35:
1956:, and curses which suppose "imaginative power" ("may your mouth move into your ear", "may your copulation last only as long as it takes steam to leave the mouth" etc.). Buiumaș's vindictive mother Țipra is herself a source for these quasi-ritual gestures: when her daughter Blima crosses her, she decides to cut her away from the family, and refuses to ever again mention her son-in-law by name. Buiumaș himself braves a similar treatment when he asks to be enlisted in a non-Jewish school. An old woman encourages Țipra to vehemently oppose his wish, suggesting that
2334:. The eponymous story begins with the boy and his mother inquiring about a possible inheritance from a relative in Japan, and culminates in describing the hypnotic effect of mice swarming around the local post office. One other short narrative shows Buiumaș lecturing his playmates about justice and sin, described by Vasilache as a strange outcome: "A child would have found any other means. That is why the sketches' endings are puzzling, depicting, with stinginess in words and even more stinginess in deeds, a world that is no longer itself."
2317:("Humorless Sketches"), comprise literary portraits and musings. Critic Simona Vasilache notes that such fragments revolve around the author's subjective perception of the world: "Not all the phrases make sense, not all the scenes have depth, that being because Călugăru's search is not one for clarity but, quite the contrary, for the vapor. The sensation of memory, more precious than the reasoned test of memory." The volume, she notes, comprises elements from all the stages in Călugăru's early career, from "the
1715:, and were described by George Călinescu as "tiny biographies of the interior man", with a type of "sarcasm" that echoed the novels of Călugăru's modernist contemporary, Aderca. In Zalis' view, they speak of a "humanity that is hilariously dislocated", but are nonetheless distanced from pure avant-garde scenarios, since Călugăru masks any stylistic tension through "corrosiveness". Instead, Zalis suggests, he had acquired from his years as a leftist journalist the need to weigh events against the opinions of a
2126:, Călugăru owed his promotion "not so much to his literary talent, but to the fact that he had rushed in, like many other intellectuals, writers, artists etc., to support and popularize the new regime's accomplishments." Writing in 2006, Nicolae Manolescu opined: "Nobody speaks today of Ion Călugăru , who was considered a promise during the 1930s. Călugăru's literature was overvalued after 1948 not least of all because of communist sympathies". He dismissed
1276:
2400:, noted: " had engaged himself, with short-term profits, but failure in the long run, into an intervention against nature and against the nature of art, but also against his own nature: abruptly moving from eroticism to heroism, he was not recommended for such an enterprise by either his native temperament, his collected life experience, and his artistic means. Together with the other relics of proletkult,
1519:, the first volume published by Ion Călugăru, was also the first of several works to focus on its author's rural background. Several of the stories, reminiscent of Creangă, are jocular accounts of childhood. They include the title work, which shows the youngsters Ițe and Șămă casually plotting to steal the eponymous horses. This stream is combined with more dramatic accounts, such as the piece in which
1916:". The ritual itself is a source for wonder, as is the case with a common wedding, presented by the narrator as an alluring magic ritual. In one chapter, whose symbolism is seen by Călinescu as pointing to "the universality of faith", Mihalache, the local Christian tasked with supervising the burning candles after service in the temple, finds himself thrilled by the spectacle they offer, and marks a
1249:, which was being secretly prepared with Antonescu's support. Călugăru claimed that this account was British manipulation, suggesting that "if Hitler dared to attack the Russians he would be crushed." Still, Călugăru stood out among Romanian Jews for condemning passive compliance with Antonescu's orders, asking his coreligionists not to recognize the collaborationist
995:, as outlined in one of his columns for the paper, saw in it a synthesis "for all modern experiences". The liberating force of modernity in providing authenticity to artistic expression was voiced by him with the words: "We no longer have our brains in our hearts, nor our hearts in our sexes..." His taste for outspoken rebellion was also manifested during his time at
1968:: "tie up, or else he'll grow up into a ne'er-do-well who will go as far to baptize himself, so as to become an officer. This is how they all are, those who wear uniforms in high school; they all turn into officers. You'll be seeing him running to church with a candle in hand, or riding a horse, ordering our children to be slaughtered."
2267:. Late in 1951, Dumitriu himself had publicly pledged to follow up on Călugăru's example and write the second-ever Romanian book to deal "with the basic sector in our economy, heavy industry." In 1953, as the Romanian literary scene reoriented itself in accordance with the guidelines suggested by Soviet politico
2413:, is one of the "interesting" details "worthy of an honest literary history." Henri Zalis, who took charge of a project to reedit Călugăru's early writings as part of a larger project involving interwar Jewish contributions, complained in 2004 that there was a real danger that writers from Călugăru to
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figures with rebellious impulses". The promise of revolution, coinciding with the protagonist's adolescence, is weaved into a narrative suggesting the growth of radical ideals, their progressive adoption by common individuals. Another hypothetical aspect of the book's politics was advanced by Zalis,
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earned Călugăru the annual State Prize, granted by the political and cultural leadership of the time to works seen as outstanding in ideological terms. By April 1952, the volume had also been included on a shortlist of recent communist literature, which became required reading for industrial workers
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Călugăru's permutations were registered with skepticism by his
Surrealist colleagues—notably Stephan Roll, who criticized Călugăru's positioning in a 1934 letter to their mentor Fondane. Roll, who noted that his friend had just married a female painter who was both "funny and intelligent", mentioned
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in reference to "materiality": " does not refuse the word of objects and the artist will use things, all sorts of things, in order to complete his act of virtuosity. He nevertheless also discovers their secretive nature, unexplored and unsuspected in everyday life". In the same context, Călugăru and
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of "saboteurs". The author also confesses his dislike for hypocrisy in official discourse and the press, commenting on the "girlish sincerity" of dispatches from the Soviet Union, the PCR's tiny membership in 1944, on the "voluntary work" demanded by communist leaders and its transformation into a
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carriage, the refinement that the apparent vulgarity cannot bring to ruin, the blasé and cynical lechery". In Călinescu's view, the volume errs in not focusing more on such aspects, "but even as such some interior scenes are memorable". The category, he notes, includes the scuffle between cats and
1726:, investigates his actions with objectivity and sarcasm, trying to place his analytical self "behind the door". Frustrated in his attempt to find happiness with a rich American woman, he finds himself settled in a mediocre lifestyle. Henri Zalis argues that, beyond a Creangă-like narrative filter,
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had been shut down. Nevertheless, he also suggested that Călugăru had relied on his trust for
Ionescu, who had even "impressed him" with his intelligence, adding: "Călugăru never had the courage of taking a clear stand. He is rather humble and a victim of all those generations of persecuted people
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As his private diaries show, Călugăru had a complex relationship with
Ionescu. Literary historian Cornelia Ștefănescu, who researched the notebooks, described the 1930s Călugăru as a suspicious and insecure intellectual, and noted that this character trait somehow affected the contacts between him
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the depiction is still shy or ruined by
Surrealist methods. Still, even at this stage one will be struck by this strange, almost peasant-like, world, comprising forecarriage drivers, millers, porters, cabmen, water-carriers, shepherds, vagrant children, talkative old women." The same commentator
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further suggested that Călugăru, like
Sebastian, ended up being "overwhelmed" by Nae Ionescu's charisma. The verdict is echoed by Cernat, who notes that, contrary to popular belief, Ionescu still had his admirers on the left. According to Cernat, Călugăru married his respect for Ionescu with his
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writers, Călugăru threw his support behind a literary movement that viewed itself as both urban and innovative, theorizing connections between the creative human and the modern rhythms of technology. His interest in cutting edge modernism was also leading him to explore the world of cinema, as a
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The diverse allegiances affected Călugăru's literary work, being reflected in a new series of works, many of which were urban-themed and distinctly modernist. According to Crohmălniceanu's classification, the subsequent works fall into two main categories: on one hand, the urban-themed modernist
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is presently interesting at most as a symptomatic study case for an as yet virtual sociology of literature." Lăcustă also noted: "After four and a half decades, can perhaps only be read as a literary document of its epoch." In contrast, others have defended the interwar Călugăru as a writer of
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and so on, that are perfectly distinguished. This initiative grants the author a first-rate role for whoever shall wish to find out how the Jews of these places were living decades ago, in most communities that were attractive in ethnographic, social and sacrificial terms, thereafter exposed to
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Literary critic Iulia
Popovici described the novel as propaganda to legitimize "the socialist present", also noting that it was the only such work in which the two dominant themes, "constructing socialism in the village" and "constructing socialism in the city", overlapped. Literary historian
1658:, who noted that all these authors had matured before Urmuz was even discovered by the literary establishment, and as such that they could not be considered Urmuz's pupils (an assessment described by Cernat as "singular, although somewhat amendable"). In contrast, Perpessicius' colleague
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wrote: " asks if Ion Călugăru has an echo among us, today. Upon being told that this isn't the case, he turns grim. He says he regrets, he never knew, he could not predict that, in one way or another, sooner or later, one's mistakes are paid with the others' indifference and silence..."
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also drew attention for their portrayal of socialist rebelliousness and their overall advocacy of leftist values. According to
Pericle Martinescu, these works "revive" the Romanian novella genre, reconnecting it with its sources and evidencing a storyteller of "accomplished talent".
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and, through him, made new contacts with
Fondane, who had himself embraced Surrealism but was living at the time in France. The three were in correspondence, and, according to Roll's testimony, Călugăru was making efforts at establishing Fondane's reputation at home by reviewing his
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that he carries within him. I tried to bring him over to my side, I tried to reach out my hand. He took distance. Ever since, I've been leaving him be, I rarely see him, but I pity his fate." The secret reports signed by Mihail Dan describe Călugăru's gradual distancing from the
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According to Ovid Crohmălniceanu, Călugăru produced "the most substantial" literature among those interwar modernists who drew inspiration from observing isolated social environments. The peculiarities of his preferred settings are underlined by Călugăru's many references to
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and his antisemitic employer—although Călugăru accepted
Ionescu's invitations to supper, he feared that the far right figure was secretly despising him. In 1937, he described Ionescu as vain and ambitious, a portrait completed in 1949 with verdicts such as: "intelligent and
320:, Călugăru had doubts about the new political realities and commented with sarcasm on the regime's self-contradictions. These opinions were expressed in his private diaries, which became the subject of research and public scrutiny some fifty years after his death.
1677:, Crohmălniceanu suggests, Călugăru was outlining a "cosmic and apocalyptic" vision indebted to "Expressionist aesthetics" and composed with "remarkable consistency and originality". In Crohmălniceanu's view, the book served to illustrate Călugăru's period with
1952:, sourced from a common oral culture and together reflecting "a bitter life experience". Samples of this include sarcastic references to children as "rats", or useless consumers of food, the expressions of "aggressive pride" on the part of paupers surviving on
2248:) of not publishing his contributions so that they could later attack him for a displaying lack of motivation. The jaded author came to express a private wish of blocking out the world of politics and dedicating his entire energy to the creative process.
1222:(otherwise known for his far right sympathies). However, the Antonescu government included his name on a list of banned Jewish authors, which was circulated throughout the country. Sebastian, himself marginalized for his ethnic origins, recorded in his
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exercises of youth" to "lively dialogues, written with good craftsmanship". The stories mark a return to Călugăru's preoccupation with rural and suburban life. They introduce characters who live meager existence on the margin of society, such as the
1108:, who places the "embarrassing scene" in relation to another one of Păstorel's works, Teodoreanu was proud of assaulting his reviewer, whom he called an "ass". In 1932, Călugăru also played a part in the major cultural debate surrounding literature,
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According to Iron Guard member and journalist N. Roșu, Călugăru and
Sebastian were among those called upon by Ionescu in autumn 1933, to be informed that the paper was backing revolutionary fascism. Commenting on this testimony, cultural historian
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The author's participation in Socialist Realism nevertheless came with a measure of conflict between Călugăru and other members of the new literary establishment. In the late 1940s, the writer kept a private diary, which documents his trips to
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just as hasty, just as cruel as is the world of , with barbaric shindigs, indifferent to death, living through the pointless momentary torments." These stories rely heavily on documenting the person's imaginary universe, as is the case with
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The dichotomy between Călugăru and his employers was the subject of public debate in the early 1930s, as reported by Vlaicu Bârna. Bârna recalled comments from various journalists, including another one of Călugăru's far right colleagues,
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quality, was more reserved when assessing its content and style, arguing that the protagonist's evolution is "uninteresting". He identified the sources of inspiration for the central narrative as being Creangă's celebrated autobiography,
2330:, shows a female shopkeeper on the night of her husband's death, struggling between closing the establishment to mark his death or keeping it open to pay for his funeral. Other fragments resurrect Buiumaș and some other protagonists of
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analyzed the various echoes of Călugăru's work in the communist media of his day, and concluded that these make him part of a "second circle" of writers accepted by the Socialist Realist establishment, on the same level of approval as
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aspects", and judging them to be "often remarkable", Manolescu added: "Unfortunately, Ion Călugăru does not know how to extract from the specificity of the race and location that human universality that we find in genius writers like
1947:
at a lively county fair. Such details, Crohmălniceanu notes, are completed by Călugăru's recourse to linguistic resourcefulness in authentically rendering his characters' speech patterns: an accumulation of proverbs, idiotisms and
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Ion Călugăru's ultimate affiliation with Socialist Realism was widely interpreted as having produced the weakest section of his work. This critical interpretation was espoused even before the end of communism, during a period of
1784:, under the guise of a lecherous aristocrat named Alexandru Lăpușneanu. The image this character projects is complex, as noted by Călinescu. The literary historian noted that Lăpușneanu blends in him: "the dignity in gossip, the
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as replacements for some banned or fugitive former members who had been deemed pro-fascist. On January 9, 1948, he was made General Secretary of the Writers' Society, and as such second in line to the Society's new president,
2119:, who writes: "To be a leftist used to signify nonconformity; now, quite contrarily, to be a leftist is to show conformism." Moreover, Boia writes, there was "no longer anything specifically Jewish" in Călugăru's attitudes.
2230:", and on intellectuals "who say something other than what they think." Later notes further record the decline of his enthusiasm. Expressing fears that he was being tricked by more senior communists, Călugăru accused his
674:, Crohmălniceanu noted that Călugăru's gradual move toward a Marxist outlook was determined by his commitment to Surrealism. This path, he proposed, made Călugăru a voice similar to those of other left-wing Surrealists:
1134:, logical and a bit insane"; "With great qualities, but dominated by urges which crush his qualities. Wasn't he the one who created the antisemitism of these past years?" Commenting on the same texts, literary critic
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and aesthetic reevaluation. In this context, Crohmălniceanu argued that Călugăru's late works "no longer explore, to their disadvantage, precious lode in Ion Călugăru's literature." This is also noted by historian
2183:. Călugăru himself sparked posthumous controversy for participating in communist-orchestrated attacks on the work and reputation of authors without ideological credentials. In one such situation, he argued that
3323:
350:, Ion Călugăru spent his early years in relative cultural isolation among the local Jewish community. This environment, which was later the main focus of his literary work, was described by literary historian
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and shows his skepticism about some aspects of communist politics. Documenting the dire social conditions of this time, Călugăru's text includes detail on such aspects as the conspiratorial infiltration of
2541:
2360:("My Conflict with Portugal"). Vasilache notes: "These are merely projected ideas, grouped together by a not so tightly knit web of a narrative. Random matches, over which blows an avant-garde wind."
1695:. The same critic argued that, while the urban-themed novels were usually radically different in style when compared to the other half of Călugăru's 1930s writings, a crossover was still observable in
1525:Șmaia, unable to impose his paternal will, commits suicide. Călinescu also argued: "The most personal part in the literature of Ion Călugăru is the one dealing with the Jewry of upper Moldavia. In
1185:: "You don't know, but Nae Ionescu does, that without the Jews there can be no press." By 1936, the fascization of the Romanian national press made such contacts highly improbable: in early 1936,
485:, Călugăru published some of his first autobiographical fragments, which were later integrated in some of his novels. The aspiring writer was focusing his work on prose pieces largely inspired by
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activists, who are nothing other than diagrams, not in any way distinguished one from the other". Similar criticism had been voiced a year earlier by communist politician and literary chronicler
2436:, notes that many of his short stories and novels incorporated real-life stories told by his elder Ion Vinea. Vartic concludes that one such short piece, published by Dumitriu under the title
1734:
life and for a rekindled passion. Călinescu assessed: "When he moves on to the urban society, Ion Călugăru no longer maintains the same density of vision, being stalked about by that sort of
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magazine. Lovinescu was a teacher at Matei Basarab, and decided to give employ his student as an editor and book reviewer. He is credited with having coined and assigned Croitoru the pen name
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poetry. Călugăru's social networking with the avant-garde also earned him a profile among Bucharest's informal avant-garde salons. According to the personal recollections of art historian
2580:
1939:
makes a habit of frightening Jewish children; the beggar Moișă Lungu recounts macabre stories whereas the local Jewish women are fascinated by the short passage through the region of
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of his Moldavian birthplaces: several exegetes have argued that the various short stories published by Călugăru in the 1920s display the influence of Romania's classical storyteller
1687:" as defined by Ion Vinea: like Vinea and Costin, Călugăru believed that objective prose was the object of journalism rather than literature, and, while his two colleagues explored
1250:
555:. Later that decade however, he parted with this group and began working with the original representatives of Romanian Surrealism, contributing his works to publications such as
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among those of first-generation Socialist Realists who had not shown themselves to be productive enough, and who had isolated themselves from the proletariat. Before that time,
2215:
opposition centers by PCR operatives, the party's close surveillance of factory workers, and Călugăru's own questions about "labels" such as the regime's self-designation as a "
2279:. Frunză's official report, formed around Malenkov's theories about literary types and naturalness in Socialist Realist literature, argued: "The reader of Ion Călugăru's book
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calls the other participants "nonentities", and the gathering "a mixture of desperate failure, thundering mediocrity, old ambitions and troubles, impudence and ostentation."
2026:
gives rise to an alternative political voice. The latter event marks an important step in the spiritual evolution of Buiumaș, who, like the author himself, is a supporter of
1975:
as novelists prone to illustrating Jewish specificity was already manifesting itself in the period after the novel saw print. Although an admirer of both Călugăru and Peltz,
1730:
contains Ion Călugăru's "hunger for fairy tales and pranks". Erdora and Monis are former lovers who reunite with each other, but who find themselves unable to exchange their
1155:
was then made a member of the editorial staff, "nobody left, perhaps thinking that this was a temporary tactic". The writer additionally met with young members of Ionescu's
1226:
entry for June 19, 1941 a chance encounter with his former colleague. The fragment presents Călugăru as "the same small, nervous, confused, hysterical, obsessed man from
1500:, who similarly mixed traditionalist and modernist influences, and who significantly affected their stylistic choices. While discussing Călugăru and Fondane's roots in
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Mahmud, hanged on cherry tree, and the philosophical Jewish salesman Șmelche. One piece, believed by Vasilache to echo the sketches of Romania's 19th century classic
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s pages, he also finds that they show the manner in which Călugăru blended his communist sympathies with political ideas from opposite sources: the philosophy of
4350:
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was for sure able to note that the author is able to individualize certain negative characters. In contrast, the reader will encounter in the same book some six
1468:, and, during the repressive communist regime, to a massive uprooting." In several instances, these sources of inspiration were intertwined with influences form
2313:
pieces, which are the last stories ever published under Ion Călugăru's name, do not comply with the Socialist Realist canon. The volume's first section, titled
1104:
desk. Călugăru later filed a legal complaint against his alleged aggressor, claiming that Păstorel had also made death threats against him. According to writer
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The leftist politicization of Romania's avant-garde and its connections with a banned party soon alarmed the political establishment: like other members of the
1906:
in depicting scenes of Jewish life. Some such aspects relate specifically to the minute characteristics of Judaism as practiced in a provincial community: the
1753:, the hunchback hero, Pablo Ghligal, finds himself an object of female erotic and morbid curiosity, but is nevertheless marginalized socially. Călinescu found
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in works they wrote well into their careers. According to Cernat, Călugăru's texts, like those of his various colleagues, have assimilated the "Urmuz effect".
393:, but lived precariously—his family lacked the means to support him. According to his friends' testimonies, he was still noticeably poor, well into the 1930s.
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During the Ceaușescu years, Călugăru's rival Dumitriu also parted with Socialist Realism and began writing more unconventional stories. Literary historian
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316:, widely seen as one of the most representative samples of politicized literature to have seen print in 1950s Romania. Despite his formal affiliation to
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999:. The magazine, deeming him "the pawn of 20th century literature", published his 1928 appeal to the population of his native Dorohoi, reading: "You are
759:. This resulted in a sizable personal file, which informed on not just his underground connections but also, reflecting the secret policemen's personal
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Shortly afterward, as the PCR gained momentum with Soviet support, Călugăru was one of the ten authors to be instated or reinstated as members of the
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1943:. An episode, seen by Henri Zalis as reuniting the book's "ingenious characters" and "infantile mystique", shows the encounter between Buiumaș and a
1575:. Vinea's review stated: "Ion Călugăru reties the thread leading all the way back to Creangă, and in such conditions as to exclude the accusation of
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4859:
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attendants and the tailors do not manage to shatter the image of an autochthonous village. Only the candle lights visible inside houses , the old
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Other authors have retrospectively questioned Călugăru's overall value, taking in view his political status. According to historian and novelist
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424:
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in creating the Union of Jewish Writers. The inaugural meeting, held in Dorian's residence, was attended and poorly reviewed by Sebastian. His
901:' circus acts, were especially relevant for understanding the modern public's tastes. In 1933, Călugăru was to publish the first-ever Romanian
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and Fondane, who found them compliant with their ideal of authenticity, and who praised their return to originality through the mechanisms of
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than one notices in all Jews who are not tied down to a certain specificity. Despite all that the writer is always valuable." Commenting on
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601:
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dogs inside the manorial estate, the visit paid by Lăpușneanu's scantly clad wife to a battlefield, and the comedy surrounding Lăpușneanu's
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4759:
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2299:. In Macovescu's opinion, the text "is not a reportage, but an article not yet woven, or a fragment from a report not so well researched."
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2212:
1238:, and another one about Charlie Chaplin for both theatre and cinema, using a new technical formula. He has also written a book of poems in
439:
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1880:
The book explored further Călugăru's connection to his Jewish Moldavian homeland, producing the personal history of an early 20th-century
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and imitation." Călugăru's own pronouncements echoed this modern recovery of primitive tradition, seen as universal rather than local; in
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to be Călugăru's "moral autobiography", interpreting the hump as an allusion to the difficulties faced by Romanian Jews before and after
874:
409:
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is disrupted by the intrusion of a cow, while synagogue life is interrupted by what George Călinescu refers to as "the tiny comedies of
1669:
Călugăru's subsequent work in the novel genre was considered important, but less accomplished than his novellas, by literary chronicler
4869:
4789:
1088:. This assignment made Călugăru a main protagonist of a 1929 scandal. It was sparked by his highly critical and sarcastic reception of
1030:
Despite gravitating around the radical left and the artistic avant-garde, Ion Călugăru pursued his collaboration with the increasingly
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movement was a model to follow in setting up a "new" theater. While Cernat rates such contributions as among the "most philosoviet" in
390:
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1851:, also commented on its "extraordinary coherence", while Henri Zalis spoke of it as "excellent" and "stirring". Literary historian
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207:; February 14, 1902 – May 22, 1956) was a Romanian novelist, short story writer, journalist, and critic. As a figure on Romania's
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2138:", and suggested that the writer may have thus been seduced by the idea of revenging his own persecution by wartime antisemites.
1780:" and "sexual aberrations" omnipresent. This part of the book is also thought to include a portrait of Călugăru's former patron,
99:
novelist, short story writer, dramatist, journalist, film critic, art critic, literary critic, theater critic, screenwriter, poet
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Through Ghilghal's sexual affairs, readers are introduced to a world of vice and opulence, where, Călinescu notes, people are "
34:
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was being recommended as a major accomplishment of the new literary school, in articles by Socialist Realist critics such as
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dissolved itself before Călugăru could deliver his planned conference (on the life and work of Romania's traditionalist poet
4357:
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633:(at the time a high school student debuting on the social scene), Călugăru frequented the same social circle as cartoonist
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1598:—and technology". He added: "The people's creations have known no dialect, but tended toward universality. Therefore: an
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1638:, reworking themes borrowed from classical works of literature, in a manner also employed at the time by his colleague
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Together with Fondane and Pană, he was one of the regulars at the literary parties hosted by controversial businessman
4471:
1924:
ritual, Henri Zalis suggests, gives a respectable, mystical, air to what is a slow-moving and decadent, but "unique",
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dropped its left-wing agenda and sacked its Jewish contributors, Călugăru included, and embraced Iron Guard politics.
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would be forgotten by the public, "pulverized" by literary historians, their work "degraded by antisemitic hawking".
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as Călugăru's "one legible work". Henri Zalis commented on the mutation of Călugăru's "playful" spirit into "diffuse
2011:
1169:
into a venue for dialogue between far right and Marxist intellectuals, also befriended the PCR member (and suspected
1100:, and culminated with reports that Teodoreanu took revenge by seeking out and physically assaulting Călugăru at his
1084:. One of his contributions for the newspaper was the theatrical column, when he filled in for the regular reviewer,
4774:
4749:
2459:
journalist, recalling his surprise that Călugăru's everyday vocabulary seemed to be quoting avant-garde stories by
2188:
1886:
and tracing the biographies of its principal inhabitants. The result was described by Crohmălniceanu as "an actual
1073:
issue. He preserved his editorial position up to 1934, when the newspaper was abruptly banned by the government of
980:
after its 1923 relocation to Bucharest. While Maxy became the Troupe' designer, Călugăru directly assisted manager
4407:
2368:
Ion Călugăru's Socialist Realist work, like other writings by his peers, fell out of favor in the 1970s and '80s:
4839:
4824:
4779:
4719:
2216:
2049:("Death's Evening Star") shows the conflict between a beggar father and his prosperous son, in terms which evoke
4097:
1869:
4809:
4754:
882:
220:
782:
The dossier also includes the denunciations provided by Sergiu Dan's brother, Mihail, who had infiltrated the
4734:
4729:
2376:
leadership entirely discarded earlier expressions of socialist literature, and removed most of them from the
343:
81:
2022:, with the arrival of foreign intervention forces, fascinate the locals; and, ultimately, the effect of the
4864:
4849:
4804:
4500:
2081:("Unemployment Regardless of Race"), one of only two such pieces ever to be published by the pro-communist
1380:
1304:
1287:
4819:
4744:
4493:
2381:
1781:
790:
group from an interpersonal perspective: Mihail Dan alleged that Roll, together with his fellow writers
775:
operatives therefore found cause for concern in one of Călugăru's mocking essays, targeting Nazi leader
397:
4527:
4240:
3574:
2272:
1902:
between the autochthonous element and an age-old foreign tradition". The text makes heavy use of the
1711:—in the latter two, around the theme of "the ghetto condition". Such works introduce motifs related to
1122:
4010:
4874:
2023:
1940:
1543:
877:. This activity too evidenced his political advocacy: Călugăru's articles described film as the new,
2066:
2030:, and, according to Crohmălniceanu, expresses this by showing sympathy toward Moișă Lungu or other "
1395:
Ion Călugăru died in Bucharest only four years later, on May 22, 1956. His unpublished novellas and
4844:
3494:
3380:
2090:
1066:, which acted as a mouthpiece for left-wing intellectuals, many of them Communist Party favorites.
695:
655:
355:
305:
2057:("Overcoats and Nothing Else"), in which Crohmălniceanu identifies the influence of Soviet author
1845:. The volume received more high praise from Ovid Crohmălniceanu, who, suggesting it constituted a
1340:
1315:, and as such a pillar of "the new literary order." His early contributions include a stereotyped
1202:
group, congratulating him, Brunea-Fox and Voronca for having taken their leave from "the cloaca".
742:, and had personal contacts with various leftist organizations representing the Jewish community.
654:, Călugăru also sent his work to be published in more radical magazines sponsored by the outlawed
650:
4879:
4829:
2037:
who suggested that it outlines the strategies of survival of interwar Jews braving antisemitism.
1659:
1627:
1559:
Shortly after being published, the narratives were positively reviewed by Călugăru's mentors and
1445:
character: "The narrator composes a veritable spiritual census of ceremonies—births, weddings,
1230:", who "speaks terribly fast, without even looking to see whether you are listening or not." The
921:
511:, suggests that Călugăru may have tried his hand in this field only because he needed the money.
358:
life", but made distinct from other environments for being both Jewish and Moldavian. Researcher
3652:
1477:
1375:
region, where, beginning 1948, Călugăru had been sent to cover the erection and inauguration of
4562:
3282:
2027:
2019:
1611:
1257:
508:
4575:
1093:
1085:
1060:
in 1933. At around the same time, he was also employed as an editor by the literary newspaper
1007:
contributors, Călugăru offered praise to the older and more influential poet and prose writer
351:
4480:
4448:
4416:
4366:
4316:
4284:
4252:
4106:
3750:
3664:
3605:
3506:
3440:
3360:
3298:
3248:
3203:
2927:
2886:
2655:
2483:, Maxy illustrated with sketch-commentaries several of Călugăru's prose fragments, including
2452:
2405:
talent. This is the case of Simuț, who notes that Călugăru, like his Jewish cogenerationists
2296:
2000:
1790:
1441:, who comments on the books' mix of grotesque, comedic and tragic elements, also notes their
1434:
1388:
at various locations in Romania, and the pretext for politically maneuvered "enlightenment" (
1376:
1279:
699:
248:
2032:
2010:
society contrasts with episodes which introduce history in the form of major upheavals: the
1831:
to be "of a perfect stylistic maturity", comparing the narrative to a "vast mural" with the
1344:. Perceived as an authority on ideological matters, he was one of the publicist employed by
755:
4684:
4679:
2377:
1684:
1489:
1465:
1246:
838:("From Five to Five"); on the other, the writings with rural or mixed rural-urban subjects—
208:
4305:
2369:
2197:
8:
4211:
3938:
3807:
3187:
3132:
2837:
2770:
1965:
1758:
1552:-wearing men on their way back from the synagogue, book in hand, everyone's allusions to
1469:
1077:
957:
881:
and revolutionary, means of expression, the myth of a society in the process of adopting
486:
4540:
4272:
3431:
3183:
2646:
2440:, is an "erotic farce" played on Ion Călugăru at some point during the interwar period.
1481:
1433:, in which critics have seen the backbone of Călugăru's originality within the realm of
1045:
968:. Both Maxy and Călugăru were however more directly involved in the promotion of modern
3996:
3541:
2373:
2327:
1842:
1670:
1349:
1003:! Only one of you ever had the audacity of wearing his goiter on his face." Like other
750:
286:
61:
3593:
1807:. The first of three semi-autobiographical novel tracing the early life of Călugăru's
1594:, he defined tradition as: "the people's intelligence, freed from the eternal natural
698:
locally; but also that it made him stand in contrast to younger Surrealists who chose
4660:
4646:
4629:
4608:
4583:
4566:
4531:
4436:
4175:
4090:
3795:
3578:
3545:
3410:
2728:
2650:
2625:
2584:
2380:. Călugăru's books of the 1950s were reevaluated critically especially following the
2323:
2284:
2143:
2062:
1957:
1917:
1852:
1712:
1654:. This view was criticized by Călugăru's contemporary, modernist literary chronicler
1300:
1296:
1182:
981:
898:
727:
593:
585:
313:
301:
297:
272:
191:
175:
4311:
3456:
3243:
4617:
2716:
2288:
2176:
1976:
1766:
1742:, he concluded: "Sarcasm barely covers the everyday ugliness, the thirst for great
1599:
1426:
1239:
1235:
1218:
regime, reportedly shielded from reprisals by his friend, the influential novelist
1053:
597:
580:
and political ambiguity to side with what was the more radical and most explicitly
429:
363:
317:
267:, a tribune for avant-garde literature in general. Although publicly known for his
3460:
523:
514:
By January 1923, Călugăru was becoming involved with Fondane's theatrical company
4548:
4504:
4475:
4443:
4411:
4361:
4354:
4279:
4247:
4101:
3802:
3659:
3600:
3533:
3501:
3355:
3293:
3198:
2922:
2881:
2724:
2268:
2074:
1979:
was alarmed by this trend, and feared that his own novels, which focused on more
1936:
1735:
1716:
1635:
1501:
1074:
1012:
969:
894:
626:
490:
461:
454:
450:
371:
212:
115:
3319:
1762:
1105:
2464:
2252:
2184:
2180:
2168:
2164:
2111:
2098:
2050:
1980:
1890:
of humanity", depicted with "unusual sensory acuteness" and the "suaveness" of
1770:
1603:
1473:
1292:
1219:
1117:
929:
791:
634:
606:
435:
386:
244:
232:
171:
1650:, Călugăru was thought by some to be indebted to the early avant-garde figure
683:
503:
protagonists. Cernat, who sees these writings as indebted to the more popular
4673:
2622:
Istoria debutului literar al scriitorilor români în timpul școlii (1820-2000)
2444:
2422:
2237:
2172:
1847:
1679:
1587:
1505:
1497:
1321:
1215:
1162:
1008:
965:
937:
924:. This ideological set was interpreted by Paul Cernat as an indirect echo of
703:
679:
551:
504:
444:
405:
253:
240:
163:
158:
120:
2915:
1234:
mentions Călugăru's wartime literary projects: "He has written a play about
916:
traditions in drama, he demanded the incorporation of elements from cinema,
802:, leading into an explicitly communist and artistically inferior direction.
786:
group. His notes document the conflict between Vinea's publications and the
466:
152:
4625:
4468:
2414:
2389:
2187:"was no genius, and his books are far from reaching the value of those by
2156:
1891:
1731:
1662:
included Călugăru among those modernists who incorporated Urmuz's brand of
1655:
1647:
1643:
1509:
1496:, both Călugăru and Fondane had participated in creating "a true cult" for
1430:
1396:
1372:
1211:
1152:
1097:
977:
942:
776:
768:
760:
687:
675:
621:
576:
as administrative director. In doing so, he broke with Vinea's moderation,
414:
308:. During this final period of his career, he wrote the controversial novel
137:
4587:
3435:
3348:
2870:
2732:
1568:
1299:, Ion Călugăru began moving away from his modernist themes, and closer to
4554:
4519:
3538:
Hitler's Forgotten Ally: Ion Antonescu and His Regime, Romania, 1940-1944
3376:
2828:
2761:
2467:. Recalling her 1971 meeting with Eliade on American soil, Romanian poet
2406:
2260:
2116:
2058:
2015:
1996:
1991:
1961:
1903:
1874:
1833:
1630:. The early products of this new preoccupation were prose fragments like
1572:
1493:
1442:
1265:
1261:
1174:
1113:
1041:
1011:. In Călugăru's case, this fused with admiration for Arghezi's outspoken
961:
886:
878:
707:
667:
577:
572:
s editorial staff, alongside writers Brunea-Fox and Voronca, with artist
401:
378:
367:
359:
290:
224:
216:
2766:"Măștile ludice ale lui Julian Barnes sau Comedii polițiste de moravuri"
2232:
1330:
1036:
277:
4404:
3465:
3385:
2476:
2433:
2418:
2220:
2135:
2065:. Another such prose work from the period focused on the communist-led
1607:
1109:
1081:
992:
946:
941:
Maxy called attention to artistic developments taking place inside the
638:
589:
584:
tendency among young writers. In 1932 however, Călugăru was, with poet
573:
404:
society of Bucharest. Their informal literary circle played host to by
236:
167:
1328:
At around the same time, Călugăru also began working as an editor for
988:
in running the company, becoming secretary of the artistic committee.
644:
In tandem, he was building connections with the militant socialist or
545:
Shortly after this period, Călugăru became one of the contributors to
526:). His actual editorial debut came later that year, when he published
4094:
3745:
2292:
2207:
2160:
1887:
1838:
1816:
1808:
1692:
1663:
1576:
1564:
1539:
1447:
1031:
902:
890:
795:
735:
731:
691:
645:
581:
546:
382:
268:
141:
125:
77:
4524:
Capcanele istoriei. Elita intelectuală românească între 1930 și 1950
4497:
2581:
Elie Wiesel National Institute for Studying the Holocaust in Romania
2492:
2226:
1894:'s paintings, inviting readers into a universe at once "tough" and "
1161:
circle, befriending the young Orientalist, novelist and philosopher
749:
faction, Călugăru was constantly monitored and informed upon by the
4180:
3589:
3398:
2318:
2251:
In 1952, Călugăru's name was cited by official novelist and critic
1972:
1932:
1921:
1777:
1595:
1485:
1334:, the main PCR platform, while still writing for the pro-communist
1312:
1148:
1048:, noting that Călugăru's work for the paper predated an explicitly
925:
920:
or the circus, while calling on actors and directors to prioritize
827:
763:
tendencies rather than official policy, his publicized critique of
347:
2384:, with which came the end of Romania's communist period. The 1995
2345:("The Holiness of Veniamin the Jew")—described by Vasilache as "a
1080:
for offering support to the violent fascist movement known as the
2543:"Uzina care încearcă să gonească morții". Note nepublicate (1948)
2496:
2347:
1971:
The public's tendency of defining Călugăru, and his contemporary
1913:
1908:
1899:
1895:
1812:
1422:
1316:
1275:
1256:
Călugăru found himself promoted by the new authorities after the
1140:
1131:
1049:
917:
913:
764:
671:
334:
282:
231:("The Childhood of a Ne'er-do-well"), bring together elements of
133:
57:
2451:, written during Eliade's self-exile and teaching career at the
2271:, the same book was officially criticized, on the behalf of the
1295:. In the years after 1944, and especially after the creation of
1245:
Sebastian wrote that his friend was dismissing rumors about the
285:
circles, and had an ambiguous attitude toward his employer, the
4643:
Literatura în totalitarism. Vol. II: Bătălii pe frontul literar
4013:
2475:
Călugăru's texts affected the visual experiments of his friend
1882:
1743:
1688:
1521:
1459:
1348:, a state-run institution which exclusively published works of
1000:
715:
499:
362:
also noted that Călugăru, like his future Surrealist colleague
338:
1504:
tradition, Cernat noted that both writers also moved toward "
1052:
agenda, drew attention to the fact that Călugăru and novelist
304:
and became and made official his relationship with the ruling
2460:
2202:
as "an enormity" in terms of "servility and philosovietism".
1949:
1944:
1785:
1765:
suggested that the true story at the basis of the book was a
1651:
1548:
1453:
1379:. Sponsored in part with money from the Literary Fund of the
613:
533:
129:
4607:, Éditions Paris-Méditerranée, Bucharest & Paris, 1999.
1484:
found them reminiscent of, but superior to, the writings of
1355:
His works for the period include the short story collection
912:, he also contemplated a new role for theater. Shunning the
16:
Romanian novelist, short story writer, journalist and critic
1953:
1983:
themes, would be ascribed to the same category. Reviewing
460:
B. Croitoru received his first encouragements from critic
3329:
2547:
2142:, Zalis thought, was a "rudimentary appendix to forceful
928:, particularly given its "optimism" and its sympathy for
561:
259:
4559:
Avangarda românească și complexul periferiei: primul val
4545:
Istoria literaturii române de la origini pînă în prezent
2097:, as one of the positive examples in Romania's emerging
1769:
landowner, known to Călugăru from the anecdotes told by
1116:, voicing his opinions on the first Romanian edition of
1803:
A similar mix of environments and styles is present in
1403:
colleague Sașa Pană, who released them under the title
1069:
Călugăru regularly published two or three articles per
4890:
Jewish Romanian writers banned by the Antonescu regime
1311:
describes him as one of the first Romanian authors of
4241:"Literatura contemporană în manualele anilor '60-'80"
2432:, who proposes that Dumitriu built his new career on
1746:. But such a theme requires more lyrical suaveness."
1260:
overthrew Antonescu. On September 1, Călugăru joined
1193:
the financial difficulties Călugăru was facing after
4657:
Literatura și artele în România comunistă. 1948-1953
3819:
3817:
1151:
concludes that, even though the Iron Guard activist
805:
611:, a member of the editorial staff for Vinea's daily
4580:
Literatura română între cele două războaie mondiale
4176:"Insula lui Mihail Sebastian. București, 1939-1944"
3495:"Liviu Rebreanu: o conștiință politică vulnerabilă"
2854:, p.239-244, 413; Crohmălniceanu, p.65-66, 166, 346
1556:, allow one's eyes to identify the distinct race."
1092:("The Golden Pomegranate"), the play co-written by
932:. The taste for pantomime evidenced by most of the
2291:, in reference to Călugăru's contributions in the
1898:". At the core, the same critic argued, was: "The
1513:" in either prose (Călugăru) or poetry (Fondane).
834:(1934), alongside the 1935 short story collection
710:). Around 1937, Călugăru was also a columnist for
530:("Cibicioc's Horses"), a volume of short stories.
3814:
2104:
2073:("Master, Give Me the Girl!") was, together with
734:"). He was also a sporadic contributor to writer
366:, illustrated the Jewish section of the Romanian
4705:20th-century Romanian dramatists and playwrights
4671:
2455:. Eliade notably describes his meeting with the
2443:Mentions of Călugăru's life are also present in
1626:, Ion Călugăru also began his relationship with
1205:
223:, to which he belonged, with traditionalist and
4130:
4128:
4063:
4061:
4059:
3784:
3782:
3780:
3653:"Literatură și propagandă: Editura Cartea Rusă"
2715:Paul Daniel, "Destinul unui poet", postface to
1371:. The latter was based on extended visits into
1056:were two of some eleven Jews still employed by
227:elements. His early works, including the novel
3778:
3776:
3774:
3772:
3770:
3768:
3766:
3764:
3762:
3760:
2821:
2819:
2817:
2815:
2813:
2811:
2600:
2598:
2596:
2130:as "mere realist-socialist pulp", and defined
1359:("I Gave the Order to Fire", 1947), the plays
1143:, syndicalist and even communized positions."
648:groups: a contributor to the leftist platform
296:Shortly before the establishment of Romania's
275:inclinations, he was, through his position at
4582:, Vol. I, Editura Minerva, Bucharest, 1972.
3989:
3987:
3424:
3422:
2295:genre, particularly his initial piece on the
1319:about communist strike actions, published by
1165:. Eliade, who saw the opportunity of turning
936:contributors was explained by film historian
4232:
4230:
4125:
4056:
3232:
3230:
3228:
3226:
3224:
3222:
3037:, p.278, 289; Răileanu & Carassou, p.150
2754:
2752:
2639:
2637:
2388:("Romanian Writers' Dictionary"), edited by
1303:, becoming recognized as one of the leading
1282:in 1952, around the time of Călugăru's visit
518:. His texts were given public readings, but
497:("Old Man Ion Popescu"), short stories with
400:. The three became well acquainted with the
243:over a conventional narrative line based on
4083:
4081:
4079:
4077:
4075:
4073:
3925:
3923:
3757:
3737:
3735:
3733:
3731:
3729:
3727:
3725:
3723:
3721:
3719:
3274:
3272:
2833:"Subterana politică a avangardei românești"
2808:
2593:
2577:Federation of Jewish Communities of Romania
1796:
1367:("The Thinking Clown", 1949), and the 1951
620:Around that time, Călugăru befriended poet
263:, was also one of the main contributors to
4207:"Epoca interbelică – refolosirea balanței"
3984:
3419:
3312:
3310:
3308:
3262:
3260:
3258:
2742:
2740:
1177:, who was by then a friend of Călugăru's.
889:era, trusted that the popularly acclaimed
4710:20th-century Romanian short story writers
4227:
3403:Anii treizeci. Extrema dreaptă românească
3219:
2749:
2634:
2624:, Aramis Print, Bucharest, 2002, p.132.
2529:
2527:
2525:
2523:
2521:
2519:
2517:
2515:
2513:
2511:
4765:Romanian male dramatists and playwrights
4146:
4144:
4142:
4140:
4118:
4116:
4070:
4049:
4047:
4045:
4043:
4041:
4039:
4037:
4035:
4033:
4031:
3920:
3909:
3907:
3845:
3843:
3841:
3839:
3837:
3835:
3833:
3716:
3682:
3680:
3678:
3676:
3674:
3635:
3633:
3520:
3518:
3516:
3269:
3045:
3043:
2981:
2979:
2977:
2975:
2973:
1617:
1274:
251:. Călugăru, who moved from the moderate
4860:Romanian theatre managers and producers
4645:, Cartea Românească, Bucharest, 2008.
4134:Călinescu, p.795; Crohmălniceanu, p.348
4067:Călinescu, p.796; Crohmălniceanu, p.347
3796:"Apropieri de o moștenire diferențiată"
3305:
3255:
3024:, p.278; Răileanu & Carassou, p.150
2998:, p.225; Răileanu & Carassou, p.150
2737:
2667:
2665:
2616:
2614:
2612:
2610:
2604:Călinescu, p.795; Crohmălniceanu, p.346
2558:
2556:
2191:"—a claim retrospectively described by
1392:) meetings between public and authors.
1015:, which became the topic of one of his
328:
281:newspaper, present in the proximity of
4672:
2706:, p.34, 39; Crohmălniceanu, p.346, 347
2508:
2040:The stories and novellas comprised in
885:. His texts, which coincided with the
4437:"Petru Dumitriu și 'negrul' său (II)"
4137:
4113:
4028:
4009:, Nr. 2/1936, p.43 (digitized by the
3904:
3830:
3671:
3630:
3513:
3040:
2970:
1040:, led by the antisemitic philosopher
190:
4273:"Canonul literar proletcultist (II)"
4001:"Discuții și recenzii. Ion Călugăru"
2662:
2607:
2553:
2014:manages to disrupt the entire town;
869:s film critics, with Fondane, Roll,
842:("A Primer of Folk Stories", 1930),
257:magazine to the Surrealist platform
4760:Romanian dramatists and playwrights
3128:"M. H. Maxy – artistul integralist"
1873:, and the memoirs of Soviet author
1247:Nazi-led attack on the Soviet Union
862:result of which he was also one of
822:("The Man behind the Door", 1931),
438:, as well as, on occasion, artists
370:and its connections with the local
13:
4690:20th-century Romanian male writers
4601:Fundoianu/Fondane et l'avant-garde
3827:, p.76, 143; Crohmălniceanu, p.346
3594:"Imaginea unei vremi încrîncenate"
3407:Editura Fundației Culturale Române
2899:Răileanu & Carassou, p.99, 107
2651:"Personajul episodic iese în față"
2302:
2061:, is set to the background of the
1931:These are complemented by various
1761:. Contrarily, a rumor recorded by
798:, exercised absolute control over
666:, both edited by pro-PCR activist
39:Călugăru, photographed before 1935
14:
4901:
4870:Jewish dramatists and playwrights
4790:Romanian male short story writers
4312:"Literatura română și comunismul"
3283:"Acum optzeci de ani - Bătaie la
2568:Demnitate în vremuri de restriște
2356:("Misunderstood Characters") and
1722:Charlie Blum, the protagonist of
1415:
1022:
493:, publishing, under the pen name
4487:
4455:
4423:
3571:Istoria stalinismului în România
3569:Boia, p.264-265; Victor Frunză,
3381:"Actualitatea cazului Sebastian"
857:In joining the common effort of
818:("Statistical Paradise", 1926),
559:(which he helped establish) and
385:, together with his poet friend
312:("Steel and Bread"), an epic of
33:
4885:Romanian people of World War II
4695:20th-century Romanian novelists
4659:, Humanitas, Bucharest, 2010.
4391:
4382:
4373:
4341:
4332:
4323:
4291:
4259:
4218:
4196:
4187:
4162:
4153:
4019:
3971:
3958:
3945:
3934:"Jacques Costin, avangardistul"
3891:
3878:
3865:
3852:
3707:
3698:
3689:
3642:
3621:
3612:
3563:
3554:
3527:
3481:
3472:
3447:
3392:
3367:
3335:
3244:"Un istoric literar de vocație"
3210:
3174:
3161:
3148:
3139:
3117:
3104:
3095:
3082:
3069:
3056:
3027:
3014:
3001:
2988:
2961:
2952:
2943:
2940:Crohmălniceanu, p.153, 166, 346
2934:
2902:
2893:
2857:
2844:
2799:
2786:
2777:
2727:, Bucharest, 1978, p.614-615.
2709:
2386:Dicționarul scriitorilor români
2217:dictatorship of the proletariat
1466:Antonescu-ordered extermination
1363:("Ion and Salomeia", 1947) and
854:("The Light of Spring", 1947).
215:, he was noted for combining a
4355:"Literatură scrisă la comandă"
3266:Răileanu & Carassou, p.115
2805:Răileanu & Carassou, p.167
2746:Răileanu & Carassou, p.150
2696:
2687:
2674:
2343:Sfințenia lui Veniamin Jidovul
2105:Călugăru and Socialist Realism
2012:1907 Romanian Peasants' Revolt
1697:Abecedar de povestiri populare
1531:Abecedar de povestiri populare
1019:articles (published in 1925).
976:, promoting the international
905:on Chaplin's life and career.
840:Abecedar de povestiri populare
714:, with a series of social and
201:Buium sin Strul-Leiba Croitoru
1:
4605:Fondation Culturelle Roumaine
4513:
4507:; retrieved February 17, 2010
4498:Institute for Cultural Memory
4014:Transsylvanica Online Library
2796:, p.76; Crohmălniceanu, p.346
2550:; retrieved February 17, 2010
1399:were collected by his former
1350:Russian and Soviet literature
1206:During and after World War II
464:, who published his texts in
4795:Romanian short story writers
2358:Conflictul meu cu Portugalia
1691:, he opened his work to the
1602:will resemble in subtlety a
984:and administrative director
908:Like other staff members of
381:, the young author moved to
323:
7:
4815:Romanian surrealist writers
4785:Romanian male screenwriters
4700:20th-century Romanian poets
3577:, Bucharest, 1990, p.252.
3409:, Bucharest, 1995, p.227.
3192:și cuvintele lui Sebastian"
2583:, Bucharest, 2008, p.174.
2487:. A collector's edition of
2382:Romanian Revolution of 1989
2341:comprises novellas such as
1960:is a vehicle for Christian
1480:, while literary historian
1305:Romanian Socialist Realists
718:pieces collectively titled
389:. He managed to attend the
211:scene throughout the early
10:
4906:
4855:Romanian newspaper editors
4715:20th-century screenwriters
3389:, Nr. 1018, September 2009
1837:qualities of paintings by
565:. He was also a member of
82:Romanian People's Republic
4835:Socialist realism writers
4770:Romanian literary critics
4740:Romanian male biographers
4494:Cultural item description
4224:Crohmălniceanu, p.153-154
4193:Crohmălniceanu, p.349-350
3332:; retrieved March 8, 2011
2499:work by the same artist.
2363:
2089:, together with works by
2085:, which also recommended
2055:Paltoane și nimic altceva
2042:De la cinci până la cinci
1634:("Miss Lot"), which used
1407:("House of Mice", 1958).
1325:review in December 1947.
1288:Romanian Writers' Society
836:De la cinci până la cinci
391:Matei Basarab High School
221:Jewish-Romanian community
219:perspective on the rural
147:
111:
103:
95:
87:
67:
44:
32:
21:
4800:Romanian theatre critics
4725:20th-century biographers
3544:, London, 2006, p.123.
2502:
2091:George Mihail Zamfirescu
2087:Copilăria unui netrebnic
1985:Copilăria unui netrebnic
1805:Copilăria unui netrebnic
1798:Copilăria unui netrebnic
1782:Alexandru Bogdan-Pitești
1683:, and the influence of "
844:Copilăria unui netrebnic
809:theorist and film critic
738:'s leftist publication,
696:Miron Radu Paraschivescu
656:Romanian Communist Party
398:Alexandru Bogdan-Pitești
306:Romanian Communist Party
229:Copilăria unui netrebnic
4775:Romanian male novelists
4750:Romanian male essayists
4215:, Nr. 406, January 2008
4025:Crohmălniceanu, p.63-64
4011:Babeș-Bolyai University
3330:Memoria Digital Library
3325:Evocări: Braseria Corso
3136:, Nr. 243, October 2004
2916:"Prieteni din anii '30"
2548:Memoria Digital Library
2479:. During their time at
2297:Hunedoara Steel Foundry
2273:Romanian Writers' Union
1811:, Buiumaș, between his
1660:Pompiliu Constantinescu
1628:experimental literature
1410:
1377:Hunedoara Steel Foundry
1280:Hunedoara Steel Foundry
1123:Lady Chatterley's Lover
830:the Hunchback", 1934),
541:and the socialist press
192:[iˈonkəˈluɡəru]
188:Romanian pronunciation:
4840:Yiddish-language poets
4825:Romanian propagandists
4780:Romanian screenwriters
4720:20th-century essayists
4469:"Întâlniri la Chicago"
3942:, Nr. 181, August 2003
3469:, Nr. 701, August 2003
2495:city museum, features
2067:Grivița Strike of 1933
2028:proletarian revolution
1815:years and his life in
1622:While contributing to
1283:
1210:Ion Călugăru survived
945:, suggesting that the
600:, and writer-director
549:'s modernist magazine
509:N. D. Popescu-Popnedea
4810:Expressionist writers
4755:Romanian film critics
4150:Crohmălniceanu, p.349
4122:Crohmălniceanu, p.348
3686:Crohmălniceanu, p.350
3436:"Poemul din pudrieră"
2985:Crohmălniceanu, p.347
2967:Crohmălniceanu, p.345
2958:Crohmălniceanu, p.158
2841:, Nr. 417, April 2008
2774:, Nr. 364, March 2007
2671:Crohmălniceanu, p.346
2453:University of Chicago
1819:, it was followed by
1618:The avant-garde years
1606:, as will a Romanian
1437:. Literary historian
1365:Clovnul care gîndește
1357:Am dat ordin să tragă
1307:. Literary historian
1278:
1251:Central Jewish Office
991:Călugăru's theory on
850:("The Trust", 1937),
700:libertarian socialism
489:and the 19th-century
4735:Romanian biographers
4730:Romanian art critics
4565:, Bucharest, 2007.
4530:, Bucharest, 2012.
4159:Călinescu, p.795-796
3651:Letiția Constantin,
3349:"Despre pornografie"
2949:Crohmălniceanu, p.73
2565:Liviu Rotman (ed.),
2171:, but ranking below
2006:The timelessness of
1935:-like episodes: the
1855:, who also recorded
1490:Emanoil Grigorovitza
1425:religious practice,
1214:and the antisemitic
329:Early life and debut
300:, Călugăru embraced
271:convictions and his
247:and the classics of
197:Ștrul Leiba Croitoru
25:Ștrul Leiba Croitoru
4865:People from Dorohoi
4850:Romanian columnists
4805:Romanian male poets
4576:Ovid Crohmălniceanu
4212:Observator Cultural
4006:Societatea de Mâine
3939:Observator Cultural
3808:Convorbiri Literare
3713:Vasile, p.92-94, 98
3133:Observator Cultural
2838:Observator Cultural
2771:Observator Cultural
2489:Paradisul statistic
2378:national curriculum
2337:The second half of
1966:Jewish assimilation
1675:Paradisul statistic
1590:and an article for
1435:Romanian literature
1346:Editura Cartea Rusă
1094:Păstorel Teodoreanu
1086:Alexandru Kirițescu
958:Friedrich Nietzsche
816:Paradisul statistic
753:'s secret service,
425:Claude Sernet-Cosma
354:as "not actually a
352:Ovid Crohmălniceanu
249:Romanian literature
4745:Romanian essayists
4622:Journal, 1935-1944
4503:2010-09-19 at the
4474:2012-03-11 at the
4442:2012-03-11 at the
4410:2012-03-11 at the
4405:"Gelozia maladivă"
4360:2011-11-09 at the
4338:Selejan, p.59, 133
4278:2011-02-28 at the
4246:2009-09-04 at the
4100:2012-03-11 at the
3997:Pericle Martinescu
3801:2009-03-08 at the
3744:Simona Vasilache,
3704:Selejan, p.132-134
3658:2009-09-22 at the
3599:2012-03-11 at the
3542:Palgrave Macmillan
3500:2015-09-24 at the
3461:"Belu Zilber (II)"
3354:2008-12-01 at the
3292:2012-03-11 at the
3197:2012-03-11 at the
2921:2012-03-11 at the
2880:2015-09-24 at the
2873:Causeries du lundi
2374:national communist
2328:Ion Luca Caragiale
2069:. The short story
2024:Russian Revolution
1937:Romanian policeman
1870:Childhood Memories
1843:Nicolae Grigorescu
1827:. Călinescu found
1755:Don Juan Cocoșatul
1751:Don Juan Cocoșatul
1705:Don Juan Cocoșatul
1671:Pericle Martinescu
1284:
824:Don Juan Cocoșatul
814:novels, including
756:Siguranța Statului
62:Kingdom of Romania
4665:978-973-50-2773-5
4655:Cristian Vasile,
4651:978-973-23-1961-1
4628:, London, 2003.
4571:978-973-23-1911-6
4563:Cartea Românească
4551:, Bucharest, 1986
4536:978-973-50-3533-4
4091:Nicolae Manolescu
3746:"Poezii, în fond"
3345:Gheorghe Grigurcu
2589:978-973-630-189-6
2370:Nicolae Ceaușescu
2348:vanitas vanitatum
2285:Central Committee
2213:Social Democratic
2189:Mikhail Sholokhov
2144:industrialization
2071:Pane, dă-mi fata!
2063:Russian Civil War
2047:Luceafărul morții
2020:Romanian campaign
1958:popular education
1918:Sign of the Cross
1853:Nicolae Manolescu
1825:Lumina primăverii
1713:social alienation
1640:Jacques G. Costin
1527:Caii lui Cibicioc
1517:Caii lui Cibicioc
1470:Romanian folklore
1301:Socialist Realism
1297:Communist Romania
982:Yankev Shternberg
852:Lumina primăverii
690:internationally,
594:Nicolae Carandino
528:Caii lui Cibicioc
487:Romanian folklore
344:historical region
314:industrialization
302:Socialist Realism
181:
180:
176:Socialist Realism
148:Literary movement
55:February 14, 1902
4897:
4875:Jewish novelists
4820:Scînteia editors
4618:Mihail Sebastian
4541:George Călinescu
4508:
4491:
4485:
4481:România Literară
4463:
4459:
4453:
4449:România Literară
4431:
4427:
4421:
4417:România Literară
4399:
4395:
4389:
4386:
4380:
4377:
4371:
4367:România Literară
4351:Alex. Ștefănescu
4349:
4345:
4339:
4336:
4330:
4329:Selejan, p.35-38
4327:
4321:
4317:România Literară
4309:
4299:
4295:
4289:
4285:România Literară
4267:
4263:
4257:
4253:România Literară
4239:Iulia Popovici,
4238:
4234:
4225:
4222:
4216:
4204:
4200:
4194:
4191:
4185:
4170:
4166:
4160:
4157:
4151:
4148:
4135:
4132:
4123:
4120:
4111:
4107:România Literară
4089:
4085:
4068:
4065:
4054:
4053:Călinescu, p.796
4051:
4026:
4023:
4017:
3995:
3991:
3982:
3975:
3969:
3962:
3956:
3949:
3943:
3931:
3927:
3918:
3911:
3902:
3895:
3889:
3882:
3876:
3869:
3863:
3856:
3850:
3849:Călinescu, p.795
3847:
3828:
3821:
3812:
3790:
3786:
3755:
3751:România Literară
3743:
3739:
3714:
3711:
3705:
3702:
3696:
3693:
3687:
3684:
3669:
3665:România Literară
3650:
3646:
3640:
3637:
3628:
3625:
3619:
3616:
3610:
3606:România Literară
3588:
3567:
3561:
3560:Sebastian, p.611
3558:
3552:
3531:
3525:
3524:Sebastian, p.368
3522:
3511:
3507:România Literară
3489:
3485:
3479:
3476:
3470:
3455:
3451:
3445:
3441:România Literară
3432:Ioana Pârvulescu
3430:
3426:
3417:
3396:
3390:
3375:
3371:
3365:
3361:România Literară
3343:
3339:
3333:
3318:
3314:
3303:
3299:România Literară
3280:
3276:
3267:
3264:
3253:
3249:România Literară
3238:
3234:
3217:
3214:
3208:
3204:România Literară
3184:Ioana Pârvulescu
3182:
3178:
3172:
3165:
3159:
3152:
3146:
3145:Călinescu, p.889
3143:
3137:
3125:
3121:
3115:
3108:
3102:
3099:
3093:
3086:
3080:
3073:
3067:
3060:
3054:
3047:
3038:
3031:
3025:
3018:
3012:
3005:
2999:
2992:
2986:
2983:
2968:
2965:
2959:
2956:
2950:
2947:
2941:
2938:
2932:
2928:România Literară
2910:
2906:
2900:
2897:
2891:
2887:România Literară
2865:
2861:
2855:
2848:
2842:
2827:
2823:
2806:
2803:
2797:
2790:
2784:
2781:
2775:
2760:
2756:
2747:
2744:
2735:
2713:
2707:
2700:
2694:
2691:
2685:
2678:
2672:
2669:
2660:
2656:România Literară
2647:Ioana Pârvulescu
2645:
2641:
2632:
2618:
2605:
2602:
2591:
2564:
2560:
2551:
2535:
2531:
2315:Schițe fără umor
2289:George Macovescu
2201:
2177:Mihail Sadoveanu
2095:Stoian Gh. Tudor
1989:
1977:Mihail Sebastian
1861:
1728:Omul de după ușă
1724:Omul de după ușă
1701:Omul de după ușă
1604:Romanian carving
1585:
1482:George Călinescu
1341:Viața Românească
1258:August 1944 Coup
1236:John the Baptist
1054:Mihail Sebastian
1046:Ioana Pârvulescu
955:
868:
820:Omul de după ușă
751:Romanian Kingdom
610:
598:Henric Streitman
571:
448:
433:
418:
364:Benjamin Fondane
318:Marxism-Leninism
298:communist regime
199:, also known as
194:
189:
74:
54:
52:
37:
19:
18:
4905:
4904:
4900:
4899:
4898:
4896:
4895:
4894:
4845:Yiddish theatre
4670:
4669:
4597:Michel Carassou
4549:Editura Minerva
4516:
4511:
4505:Wayback Machine
4492:
4488:
4476:Wayback Machine
4465:Constanța Buzea
4461:
4460:
4456:
4444:Wayback Machine
4429:
4428:
4424:
4412:Wayback Machine
4397:
4396:
4392:
4387:
4383:
4378:
4374:
4362:Wayback Machine
4347:
4346:
4342:
4337:
4333:
4328:
4324:
4303:
4297:
4296:
4292:
4280:Wayback Machine
4265:
4264:
4260:
4248:Wayback Machine
4236:
4235:
4228:
4223:
4219:
4205:Iulia Deleanu,
4202:
4201:
4197:
4192:
4188:
4168:
4167:
4163:
4158:
4154:
4149:
4138:
4133:
4126:
4121:
4114:
4102:Wayback Machine
4095:"Romane uitate"
4087:
4086:
4071:
4066:
4057:
4052:
4029:
4024:
4020:
3993:
3992:
3985:
3976:
3972:
3963:
3959:
3950:
3946:
3929:
3928:
3921:
3912:
3905:
3896:
3892:
3883:
3879:
3870:
3866:
3857:
3853:
3848:
3831:
3822:
3815:
3803:Wayback Machine
3788:
3787:
3758:
3741:
3740:
3717:
3712:
3708:
3703:
3699:
3694:
3690:
3685:
3672:
3660:Wayback Machine
3648:
3647:
3643:
3638:
3631:
3626:
3622:
3617:
3613:
3601:Wayback Machine
3586:
3568:
3564:
3559:
3555:
3534:Dennis Deletant
3532:
3528:
3523:
3514:
3502:Wayback Machine
3487:
3486:
3482:
3477:
3473:
3453:
3452:
3448:
3428:
3427:
3420:
3397:
3393:
3373:
3372:
3368:
3356:Wayback Machine
3341:
3340:
3336:
3316:
3315:
3306:
3294:Wayback Machine
3281:Dumitru Hîncu,
3278:
3277:
3270:
3265:
3256:
3236:
3235:
3220:
3215:
3211:
3199:Wayback Machine
3180:
3179:
3175:
3166:
3162:
3153:
3149:
3144:
3140:
3126:Irina Cărăbaș,
3123:
3122:
3118:
3109:
3105:
3100:
3096:
3087:
3083:
3074:
3070:
3061:
3057:
3048:
3041:
3032:
3028:
3019:
3015:
3006:
3002:
2993:
2989:
2984:
2971:
2966:
2962:
2957:
2953:
2948:
2944:
2939:
2935:
2923:Wayback Machine
2908:
2907:
2903:
2898:
2894:
2882:Wayback Machine
2863:
2862:
2858:
2849:
2845:
2825:
2824:
2809:
2804:
2800:
2791:
2787:
2782:
2778:
2758:
2757:
2750:
2745:
2738:
2725:Editura Minerva
2714:
2710:
2701:
2697:
2692:
2688:
2684:, p.34, 36, 276
2679:
2675:
2670:
2663:
2643:
2642:
2635:
2619:
2608:
2603:
2594:
2573:Editura Hasefer
2562:
2561:
2554:
2533:
2532:
2509:
2505:
2469:Constanța Buzea
2394:Marian Papahagi
2366:
2354:Firi neînțelese
2339:Casa șoarecilor
2311:Casa șoarecilor
2307:
2304:Casa șoarecilor
2269:Georgy Malenkov
2219:" or about the
2195:
2107:
2079:Șomaj fără rasă
2075:Alexandru Sahia
2001:Bashevis-Singer
1987:
1941:Romania's Queen
1859:
1801:
1793:to his priest.
1736:cosmopolitanism
1717:focal character
1636:intertextuality
1620:
1583:
1492:. According to
1474:oral traditions
1418:
1413:
1405:Casa șoarecilor
1361:Ion și Salomeia
1208:
1028:
1013:anticlericalism
953:
895:Charlie Chaplin
866:
811:
627:French-language
604:
569:
543:
495:Moș Ion Popescu
491:adventure novel
478:, "the monk").
462:Eugen Lovinescu
455:Claudia Millian
451:Nicolae Tonitza
442:
427:
412:
331:
326:
213:interwar period
187:
116:adventure novel
107:1920–1956
91:Moș Ion Popescu
76:
72:
56:
50:
48:
40:
28:
26:
24:
17:
12:
11:
5:
4903:
4893:
4892:
4887:
4882:
4880:Moldavian Jews
4877:
4872:
4867:
4862:
4857:
4852:
4847:
4842:
4837:
4832:
4830:Social realism
4827:
4822:
4817:
4812:
4807:
4802:
4797:
4792:
4787:
4782:
4777:
4772:
4767:
4762:
4757:
4752:
4747:
4742:
4737:
4732:
4727:
4722:
4717:
4712:
4707:
4702:
4697:
4692:
4687:
4682:
4668:
4667:
4653:
4636:
4615:
4593:Petre Răileanu
4590:
4573:
4552:
4538:
4515:
4512:
4510:
4509:
4486:
4454:
4422:
4390:
4388:Selejan, p.333
4381:
4379:Selejan, p.153
4372:
4340:
4331:
4322:
4301:Al. Săndulescu
4290:
4258:
4226:
4217:
4195:
4186:
4161:
4152:
4136:
4124:
4112:
4069:
4055:
4027:
4018:
3983:
3970:
3957:
3944:
3919:
3903:
3890:
3877:
3864:
3851:
3829:
3813:
3756:
3715:
3706:
3697:
3688:
3670:
3641:
3629:
3627:Selejan, p.154
3620:
3611:
3562:
3553:
3526:
3512:
3480:
3471:
3457:Stelian Tănase
3446:
3418:
3391:
3366:
3334:
3304:
3268:
3254:
3240:Al. Săndulescu
3218:
3216:Boia, p.34, 44
3209:
3173:
3160:
3147:
3138:
3116:
3103:
3094:
3081:
3068:
3055:
3039:
3026:
3013:
3000:
2987:
2969:
2960:
2951:
2942:
2933:
2901:
2892:
2856:
2843:
2807:
2798:
2785:
2776:
2748:
2736:
2708:
2695:
2686:
2673:
2661:
2633:
2606:
2592:
2552:
2536:Ion Călugăru,
2506:
2504:
2501:
2491:, kept by the
2485:Domnișoara Lot
2365:
2362:
2306:
2301:
2253:Petru Dumitriu
2242:Traian Șelmaru
2193:Al. Săndulescu
2185:Liviu Rebreanu
2181:Camil Petrescu
2169:Alexandru Toma
2165:Cezar Petrescu
2112:liberalization
2106:
2103:
2099:Social Realism
2051:class conflict
1800:
1795:
1771:Zaharia Stancu
1685:Constructivism
1642:. Like Vinea,
1632:Domnișoara Lot
1619:
1616:
1554:biblical times
1542:janitors, the
1417:
1416:Early writings
1414:
1412:
1409:
1397:sketch stories
1381:Writers' Union
1293:Zaharia Stancu
1220:Liviu Rebreanu
1207:
1204:
1173:double agent)
1136:Al. Săndulescu
1118:D. H. Lawrence
1027:
1021:
986:Mordechai Mazo
974:Romanian drama
930:street theater
810:
804:
651:Cuvântul Liber
635:Saul Steinberg
592:, journalists
542:
532:
436:Ilarie Voronca
377:Shortly after
330:
327:
325:
322:
245:oral tradition
233:Social Realism
179:
178:
172:Social Realism
149:
145:
144:
113:
109:
108:
105:
101:
100:
97:
93:
92:
89:
85:
84:
75:(aged 54)
69:
65:
64:
46:
42:
41:
38:
30:
29:
22:
15:
9:
6:
4:
3:
2:
4902:
4891:
4888:
4886:
4883:
4881:
4878:
4876:
4873:
4871:
4868:
4866:
4863:
4861:
4858:
4856:
4853:
4851:
4848:
4846:
4843:
4841:
4838:
4836:
4833:
4831:
4828:
4826:
4823:
4821:
4818:
4816:
4813:
4811:
4808:
4806:
4803:
4801:
4798:
4796:
4793:
4791:
4788:
4786:
4783:
4781:
4778:
4776:
4773:
4771:
4768:
4766:
4763:
4761:
4758:
4756:
4753:
4751:
4748:
4746:
4743:
4741:
4738:
4736:
4733:
4731:
4728:
4726:
4723:
4721:
4718:
4716:
4713:
4711:
4708:
4706:
4703:
4701:
4698:
4696:
4693:
4691:
4688:
4686:
4683:
4681:
4678:
4677:
4675:
4666:
4662:
4658:
4654:
4652:
4648:
4644:
4640:
4637:
4635:
4634:0-7126-8388-7
4631:
4627:
4623:
4619:
4616:
4614:
4613:2-84272-057-1
4610:
4606:
4602:
4598:
4594:
4591:
4589:
4585:
4581:
4577:
4574:
4572:
4568:
4564:
4560:
4556:
4553:
4550:
4546:
4542:
4539:
4537:
4533:
4529:
4525:
4521:
4518:
4517:
4506:
4502:
4499:
4495:
4490:
4483:
4482:
4477:
4473:
4470:
4466:
4462:(in Romanian)
4458:
4452:, Nr. 16/2005
4451:
4450:
4445:
4441:
4438:
4434:
4430:(in Romanian)
4426:
4420:, Nr. 43/2005
4419:
4418:
4413:
4409:
4406:
4402:
4398:(in Romanian)
4394:
4385:
4376:
4370:, Nr. 27/2005
4369:
4368:
4363:
4359:
4356:
4352:
4348:(in Romanian)
4344:
4335:
4326:
4320:, Nr. 34/2006
4319:
4318:
4313:
4307:
4302:
4298:(in Romanian)
4294:
4288:, Nr. 28/2008
4287:
4286:
4281:
4277:
4274:
4270:
4266:(in Romanian)
4262:
4256:, Nr. 26/2002
4255:
4254:
4249:
4245:
4242:
4237:(in Romanian)
4233:
4231:
4221:
4214:
4213:
4208:
4203:(in Romanian)
4199:
4190:
4184:, Nr. 11/2007
4183:
4182:
4177:
4173:
4172:Leon Volovici
4169:(in Romanian)
4165:
4156:
4147:
4145:
4143:
4141:
4131:
4129:
4119:
4117:
4110:, Nr. 34/2006
4109:
4108:
4103:
4099:
4096:
4092:
4088:(in Romanian)
4084:
4082:
4080:
4078:
4076:
4074:
4064:
4062:
4060:
4050:
4048:
4046:
4044:
4042:
4040:
4038:
4036:
4034:
4032:
4022:
4015:
4012:
4008:
4007:
4002:
3998:
3994:(in Romanian)
3990:
3988:
3980:
3974:
3967:
3961:
3954:
3948:
3941:
3940:
3935:
3930:(in Romanian)
3926:
3924:
3916:
3910:
3908:
3900:
3894:
3887:
3881:
3874:
3868:
3861:
3855:
3846:
3844:
3842:
3840:
3838:
3836:
3834:
3826:
3820:
3818:
3811:, August 2004
3810:
3809:
3804:
3800:
3797:
3793:
3789:(in Romanian)
3785:
3783:
3781:
3779:
3777:
3775:
3773:
3771:
3769:
3767:
3765:
3763:
3761:
3754:, Nr. 45/2008
3753:
3752:
3747:
3742:(in Romanian)
3738:
3736:
3734:
3732:
3730:
3728:
3726:
3724:
3722:
3720:
3710:
3701:
3695:Vasile, p.105
3692:
3683:
3681:
3679:
3677:
3675:
3668:, Nr. 25/2009
3667:
3666:
3661:
3657:
3654:
3649:(in Romanian)
3645:
3636:
3634:
3624:
3615:
3609:, Nr. 24/2000
3608:
3607:
3602:
3598:
3595:
3591:
3587:(in Romanian)
3584:
3583:973-28-0177-8
3580:
3576:
3572:
3566:
3557:
3551:
3550:1-4039-9341-6
3547:
3543:
3539:
3535:
3530:
3521:
3519:
3517:
3509:
3508:
3503:
3499:
3496:
3492:
3488:(in Romanian)
3484:
3478:Boia, p.60-62
3475:
3468:
3467:
3462:
3458:
3454:(in Romanian)
3450:
3444:, Nr. 36/2001
3443:
3442:
3437:
3433:
3429:(in Romanian)
3425:
3423:
3416:
3415:973-9155-43-X
3412:
3408:
3404:
3400:
3395:
3388:
3387:
3382:
3378:
3374:(in Romanian)
3370:
3363:
3362:
3357:
3353:
3350:
3346:
3342:(in Romanian)
3338:
3331:
3327:
3326:
3321:
3317:(in Romanian)
3313:
3311:
3309:
3302:, Nr. 44/2009
3301:
3300:
3295:
3291:
3288:
3286:
3279:(in Romanian)
3275:
3273:
3263:
3261:
3259:
3251:
3250:
3245:
3241:
3237:(in Romanian)
3233:
3231:
3229:
3227:
3225:
3223:
3213:
3207:, Nr. 30/2009
3206:
3205:
3200:
3196:
3193:
3191:
3185:
3181:(in Romanian)
3177:
3170:
3164:
3157:
3151:
3142:
3135:
3134:
3129:
3124:(in Romanian)
3120:
3113:
3107:
3101:Cernat, p.239
3098:
3091:
3085:
3078:
3072:
3065:
3059:
3052:
3046:
3044:
3036:
3030:
3023:
3017:
3010:
3004:
2997:
2991:
2982:
2980:
2978:
2976:
2974:
2964:
2955:
2946:
2937:
2931:, Nr. 30/2003
2930:
2929:
2924:
2920:
2917:
2913:
2909:(in Romanian)
2905:
2896:
2890:, Nr. 25/2000
2889:
2888:
2883:
2879:
2876:
2874:
2868:
2864:(in Romanian)
2860:
2853:
2847:
2840:
2839:
2834:
2830:
2826:(in Romanian)
2822:
2820:
2818:
2816:
2814:
2812:
2802:
2795:
2789:
2783:Cernat, p.273
2780:
2773:
2772:
2767:
2763:
2759:(in Romanian)
2755:
2753:
2743:
2741:
2734:
2730:
2726:
2722:
2718:
2712:
2705:
2699:
2690:
2683:
2677:
2668:
2666:
2659:, Nr. 16/2002
2658:
2657:
2652:
2648:
2644:(in Romanian)
2640:
2638:
2631:
2630:973-8294-72-X
2627:
2623:
2620:Tudor Opriș,
2617:
2615:
2613:
2611:
2601:
2599:
2597:
2590:
2586:
2582:
2578:
2574:
2570:
2569:
2563:(in Romanian)
2559:
2557:
2549:
2545:
2544:
2539:
2534:(in Romanian)
2530:
2528:
2526:
2524:
2522:
2520:
2518:
2516:
2514:
2512:
2507:
2500:
2498:
2494:
2490:
2486:
2482:
2478:
2473:
2470:
2466:
2462:
2458:
2454:
2450:
2449:Autobiography
2446:
2445:Mircea Eliade
2441:
2439:
2435:
2431:
2426:
2424:
2423:Alexandru Jar
2420:
2416:
2412:
2408:
2403:
2402:Oțel și pîine
2399:
2395:
2391:
2387:
2383:
2379:
2375:
2371:
2361:
2359:
2355:
2350:
2349:
2344:
2340:
2335:
2333:
2329:
2325:
2320:
2316:
2312:
2305:
2300:
2298:
2294:
2290:
2286:
2282:
2281:Oțel și pîine
2278:
2274:
2270:
2266:
2265:Mihai Novicov
2262:
2258:
2257:Oțel și pîine
2254:
2249:
2247:
2243:
2239:
2238:Silviu Brucan
2235:
2234:
2229:
2228:
2222:
2218:
2214:
2209:
2203:
2199:
2194:
2190:
2186:
2182:
2178:
2174:
2173:Tudor Arghezi
2170:
2166:
2162:
2158:
2153:
2147:
2145:
2141:
2140:Oțel și pîine
2137:
2133:
2129:
2128:Oțel și pîine
2125:
2120:
2118:
2113:
2102:
2100:
2096:
2092:
2088:
2084:
2080:
2076:
2072:
2068:
2064:
2060:
2056:
2052:
2048:
2043:
2038:
2035:
2034:
2029:
2025:
2021:
2017:
2013:
2009:
2004:
2002:
1998:
1993:
1986:
1982:
1978:
1974:
1969:
1967:
1963:
1959:
1955:
1951:
1946:
1942:
1938:
1934:
1929:
1927:
1923:
1919:
1915:
1911:
1910:
1905:
1901:
1897:
1893:
1889:
1885:
1884:
1878:
1876:
1872:
1871:
1865:
1864:Bildungsroman
1858:
1854:
1850:
1849:
1848:Bildungsroman
1844:
1840:
1836:
1835:
1830:
1826:
1822:
1818:
1814:
1810:
1806:
1799:
1794:
1792:
1787:
1783:
1779:
1774:
1772:
1768:
1764:
1760:
1756:
1752:
1747:
1745:
1741:
1737:
1733:
1729:
1725:
1720:
1718:
1714:
1710:
1706:
1702:
1698:
1694:
1690:
1686:
1682:
1681:
1680:Contimporanul
1676:
1672:
1667:
1665:
1661:
1657:
1653:
1649:
1645:
1641:
1637:
1633:
1629:
1625:
1615:
1613:
1612:Mongolian one
1609:
1605:
1601:
1597:
1593:
1592:Contimporanul
1589:
1588:art manifesto
1582:
1578:
1574:
1570:
1566:
1562:
1561:Contimporanul
1557:
1555:
1551:
1550:
1545:
1541:
1537:
1532:
1528:
1524:
1523:
1518:
1514:
1512:
1511:
1507:
1506:Expressionist
1503:
1499:
1498:Tudor Arghezi
1495:
1491:
1487:
1483:
1479:
1475:
1471:
1467:
1462:
1461:
1456:
1455:
1450:
1449:
1444:
1440:
1436:
1432:
1428:
1424:
1408:
1406:
1402:
1398:
1393:
1391:
1386:
1385:Oțel și pîine
1382:
1378:
1374:
1370:
1369:Oțel și pîine
1366:
1362:
1358:
1353:
1351:
1347:
1343:
1342:
1337:
1336:Contemporanul
1333:
1332:
1326:
1324:
1323:
1322:Contemporanul
1318:
1314:
1310:
1306:
1302:
1298:
1294:
1289:
1281:
1277:
1273:
1271:
1267:
1263:
1259:
1254:
1252:
1248:
1243:
1241:
1237:
1233:
1229:
1225:
1221:
1217:
1216:Ion Antonescu
1213:
1203:
1201:
1196:
1190:
1188:
1184:
1178:
1176:
1172:
1168:
1164:
1163:Mircea Eliade
1160:
1159:
1154:
1150:
1144:
1142:
1137:
1133:
1127:
1125:
1124:
1119:
1115:
1111:
1107:
1103:
1099:
1095:
1091:
1087:
1083:
1079:
1076:
1072:
1067:
1065:
1064:
1059:
1055:
1051:
1047:
1044:. Researcher
1043:
1039:
1038:
1033:
1025:
1020:
1018:
1014:
1010:
1009:Tudor Arghezi
1006:
1002:
998:
994:
989:
987:
983:
979:
975:
971:
967:
966:Georges Sorel
964:doctrines of
963:
959:
952:
948:
944:
939:
938:Iordan Chimet
935:
931:
927:
923:
922:improvisation
919:
915:
911:
906:
904:
900:
896:
892:
888:
884:
880:
876:
872:
871:Barbu Florian
865:
860:
855:
853:
849:
845:
841:
837:
833:
829:
825:
821:
817:
808:
803:
801:
797:
793:
789:
785:
780:
778:
774:
770:
766:
762:
758:
757:
752:
748:
743:
741:
737:
733:
729:
725:
721:
717:
713:
709:
705:
704:Gherasim Luca
701:
697:
693:
689:
685:
681:
680:Robert Desnos
677:
673:
669:
665:
661:
657:
653:
652:
647:
642:
640:
636:
632:
628:
623:
618:
616:
615:
608:
603:
599:
595:
591:
587:
583:
579:
575:
568:
564:
563:
558:
554:
553:
552:Contimporanul
548:
540:
536:
535:Contimporanul
531:
529:
525:
524:George Coșbuc
521:
517:
512:
510:
506:
505:genre fiction
502:
501:
496:
492:
488:
484:
479:
477:
473:
469:
468:
463:
458:
456:
452:
446:
441:
437:
431:
426:
422:
421:Armand Pascal
416:
411:
407:
406:F. Brunea-Fox
403:
399:
394:
392:
388:
384:
380:
375:
373:
369:
365:
361:
357:
353:
349:
345:
341:
340:
336:
321:
319:
315:
311:
310:Oțel și pîine
307:
303:
299:
294:
292:
288:
284:
280:
279:
274:
270:
266:
262:
261:
256:
255:
254:Contimporanul
250:
246:
242:
241:Expressionism
238:
234:
230:
226:
222:
218:
214:
210:
206:
202:
198:
193:
185:
177:
173:
169:
165:
164:Expressionism
161:
160:
159:Contimporanul
155:
154:
150:
146:
143:
139:
135:
131:
127:
123:
122:
121:Bildungsroman
117:
114:
110:
106:
102:
98:
94:
90:
86:
83:
79:
70:
66:
63:
59:
47:
43:
36:
31:
20:
4656:
4642:
4626:Random House
4621:
4600:
4579:
4558:
4544:
4523:
4489:
4484:, Nr. 9/2007
4479:
4457:
4447:
4425:
4415:
4393:
4384:
4375:
4365:
4343:
4334:
4325:
4315:
4293:
4283:
4261:
4251:
4220:
4210:
4198:
4189:
4179:
4164:
4155:
4105:
4021:
4004:
3979:Avangarda...
3978:
3973:
3966:Avangarda...
3965:
3960:
3953:Avangarda...
3952:
3947:
3937:
3915:Avangarda...
3914:
3899:Avangarda...
3898:
3893:
3886:Avangarda...
3885:
3880:
3873:Avangarda...
3872:
3867:
3860:Avangarda...
3859:
3854:
3825:Avangarda...
3824:
3806:
3749:
3709:
3700:
3691:
3663:
3644:
3623:
3618:Vasile, p.79
3614:
3604:
3570:
3565:
3556:
3537:
3529:
3510:, Nr. 6/2000
3505:
3483:
3474:
3464:
3449:
3439:
3402:
3394:
3384:
3369:
3364:, Nr. 2/2007
3359:
3337:
3324:
3320:Vlaicu Bârna
3297:
3284:
3252:, Nr. 2/2004
3247:
3212:
3202:
3189:
3176:
3169:Avangarda...
3168:
3163:
3156:Avangarda...
3155:
3150:
3141:
3131:
3119:
3112:Avangarda...
3111:
3106:
3097:
3092:, p.239, 262
3090:Avangarda...
3089:
3084:
3077:Avangarda...
3076:
3071:
3064:Avangarda...
3063:
3058:
3051:Avangarda...
3050:
3035:Avangarda...
3034:
3029:
3022:Avangarda...
3021:
3016:
3009:Avangarda...
3008:
3003:
2996:Avangarda...
2995:
2990:
2963:
2954:
2945:
2936:
2926:
2912:Amelia Pavel
2904:
2895:
2885:
2872:
2859:
2852:Avangarda...
2851:
2846:
2836:
2801:
2794:Avangarda...
2793:
2788:
2779:
2769:
2720:
2717:B. Fundoianu
2711:
2704:Avangarda...
2703:
2698:
2689:
2682:Avangarda...
2681:
2676:
2654:
2621:
2566:
2542:
2538:Ioan Lăcustă
2488:
2484:
2480:
2474:
2456:
2448:
2442:
2437:
2427:
2415:Felix Aderca
2401:
2390:Mircea Zaciu
2385:
2367:
2357:
2353:
2346:
2342:
2338:
2336:
2332:Copilăria...
2331:
2314:
2310:
2308:
2303:
2280:
2277:Eugen Frunză
2275:, by author
2256:
2250:
2236:colleagues (
2231:
2225:
2204:
2157:Mihai Beniuc
2148:
2139:
2132:Copilăria...
2131:
2127:
2124:Ioan Lăcustă
2121:
2108:
2086:
2082:
2078:
2070:
2054:
2046:
2041:
2039:
2031:
2007:
2005:
1992:ethnographic
1984:
1970:
1930:
1925:
1907:
1892:Marc Chagall
1881:
1879:
1868:
1863:
1857:Copilăria...
1856:
1846:
1832:
1829:Copilăria...
1828:
1824:
1820:
1804:
1802:
1797:
1775:
1763:Vlaicu Bârna
1759:emancipation
1754:
1750:
1748:
1739:
1732:middle-class
1727:
1723:
1721:
1708:
1704:
1700:
1696:
1678:
1674:
1668:
1656:Perpessicius
1648:Adrian Maniu
1644:Felix Aderca
1631:
1623:
1621:
1600:African idol
1591:
1580:
1560:
1558:
1547:
1535:
1534:added: "The
1530:
1526:
1520:
1516:
1515:
1508:
1458:
1452:
1446:
1443:ethnographic
1431:Hebrew Bible
1419:
1404:
1400:
1394:
1389:
1384:
1373:Transylvania
1368:
1364:
1360:
1356:
1354:
1339:
1335:
1329:
1327:
1320:
1285:
1269:
1255:
1244:
1231:
1227:
1223:
1212:World War II
1209:
1199:
1194:
1191:
1186:
1183:N. Davidescu
1179:
1170:
1166:
1156:
1153:Vasile Marin
1145:
1128:
1121:
1106:Vlaicu Bârna
1101:
1098:Adrian Maniu
1090:Rodia de aur
1089:
1070:
1068:
1061:
1057:
1035:
1029:
1023:
1016:
1004:
996:
990:
978:Vilna Troupe
950:
943:Soviet Union
933:
909:
907:
883:collectivism
863:
858:
856:
851:
847:
843:
839:
835:
831:
823:
819:
815:
812:
806:
799:
787:
783:
781:
777:Adolf Hitler
772:
769:Nazi Germany
754:
746:
744:
739:
723:
719:
711:
688:Pablo Neruda
676:Louis Aragon
670:. Himself a
663:
659:
649:
643:
631:Amelia Pavel
622:Stephan Roll
619:
612:
586:N. Davidescu
566:
560:
556:
550:
544:
538:
534:
527:
519:
515:
513:
498:
494:
482:
480:
475:
472:Ion Călugăru
471:
465:
459:
395:
376:
337:
333:A native of
332:
309:
295:
276:
264:
258:
252:
228:
204:
200:
196:
184:Ion Călugăru
183:
182:
157:
151:
138:sketch story
119:
73:(1956-05-22)
71:May 22, 1956
23:Ion Călugăru
4685:1956 deaths
4680:1902 births
4639:Ana Selejan
4555:Paul Cernat
4520:Lucian Boia
4304: [
3932:Dan Gulea,
3888:, p.76, 143
3792:Henri Zalis
3639:Boia, p.295
3377:Paul Cernat
3158:, p.34, 149
3066:, p.277-278
3011:, p.286-292
2829:Paul Cernat
2762:Paul Cernat
2407:Ury Benador
2261:Sami Damian
2221:show trials
2196: [
2117:Lucian Boia
2059:Isaak Babel
2016:World War I
1997:Joseph Roth
1981:existential
1962:proselytism
1950:execrations
1928:community.
1904:picturesque
1875:Maxim Gorky
1834:chiaroscuro
1610:resemble a
1573:primitivism
1563:colleagues
1494:Paul Cernat
1478:Ion Creangă
1439:Henri Zalis
1427:Jewish lore
1309:Ana Selejan
1266:Ury Benador
1262:Emil Dorian
1175:Belu Zilber
1132:sophistical
1114:pornography
1042:Nae Ionescu
1034:periodical
962:syndicalist
899:Fratellinis
897:, like the
887:silent film
879:proletarian
761:antisemitic
720:Urangutania
708:Dolfi Trost
684:Paul Éluard
668:N. D. Cocea
605: [
602:Sandu Eliad
588:, novelist
578:eclecticism
481:While with
453:, and poet
443: [
428: [
413: [
402:avant-garde
379:World War I
374:tradition.
368:avant-garde
360:Paul Cernat
291:Nae Ionescu
225:avant-garde
217:picturesque
205:B. Croitoru
27:B. Croitoru
4674:Categories
4514:References
4433:Ion Vartic
3466:Revista 22
3386:Revista 22
2867:Geo Șerban
2693:Boia, p.34
2477:M. H. Maxy
2434:plagiarism
2430:Ion Vartic
2419:Sergiu Dan
2398:Aurel Sasu
2246:Sorin Toma
2136:proletkult
1791:confession
1608:fairy tale
1544:bath house
1488:raconteur
1486:Bukovinian
1110:censorship
1082:Iron Guard
993:modern art
947:proletkult
639:Sesto Pals
590:Sergiu Dan
574:M. H. Maxy
507:novels of
483:Sburătorul
467:Sburătorul
440:Iosif Ross
237:Surrealism
168:Surrealism
153:Sburătorul
96:Occupation
51:1902-02-14
4588:490001217
4528:Humanitas
4496:, at the
4401:Ion Simuț
4269:Ion Simuț
3575:Humanitas
3491:Ion Simuț
3328:, at the
2733:252065138
2546:, at the
2465:Sașa Pană
2411:I. Peretz
2293:reportage
2208:Hunedoara
2161:Geo Bogza
2152:Ion Simuț
1888:monograph
1839:Rembrandt
1817:Bucharest
1809:alter ego
1767:Teleorman
1693:grotesque
1664:absurdism
1577:mannerism
1569:naïve art
1565:Ion Vinea
1540:synagogue
1448:Kol Nidre
1171:Siguranța
1032:far right
903:monograph
891:pantomime
875:I. Peretz
796:Geo Bogza
792:Sașa Pană
773:Siguranța
736:Isac Ludo
732:orangutan
724:urangutan
716:satirical
692:Geo Bogza
646:communist
637:and poet
582:left-wing
547:Ion Vinea
476:călugărul
410:Henri Gad
387:Sașa Pană
383:Bucharest
342:, in the
324:Biography
287:far right
269:socialist
209:modernist
142:reportage
126:biography
78:Bucharest
4501:Archived
4472:Archived
4440:Archived
4408:Archived
4358:Archived
4276:Archived
4244:Archived
4181:Apostrof
4098:Archived
3977:Cernat,
3964:Cernat,
3951:Cernat,
3913:Cernat,
3897:Cernat,
3884:Cernat,
3871:Cernat,
3858:Cernat,
3823:Cernat,
3799:Archived
3656:Archived
3597:Archived
3590:Z. Ornea
3498:Archived
3399:Z. Ornea
3352:Archived
3290:Archived
3285:Cuvântul
3195:Archived
3190:Cuvântul
3167:Cernat,
3154:Cernat,
3110:Cernat,
3088:Cernat,
3075:Cernat,
3062:Cernat,
3049:Cernat,
3033:Cernat,
3020:Cernat,
3007:Cernat,
2994:Cernat,
2919:Archived
2878:Archived
2850:Cernat,
2792:Cernat,
2702:Cernat,
2680:Cernat,
2481:Integral
2457:Cuvântul
2233:Scînteia
2083:Era Nouă
2033:déclassé
2018:and the
1973:I. Peltz
1933:anecdote
1922:Shabbath
1778:neurotic
1624:Integral
1596:pastiche
1581:Integral
1510:écorchés
1472:and the
1429:and the
1390:lămurire
1331:Scînteia
1313:agitprop
1228:Cuvântul
1195:Cuvântul
1167:Cuvântul
1158:Trăirist
1149:Z. Ornea
1102:Cuvântul
1078:Carol II
1071:Cuvântul
1058:Cuvântul
1037:Cuvântul
1024:Cuvântul
1017:Integral
1005:Integral
1001:goitered
960:and the
951:Integral
934:Integral
926:Futurism
910:Integral
893:acts of
864:Integral
859:Integral
846:(1936),
828:Don Juan
807:Integral
728:Romanian
712:Reporter
664:Era Nouă
660:Reporter
567:Integral
557:Integral
348:Moldavia
289:thinker
278:Cuvântul
273:far left
265:Integral
88:Pen name
3981:, p.345
3968:, p.349
3955:, p.348
3917:, p.225
3901:, p.143
3171:, p.149
3114:, p.275
3079:, p.278
3053:, p.289
2497:collage
2319:lyrical
1914:bigotry
1909:yeshiva
1900:osmosis
1896:bucolic
1821:Trustul
1813:Dorohoi
1707:and in
1673:. With
1536:hakhams
1529:and in
1502:Hasidic
1317:novella
1270:Journal
1240:Yiddish
1232:Journal
1224:Journal
1141:Zionist
1050:fascist
970:Yiddish
918:cabaret
914:elitist
848:Trustul
765:fascism
672:Marxist
372:Hasidic
335:Dorohoi
283:fascist
195:; born
134:novella
58:Dorohoi
4663:
4649:
4632:
4611:
4586:
4569:
4534:
3875:, p.36
3862:, p.34
3581:
3548:
3413:
2731:
2721:Poezii
2628:
2587:
2579:&
2493:Brăila
2438:Cafiné
2364:Legacy
2227:corvée
2167:, and
2008:shtetl
1926:shtetl
1920:. The
1883:shtetl
1744:pathos
1740:Erdora
1709:Erdora
1689:parody
1538:, the
1522:Hakham
1460:Pesach
1423:Judaic
1187:Vremea
1063:Vremea
832:Erdora
771:. The
722:(from
658:(PCR)—
520:Insula
516:Insula
500:hajduk
474:(from
434:, and
356:ghetto
339:shtetl
104:Period
4478:, in
4446:, in
4414:, in
4364:, in
4314:, in
4308:]
4282:, in
4250:, in
4209:, in
4178:, in
4104:, in
4003:, in
3936:, in
3805:, in
3748:, in
3662:, in
3603:, in
3504:, in
3463:, in
3438:, in
3383:, in
3358:, in
3296:, in
3246:, in
3201:, in
3130:, in
2925:, in
2884:, in
2835:, in
2768:, in
2653:, in
2503:Notes
2461:Urmuz
2324:Tatar
2200:]
2179:, or
1988:'
1945:rabbi
1860:'
1786:boyar
1703:, in
1699:, in
1652:Urmuz
1584:'
1549:payot
1454:Purim
1026:years
954:'
867:'
730:for "
614:Facla
609:]
570:'
447:]
432:]
417:]
130:essay
112:Genre
4661:ISBN
4647:ISBN
4630:ISBN
4609:ISBN
4584:OCLC
4567:ISBN
4532:ISBN
3579:ISBN
3546:ISBN
3411:ISBN
2729:OCLC
2626:ISBN
2585:ISBN
2421:and
2409:and
2396:and
2309:The
2093:and
1964:and
1954:alms
1823:and
1646:and
1571:and
1411:Work
1338:and
1264:and
1112:and
1096:and
1075:King
794:and
767:and
740:Adam
706:and
694:and
662:and
596:and
449:and
239:and
68:Died
45:Born
2463:or
2447:'s
2372:'s
2263:or
2146:".
2077:'s
2003:."
1999:or
1990:s "
1841:or
1749:In
1614:."
1401:unu
1242:."
1200:unu
1120:'s
997:unu
972:or
800:unu
788:unu
784:unu
747:unu
562:unu
539:unu
346:of
260:unu
4676::
4641:,
4624:,
4620:,
4603:,
4599:,
4595:,
4578:,
4561:,
4557:,
4547:,
4543:,
4526:,
4522:,
4467:,
4435:,
4403:,
4353:,
4310:,
4306:ro
4271:,
4229:^
4174:,
4139:^
4127:^
4115:^
4093:,
4072:^
4058:^
4030:^
3999:,
3986:^
3922:^
3906:^
3832:^
3816:^
3794:,
3759:^
3718:^
3673:^
3632:^
3592:,
3585:;
3573:,
3540:,
3536:,
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3493:,
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2101:.
2053:.
1877:.
1862:s
1773:.
1719:.
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1126:.
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779:.
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537:,
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445:ro
430:fr
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3287:"
3188:"
2875:"
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2224:"
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702:(
186:(
53:)
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