialists.

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years that observers began referring to Bonciu's synthesis as a local manifestation of Expressionism, the German current having already found a dedicated promoter in Cerbu. From this context were born H. Bonciu's poetry collections

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and receiving farewell visits from others in his generation. One of the last to attend was fellow author Aderca, who recorded Bonciu's bitter joke: "Do you know which is the most bearable of all ways of dying? someone else's."

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the echoes of writers translated by Bonciu (Altenberg, Petzold, Wildgans), but also from other such sources, including Hille. Furthermore, Crohmălniceanu sees the novel as incorporating elements from a literary branch of the

1165:, Lovinescu accused Bonciu of "glaring tastelessness" and of promoting an "obsessive" eroticism. The erotic fragments, scandalous in their day, were seen with comparatively less displeasure by newer generations of exegetes. 1368:

Bonciu's poems borrow their cultural symbols from very diverse sources. His taste for "an absurd and secretly terrifying mythology", in some Sigismund Absurdul pieces, is seen by Crohmălniceanu as a nod to the writings of

929:, who made a point of assessing past Jewish contributions (Bonciu and Aderca's included), and presented it to the public in a 1941 treatise on Romanian literature. During the subsequent press campaign targeting Călinescu, 294:, has touched the critical reception of his work, and has introduced a decades-long debate about its contextual value. While some scholars find Bonciu a necessary addition to the modern literary canon and a forerunner of 635:. Of these, his rendition of Rilke's "What Will You Do, God, When I Die?" has been singled out for its beauty by critic Simona Vasilache. Additionally, Bonciu published versions of poems by France's pre-Symbolist 851:, the formerly sympathetic reviewer Papadima signaled that "Haimovici Bonciu" and Aderca were "big pigs" supported by "the Jewish media", on whom the state needed to focus its efforts. In a 1938 column for 1477:

Beyond the pretext, the "black notebook" is an ample excursion into a sordid, self-destructive and peripheral environment, where real-life events merge with the purely fantastical. Vasilache sees in it a

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The arrest was a cause for celebration in the other camp. At the Writers' Society, Rebreanu's motion was defeated after a clash of opinions, which almost resulted in the resignation of Society President

1750: 537:, who attended this society, recalls: "Old folks in Iași may still remember Bonciu's devout wine, that every Iași inhabitant back in the day would gorge on at their own will, in Tuflii Café, for 2,50 1199:

narrative and "piercing" realistic episodes; others are his "fine bitterness" and "personal note of humor", even when alternating with "sad clownings". Similar comments were made decades later by

925:, his entire work was officially banned throughout the country, alongside that of many other Jewish writers. The censorship trend found as its main opponent the literary historian and polemicist 1851:

notes that, unlike Blecher, "H. Bonciu does not represent a real challenge to the consecrated hierarchy of interwar assets. From this side, there is no hope that one could modify the canon."

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had admiringly described the novel term as "a word of havoc, invented by that dark wonder, the poet Bonciu, a word of enigmatic transparency, untranslatable". Part of Bonciu's work reads:

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and Expressionistic elements. The tendency of personifying the great laws of existence, such as death, the unexpected move into the realm of hallucination, the sarcastic and extravagant

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who was burned alive. When read as a camouflaged record of actual events in Bonciu's life, the novel reveals his claims about having been a witness to Vienna's artistic life under the

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as one of Romania's finest, and a very popular drink throughout the country. The passion for wine-making later resulted in a friendship between Bonciu and celebrated actor-satirist

1702:, or his later intercourse with "a cow-woman" (according to Simuț, these scenes are passionate but not in fact obscene). The needy Lenny Pipersberg and her daydreaming prostitutes 1655:, as authors of "atrocious, sarcastic, grotesque and brutal realism". Glăvan too sees an analogy between Sinidis' grim reflection on war and landscapes by "New Objectivity" master 355:

As a young adult, Bonciu obtained his main income from trading in umbrellas and curtains. He made his literary debut in 1912, when he published in Bucharest's theatrical magazines

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movement. Described as the more experimental voice of this subgenre, and opposed to Holban's conventional approach, Bonciu was also repeatedly compared with a secondary figure in

1383:. Some poems of Bonciu's place artificial, medieval and knightly imagery over an existential moral—this, Vasilache notes, is one similarity between Bonciu and the modernist poet 4144: 882:, "The Absolute Poet". It describes Bonciu's "oriental looks", athletic frame and sporting passion ("he does not shy away from walking down Bucharest's streets dressed up in a 3023: 2849: 1803:. In subsequent years, his name was popularized by specialized dictionaries and encyclopedias, and in reinterpretative essays on literary history. In 2000, Aius Publishers in 1081: 1431:

argued of H. Bonciu: "From a sty of crude colors, with plenty of gilded gossamer rubbed into it, his thick and greasy brush paints into the fresco of our spiritual bedlam".

841:(who declared both detainees to be "pseudo-writers") and the formerly accused Eliade (who included himself among the opponents of "pornographic literature"). Writing for the 1439:

colleague, although he noted that Bonciu's text was not a fully formed novel. The same was concluded by Călinescu, who once described Bonciu the novelist as the author of "

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According to critic Gabriela Glăvan, Bonciu's literature is "hybrid" and "borderline" in that it combines "an Expressionism with avant-garde touches" with "slides into the

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the feeling of inadequacy—the girl Nora despises the natural green of her hair, and kills herself in desperation. According to Pîrjol, this is a book of "quasi-theatrical

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The accusations found some backing among government officials. Reportedly, Bonciu was first arrested for a short while in 1932, together with Bogza. They were held in

1753:, 1968). The following period witnessed a drop in receptivity or, in Alina Irimescu's words, a "historical void". A reissue of his novels came only in 1984, care of 1502:." According to Glăvan, the plot is "a trajectory of the ego's unraveling", with "a certified propensity toward the voluptuousness of self-annulment", and an (anti-) 3666: 3068: 1254:, where anxiety builds up at the thought of demonic forces about to "sweep us up". Reviewers have made special note of "Living Words", the artistic credo found in 894:

In parallel with his growth as a novelist, Bonciu became known to the literati as a prankster and eccentric social observer. In 1937, at the funeral of novelist

1796:, a more senior author (but one whose work was only published in the 1980s), is also seen as a disciple of Bonciu, for her scenes of Jewish life in Bucharest. 863:

were in reality demanding "marketing freedom". In Papadima's account, they abused the notion of artistic liberty, as embodied by the "high art" of Baudelaire.

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The revival of erotic prose in post-Revolution literature has also led reviewers to suggest that the "generation 2000" was, or could have been, influenced by

1417: 319:, which happened when he was still a toddler; it was in Bucharest that he completed his primary and secondary education. Bonciu may have been enrolled at the 2923: 451:("The Art Movement in Our Country and Abroad"), ran in several national newspapers. Among the major periodicals who hosted his work over the next decade are 1547:

to his funeral service and incineration, content that the flames would also consume his parasite. His tormented life is intertwined with those of desperate

1203:, who rediscovered Bonciu as "a very talented writer", and by Buciu, who writes that Bonciu's "imposing rhetorical competence" outweighed his "amateurism". 1484:

comprising "violent initiations into the brutal life of the senses, interrupted then and now by brief mortuary rituals", while Alina Irimescu likens it to

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notes that they only cover a few pages of Bonciu's entire work, and that the imagery used is rarely "vulgar". Looking back on the 1930s, literary theorist

898:, Bonciu grabbed the public eye by seating himself in the coffin, his protest against "the inequities of the clergy". Two years later, before the start of 723: 3799: 3142: 3039: 2510: 1540:, Sinidis accepts his spiritual deconstruction, and looks to an eternity of degrading and bestial sexual acts with the "sweet-fleshed" prostitute Peppa. 1451:, who still saluted Bonciu's decision to move into the genre of "Surreal prose", away from poetry. Some students of Bonciu's work disagree: according to 1176: 697:

Allegedly, the novel was a commercial flop, only published in 500 copies. Outside the modernist circles, Romanian critics were generally uninterested in

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sections of the media began depicting him as one of the most obscene modern Romanian authors. This controversy was in effect sparked by culture critic

2050: 1512:, his erotic experiences with two partners (the virginal heartthrob Laura, and the submissive mistress on the side), the trauma of a participation in 415:. It has been suggested that Bonciu's avant-garde sympathies and stylistic rebellion has its roots in the period, making him part of the same wave as 3967: 3578: 229:; May 19, 1893 – April 27, 1950), was a Romanian novelist, poet, journalist and translator, noted especially as an atypical figure on his country's 3882: 3146: 1435:

too campaigned for the novel and its "pages of genius". Another notable fan of the book was novelist and literary chronicler Mihail Sebastian, his

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Ovid Crohmălniceanu also proposed that Bonciu is in fact an Expressionist by accident, whose actual literary models are the proto-Expressionism of

620: 577: 3272: 2845: 1882: 1813:"best Romanian novels" list, compiled from interviews with Romanian literary professionals. At the time, his absence was considered surprising by 1318: 1084:, Bonciu remains Romania's only "integral Expressionist", although, even in this context, Bonciu's work "did not record any significant shakes". 878:("The Porcelain Critic"). This enraged Lovinescu, who then published a sarcastic note regarding Bonciu's public persona, the piece later known as 1057: 829:, who demanded from the Writers' Society a show of solidarity in condemning the arrests. His demand received backing from Stancu and Cioculescu. 3962: 2430: 2146: 1766: 1239:

despair which his clowning is striving to keep hidden from view." The poems are, in Grigorescu's view, Bonciu's most Expressionistic creations.

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newspaper, described the censorship effort as futile. He also gave a formal reply to the more critical of Lovinescu's pronouncements, writing a

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is a literary prototype. In one section of the book, Ramses discovers the beautiful Hilda, who is a painter, a muse, and the living artwork of

674:("The Confessions of a Man on His All Fours"), was first published in 1934, marking Bonciu's beginnings as an eccentric novelist. Published by 233:

scene. His work, comprising several volumes of poetry and two novels, is a mixture of influences from the diverse literary schools of Europe's

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released a third, uncensored, edition of his two novels, but the circulation was exceedingly small. A year later, Bonciu failed to make the

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H. Bonciu's last work of poetry saw print in 1945, soon after war had ended, with Contemporană publishing house. It carries the title

1470:: Bonciu reads through Sinidis' "black notebook", left unopened after its author was murdered. The killer is a Man with Copper Beak ( 4029: 3756: 4124: 3944: 3694: 3608: 2647: 2302: 1792:, has also been described as one in succession to Bonciu, particularly in what concerns the Expressionist imagery of his poems. 1770:

writers—some of whom were disciples of Crohmălniceanu, trying to reconnect themselves with the 1930s avant-garde. Poet-novelist

1099:" in subject and expression, and despite his avant-garde credentials, Bonciu is sometimes included among the younger-generation 801:

In 1937, the state opened a case against Bonciu and Bogza, who were again taken into custody. As noted by the Surrealist writer

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to the Jewish couple Carol Haimovici and Ghizela Nadler. Little is known about his childhood other than the family's move to

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suggests that Bonciu's Expressionism was mostly "exterior", spread over Jugendstil, Impressionism, Surrealism and various

3526: 1587:, and who ends up being eaten alive by her creator; before this happens, Hilda, Schiele and Ramses become entangled in a 701:, or unaware that it even existed. Nevertheless, Bonciu continued to write and, in 1936, Alcaly issued his second novel: 3511: 2517: 1409: 4059: 4054: 4039: 3952: 3931: 3586: 3276: 2694: 1987: 1685:, Bonciu preserves his narrator persona and revives Ramses Sinidis. The novel, variously read as a continuation or a 441:

s editorial staff; in 1921, he inaugurated a long period of activity with another Romanian-based literary newspaper,

335:, and that such a cultural encounter shaped his entire approach to literature. In a 1997 article, literary historian 660:

that Bonciu was a "precious" and thoughtful translator, whose versions were more polished than Wildgans' originals.

4049: 373:—he was possibly in enemy territory, but, judging by references in his novels, he may also have seen action in the 3637: 1758: 1631: 1025:. Bonciu, he argues, gained an Expressionist profile by performing his own, independent, mix of literary themes: 3863: 3703: 774:

magazine, all of them disciples of Bogza. Two years later, the case was being revisited by his peers inside the

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was both a literary revelation and the birth of a new poetic style: "He had sent in a poem a few days before. A

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during much of 1917. According to this account, the expatriate Romanian salesman met and closely befriended the

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became a noted supporter of Bonciu's reconsideration, and listed him among the direct precursors of Romania's

1629:, his more embittered generation colleague, are among the Romanian writers who found a model to follow in the 1625:. The Céline comparison has endured as popular in Romanian literary theory: Glăvan finds that both Bonciu and 4074: 4002: 2165: 1520:. As a brief interlude in his self-destructive discourse, Sinidis makes eulogistic comments about a promised 348: 320: 4114: 4134: 4104: 4094: 4084: 4064: 4044: 3336: 1825: 1761:, and the parts considered scandalous or political were simply bracketed out in the final printed edition. 775: 1466:

focuses his attention on the more peculiar protagonist, Ramses Ferdinand Sinidis. The plot is, in fact, a

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as a poorly finished work, insisting on its centrifugal narrative—one such conservative voice was that of

1373:. "I and the Orient", the title of Bonciu's collected sonnets, is likely a reflection of Bonciu's debt to 1072:, who found it improbable that Romanian Expressionism was as diverse as to reunite the mystical poetry of 4069: 1800: 1638:

The main mix of influences, however, comes from the iconoclastic cultures of Secessionist Vienna and the

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cycle is seen by Irimescu as evidence of Cărtărescu's debt to Bonciu and Blecher. Another member of the

937:". According to such notes, Bonciu's novels illustrated the "poisonous" influence of Jewish literature. 1026: 916:), and Bonciu found himself excluded from literary life for most of the war years. Under the regime of 399: 393: 3519: 2824: 2737: 2444: 327:. Beyond this uncertain affiliation, it is known that Bonciu must have spent part of his youth in the 3808: 2401: 1979: 1191:

have received both attention and praise. Lovinescu found these to be his validation as an artist. In

1138: 1618: 686:. The originals were liberally illustrated with reproductions of paintings and drawings by the late 650:, came in 1933, also with Editura Vremea. The work won praise from essayist and literary chronicler 4109: 1030: 465: 17: 3151: 3027: 767: 453: 4119: 3177: 1732: 1448: 1080:. He therefore demanded some kind of critical revision. However, according to cultural historian 1000: 167: 821:

for its style, if not for its content, and strongly believed that artists in general were above

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Inventing the Jew. Antisemitic Stereotypes in Romanian and Other Central East-European Cultures

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assessed: "among the Romanian writers, only H. Bonciu has had the occasion to encounter proper

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authors, while its capture of the unnaturally grotesque also finds him as one of the country's

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Gabriela Glăvan, "Viraj în ireal. Modernități particulare în literatura română interbelică",

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was printed in only 1,000 copies, each featuring Bonciu's autograph and a portrait of his by

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published samples of Bonciu's poetry, within a special avant-garde issue. At the same time,

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The following period brought Bonciu into the spotlight, as soon as the traditionalist and

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journal. The scandal intensified with time, and Bonciu saw himself included in lists of "

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also presented Bonciu as isolated from the Romanian avant-garde, and as such "perhaps a

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With time, Bonciu became especially noted as the translator of works by Expressionists,

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is borrowed from Neoromanticism, instinctual drive from Naturalism, subjectivity from

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and cruel detail in Bonciu's narratives makes him a senior figure among Romania's own

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had been imposed on Romania. He was in Bucharest, bedridden, suffering with terminal

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In the Bonciu chapter of his own companion to Romanian literature (published 2008),

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Bonciu was probably back in Bucharest in early 1918, as Romania was negotiating a

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Sindis' recurrent obsession is death, and he prophesies in detail about being an

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For reasons unknown, H. Bonciu refused to openly affiliate with any of the many

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accused him of having betrayed Romanian suffering under "the pointy claw of the

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Antisemitism and fascism became official policies in Romania in the late 1930s (

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as illustrating the sense of hopelessness, coldly disguised under allusions to

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Crohmălniceanu, p.501; Glăvan, p.272-274; Grigorescu, p.417; Irimescu, p.49-50

1317:, invented by Bonciu as an expression of absolute disgust. Literary columnist 4013: 3504: 2514: 2155: 1588: 1556: 1504: 1428: 1247: 1110: 922: 740: 718: 683: 585: 416: 328: 246: 163: 120: 1642:, with whom Bonciu was personally familiarized. Exegetes have identified in 1250:, or "the taste for maculation". He believes that the peak of such works is 1126: 918: 3281: 2854: 2554: 1754: 1718:, showing women piled up in Sinidis' collection of escapades, "as if in an 1715: 1608: 1584: 1576: 1485: 1480: 1440: 1432: 1413: 1313:

Also remembered is a poem which introduces (and is introduced by) the word

1243: 1216: 1146: 1114: 1073: 1011: 899: 895: 752: 691: 589: 538: 141: 137: 3850: 2691: 1984: 1735:. His versions of Baudelaire's poems were included in a luxury edition of 1005: 751:

in at third. In Bonciu's case, the accusations mingled anti-modernism and

576:("I and the Orient. Twenty-five Sonnets", 1933). Both were published with 522: 3781: 3719: 3687: 2998: 2919: 2586: 2545: 1867: 1626: 1622: 1600: 1513: 1455:, the "disconcerting amalgam" gives Bonciu his originality and strength. 1106: 1042: 975: 822: 748: 747:, had Bonciu as the No. 1 obscene writer, with Bogza in second place and 728: 530: 366: 279: 250: 230: 155: 3898: 2819: 2732: 2439: 1714:", especially adept at describing "abjection". The novel, she notes, is 1613: 678:, its original jacket carries an enthusiastic introductory note, by the 656: 3790: 1517: 1490: 1384: 1224: 1181: 992: 988: 412: 341: 264: 175: 3634: 1866:. That pronouncement was questioned by Manolescu's younger colleague, 1764:

In the literary underground, Bonciu enjoyed some popularity among the

1659:. Others see the nightmarish protagonists as cultural echoes from the 1635:; according to Pîrjol, Céline and Bonciu have a "family resemblance". 1231:. Previously, Călinescu had described Bonciu as "all too indebted" to 1129:, describes Bonciu's novels as "impressive literary documents" of the 1699: 1664: 1580: 1548: 1525: 1459: 1142: 770:, outside of Bucharest, and joined there by the avant-garde youth of 732: 714: 494: 474: 386: 316: 77: 3976:

Elie Wiesel National Institute for Studying the Holocaust in Romania

2887: 2364: 274:

subjects became more widely known, and further marginalized for his

3936: 3092: 2397:"Traduceri și traducători – note de lectură – însemnări de cititor" 1757:

and Mioara Apolzan. This project suffered from the intervention of

1656: 1396: 1154: 967: 883: 526: 514: 482: 291: 2160: 278:

origin, H. Bonciu was even prosecuted in the 1930s on grounds of "

1835: 1804: 1780: 1711: 1686: 1533: 842: 612: 382: 283: 312: 61: 2827: 2740: 2447: 1495: 1220: 949: 934: 871: 559: 378: 324: 145: 133: 3667:"Temeri și comentarii, preferințe și liste, rezerve și excese" 1698:

of the book, showing Sinidis' first sexual experience, with a

521:; the latter acclimatized Uricani trunks at his own villa, in 3069:"C. Fântâneru. Absurd și suprarealism – o îngemănare inedită" 1668: 731:", alongside some major or minor modernist writers: Arghezi, 459: 95:

poet, novelist, translator, columnist, businessman, winemaker

1607:

was highlighted by Romania's other literati, beginning with

2645:"Scriitorii evrei și 'corectitudinea politică' din România" 1552: 1121:. Crohmălniceanu, who finds an ultimate source of literary 420: 1037:. Other literary historians presume the same connections. 961: 866:

Bonciu was released soon after, and, in an interview with

1563:: Viennese writers such as Altenberg, Petzold, Wildgans, 1350:

Into drops of panic, the sauce of that moment spills out,

1187:

Traditionally, Bonciu's writing style and mastery of the

1048: 670:("The Strange Double Life of a Man on His All Fours") or 3829:

Istoria literaturii române de la origini pînă în prezent

902:, he self-published his third poetry collection, called 513:, the writer created sweet "Uricani wine", seen by some 509:. On his vineyard, covering some 15 hectares outside of 3692:"Istoria critică și capriciile memoriei canonice (III)" 2414:

Călinescu, p.1024; Crohmălniceanu, p.632; Glăvan, p.262

1346:

When the moon settles down your shadow, it makes sense,

759:

and simply ignoring the equally provocative content of

37:

Bercu Haimovici, Beniamin Haimovici, Hieronim Haimovici

4145:

Jewish Romanian writers banned by the Antonescu regime

3908:"Horia Bonciu: osânditul din limbul canonului literar" 1052:

magazine, since a "man with hatstand head" sketch, by

825:

requirements. Another such voice was that of novelist

3439:

Glăvan, p.266-268. See also Crohmălniceanu, p.503-504

2968:

Călinescu, p.900. Perahim's sketch rendered on p.889.

2924:"Avangarda literară românească într-o nouă antologie" 1184:

accusation of Jewified, anti-national, pornography".

411:, put out in German-occupied Bucharest by dramatist 369:, when Romania fought against Germany and the other 3843:

Literatura română între cele două războaie mondiale

1862:was more gifted than consecrated novelists such as 493:("Sigismund the Absurd")—effectively, his literary 298:, others describe him as mediocre or pretentious. 3430:Glăvan, p.274-276. See also Crohmălniceanu, p.504 3293: 3291: 430:, where he published his translation of poems by 286:movements, and later selectively censored by the 4011: 1710:", alternating the "cruel" and the "implausible- 1555:-afflicted man who severs his own fingers, or a 944:. He died in April 1950, some two years after a 708: 668:Strania, dubla existență a unui om în patru labe 3887:Istoria unei generații pierdute: expresioniștii 3477: 3475: 2139: 2137: 2135: 2133: 2131: 2051:"Neaparat cîte un exemplar în liceele patriei!" 1674: 778:, where Bonciu's defense was taken by novelist 533:society of Iași with affordable wine. Humorist 449:Mișcarea artistică de la noi și din străinatate 365:. There was a pause in activity during most of 270:Opposed by the literary establishment when his 3507:Dicționar analitic de opere literare românești 3288: 3060: 3058: 2538: 2536: 2388: 2386: 1971: 1969: 1967: 1965: 1963: 1961: 1959: 1957: 1955: 1953: 1951: 1949: 1947: 1945: 1943: 1941: 1939: 1937: 1935: 1933: 1931: 1929: 1927: 1925: 1923: 1921: 1919: 1917: 1329: 1266: 889: 855:, Papadima also contended that Bonciu and the 837:. The guild's anti-Bonciu lobby included poet 3845:, Vol. I, Editura Minerva, Bucharest, 1972. 2879: 2877: 2875: 2873: 2779:Călinescu, p.1024; Crohmălniceanu, p.505, 632 2288: 2286: 2284: 2282: 2280: 2278: 2276: 2274: 2224: 2222: 2220: 2218: 2045: 2043: 2041: 2039: 2037: 1915: 1913: 1911: 1909: 1907: 1905: 1903: 1901: 1899: 1897: 1337:Fiindcă totul e bleah, absolut totul e bleah. 1335:Panică picură zeama momentului care se șterge 1303:When blinded worms will tear into their prey, 3472: 3391:Crohmălniceanu, p.501-504; Glăvan, p.265-272 3265: 3263: 2503: 2501: 2272: 2270: 2268: 2266: 2264: 2262: 2260: 2258: 2256: 2254: 2128: 2035: 2033: 2031: 2029: 2027: 2025: 2023: 2021: 2019: 2017: 1799:Bonciu's comeback took place only after the 1778:. Published later in Cărtărescu's life, the 1508:. Sinidis depicts his cruel adolescence and 1348:Until the black furniture goes with a crash, 1331:Când luna umbra ți-o culcă, merge cum merge, 1215:Although he nominally took on the classical 426:In 1920, Bonciu resumed his contribution to 3972:Federation of Jewish Communities of Romania 3085: 3083: 3055: 2838: 2836: 2533: 2383: 1416:posing with his fresco. 1914 photograph by 1305:That sorry thing that shall be left of me. 809:, through the voice of conservative author 574:Eu și Orientul. Douăzeci și cinci de sonete 3997:Mrs. Pipersberg's Boarding House (excerpt) 2870: 2607: 2605: 2356: 2354: 2352: 2350: 2348: 2215: 2151:"H. Bonciu între experiment și experiență" 1894: 1881:. However, according to a 2010 article by 1153:Călinescu, Bonciu suffered from literary " 3941:Anii treizeci. Extrema dreaptă românească 3260: 2579: 2577: 2498: 2324:Crohmălniceanu, p.505-506; Irimescu, p.49 2251: 2181:Glăvan, p.262, 264-265, 266, 267, 272-274 2014: 1064:', works in the same hieroglyphic mode." 1033:, and "paneroticism" from Jugendstil and 3560: 3558: 3447: 3445: 3408: 3406: 3244: 3242: 3240: 3221: 3219: 3217: 3080: 2833: 2766: 2764: 2762: 2683: 2681: 2679: 2478: 2476: 2474: 2472: 2462: 2460: 2458: 2456: 2342:Călinescu, p.1024; Crohmălniceanu, p.632 2208: 2206: 2204: 2202: 2200: 2198: 2196: 2121: 1408: 1301:Unfolded as they'll be in times to come, 481:review. He also began using a number of 3924:Istoria literaturii române contemporane 3257:Călinescu, p.901; Crohmălniceanu, p.504 3003:"Recuperări și trufandale avangardiste" 2602: 2345: 2119: 2117: 2115: 2113: 2111: 2109: 2107: 2105: 2103: 2101: 2078: 2076: 2074: 1299:Where you might get to grow your tails, 1291:My living words, lined up for a parade, 962:Eclecticism and classification attempts 563:lyrical literature." It was during the 50:Photograph of Bonciu, dated before 1935 14: 4012: 3786:"Diferența specifică a celor mai buni" 2823:, Nr. 8/1941, p.442 (digitized by the 2736:, Nr. 8/1938, p.441 (digitized by the 2574: 2443:, Nr. 4/1934, p.160 (digitized by the 2007: 2005: 2003: 2001: 1980:"Un excentric cu pretenții: H. Bonciu" 1333:Până se aude în mobila neagră un crah, 1297:Where you will die a suffocated death, 1280:Când viermii orbi vor sfâșia din prada 1087: 705:("Mrs. Pipersberg's Boarding House"). 550:According to his journalist colleague 545: 407:were taken up by the theatrical daily 4140:Obscenity controversies in literature 3867:Anale. Seria Științe Filologice. XLIV 3860:"H. Bonciu – Dincolo de expresionism" 3724:"Din nou despre proza noastră tînără" 3555: 3442: 3403: 3382:Glăvan, p.264, 276; Irimescu, p.49-50 3237: 3214: 2759: 2676: 2469: 2453: 2193: 1242:Crohmălniceanu sees Bonciu's work in 1157:", as well as being a "verbose" and " 572:("A Crate of Apparitions", 1932) and 204: 4130:20th-century Romanian businesspeople 3926:, Editura Minerva, Bucharest, 1989. 3575:De la proletcultism la postmodernism 3481:Crohmălniceanu, p.501; Glăvan, p.264 3355:Crohmălniceanu, p.504; Glăvan, p.263 2950:Glăvan, p.264-265; Grigorescu, p.417 2591:"Sesto Pals, avangardistul subteran" 2098: 2071: 1751:Editura pentru literatură universală 1323: 1293:Peacocks so very blinded by the sun, 1272:Intrați, păunii mei! Intrați în lada 1260: 1021:and (even older) currents born into 282:". His work was banned by the local 3573:Irimescu, p.49; Florin Mihăilescu, 2159:, Nr. 3/2009, p.11 (republished by 1998: 1885:, "nobody today remembers Bonciu". 970:literary factions which thrived in 403:). His poems and translations from 377:. One other story places Bonciu in 237:, and, unusually in the context of 24: 4150:20th-century Romanian male writers 3945:Editura Fundației Culturale Române 3754:"Amplificarea derutei spirituale?" 2850:"O parolă către un vechi complice" 1278:S-o resfirați în vremea care vine, 672:Confesiunile unui om în patru labe 642:His full translation of Wildgans' 607:. Among others, they include Ady, 497:. The other pseudonym he used was 25: 4171: 3989: 3963:Demnitate în vremuri de restriște 3499:Călinescu, p.900; Glăvan, p.265; 3302:"Avangardiștii de ieri și de azi" 2724:"Cronica literară. Perpessicius, 2233:"Cuviosul vin roșu de la Uricani" 1747:Les Fleurs du mal. Florile răului 1282:Batjocurii ce va mai fi din mine. 1276:În care poate vă va crește coada, 1295:Come in, my boys! Into the crate 811:Ioan Alexandru Brătescu-Voinești 306: 44: 4030:20th-century Romanian novelists 3772: 3743: 3710: 3678: 3653: 3624: 3591: 3567: 3546: 3537: 3493: 3484: 3463: 3454: 3433: 3424: 3415: 3394: 3385: 3376: 3367: 3358: 3349: 3322: 3313: 3251: 3228: 3205: 3196: 3167: 3158: 3133: 3124: 3115: 3046: 3014: 2989: 2980: 2971: 2962: 2953: 2944: 2935: 2910: 2861: 2800: 2791: 2782: 2773: 2746: 2710: 2663: 2634: 2561: 2550:"Blasfemia și drepturile artei" 2485: 2417: 2408: 2336: 2327: 2318: 2300:"Atentat la canonul interbelic" 2184: 2095:Călinescu, p.900; Rotman, p.174 1632:Journey to the End of the Night 1268:Cuvinte vii ce-nșiruiți parada, 87:Bon-Tsu-Haș, Sigismund Absurdul 4125:Romanian people of World War I 3804:"Prim plan: Gabriel Dimisianu" 2726:Dela Chateaubriand la Mallarmé 2616:"Scriitori în boxa acuzaților" 2175: 2089: 2062: 1651:" movement: Klabund, but also 1443:". Other critics tend to rate 1270:Păunilor de soare mult orbiți, 805:, this came shortly after the 794:, imposed state censorship on 792:Minister of Public Instruction 529:and drinker, who supplied the 13: 1: 4155:Deaths from cancer in Romania 3877:Editura Universității de Vest 3818: 2828:Transsylvanica Online Library 2741:Transsylvanica Online Library 2448:Transsylvanica Online Library 1858:suggested that the author of 1838:publishing house issued both 709:Obscenity scandal and arrests 676:Editura Librăriei Leon Alcaly 654:, who wrote for the magazine 349:Symbolist movement in Romania 27:Romanian writer (1893 - 1950) 3864:West University of Timișoara 3337:University of Nebraska Press 1683:Pensiunea doamnei Pipersberg 1676:Pensiunea doamnei Pipersberg 1536:. In the closing episode of 1274:În care veți muri înăbușiți, 743:etc. One such directory, in 703:Pensiunea doamnei Pipersberg 485:, including, in addition to 444:Adevărul Literar și Artistic 321:Frederick William University 301: 7: 4160:Inmates of Văcărești Prison 4100:Romanian surrealist writers 4035:20th-century Romanian poets 3916:, Nr. 6/2010, p. 49-51 3794:, Nr. 914, September 2007; 3581:, Constanța, 2002, p.286. 3460:Glăvan, p.264, 272-273, 274 3097:"Un scriitor de raftul doi" 3028:"Domni, tovarăși, camarazi" 2599:, Nr. 179, July–August 2003 1494:, noting "the realm of the 1458:Later revealed as Bonciu's 1402: 890:World War II and later life 682:doyen, poet and journalist 666:("Luggage"), also known as 10: 4176: 3043:, Nr. 134, April 2008, p.9 2813:Istoria literaturii române 2567:Glăvan, p.261-262; Ornea, 2491:Glăvan, p.261-262; Ornea, 2333:Grigorescu, p.384-385, 416 1579:appear as characters, and 1076:and the crude language of 400:Romania during World War I 206:[ˈhori.aˈbont͡ʃju] 3732:, Nr. 443, October 2008; 3604:Înnebunesc și-mi pare rău 3543:Crohmălniceanu, p.501-502 3319:Crohmălniceanu, p.505-506 3178:"Melancolia băncii goale" 3052:Crohmălniceanu, p.412-413 2932:, Nr. 237, September 2004 2858:, Nr. 190, September 2007 2515:"Despre pornografie" (II) 1801:fall of communism in 1989 1741:, put together by writer 1725: 1210: 776:Romanian Writers' Society 151: 115: 107: 99: 91: 83: 67: 55: 43: 32: 4060:Romanian fantasy writers 4055:Romanian erotica writers 4040:20th-century translators 3740:, Nr. 452, December 2008 3339:, Lincoln, 2009, p.64. 3285:, Nr. 314, February 2010 1888: 1516:, and a cynical case of 1356:, really all things are 4050:Romanian male novelists 3879:, 2014, p. 174-216 3869:, 2006, p. 261-276 3520:Babeș-Bolyai University 3077:, Nr. 354, January 2007 3011:, Nr. 546, October 2010 2825:Babeș-Bolyai University 2738:Babeș-Bolyai University 2614:Adina-Ștefania Ciurea, 2445:Babeș-Bolyai University 1733:University of Bucharest 1472:Omul cu ciocul de aramă 1449:Pompiliu Constantinescu 1423:In his presentation of 1352:Because all things are 956: 525:. Bonciu was a regular 241:, borrows heavily from 202:Romanian pronunciation: 2231:Constantin Radinschi, 1619:Louis-Ferdinand Céline 1420: 1344: 1330: 1327: 1289: 1267: 1264: 419:(Romanian inventor of 4090:Expressionist writers 3564:Crohmălniceanu, p.503 3552:Crohmălniceanu, p.501 3248:Crohmălniceanu, p.505 3234:Crohmălniceanu, p.504 2959:Grigorescu, p.416-417 2692:"Din trecutul S.S.R." 2466:Crohmălniceanu, p.632 2405:, Nr. 8-9/2010, p.110 1776:postmodern literature 1569:Hugo von Hofmannsthal 1412: 1371:Christian Morgenstern 1095:With his search for " 554:, Bonciu's return to 296:postmodern literature 243:German-born movements 4075:Romanian translators 3978:, Bucharest, 2008. 3960:Liviu Rotman (ed.), 3947:, Bucharest, 1995. 3893:, Bucharest, 1980. 3812:, Nr. 3-4/2005, p.66 3675:, Nr. 54, March 2001 3211:Călinescu, p.900-901 2867:Lovinescu, p.223-224 2059:, Nr. 279, July 2005 1468:story within a story 1139:Constantin Fântâneru 913:Holocaust in Romania 876:Criticul de porțelan 835:Nicolae M. Condiescu 788:Constantin Angelescu 786:. Around that date, 629:Richard von Schaukal 609:Richard Beer-Hofmann 375:Romanian Land Forces 4135:Romanian winemakers 4105:Symbolist novelists 4095:Expressionist poets 4085:Decadent literature 4065:Romanian columnists 4045:Romanian male poets 3839:Ovid Crohmălniceanu 3766:Convorbiri Literare 3738:Observator Cultural 3734:"Polemici cordiale" 3729:Observator Cultural 3672:Observator Cultural 3618:Convorbiri Literare 3505:"Ion Pop (coord.), 3307:Convorbiri Literare 3277:"Eugenia! Eugenia!" 3193:, February 12, 2005 3176:Constantin Coroiu, 3074:Observator Cultural 3008:Observator Cultural 2929:Observator Cultural 2657:Convorbiri Literare 2596:Observator Cultural 2558:, Nr. 119, May 2006 2056:Observator Cultural 1815:Observator Cultural 1810:Observator Cultural 1545:out-of-body witness 1389:stereotypical image 1062:cerebrospinal fluid 755:, only focusing on 546:Main writing period 535:Păstorel Teodoreanu 337:Ovid Crohmălniceanu 311:Bonciu was born in 239:Romanian literature 4070:Romanian humorists 3759:2008-04-22 at the 3697:2011-07-19 at the 3640:2012-09-07 at the 3635:"Camera păpușilor" 3633:Simona Vasilache, 3611:2012-03-17 at the 3529:2011-09-27 at the 3514:2011-09-27 at the 3183:2012-03-20 at the 3102:2012-09-07 at the 3033:2011-10-02 at the 2897:2012-09-07 at the 2886:Simona Vasilache, 2809:Petru P. Ionescu, 2697:2012-09-07 at the 2650:2007-08-27 at the 2621:2012-08-11 at the 2520:2012-09-07 at the 2431:"Cronica măruntă. 2370:2012-09-07 at the 2363:Simona Vasilache, 2305:2012-09-07 at the 2238:2012-03-20 at the 2168:2011-09-02 at the 1990:2011-09-11 at the 1694:hilarious faces". 1530:universal language 1462:, the narrator of 1421: 859:Romanian novelist 644:Die Sonette an Ead 637:Charles Baudelaire 625:Rainer Maria Rilke 491:Sigismund Absurdul 394:peace with Germany 219:Hieronim Haimovici 209:; reportedly born 130:fantasy literature 4115:Writers from Iași 3984:978-973-630-189-6 3858:Gabriela Glăvan, 3835:, Bucharest, 1986 3800:Gabriel Dimisianu 3752:Nicolae Busuioc, 3503:Ligia Tudorachi, 3469:Glăvan, p.272-274 3421:Glăvan, p.270-271 3400:Irimescu, p.49-50 3364:Glăvan, p.263-264 3345:978-0-8032-2098-0 3225:Grigorescu, p.417 3147:"Bariera pudorii" 3143:Ion Bogdan Lefter 3121:Grigorescu, p.418 2986:Grigorescu, p.376 2977:Grigorescu, p.416 2797:Rotman, p.175-176 2788:Rotman, p.174-175 2511:Gheorghe Grigurcu 2433:Poemele către Ead 2395:Adrian Grănescu, 2162:România Culturală 1856:Nicolae Manolescu 1772:Mircea Cărtărescu 1759:communist censors 1738:Les Fleurs du mal 1573:Arthur Schnitzler 1418:Josef Anton Trčka 1375:Hanns Heinz Ewers 1366: 1365: 1311: 1310: 1229:Decadent movement 1201:Nicolae Manolescu 1189:Romanian language 1177:Ion Bogdan Lefter 1125:in narratives by 784:Șerban Cioculescu 646:, with the title 603:from the area of 519:Constantin Tănase 191: 190: 152:Literary movement 126:erotic literature 38: 34:H. (Horia) Bonciu 16:(Redirected from 4167: 3959: 3906:Alina Irimescu, 3905: 3891:Editura Eminescu 3874: 3857: 3825:George Călinescu 3813: 3796:Alex. Cistelecan 3780: 3776: 3770: 3751: 3747: 3741: 3718: 3714: 3708: 3686: 3682: 3676: 3663:Gheorghe Crăciun 3661: 3657: 3651: 3647:România Literară 3632: 3628: 3622: 3599: 3595: 3589: 3571: 3565: 3562: 3553: 3550: 3544: 3541: 3535: 3502: 3497: 3491: 3488: 3482: 3479: 3470: 3467: 3461: 3458: 3452: 3449: 3440: 3437: 3431: 3428: 3422: 3419: 3413: 3410: 3401: 3398: 3392: 3389: 3383: 3380: 3374: 3371: 3365: 3362: 3356: 3353: 3347: 3326: 3320: 3317: 3311: 3299: 3295: 3286: 3271: 3267: 3258: 3255: 3249: 3246: 3235: 3232: 3226: 3223: 3212: 3209: 3203: 3200: 3194: 3175: 3171: 3165: 3164:Lovinescu, p.224 3162: 3156: 3155:, Nr. 11-12/2009 3152:Viața Românească 3141: 3137: 3131: 3128: 3122: 3119: 3113: 3109:România Literară 3091: 3087: 3078: 3066: 3062: 3053: 3050: 3044: 3022: 3018: 3012: 2997: 2993: 2987: 2984: 2978: 2975: 2969: 2966: 2960: 2957: 2951: 2948: 2942: 2939: 2933: 2918: 2914: 2908: 2904:România Literară 2885: 2881: 2868: 2865: 2859: 2844: 2840: 2831: 2808: 2804: 2798: 2795: 2789: 2786: 2780: 2777: 2771: 2770:Călinescu, p.901 2768: 2757: 2750: 2744: 2718: 2714: 2708: 2704:România Literară 2689: 2685: 2674: 2667: 2661: 2642: 2638: 2632: 2628:România Literară 2613: 2609: 2600: 2585: 2581: 2572: 2565: 2559: 2544: 2540: 2531: 2527:România Literară 2509: 2505: 2496: 2489: 2483: 2480: 2467: 2464: 2451: 2425: 2421: 2415: 2412: 2406: 2394: 2390: 2381: 2377:România Literară 2362: 2358: 2343: 2340: 2334: 2331: 2325: 2322: 2316: 2312:România Literară 2294: 2290: 2249: 2230: 2226: 2213: 2210: 2191: 2188: 2182: 2179: 2173: 2145: 2141: 2126: 2125:Călinescu, p.900 2123: 2096: 2093: 2087: 2080: 2069: 2066: 2060: 2049:Florina Pîrjol, 2047: 2012: 2009: 1996: 1977: 1973: 1831:România Literară 1819:Gheorghe Crăciun 1522:world revolution 1510:Oedipus conflict 1339: 1324: 1284: 1261: 1168:România Literară 1119:Mihail Sebastian 1023:Austrian culture 1019:Vienna Secession 946:communist regime 927:George Călinescu 839:George Gregorian 807:Romanian Academy 768:Văcărești Prison 737:Mihail Celarianu 688:Vienna Secession 454:Viața Românească 440: 288:communist regime 227:Haimovici Bonciu 223:Bonciu Haimovici 221:, also known as 208: 203: 74: 48: 36: 30: 29: 21: 4175: 4174: 4170: 4169: 4168: 4166: 4165: 4164: 4110:Symbolist poets 4010: 4009: 4003:Plural Magazine 3992: 3968:Editura Hasefer 3957: 3920:Eugen Lovinescu 3903: 3872: 3855: 3833:Editura Minerva 3821: 3816: 3778: 3777: 3773: 3761:Wayback Machine 3749: 3748: 3744: 3716: 3715: 3711: 3699:Wayback Machine 3684: 3683: 3679: 3659: 3658: 3654: 3642:Wayback Machine 3630: 3629: 3625: 3621:, November 2005 3613:Wayback Machine 3597: 3596: 3592: 3579:Editura Pontica 3572: 3568: 3563: 3556: 3551: 3547: 3542: 3538: 3534:, Nr. 3-4, 2001 3531:Wayback Machine 3524:Studii Literare 3516:Wayback Machine 3500: 3498: 3494: 3489: 3485: 3480: 3473: 3468: 3464: 3459: 3455: 3450: 3443: 3438: 3434: 3429: 3425: 3420: 3416: 3411: 3404: 3399: 3395: 3390: 3386: 3381: 3377: 3372: 3368: 3363: 3359: 3354: 3350: 3329:Andrei Oișteanu 3327: 3323: 3318: 3314: 3297: 3296: 3289: 3269: 3268: 3261: 3256: 3252: 3247: 3238: 3233: 3229: 3224: 3215: 3210: 3206: 3201: 3197: 3185:Wayback Machine 3173: 3172: 3168: 3163: 3159: 3139: 3138: 3134: 3129: 3125: 3120: 3116: 3104:Wayback Machine 3089: 3088: 3081: 3064: 3063: 3056: 3051: 3047: 3035:Wayback Machine 3020: 3019: 3015: 2995: 2994: 2990: 2985: 2981: 2976: 2972: 2967: 2963: 2958: 2954: 2949: 2945: 2940: 2936: 2916: 2915: 2911: 2899:Wayback Machine 2883: 2882: 2871: 2866: 2862: 2842: 2841: 2834: 2806: 2805: 2801: 2796: 2792: 2787: 2783: 2778: 2774: 2769: 2760: 2751: 2747: 2720:Ovidiu Papadima 2716: 2715: 2711: 2699:Wayback Machine 2690:Dumitru Hîncu, 2687: 2686: 2677: 2668: 2664: 2652:Wayback Machine 2640: 2639: 2635: 2623:Wayback Machine 2611: 2610: 2603: 2583: 2582: 2575: 2566: 2562: 2542: 2541: 2534: 2522:Wayback Machine 2507: 2506: 2499: 2490: 2486: 2481: 2470: 2465: 2454: 2427:Ovidiu Papadima 2423: 2422: 2418: 2413: 2409: 2392: 2391: 2384: 2372:Wayback Machine 2365:"Carne și vînt" 2360: 2359: 2346: 2341: 2337: 2332: 2328: 2323: 2319: 2307:Wayback Machine 2292: 2291: 2252: 2248:, June 22, 2002 2240:Wayback Machine 2228: 2227: 2216: 2211: 2194: 2189: 2185: 2180: 2176: 2170:Wayback Machine 2143: 2142: 2129: 2124: 2099: 2094: 2090: 2081: 2072: 2067: 2063: 2048: 2015: 2010: 1999: 1992:Wayback Machine 1978:Alina Ianchiș, 1975: 1974: 1895: 1891: 1728: 1679: 1649:New Objectivity 1640:Weimar Republic 1589:sadomasochistic 1561:Double Monarchy 1528:" ethics and a 1407: 1362: 1351: 1349: 1347: 1341: 1336: 1334: 1332: 1307: 1304: 1302: 1300: 1298: 1296: 1294: 1292: 1286: 1281: 1279: 1277: 1275: 1273: 1271: 1269: 1233:Austrian poetry 1213: 1137:, the novelist 1093: 1010:writers of the 972:Greater Romania 964: 959: 892: 815:Eugen Lovinescu 745:Neamul Românesc 724:Neamul Românesc 711: 652:Ovidiu Papadima 648:Poeme către Ead 548: 438: 405:Peter Altenberg 333:Austria-Hungary 309: 304: 201: 182: 178: 174: 170: 166: 162: 158: 76: 72: 60: 51: 39: 35: 28: 23: 22: 15: 12: 11: 5: 4173: 4163: 4162: 4157: 4152: 4147: 4142: 4137: 4132: 4127: 4122: 4120:Moldavian Jews 4117: 4112: 4107: 4102: 4097: 4092: 4087: 4082: 4077: 4072: 4067: 4062: 4057: 4052: 4047: 4042: 4037: 4032: 4027: 4022: 4008: 4007: 3991: 3990:External links 3988: 3987: 3986: 3955: 3934: 3917: 3913:Dacia Literară 3901: 3883:Dan Grigorescu 3880: 3870: 3853: 3836: 3820: 3817: 3815: 3814: 3771: 3742: 3709: 3677: 3652: 3623: 3590: 3566: 3554: 3545: 3536: 3492: 3483: 3471: 3462: 3453: 3441: 3432: 3423: 3414: 3402: 3393: 3384: 3375: 3366: 3357: 3348: 3321: 3312: 3300:Vasile Iancu, 3287: 3259: 3250: 3236: 3227: 3213: 3204: 3202:Irimescu, p.50 3195: 3166: 3157: 3132: 3123: 3114: 3079: 3054: 3045: 3013: 2988: 2979: 2970: 2961: 2952: 2943: 2934: 2909: 2869: 2860: 2832: 2799: 2790: 2781: 2772: 2758: 2745: 2709: 2675: 2662: 2643:Ovidiu Morar, 2633: 2601: 2573: 2560: 2532: 2497: 2484: 2468: 2452: 2416: 2407: 2382: 2344: 2335: 2326: 2317: 2250: 2214: 2192: 2183: 2174: 2127: 2097: 2088: 2070: 2061: 2013: 2011:Irimescu, p.49 1997: 1985:Caiete Silvane 1892: 1890: 1887: 1826:Writers' Union 1743:Geo Dumitrescu 1727: 1724: 1678: 1673: 1593:ménage à trois 1551:, including a 1453:Adriana Babeți 1406: 1401: 1391:of his fellow 1364: 1363: 1342: 1309: 1308: 1287: 1256:Lada cu năluci 1212: 1209: 1193:Poetul absolut 1163:Poetul absolut 1159:sentimentalist 1092: 1086: 1039:Dan Grigorescu 963: 960: 958: 955: 891: 888: 880:Poetul absolut 861:Damian Stănoiu 827:Liviu Rebreanu 780:Zaharia Stancu 710: 707: 633:Carl Spitteler 621:Alfons Petzold 605:German culture 582:Lada cu năluci 578:Editura Vremea 570:Lada cu năluci 547: 544: 507:Moldavian wine 432:Anton Wildgans 385:poet-activist 371:Central Powers 308: 305: 303: 300: 189: 188: 172:Neoromanticism 153: 149: 148: 117: 113: 112: 109: 105: 104: 101: 97: 96: 93: 89: 88: 85: 81: 80: 75:(aged 56) 71:April 27, 1950 69: 65: 64: 57: 53: 52: 49: 41: 40: 33: 26: 9: 6: 4: 3: 2: 4172: 4161: 4158: 4156: 4153: 4151: 4148: 4146: 4143: 4141: 4138: 4136: 4133: 4131: 4128: 4126: 4123: 4121: 4118: 4116: 4113: 4111: 4108: 4106: 4103: 4101: 4098: 4096: 4093: 4091: 4088: 4086: 4083: 4081: 4078: 4076: 4073: 4071: 4068: 4066: 4063: 4061: 4058: 4056: 4053: 4051: 4048: 4046: 4043: 4041: 4038: 4036: 4033: 4031: 4028: 4026: 4023: 4021: 4018: 4017: 4015: 4006:, Nr. 26/2005 4005: 4004: 3999: 3998: 3994: 3993: 3985: 3981: 3977: 3973: 3969: 3965: 3964: 3958:(in Romanian) 3956: 3954: 3953:973-9155-43-X 3950: 3946: 3942: 3938: 3935: 3933: 3932:973-21-0159-8 3929: 3925: 3921: 3918: 3915: 3914: 3909: 3904:(in Romanian) 3902: 3900: 3896: 3892: 3888: 3884: 3881: 3878: 3873:(in Romanian) 3871: 3868: 3865: 3861: 3856:(in Romanian) 3854: 3852: 3848: 3844: 3840: 3837: 3834: 3830: 3826: 3823: 3822: 3811: 3810: 3805: 3801: 3797: 3793: 3792: 3787: 3783: 3779:(in Romanian) 3775: 3768: 3767: 3762: 3758: 3755: 3750:(in Romanian) 3746: 3739: 3735: 3731: 3730: 3725: 3721: 3717:(in Romanian) 3713: 3706: 3705: 3700: 3696: 3693: 3689: 3685:(in Romanian) 3681: 3674: 3673: 3668: 3664: 3660:(in Romanian) 3656: 3650:, Nr. 46/2004 3649: 3648: 3643: 3639: 3636: 3631:(in Romanian) 3627: 3620: 3619: 3614: 3610: 3607: 3605: 3600:Ioan Holban, 3598:(in Romanian) 3594: 3588: 3587:973-9224-63-6 3584: 3580: 3576: 3570: 3561: 3559: 3549: 3540: 3533: 3532: 3528: 3525: 3521: 3517: 3513: 3510: 3508: 3501:(in Romanian) 3496: 3490:Glăvan, p.271 3487: 3478: 3476: 3466: 3457: 3451:Glăvan, p.269 3448: 3446: 3436: 3427: 3418: 3412:Glăvan, p.266 3409: 3407: 3397: 3388: 3379: 3373:Glăvan, p.265 3370: 3361: 3352: 3346: 3342: 3338: 3334: 3330: 3325: 3316: 3309: 3308: 3303: 3298:(in Romanian) 3294: 3292: 3284: 3283: 3278: 3274: 3270:(in Romanian) 3266: 3264: 3254: 3245: 3243: 3241: 3231: 3222: 3220: 3218: 3208: 3199: 3192: 3191: 3186: 3182: 3179: 3174:(in Romanian) 3170: 3161: 3154: 3153: 3148: 3144: 3140:(in Romanian) 3136: 3127: 3118: 3112:, Nr. 31/2000 3111: 3110: 3105: 3101: 3098: 3094: 3090:(in Romanian) 3086: 3084: 3076: 3075: 3070: 3067:Igor Mocanu, 3065:(in Romanian) 3061: 3059: 3049: 3042: 3041: 3036: 3032: 3029: 3025: 3021:(in Romanian) 3017: 3010: 3009: 3004: 3000: 2996:(in Romanian) 2992: 2983: 2974: 2965: 2956: 2947: 2941:Glăvan, p.261 2938: 2931: 2930: 2925: 2921: 2917:(in Romanian) 2913: 2907:, Nr. 17/2005 2906: 2905: 2900: 2896: 2893: 2891: 2884:(in Romanian) 2880: 2878: 2876: 2874: 2864: 2857: 2856: 2851: 2847: 2843:(in Romanian) 2839: 2837: 2829: 2826: 2822: 2821: 2816: 2814: 2807:(in Romanian) 2803: 2794: 2785: 2776: 2767: 2765: 2763: 2755: 2754:Anii treizeci 2749: 2742: 2739: 2735: 2734: 2729: 2727: 2721: 2717:(in Romanian) 2713: 2707:, Nr. 22/2008 2706: 2705: 2700: 2696: 2693: 2688:(in Romanian) 2684: 2682: 2680: 2672: 2671:Anii treizeci 2666: 2659: 2658: 2653: 2649: 2646: 2641:(in Romanian) 2637: 2631:, Nr. 33/2003 2630: 2629: 2624: 2620: 2617: 2612:(in Romanian) 2608: 2606: 2598: 2597: 2592: 2588: 2584:(in Romanian) 2580: 2578: 2570: 2569:Anii treizeci 2564: 2557: 2556: 2551: 2547: 2543:(in Romanian) 2539: 2537: 2529: 2528: 2523: 2519: 2516: 2512: 2508:(in Romanian) 2504: 2502: 2494: 2493:Anii treizeci 2488: 2482:Glăvan, p.263 2479: 2477: 2475: 2473: 2463: 2461: 2459: 2457: 2449: 2446: 2442: 2441: 2436: 2434: 2428: 2424:(in Romanian) 2420: 2411: 2404: 2403: 2398: 2393:(in Romanian) 2389: 2387: 2380:, Nr. 30/2009 2379: 2378: 2373: 2369: 2366: 2361:(in Romanian) 2357: 2355: 2353: 2351: 2349: 2339: 2330: 2321: 2315:, Nr. 44/2005 2314: 2313: 2308: 2304: 2301: 2297: 2293:(in Romanian) 2289: 2287: 2285: 2283: 2281: 2279: 2277: 2275: 2273: 2271: 2269: 2267: 2265: 2263: 2261: 2259: 2257: 2255: 2247: 2246: 2241: 2237: 2234: 2229:(in Romanian) 2225: 2223: 2221: 2219: 2212:Glăvan, p.262 2209: 2207: 2205: 2203: 2201: 2199: 2197: 2190:Glăvan, p.264 2187: 2178: 2171: 2167: 2164: 2163: 2158: 2157: 2156:Contemporanul 2152: 2148: 2144:(in Romanian) 2140: 2138: 2136: 2134: 2132: 2122: 2120: 2118: 2116: 2114: 2112: 2110: 2108: 2106: 2104: 2102: 2092: 2085: 2084:Anii treizeci 2079: 2077: 2075: 2068:Rotman, p.174 2065: 2058: 2057: 2052: 2046: 2044: 2042: 2040: 2038: 2036: 2034: 2032: 2030: 2028: 2026: 2024: 2022: 2020: 2018: 2008: 2006: 2004: 2002: 1995:, August 2010 1994: 1993: 1989: 1986: 1981: 1976:(in Romanian) 1972: 1970: 1968: 1966: 1964: 1962: 1960: 1958: 1956: 1954: 1952: 1950: 1948: 1946: 1944: 1942: 1940: 1938: 1936: 1934: 1932: 1930: 1928: 1926: 1924: 1922: 1920: 1918: 1916: 1914: 1912: 1910: 1908: 1906: 1904: 1902: 1900: 1898: 1893: 1886: 1884: 1880: 1876: 1871: 1869: 1865: 1861: 1857: 1852: 1850: 1845: 1841: 1837: 1833: 1832: 1827: 1824:In 2005, the 1822: 1820: 1816: 1812: 1811: 1806: 1802: 1797: 1795: 1791: 1787: 1783: 1782: 1777: 1773: 1769: 1768: 1762: 1760: 1756: 1752: 1748: 1744: 1740: 1739: 1734: 1723: 1721: 1717: 1713: 1709: 1705: 1701: 1695: 1692: 1688: 1684: 1677: 1672: 1670: 1666: 1662: 1661:Bizarre Pages 1658: 1654: 1653:Erich Kästner 1650: 1645: 1641: 1636: 1634: 1633: 1628: 1624: 1620: 1616: 1615: 1611:'s review in 1610: 1606: 1602: 1601:autofictional 1597: 1595: 1594: 1590: 1586: 1582: 1578: 1574: 1570: 1566: 1562: 1558: 1554: 1550: 1546: 1541: 1539: 1535: 1531: 1527: 1523: 1519: 1515: 1511: 1507: 1506: 1505:Bildungsroman 1501: 1498:is favorite 1497: 1493: 1492: 1487: 1483: 1482: 1475: 1473: 1469: 1465: 1461: 1456: 1454: 1450: 1446: 1442: 1438: 1434: 1430: 1429:Tudor Arghezi 1426: 1419: 1415: 1411: 1405: 1400: 1398: 1394: 1390: 1386: 1382: 1381: 1376: 1372: 1361: 1359: 1355: 1343: 1340: 1338: 1326: 1325: 1322: 1320: 1316: 1306: 1288: 1285: 1283: 1263: 1262: 1259: 1257: 1253: 1249: 1248:sadomasochism 1245: 1240: 1236: 1234: 1230: 1226: 1222: 1218: 1217:rhyme schemes 1208: 1204: 1202: 1198: 1194: 1190: 1185: 1183: 1178: 1174: 1170: 1169: 1164: 1161:" author. In 1160: 1156: 1150: 1148: 1144: 1140: 1136: 1132: 1128: 1124: 1120: 1116: 1112: 1111:Mircea Eliade 1108: 1104: 1103: 1098: 1091: 1085: 1083: 1079: 1075: 1071: 1070:Ovidiu Cotruș 1065: 1063: 1059: 1058:Jules Perahim 1055: 1051: 1050: 1044: 1040: 1036: 1032: 1031:Impressionism 1028: 1027:transcendence 1024: 1020: 1015: 1013: 1008: 1007: 1002: 998: 994: 990: 985: 983: 982: 977: 973: 969: 954: 951: 947: 943: 938: 936: 932: 928: 924: 923:Ion Antonescu 921: 920: 915: 914: 907: 906:("Bromine"). 905: 901: 897: 887: 885: 881: 877: 873: 869: 864: 862: 858: 854: 850: 849: 848:Sfarmă-Piatră 844: 840: 836: 830: 828: 824: 820: 816: 812: 808: 804: 799: 797: 793: 789: 785: 781: 777: 773: 769: 764: 762: 758: 754: 750: 746: 742: 741:Mircea Eliade 738: 734: 730: 729:pornographers 726: 725: 720: 719:Nicolae Iorga 716: 706: 704: 700: 695: 693: 689: 685: 684:Tudor Arghezi 681: 677: 673: 669: 665: 661: 659: 658: 653: 649: 645: 640: 638: 634: 630: 626: 622: 618: 614: 610: 606: 602: 598: 593: 591: 587: 583: 579: 575: 571: 566: 561: 557: 553: 543: 540: 536: 532: 528: 524: 520: 516: 512: 508: 502: 500: 496: 492: 488: 484: 480: 476: 472: 468: 467: 462: 461: 456: 455: 450: 446: 445: 437: 433: 429: 424: 422: 418: 417:Tristan Tzara 414: 410: 406: 402: 401: 395: 390: 388: 384: 380: 376: 372: 368: 364: 360: 359: 353: 351: 350: 344: 343: 338: 334: 330: 329:German Empire 326: 322: 318: 314: 307:Bohemian life 299: 297: 293: 289: 285: 281: 277: 273: 268: 266: 262: 258: 257: 252: 251:autofictional 248: 247:Expressionism 244: 240: 236: 232: 228: 224: 220: 216: 212: 207: 199: 195: 187: 186: 181: 177: 173: 169: 165: 164:Expressionism 161: 157: 154: 150: 147: 143: 139: 135: 131: 127: 123: 122: 121:Bildungsroman 118: 114: 111:ca. 1912–1945 110: 106: 102: 98: 94: 90: 86: 82: 79: 70: 66: 63: 58: 54: 47: 42: 31: 19: 4001: 3996: 3961: 3940: 3923: 3911: 3886: 3866: 3842: 3828: 3807: 3789: 3774: 3769:, March 2008 3764: 3745: 3737: 3727: 3712: 3702: 3680: 3670: 3655: 3645: 3626: 3616: 3603: 3593: 3574: 3569: 3548: 3539: 3522: 3506: 3495: 3486: 3465: 3456: 3435: 3426: 3417: 3396: 3387: 3378: 3369: 3360: 3351: 3332: 3324: 3315: 3305: 3282:Dilema Veche 3280: 3253: 3230: 3207: 3198: 3188: 3169: 3160: 3150: 3135: 3126: 3117: 3107: 3072: 3048: 3038: 3016: 3006: 2991: 2982: 2973: 2964: 2955: 2946: 2937: 2927: 2912: 2902: 2890:Kinderscenen 2889: 2863: 2855:Dilema Veche 2853: 2818: 2812: 2802: 2793: 2784: 2775: 2753: 2748: 2731: 2725: 2712: 2702: 2670: 2665: 2655: 2636: 2626: 2594: 2568: 2563: 2555:Dilema Veche 2553: 2530:, Nr. 3/2007 2525: 2492: 2487: 2438: 2432: 2419: 2410: 2400: 2375: 2338: 2329: 2320: 2310: 2243: 2186: 2177: 2161: 2154: 2091: 2083: 2064: 2054: 1983: 1878: 1874: 1872: 1864:Gib Mihăescu 1859: 1853: 1843: 1839: 1829: 1823: 1814: 1808: 1798: 1794:Sonia Larian 1788:clubs, poet 1785: 1779: 1765: 1763: 1755:Mircea Zaciu 1746: 1736: 1729: 1716:antifeminist 1696: 1691:intertextual 1682: 1680: 1675: 1663:of Romanian 1660: 1643: 1637: 1630: 1612: 1609:Anton Holban 1604: 1598: 1591: 1585:Egon Schiele 1577:Stefan Zweig 1542: 1537: 1503: 1489: 1486:Edvard Munch 1481:Wunderkammer 1479: 1476: 1471: 1463: 1457: 1444: 1436: 1433:Felix Aderca 1424: 1422: 1414:Egon Schiele 1403: 1378: 1367: 1357: 1353: 1345: 1328: 1314: 1312: 1290: 1265: 1255: 1251: 1244:lyric poetry 1241: 1237: 1225:diurnal life 1219:such as the 1214: 1205: 1192: 1186: 1166: 1162: 1151: 1147:Pott disease 1134: 1130: 1122: 1115:Anton Holban 1105:, alongside 1100: 1097:authenticity 1094: 1089: 1077: 1074:Lucian Blaga 1066: 1053: 1047: 1016: 1004: 1001:Naturalistic 986: 981:franc-tireur 979: 965: 941: 939: 930: 917: 910: 908: 903: 900:World War II 896:Anton Holban 893: 879: 875: 867: 865: 857:anticlerical 852: 846: 831: 818: 800: 795: 790:, Romania's 771: 765: 760: 756: 753:antisemitism 744: 722: 712: 702: 698: 696: 692:Egon Schiele 671: 667: 663: 662: 655: 647: 643: 641: 617:Erich Mühsam 601:Neoromantics 594: 590:Alfons Walde 581: 573: 569: 564: 555: 549: 503: 498: 490: 486: 478: 470: 464: 458: 452: 448: 442: 435: 427: 425: 408: 397: 391: 362: 356: 354: 346: 340: 310: 269: 261:Neoromantics 254: 226: 222: 218: 214: 210: 198:Horia Bonciu 197: 193: 192: 183: 142:prose poetry 138:lyric poetry 119: 73:(1950-04-27) 59:May 19, 1893 4025:1950 deaths 4020:1893 births 3782:Paul Cernat 3720:Paul Cernat 3688:Paul Cernat 3273:Radu Cosașu 3190:Evenimentul 2999:Paul Cernat 2920:Paul Cernat 2846:Radu Cosașu 2673:, p.450-451 2660:, July 2007 2587:Paul Cernat 2571:, p.421-465 2546:Paul Cernat 2495:, p.444-446 2245:Evenimentul 1883:Radu Cosașu 1868:Paul Cernat 1790:Florin Iaru 1627:Max Blecher 1623:Axel Munthe 1603:element in 1565:Peter Hille 1549:anti-heroes 1514:World War I 1441:prose poems 1380:India and I 1319:Radu Cosașu 1107:Max Blecher 1088:Bonciu and 997:Neoromantic 976:Paul Cernat 782:and critic 749:N. D. Cocea 515:oenologists 499:Bon-Tsu-Haș 367:World War I 280:pornography 265:Surrealists 231:avant-garde 156:Avant-garde 100:Nationality 4080:Sonneteers 4014:Categories 3819:References 3791:Revista 22 3310:, May 2005 2147:Geo Șerban 1786:Optzeciști 1767:Optzeciști 1720:insect box 1708:melancholy 1518:bankruptcy 1491:The Scream 1393:Ashkenazim 1385:Emil Botta 1182:xenophobic 1171:columnist 1127:André Gide 993:Surrealism 919:Conducător 597:Symbolists 552:Emil Cerbu 413:A. de Herz 342:Jugendstil 176:Surrealism 168:Naturalism 92:Occupation 3862:, in the 3851:490001217 3707:, Nr. 383 3518:, in the 2296:Ion Simuț 1879:Pensiunea 1849:Ion Simuț 1844:Pensiunea 1828:magazine 1700:laundress 1665:absurdist 1581:Endre Ady 1526:Bolshevik 1524:, about " 1460:alter ego 1173:Ion Simuț 1143:absurdism 1102:Trăirists 1035:Symbolism 803:Sașa Pană 796:Pensiunea 761:Pensiunea 733:Geo Bogza 715:far right 680:modernist 580:company. 523:Balotești 511:Miroslava 495:alter ego 487:H. Bonciu 483:pen names 475:Isac Ludo 387:Endre Ady 383:Hungarian 317:Bucharest 302:Biography 235:modernism 194:H. Bonciu 180:Symbolism 160:Decadence 78:Bucharest 3937:Z. Ornea 3757:Archived 3704:Cuvântul 3695:Archived 3638:Archived 3609:Archived 3527:Archived 3512:Archived 3181:Archived 3100:Archived 3093:Z. Ornea 3031:Archived 2895:Archived 2820:Gândirea 2733:Gândirea 2695:Archived 2648:Archived 2619:Archived 2518:Archived 2440:Gândirea 2368:Archived 2303:Archived 2236:Archived 2166:Archived 1988:Archived 1875:Bagaj... 1860:Bagaj... 1840:Bagaj... 1657:Otto Dix 1644:Bagaj... 1614:Adevărul 1605:Bagaj... 1538:Bagaj... 1464:Bagaj... 1445:Bagaj... 1437:Trăirist 1425:Bagaj... 1404:Bagaj... 1155:priapism 1135:Trăirism 1131:Trăirist 1123:Trăirism 1090:Trăirism 1078:Bagaj... 1056:artists 1043:eclectic 968:interwar 931:Gândirea 884:ski suit 853:Gândirea 845:gazette 823:didactic 819:Bagaj... 757:Bagaj... 721:and his 699:Bagaj... 664:Bagaj... 657:Gândirea 586:Tyrolese 531:bohemian 471:Meridian 292:interwar 256:Trăirist 245:such as 215:Beniamin 185:Trăirism 103:Romanian 84:Pen name 18:Bagaj... 3899:7463753 3040:Tribuna 3024:Ion Pop 2756:, p.455 2752:Ornea, 2669:Ornea, 2086:, p.451 2082:Ornea, 1836:Polirom 1817:editor 1805:Craiova 1781:Orbitor 1712:bucolic 1687:prequel 1667:author 1557:driller 1534:brothel 1197:fantasy 1082:Ion Pop 1014:type." 989:oneiric 942:Requiem 874:called 872:lampoon 843:fascist 690:artist 613:Klabund 588:artist 527:gambler 421:Dadaism 363:Cortina 284:fascist 134:lampoon 3982: 3974:& 3951: 3930: 3897: 3849: 3585: 3343: 1726:Legacy 1496:undead 1221:sonnet 1211:Poetry 1012:Werfel 950:cancer 935:Talmud 560:sonnet 473:, and 379:Vienna 325:Berlin 276:Jewish 272:erotic 249:. The 146:sonnet 108:Period 4000:, in 3910:, in 3809:Vatra 3806:, in 3788:, in 3763:, in 3736:, in 3726:, in 3701:, in 3669:, in 3644:, in 3615:, in 3304:, in 3279:, in 3187:, in 3149:, in 3106:, in 3071:, in 3037:, in 3005:, in 2926:, in 2901:, in 2852:, in 2817:, in 2730:, in 2701:, in 2654:, in 2625:, in 2593:, in 2552:, in 2524:, in 2437:, in 2402:Vatra 2399:, in 2374:, in 2309:, in 2242:, in 2153:, in 2053:, in 1982:, in 1889:Notes 1704:reify 1669:Urmuz 1500:topos 1397:ruddy 1358:bleah 1354:bleah 1315:bleah 565:Rampa 556:Rampa 460:Facla 439:' 436:Rampa 428:Rampa 409:Scena 358:Rampa 211:Bercu 196:, or 116:Genre 3980:ISBN 3949:ISBN 3928:ISBN 3895:OCLC 3847:OCLC 3583:ISBN 3341:ISBN 1842:and 1599:The 1553:gout 1395:as " 1252:Brom 1006:witz 991:and 957:Work 911:see 904:Brom 772:Alge 631:and 599:and 479:ADAM 398:see 361:and 347:see 331:and 313:Iași 263:and 68:Died 62:Iași 56:Born 1877:or 1722:." 1681:In 1621:or 1488:'s 1399:". 1117:or 1054:unu 1049:unu 984:". 868:Azi 539:lei 477:'s 466:Azi 352:). 345:" ( 323:of 217:or 4016:: 3970:, 3966:, 3943:, 3939:, 3922:, 3889:, 3885:, 3841:, 3831:, 3827:, 3802:, 3798:, 3784:, 3722:, 3690:, 3665:, 3577:, 3557:^ 3474:^ 3444:^ 3405:^ 3335:, 3331:, 3290:^ 3275:, 3262:^ 3239:^ 3216:^ 3145:, 3095:, 3082:^ 3057:^ 3026:, 3001:, 2922:, 2872:^ 2848:, 2835:^ 2761:^ 2722:, 2678:^ 2604:^ 2589:, 2576:^ 2548:, 2535:^ 2513:, 2500:^ 2471:^ 2455:^ 2429:, 2385:^ 2347:^ 2298:, 2253:^ 2217:^ 2195:^ 2149:, 2130:^ 2100:^ 2073:^ 2016:^ 2000:^ 1896:^ 1821:. 1749:, 1671:. 1596:. 1575:, 1571:, 1567:, 1427:, 1377:' 1360:. 1258:: 1235:. 1149:. 1113:, 1109:, 999:, 798:. 763:. 739:, 735:, 694:. 639:. 627:, 623:, 619:, 615:, 611:, 592:. 501:. 489:, 469:, 463:, 457:, 389:. 267:. 225:, 213:, 144:, 140:, 136:, 132:, 128:, 124:, 3606:" 3602:" 3509:" 2892:" 2888:" 2830:) 2815:" 2811:" 2743:) 2728:" 2450:) 2435:" 2172:) 1745:( 1647:" 396:( 200:( 20:)

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