1817:
put down on paper everything that passes through your mind. You have to make selections, samples. You have to know how to do the opposite of what a tailor does: to measure just once and to cut dozens of times, to discard, to suggest rather than to develop in great detail. But these are things that can be learned." He also commented on the "tricks" his literature had developed in its confrontation with both the threat of death and the debilitating character of his disease: "For example, in detail a healthy foot, the toes that waggle freely up and down, the mobility of a fine ankle, the play of the shins and thighs in dance—all these things place my hideous adversary in a real crisis of uncertainty. It knows already that my legs belong to it, but I am talking about different legs. There are and will be so many!" Nedelciu also recounted masking his fear of the disease by only referring to it with the
894:
1212:, also recalled how Nedelciu's personality reflected in his style and choice of subjects, noting the great pauses his colleague would leave between his works, and how "the details of reality which would bring into conversation" were casually integrated in later texts. Lefter argued: " was a writer without writing" who "observed and described, lived and retold." Among the narrative techniques setting Nedelciu apart among his generation colleagues was that of so-called "live transmissions", or stories in which the mixture of coherent record and textualist transcript led to an identification with the subject. Another colleague and friend of Nedelciu, Cristian Teodorescu, recalled: "one of these stories was the transcript of a front line diary by a peasant who fought in
1641:. According to Oprea, the work nevertheless fails in its stated ambition of evading the "obsessive-pressuring" world of the late Ceaușescu years: "We are promised the solution of a bitter fight and we are offered a cardboard scenery and wooden swords. We are informed by the sound of trumpets of the retreat into the last redoubt we still can defend (although it can't defend us), and, once we arrive there, we realize that the enemy is a controlled marionette, albeit one masterfully handled by that absolute and pitiless master, the Author." Adina Dinițoiu believes that, contrary to its author's reflections,
1329:, who claimed that the lionized mainstream of the 1980s and 90s had artificially promoted a "pyramid structure" dominated by Nedelciu as "The Great Prose Writer", Cărtărescu as "The Great Poet" and Lefter as "The Great Critic". This endorsement clashed with the opinion Laszlo shares, according to which Nedelciu "is far from being even an important prose writer". Although highly critical of Alex Ștefănescu's overall views on literature, Laszlo agreed with his verdicts on Nedelciu. Taking his distance from the negative critical revisions, in particular that contributed by Ştefănescu, Crăciun claimed: "The
1282:"needlessly complicated, clumsy, irrelevant from a literary point of view". Ștefănescu objected in particular to Nedelciu's theory about the need to eliminate "mystification" in prose, commenting that the awareness of conventions was accessible to "every reader", and the contrary effort brought to mind "someone who, storming into a cinema hall, shouting 'My brothers, don't let yourselves be fooled! That which you see is not reality. These are but images projected on a piece of cloth'." He also challenged Nedelciu's view of self-referential prose was a path to
1240:-born Crăciun. In the assessment of Sanda Cordoş, "Nedelciu's freedom of spirit was rooted in peasant culture and the literary life of the city, and he preserved it after graduation in 1973." Such aspects of Mircea Nedelciu's work and biography are reflected in his choice of subjects and underlying themes, listed by Cordoş as "travel, vagrancy and wandering through everyday reality, immediately experienced." The "need for freedom", țoiu argues, is associated in Nedelciu's fiction with "surprisingly
398:("Sign of the Deep-sea Diver"). Although the rhythm of his activity slowed under the pressures of infirmity and major surgery in French clinics, Nedelciu continued his involvement with the literary scene, as both cultural promoter and polemicist, until shortly before his death. His critical posterity is sharply divided on issues surrounding the importance of his work, between those who primarily view him as an eccentric figure and those who describe him as one Romania's major experimental writers.
1205:" effect, which subverts the order of realistic details between the levels of each narrative, concluding: "The manner in which Mircea Nedelciu has captured everyday banality leaves the impression of a film based on real fact, where the characters and incidents have been introduced for aesthetic reasons." A similar argument was made by Gheorghe Crăciun, who compared the effect with the "hallucinatory something" of a "film clip", translated as "a world continuously in the making".
1260:" and "the mechanisms through which nature and the surrounding life exercise pressure on the individual", adding: "Each of these three elements is liable to provoke the distortion of reality, the emergence of strange phenomenons, abrupt changes of life and destiny, the passage from the immediate space into other spaces, at the very least atypical if not fantastical ones." A similar listing of Mircea Nedelciu's main preoccupation was also provided by Lefter.
1582:, the small community benefiting from these guidelines finds its preoccupation in historical research: its leader Marius asks his comrades to piece together the career of his supposed ancestor, Neculai Fiston-Gulianu. The plot subsequently focuses on Luca's internal struggles, brought upon by clues that this universe is the design of his own imagination, and culminating in resignation to reality. Within the text are references and stylistic homages to
1216:. I repeatedly asked Nedelciu what the deal was with the peasant's diary. Eventually, he admitted that he only owned a few pages of the diary, that the rest had been lost. Had he filled out the rest? He would not tell me. He knew how to defend the mysteries of his prose, taking shelter behind textualist explanations on 'text generation'." Items of regular life transposed into his prose notably include the phone number of his fellow writer
2008:, "Now that we are done creating the world, what's left for us other than recreating it?" This, the critic argues, results in a "representative text for Mircea Nedelciu's prose", or "a story told with naturalness and well-tempered irony, about the ambiguity of relations between the narrator, the characters and the reader, about their double rooting in reality and textuality, as well as about their adventures in this '
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critical establishment's acknowledgment that
Nedelciu "is not one of the sizable novelists." A different account was offered by Gheorghe Crăciun, who wrote: "Presently, prose is, in the eyes of many (including school textbook authors), a rather precisely charted territory, which may no longer offer surprises, be they thematic or technical." According to Dinițoiu (who bases her conclusions on 2005 inquires among
1248:." The narrative is generally laid out as a ceaseless travel, and the often guide-like protagonists seem to suffer their crises only in rare moments of respite. An allusive background to these fictional biographies is provided by the social context: like the author himself, the characters are often uprooted people who relate to historical events as a seminal but mysterious
1794:, a procedure in which Sora sees a hidden comment on the very nature of novels: "The rules of a professional autopsy thus become the rules of a novel that is self-aware and aware of literature's (often void) demands." Although she argues that the stated goal of overturning "ancient complexes of the Romanian writer" is left open, Simona Sora sees
908:—a sum described by Nedelciu himself as "huge". Commenting on these developments, he indicated having resolving not to accept either "capitulation" or "the solution of humiliation", and declared himself optimistic about the possibility of collecting funds in dignity. His efforts were supported by the literary community, who organized a series of
1201:, argues: " sight digs into the sordidness of everyday banality in order to present us with samples of reality based on minute facts. All that which resides within the author's field of vision is transmitted to us, the readers, giving us that impression of 'real reality', of real life." In addition to this, she identifies a "
995:, the period of "theoretical effervescence", in which Nedelciu assimilated inspiration from diverse sources, was followed by a "growing preoccupation for language." Writing during the second part of his career, Nedelciu reflected back with self-irony: "the writer's childhood diseases are the wish the theorize and the
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However, Daniel
Cristea-Enache claimed, Nedelciu has become a victim of lack of interest, or "our lack of critical memory", after 1999, a phenomenon which he contrasts with the "almost always positive old critical references". Cristea-Enache believes the "not to flattering" explanation resides in the
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design, my mind encrypts the adversities (the chill, the frost) of this entire world I'm living in, this symbolic coldness of
Romania's communist society in the year 1989, and the body naturally refuses this exile 'up North'." According to Lefter, Nedelciu was actually reworking his notion of layered
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proposes, is the human body. While respecting formal conventions to the point of including a bibliographical section for the sources consulted, the authors stretch the plot to mention real or imagined details of their own process of researching and writing, or divert it to include episodes about real
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expand on
Nedelciu's reflexions about marginality and aggression: a wanderer, Alexandru Daldea, is gripped by despair, while his female counterpart Dilaré is shown to be suicidal. Another character, Bebe Pîrvulescu, stands for political allusion, being the morally ambiguous son of an officer involved
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were complementary, in that the former meant "the realism of attitudes toward the real", a conclusion to which he added: "The document, the act, the direct transmission of an event that has actually happened may enter a literary text's economy, where they are no longer 'artistically transfigured' but
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to their older colleagues, and stood among those members of his generation who willingly accepted to be called "Postmodernists". A separate and enduring controversy, involving
Nedelciu's apparent endorsement of the repressive regime, was sparked in 1982. That year, he signed a lampoon piece targeting
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school which the writer had attended as a child was renamed in his honor. Ion Bogdan Lefter, who attended the event, commented: "Fundulea has become a spot on
Romania's cultural map, owing to him, to Nedelciu, just like other small communities—albeit not many!—are renowned for being the places which
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connotation". In Lefter's view, the book "may be and must be read—I insist: must be read—in various ways." Its nature, he specifies, is that of a "literary and sociocultural project attempting to reach the profound truths in
Romania's 20th century universe", but also that of a memoir offering "the
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as marked by "generosity, the cult of friendship, a sense of honor and, above all, indifference in the face of death"). Days before dying, the author himself recorded how the expectation had impacted on his writing style: "I know, time now seems to have become very short. It's no longer feasible to
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publishing house (where his first works in literature were to be printed over the following years). As Cordoș argued, the institution "would become legendary as a meeting place for young writers from
Bucharest and out of town—political rather than literary marginals." A similar statement is made by
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nurtured creativity in order to create a "New Man". According to Laszlo
Alexandru, the text enforces the reader's "indignant stupefaction" concerning Nedelciu's promotion by his peers. Such conclusions are contrasted by Nedelciu's own account, provided after the Revolution: he recorded having been
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as it is even through the idea of a healthy and harmonious body, perceives this adventure into the deep as an adventure into a much colder land. In short, the mind imagines the deep-sea diver's world and the body refuses it instinctively, viscerally. And for good reason too, given that, in fact,
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to be the first section of a larger cycle, structured around the yearly cycle of months. Adina Dinițoiu calls attention to the book's "unsettling biographical genre intensely vibrating the chord of a writing style completely lacking in formalism." She ties it to a final development in
Nedelciu's
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scene. This issue is reflected in a 2006 statement Crăciun: "He is, after all, a cosmopolitan figure, I could even say a frivolous figure. He runs away from the world to which he belongs, in search of the urban world, but he nevertheless can never part with the former." The claim was supported by
864:. Although he eventually became reliant on a wheelchair, Nedelciu continued to be active on the literary scene, both through his involvement with the Writers' Union and his founding of Euromedia, a Franco-Romanian company specialized in distributing literature. He also briefly served as editor of
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issues posed by Mircea Nedelciu's writing style have been improperly treated—as aspects on their own, isolated from their subjects, situations, characters and contents— because prose experiment in our country is still seen as an extravagant phenomenon, exterior to creation as such, of doubtful
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of 1971, but remained marginal on the literary scene, and discreetly reacted against the new restrictive guidelines by cultivating difference. According to Nedelciu's own recollection: "In all these years down to 1980, the club was a literary life completely separated from the official literary
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Another literary historian to issue negative comments on Nedelciu's overall contribution is Alex Ștefănescu. In his view, although being "intelligent and inventive", Nedelciu lacked "artistic sense", displayed "intellectual immaturity", and wrote novels that, unlike his short stories, were
1121:, another member of this faction, referred to his colleague as "the uncontested prose leader of the 1980s", while Mihăieș acknowledged in him "the true leader of our generation, whose rule was naturally acknowledged, indisputable and therefore not at all constrictive." In tandem, author
1922:, who works with Dio at the Institute and whom again experiences life through digressions into historical symbolism, which this time are explicitly about dictatorship. These include an oblique mention of Ceaușescu being convinced that he was about to be replaced by "a
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students), Nedelciu's popularity declined not just because of his difficult stylistic approach, but also because "the referent" of "microrealism" has vanished—whereas Cărtărescu's "imaginative constructs" had maintained "a good quotation on the market of values."
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had engendered political repercussions, and impacted on the family's standing: Nedelciu's older sister was expelled from university for one year. The family was also periodically harassed by the communist authorities after their son-in-law decided to cross the
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also reflects the contrast between the fragile everyday and the magnificence presumed of art. Cordoş concludes: "Life is made of cunning, betrayals, affection and exasperation, marital strife and unexpected complicity, which Nedelciu constructs not in
1466:("Moreno-style Provocation"), called by Dinițoiu a "wonderful prose entangles itself in its own meta-textual armor, pressing on its vibration-loaded core." It depicts a physically disabled man, who closely follows the outside world using a pair of
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investigation into history. He and all other characters are presumably orphaned drifters who run into each other chaotically while traveling the country—a narrative setting to which Nedelciu adds long fragments of inquires into abstract topics of
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In addition to Mircea Mihăieș, who recounts having learned the techniques of novelistic writing from his friend, a new generation of authors, most of whom debuted in the 1990s, assimilated influences from the writings of Nedelciu. Among them are
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of Romanian textualism" whose "strongest asset" was literary theory. The main meeting point between Nedelciu's style and Postmodernist tenets is provided by his attachment to reinterpreting literary conventions, often with the introduction of
1273:. In Negrici's view, the self-referential and ironic works produced by such writers hindered the development of local literature on a more solid basis, and their embrace by the established critics diverted attention from older, classically
31:
1962:. Nedelciu, who deemed Creangă "the ballsiest Romanian-language storyteller", placed his version of the story during the late years of communism, describing sexual encounters between female teachers and party activists. Literary critic
1186:, preoccupied with retracing reality" and a "cultural verisimilitude", whose characteristic is "a world of objects already interpreted and ideologically formed by a certain culture." Cristea-Enache also discusses the impact that the
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was published in 2000, sparking debates about the appropriateness of circulating unfinished versions of one's work. Nedelciu's posthumous bibliography also includes a 1999 selection of his entire work (under the collective title
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Owing to their secondary nature, that of literary tests, Nedelciu's works abound in references and compliments to, as well as borrowings from, various authors. Names critics cite in this context include Romanian classics such as
1497:, reflecting the main characters' obsessions. A secondary element is the erotic tension between Zare and Ana, an ambiguous female character who occasionally and mysteriously expresses herself in an ungrammatical version of
1974:, peasant culture in the written from the Postmodern prose writer, who has seen everything written culture has to offer, returning to the rudimentary, popular roots of his writing". The text was among those rejected by
1441:", and mentioned having received an enraged justification in response. In parallel to such debates, Nedelciu's 1982 article, defined by Ștefănescu as "vehement and insulting", brought further suspicion of his motives.
1505:. Cornis-Pope sees it as representative for the subtle manner in which Nedelciu, like Stan and Adameșteanu, chose to question "ideological representations" and "official myths" present "at the height of Ceaușescu's '
1676:("Variations in Search of a Theme"), it merges biographical details with imagined elements, recounting in three different ways the journey of Mureşan Vasile (or Murivale), who travels to Bucharest in order to stand
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authors. He also argued that the group's identification with Postmodernist theses prevented others from doing the same, and that the approximation implied by this process rendered the Postmodern label meaningless.
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The young author's standing declined further later that year, when he was briefly held under arrest for handling foreign currency (a criminal offense at the time). This time inspired him to write another story,
1692:—avatars which allow Nedelciu to expand on the issue of art in general and, in particular, on that of Timișoara's literary environment. By highlighting the awkwardness in his protagonist's dealing with grief,
1345:, his approach to testing the "prohibitive boundaries" and "foundations of communist reality" relied on exposing the "dogmatic stagnation" through "bolder experimental fiction", of a kind illustrated by other
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Together with Cărtărescu and other figures in the Postmodernist group, Nedelciu was a target for criticism, both individual and collective. A synthesis of these objections was provided by literary historian
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throughout Europe for those who are in need of it". The French authorities eventually rescinded their decision, and the writer left for Marseille, where he underwent an intervention to improve his mobility.
780:, whose purposes were defining the nature and expectations of Romanian Postmodernism and allowing its representatives a reply to criticism. A section of the debate opposed Nedelciu to the younger writer
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secret police, the life of debauchery he leads in order to liberate himself from pressures, and his employment at the Securitate-led Great Institute of History. The latter is a satirical reworking of
1513:
dramatized the difficulties of extricating the culture's 'soul of facts' from official fictions and the totalistic language of the 'tribe'." For Cornis-Pope, this concern is similar to dissenting
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Some commentators attribute Mircea Nedelciu's work with other distinct qualities, stemming from a confrontation of identities: his rural and provincial roots over his adoption by the cosmopolitan
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For Sanda Cordoș, his short fiction represents "a propitious moment" and a "resurrection" synonymous with "the creative type of the '80s." One of Nedelciu's cogenerationists and friends, critic
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on several occasions, he stood out on the literary scene for adapting to some communist requirements in order to get his message across. This tendency made Nedelciu the target of controversy.
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had on Nedelciu's style, where it resurfaced in an adapted form. Essayist Genţiana Moşneanu, who defines Nedelciu's prose as being dominated by the sense of sight and recurring references to
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engaged in a conflict with censors, and argued that the book itself was about escape from the increased pressures of the 1980s. Mircea Mihăieș recalled that, during the writing process for
878:", joined other disgruntled authors in creating the Association of Professional Writers. Late in his life, he also presided over the initiative to monitor book circulations, setting up the
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with which he was diagnosed in 1988, and which severely impaired his motor skills. His treatment involved difficult surgery, performed with French assistance; in 1995, he was subject to a
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2004:
advances a hypothesis according to which the undated work dates ca. 1990, basing it on various clues in the text. She also describes the "key" of the piece as being provided by its
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to penetrate the market, it did not prevent the censorship apparatus from viewing Nedelciu personally with suspicion. The theory also scandalized older authors, in particular the
1337:
Among the most debated aspects of Mircea Nedelciu's contribution to literature under communism was his theory that writers could evade the pressures of censorship by appealing to
984:, who remarks: "Like other authors from his generation, Mircea Nedelciu took care to define himself his own manner of writing, before literary critics did". According to critic
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novel, having for its protagonist the meteorologist Luca, whose work assignment in Temelia ("Foundation") village leads him into a world apparently governed by the rules of
519:, which in its original form also comprised Flora and "the three Gheorghes" (Crăciun, Ene, Iova). The club was later joined by Lăcustă, Paraschivoiu, Sorin Preda, and Stan.
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called "a story that is at the very least as fascinating as that of Dillinger." The subject matter reputedly irritated communist censors, accounting for the fact that
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but in a complementary way so that art will acquire, even in the eyes of petty people, a radiance inexplicable to them." In addition to this piece, the volume includes
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1302:", claims to have enjoyed writings "without substance, structure or form". In 1995, answering to unfavorable comparisons made between the palpable interactivity of
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he reportedly found the first model for his own autofictional style. He is also known to have reworked and blended into his own texts various themes borrowed from
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and amateur novelist, who reveals to Nedelciu that writing itself may carry the symptoms of disease. Through the themes of diving and disease, the book filtrates
2170:
hosts an essay contest on literary subjects, targeting students in their final years of high school and awarding the Mircea Nedelciu National Prize for Reading.
1098:"-like techniques, "without prior minute elaboration", displaying "that science of controlling one's own text bear-handed." ţoiu also mentions the "passion for
1607:". In his updated preface of 1996, where he presented his intentions of subverting the communist guideline, Nedelciu explained that his intent was to create "a
770:("The Race Goes On: the Eighties Generation in Theoretical Texts"). In 1996, Nedelciu was involved in the open debate organized by the Writers' Union magazine
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1341:, allusions, irony, and other Postmodern mechanisms, while formally adapting themselves to the exterior ideological aspects. According to literary historian
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anthology, was complemented by his free-minded attitude and drifter lifestyle. Although Nedelciu's political nonconformism pitted him against the repressive
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With his debut writings, Nedelciu elaborated the generic characteristics of his style, and in particular his choice of subjects. The first of his volumes,
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in order to get treatment in France, but it was not granted. This prompted indignation on the Romanian literary scene, and press campaigns criticizing the
644:("Amendment to the Proprietary Instinct") of 1983. Owing to Crohmălniceanu's patronage, his prose works were published as part of the critically acclaimed
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literary club". Also according to Cordoș, Nedelciu was still being subject to political pressures for his family connections and his refusal to join the
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Diogene "Dio" Sava, again speaks of its own genesis, notably by referencing a real-life encounter with Scarlat, a diver for the state commercial fleet
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973:, he reportedly cut the figure of an innovator, a promoter, and the club member most interested in literary theory. This verdict was partly backed by
2435:
1317:, and its techniques of constrained writing affect the personal message—citing his record of the 1977 prison term, which follows a strict pattern of
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219:; November 12, 1950 – July 12, 1999) was a Romanian short-story writer, novelist, essayist and literary critic, one of the leading exponents of the
699:("And Yesterday Will Be Another Day"), published in 1984, 1986, and 1989, respectively, were Nedelciu's last volumes to emerge in print before the
471:, and which, as Nedelciu himself recalled, provided young intellectuals with access to cultural items that were less known or were recovering from
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1286:, arguing that, although the writing process was exposed, the readers' passive role could not be modified: "they can only watch upon the authors'
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gesticulation and later conclude that the latter have still pursued their narrative as intended." In Cristea-Enache's view, Nedelciu circulated "
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novel, centered on details in Fiston-Gulianu's biography. The work is punctuated by first-person interrogations, where Nedelciu transforms his
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Beyond the conventional aspects of the narrative, the novel introduces various pieces of experimental prose, whose actual protagonist, critic
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monopoly on Postmodernist terminology while arguing that a more genuine manifestation of the current was to be found in the emerging forms of
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commended the work for its "overflowing relish", and concluded on the posthumous relationship between the two authors and their treatment of
1989:, it is refined and full of charm, while Mircea Nedelciu's, fashioned in a cold manner, lacking the joy of storytelling, is merely vulgar."
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two days later. His tombstone bears the title of one of his books, "And Yesterday Will Be Another Day". In a short memoir of the event, his
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in the following period. He ultimately found stable employment soon after his release, when he began working as a librarian on the staff of
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497:. Nonconformism also impacted on his student life: reportedly, he only attended courses which he found interesting, neglecting all others.
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1549:, deeming it "weak and indigestible", and opining that the experimental aspects "no longer enable fiction to breathe, but substitute it."
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886:("National Book Rankings"). His output was much reduced and his ability to write altogether threatened, but he was still working on
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After a 1996 treatment session in France, Nedelciu was informed that his life expectation depended on procedures which cost 70,000
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1812:, is marked by the expectation of death, echoing the final part of its author's life (a period described by Nedelciu's colleague
1453:, is also his first account of vagrancy as a lifestyle, showing young abandoned orphans escaping into reverie. The characters of
1934:, on a scientific mission which connects him to the Securitate's international schemes, and fictionalizes events related to the
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as her clue, critic Simona Vasilache discusses the text as a generational epic, stressing that the hidden theme is the fate of
1437:, he had confronted his colleague on the issue of his preface being "annoying and false through its leftism, its opportunistic
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theorists, French echoes are ranked by Dinițoiu as secondary in Nedelciu's work. The author did however make extensive use of
924:, Nedelciu was able to collect the endorsement of various local cultural personalities for his own manifesto, which demanded "
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1321:. Like Negrici, the critic also reproaches some of his peers having welcomed Nedelciu as an innovator "out of lassitude or
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For Ştefănescu, the nature of language experiments in Mircea Nedelciu's short fiction is not innovative in its recourse to
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literary attitudes, that in which "profundity" was added to his branch of "microrealism", producing "an ethical and even
1182:, Nedelciu's textualist approach to literature as its own reality actually followed a middle course between "referential
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1713:-inspired story introducing the deep-sea diving metaphor which would come to fascinate Nedelciu during his final years.
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766:. It was also at that stage that Nedelciu began collecting his essays of criticism, grouped in the 1994 anthology
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620:("Adventures in an Interior Courtyard"), Nedelciu became a notorious figure among young authors, and earned the
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1385:. Nedelciu's stance was retrospectively criticized by as illusory, particularly since, even if it allowed the
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After completing his studies in 1973 and turning down a post-graduate assignment at a school in the remote
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was supposed to end with an overview of the 1989 Revolution as "December". The narrative takes Diogene to
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1570:, the preface of which made Mircea Nedelciu the subject of controversy, is Nedelciu's contribution to the
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on one hand and the theoretical interactivity of pre-1989 prose on the other, Nedelciu accused his rival
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of having created, "out a cocktail of confusions, a thesis supported only by inexplicable enthusiasm".
1303:
1110:
796:
377:. His integration as an authoritative voice on the Postmodern scene, inaugurated by his presence in the
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838:
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so and so have left in order to become great names in national creativity..." Since 2002, the annual
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1764:
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1421:
1274:
1179:
1178:." According to literary critic Mihai Oprea, who builds his comments on terms introduced by essayist
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writings. From this moment on until his death, Nedelciu was at the forefront of debates opposing the
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468:
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2867:
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1042:
985:
912:, the collection being supplemented by government authorities. In late 1997, Nedelciu applied for a
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1996:("The Giant and Weird Bird in Our Dreams"), which seems to refer to his countryside escapades with
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1459:
1307:
1270:
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781:
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Nedelciu was especially close to his colleague and campus roommate Gheorghe Crăciun and to painter
330:
304:
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2122:
2001:
1997:
1918:
into scientific practice. These episodes also mark the return of Zare Popescu, the protagonist of
1484:("A Novel against Memory"), tells the story of Zare Popescu, who is engaged on a mysterious quasi-
546:
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341:
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3234:
2378:
1980:
1959:
1923:
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1672:("Identity Problems") is believed by Cordoș as the "peak" of Nedelciu's short fiction. Subtitled
1571:
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1004:
999:. Which shall the disease of old age be? I do not know. Probably monumentality, classicization!"
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866:
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1992:
Several other scattered prose fragments were discovered only after Nedelciu died. Among them is
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Nedelciu has been voted among Romania's most important novelists in 2001, following a poll by
1947:
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of communist politics, as Nedelciu explained within the actual text: "this free body of mine,
1798:
and its "virtuosity" as imposing the autofictional model in front of conventional "artifice".
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prose writers, an exemplary work of autochthonous Postmodernism", while its main character,
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show, directed by actor Gheorghe Hibovski and premiered in spring 2009. According to critic
2013:
1856:
1744:
1627:
1583:
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1326:
1252:. In addition to this element, Crăciun lists the recurring themes of Nedelciu's fiction as "
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486:
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1298:", his target reader being someone who, in order not to seem "tasteless, unintelligent and
1102:" as a distinct trait of Nedelciu's experimentation, accounting for his "stylistic rigor".
1094:. According to a testimonial by his friend Gheorghe Crăciun, Mircea Nedelciu also adopted "
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into a third-level story, where he analyzes his own ability to interpret Luca's feelings.
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175:
3778:, "1989. From Resistance to Reformulation", in Marcel Cornis-Pope, John Neubauer (eds.),
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1600:
556:, his refusal of initial employment exposed him to the political regime's suspicion for "
3783:
2130:
1971:
1903:
1784:
1752:
1728:
1593:
1424:'s regime. Ștefănescu cited its main subject of contention as being the statement that
1394:
1346:
1241:
1194:
1191:
1183:
1131:
1024:
933:
898:
660:
494:
464:
447:'s Faculty of Letters, specializing in English and French, Nedelciu was attracted into
372:
88:
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1041:
became the Romanian author's primary cultural reference, and, according to researcher
551:
3919:
3079:
1915:
1911:
1894:
1873:
meanings into the diving metaphor, adapting an earlier interest in the techniques of
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1622:
1612:
1370:
1358:
1283:
1099:
1091:
1053:
1047:
1012:
763:
134:
125:
3400:
2129:, alongside Creangă's original and similar texts, was transformed into an eponymous
2093:(2008). Several other of his stories saw print in stages after his death (including
2081:("Short Prose" or "The Mircea Nedelciu Reader"). They were followed by a reprint of
3814:
3250:
2118:
2110:
1833:
1736:
1538:
1299:
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1213:
1202:
941:
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colleague Stan commented on the "subtle irony" of his burial having taken place on
712:
538:
475:. These included texts Nedelciu read in the University Library: the French journal
429:
335:
1689:
1169:. For the author himself, Postmodernist-textualist practices and the tradition of
560:". Nedelciu was however able to publish his first literary piece, the short story
1880:
Sava's literary biography reflects his familiarity with interwar society and its
1228:țoiu, who argued that Nedelciu's frivolity refers to his "southern" roots in the
506:
390:
The final years of Mircea Nedelciu's life witnessed his publicized struggle with
313:
2574:
1986:
1963:
1907:
1881:
1845:
1839:
Despite the timely constraints, Nedelciu's original project may have called for
1603:" space with "unknown laws" and the imagination of a character "on the verge of
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1330:
1257:
1083:
1016:
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816:
681:
605:
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234:
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129:
3837:
Proza lui Mircea Nedelciu. Puterile literaturii în fața politicului și a morții
361:
3347:
2775:
2012:
country' that is literature." The main intertextual reference in this case is
1899:
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1485:
1467:
1425:
1253:
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542:
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Mircea Nedelciu attended primary school in his native town and high school in
254:
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199:
30:
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2449:
2289:
1052:, Nedelciu was one of those "fascinated" with the ideas of Canadian essayist
324:
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1233:
1224:
875:
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603:, who sees the writer's activities as responsible for making the library "a
459:
circles, growing his hair long and informing himself on new developments in
440:
143:
74:
299:
literature of the 1960s and 1970s, Nedelciu co-founded the literary circle
1946:
Mircea Nedelciu's other short prose work include his 1998 contribution to
1458:
in repression and his cheating wife (whose lover was among those branded "
1060:. His inspiration sources also covered French authors associated with the
3614:
2684:
2162:
1885:
1877:(in turned provoked by his discussions with muralist Viorel Grimalschi).
1382:
1287:
1087:
1074:
842:
477:
420:
412:
50:
261:. This approach is illustrated by his volumes of stories and his novels
2384:
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1438:
1338:
1314:
1291:
996:
629:
78:
2161:
In November 2002, during events marking Nedelciu's 52nd birthday, the
1599:
Mihai Oprea notes the text's ambiguous fluctuation between an actual "
1860:
1751:. The three authors, who were reportedly following the suggestion of
1604:
1244:" love affairs, whose female protagonists "are often on the verge of
171:
2726:
2149:, has grown into "the actual aunt of autochthonous Postmodernism."
1892:
is reflected as a collective tragedy, and the start of an apparent
636:. Nedelciu followed up on his writing with the short story volumes
2005:
1849:
sense to a life." The text, having for its protagonist Nedelciu's
1763:, the village where Cumpănaș originated, resulting in what writer
892:
155:
1950:, which reworked a similar 19th-century piece by the folk writer
1322:
1126:
837:
The final decade of Nedelciu's life witnessed his struggle with
1836:
according to which completing his book would accelerate death.
1334:
value, arousing suspicion when not in fact pejorative labels."
1019:. Nedelciu's narratives were overall significantly indebted to
3461:"Cum se citește acum proza optzecistă la Facultatea de Litere"
1146:
Within the Postmodernist framework, Nedelciu also stood for a
515:. It was also during his time in college that he helped found
1727:, a Romanian prostitute who helped capture American gangster
1926:", and Crăciun declared himself "absolutely convinced" that
1113:, an interpretation of positioning which came to divide the
957:
Throughout his career, Nedelciu was a prominent exponent of
663:
exiles who broadcast clandestinely into Romania by means of
624:
annual prize for debut. He was by then also affiliated with
3203:"Viața ca o bielă-manivelă" (interview with Mircea Mihăieș)
740:. A best seller, it went through a second edition in 1997.
3819:
The Columbia Literary History of Eastern Europe Since 1945
1783:
but not directly relevant personages (such as Canetti and
932:
Mircea Nedelciu died on July 12, 1999, and was buried at
1533:. Taking the book's dedication to veterans of Romania's
541:, Nedelciu went through several jobs, including that of
3780:
History of the Literary Cultures of East-Central Europe
2993:"Refacerea lumii – o ars poetica marca Mircea Nedelciu"
1416:
Much debate surrounded the writer's own preface to his
920:. In November of that year, while participating in the
1684:. Murivale is, in turn, a worker who quits his job, a
463:. His time as a student overlapped with an episode of
3786:, Amsterdam & Philadelphia, 2004, p. 39-51.
768:
Competiția Continuă. Generaţia '80 în texte teoretice
443:, in order to complete his studies. A student at the
1462:"). A critically acclaimed section of the volume is
2020:transmits images or sections of text borrowed from
1723:("retro-novel"), is the fictionalized biography of
1056:on "the constant degeneration of the character" in
849:, carried out in Romania with additional help from
394:, which shaped the themes in his unfinished novel,
181:
121:
113:
103:
99:
novelist, short story writer, journalist, librarian
95:
84:
64:
37:
21:
2953:"Meteorologie, arheologie şi presiune subacvatică"
1910:of the late Ceauşescu years, and the intrusion of
1898:, depicting the Sava family's encounters with the
791:, the latter of whom had objected to the supposed
628:, a workshop and literary society named after its
249:, he placed his work at the meeting point between
233:, mixing elements of conventional narratives with
3748:"Concursul Național de Lectură "Mircea Nedelciu""
1985:, who claimed: "Ion Creangă's text is not simply
1958:, "Tale of All Tales"), thus seeking to liberate
1220:, recorded in one of Nedelciu's prose fragments.
829:("The Tale of the Tales of the 80s Generation").
679:and branch of the main official party newspaper,
439:, and afterward left for the national capital of
3401:"Istoria hollywoodiană a literaturii române (V)"
545:for foreigners. According to literary historian
423:, a state-run bank). The couple's resistance to
411:Nedelciu was born in the semi-urban locality of
3013:
3011:
3009:
3007:
1420:, which several have read as an endorsement of
3389:
3387:
3385:
3383:
3381:
3379:
3331:
3329:
3327:
3442:
3440:
3266:
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3262:
3260:
2801:
2799:
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2795:
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2789:
2787:
2785:
2621:
2619:
2617:
2615:
2613:
2545:"Mircea Nedelciu: istorie și iluzie literară"
2366:
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2360:
2358:
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2338:
2336:
2334:
2332:
2330:
2328:
2326:
2324:
2322:
2320:
1236:, which contrasted with and "captivated" the
874:, and, after accusing the Writers' Union of "
8:
3717:
3715:
2611:
2609:
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2601:
2599:
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2318:
2316:
2314:
2312:
2310:
2308:
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2304:
2302:
2300:
1790:). The focal point and recurring element is
1611:", sourced by his clandestine readings from
3509:
3507:
3505:
3503:
3501:
3499:
3497:
3495:
2941:
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2937:
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2222:
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2218:
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2202:
1828:"). According to both Gheorghe Crăciun and
1428:was inherently hostile toward art, whereas
1125:retrospectively referred to Nedelciu as a "
1064:. Primarily related to his interest in the
640:("The Controlled Echo Effect") of 1981 and
3493:
3491:
3489:
3487:
3485:
3483:
3481:
3479:
3477:
3475:
3304:
3302:
3300:
3298:
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2979:
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2426:
2200:
2198:
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2194:
2192:
2190:
2188:
2186:
2184:
2182:
2095:Uriașa și ciudata pasăre a viselor noastre
2018:Uriaşa şi ciudata pasăre a viselor noastre
1994:Uriaşa şi ciudata pasăre a viselor noastre
1970:: "the genuine storyteller, bearer of the
1688:soldier and a bankrupt visual artist from
1105:Nedelciu equaled his integration into the
18:
3227:
3225:
3223:
3221:
3219:
3217:
3126:
3124:
3122:
3120:
3118:
3116:
3114:
3112:
3110:
3108:
3087:A Bertrand Russell with a Wagnerian Twist
3019:"O intamplare ciudata cu Mircea Nedelciu"
2718:
2716:
2714:
2712:
2710:
2708:
2706:
2673:
2671:
2669:
2667:
2424:
2422:
2420:
2418:
2416:
2414:
2412:
2410:
2408:
2406:
3546:
3544:
3542:
3275:"Cum mai stăm cu proza românească?" (II)
3175:
3173:
2665:
2663:
2661:
2659:
2657:
2655:
2653:
2651:
2649:
2647:
2035:The Short Happy Life of Francis Macomber
1523:Socialist Federal Republic of Yugoslavia
1325:". Similar points were made by essayist
890:, his final contribution to literature.
3839:(Editura Tracus Arte, București, 2011)
3752:Targul de carte gaudeamus Radio Romania
3528:"Mircea Nedelciu în zodia scafandrului"
2178:
1645:is "Mircea Nedelciu's only fantasy and
616:With his 1979 volume of short stories,
467:which coincided with the early rule of
1906:practice under communism, the extreme
1154:, which linked him directly to fellow
1142:Neorealism and personalized techniques
2279:Mircea Nedelciu: A Brief Introduction
1455:Amendament la instinctul proprietății
642:Amendament la instinctul proprietății
632:and hosted by the influential critic
511:, and vacationed in Crăciun's native
269:("Confambulatory Treatment"), and by
214:
7:
3798:De la proletcultism la postmodernism
3141:"Realitate, ficțiune și fabulatoriu"
3825:, New York & Chichester, 2008.
3567:"Dillinger și femeia în portocaliu"
1082:techniques popularized by France's
583:("The Air Court"), also printed by
4066:20th-century Romanian male writers
4016:Romanian writers with disabilities
3675:"Întemeierea simbolică a poveștii"
827:Povestea poveștilor generației '80
747:came in 1996. The following year,
703:. The former was published by the
650:anthology, which set the tone for
14:
3981:Romanian book publishers (people)
3941:Romanian male short story writers
3343:"Un ventriloc literar: Dan Lungu"
2141:has endured as "the manifesto of
1086:, stating his admiration for the
944:, France's national celebration.
695:and the new short prose grouping
432:, settling in the United States.
4056:20th-century short story writers
4011:Romanian prisoners and detainees
3976:Romanian science fiction writers
3910:The Observer Translation Project
3099:The Observer Translation Project
3050:"Spațiul public, locul nimănui?"
2451:The Observer Translation Project
2291:The Observer Translation Project
2071:Aventuri într-o curte interioară
1735:academic and literary historian
1649:book"; she also highlights its "
1451:Aventuri într-o curte interioară
618:Aventuri într-o curte interioară
592:literary historian and reviewer
29:
4046:20th-century Romanian novelists
1888:). The impact of communism and
1739:calls it "a curious mixture of
1719:, defined by its subtitle as a
799:. Nedelciu also contributed to
4006:University of Bucharest alumni
2764:"De la o enciclopedie la alta"
1:
4026:Deaths from cancer in Romania
3951:Romanian historical novelists
3861:Yesterday Will Be Another Day
2633:"Mult mai mult decît o carte"
2432:Mircea Nedelciu - Author's CV
1808:Nedelciu's unfinished novel,
1771:was published only after the
1109:group with an affiliation to
870:, a magazine launched by the
564:("A Spokesman"), hosted by a
216:[ˈmirtʃe̯aneˈdeltʃju]
4021:Deaths from Hodgkin lymphoma
2077:, as well as the collection
2000:and others. Literary critic
1674:Variațiuni în căutarea temei
1501:with strong influences from
897:Grave of Mircea Nedelciu at
743:A second revised edition of
527:backlash inaugurated by the
277:piece written together with
265:("Raspberry of the Field"),
3885:Romanian Cultural Institute
3729:"Școala 'Mircea Nedelciu' "
3254:, Vol. V, Nr. 222, May 2008
2809:"Nedelciu pleacă în Franța"
2052:review: out of 150 novels,
1409:referred to Nedelciu as a "
918:French Embassy in Bucharest
4087:
3898:The Controlled Echo Effect
3879:Sign of the Deep Sea-Diver
2125:. Nedelciu's reworking of
2056:was voted 23rd-best, with
2029:Hills Like White Elephants
1397:observers from within the
667:, and had it published in
638:Effectul de ecou controlat
59:Romanian People's Republic
4031:Burials at Bellu Cemetery
3991:Romanian magazine editors
3931:Romanian literary critics
3823:Columbia University Press
3651:, Nr. 45-46, January 2001
3239:"Senzație și senzațional"
3102:; retrieved June 27, 2009
2454:; retrieved June 27, 2009
2294:; retrieved June 27, 2009
2010:through the looking-glass
855:Paoli-Calmettes Institute
28:
3961:Romanian erotica writers
3956:Romanian fantasy writers
3737:, Nr. 143, November 2002
3683:, Nr. 402, December 2007
2887:, Nr. 350, December 2006
2779:, Nr. 719, December 2003
2579:"Povestea poveștilor..."
2073:) and a 2003 version of
2023:The Snows of Kilimanjaro
1703:Primul exil la cronoscop
1541:entrapped by communism.
1482:Roman împotriva memoriei
1480:, carrying the subtitle
1464:Provocare în stil Moreno
715:. First issued in 1990,
630:19th-century predecessor
611:Romanian Communist Party
570:magazine issue of 1977.
295:A follower of trends in
273:("The Woman in Red"), a
4071:20th-century memoirists
4051:Romanian male essayists
3936:Romanian male novelists
3841:Informații despre carte
3211:, Nr. 101, January 2002
2961:, Nr. 51, February 2001
2641:, Nr. 51, February 2001
2155:University of Bucharest
1694:Probleme cu identitatea
1670:Probleme cu identitatea
1509:absurd' ". He argues: "
1319:grammatical conjugation
1023:, and in particular to
959:experimental literature
884:Topul naţional de carte
445:University of Bucharest
425:forced collectivization
212:Romanian pronunciation:
108:University of Bucharest
4061:20th-century essayists
3701:, de Ziua Păcălelilor"
3149:, Nr. 285, August 2005
2115:Lucian Dan Teodorovici
2085:and third editions of
2064:at 139. An edition of
1545:is highly critical of
1134:material or provoking
1039:English-speaking world
901:
707:'s specialized venue,
303:("The New Ones") with
3996:Censorship in Romania
3868:The Sign Of The Diver
3615:"Dacă talent nu e..."
3365:"Efectul de tandrețe"
3283:, Nr. 361, March 2007
3273:Bianca Burţa-Cernat,
3167:Mihăilescu, p.213-307
2905:Mihăilescu, p.298-301
2896:Mihăilescu, p.298-306
2681:Daniel Cristea-Enache
2087:Tratament fabulatoriu
2058:Tratament fabulatoriu
1832:, their friend had a
1749:collaborative fiction
1643:Tratament fabulatoriu
1638:Discipline and Punish
1589:Craii de Curtea-Veche
1568:Tratament fabulatoriu
1554:Tratament fabulatoriu
1543:Daniel Cristea-Enache
1418:Tratament fabulatoriu
1304:electronic literature
1264:Controversial aspects
1123:Daniel Cristea-Enache
896:
847:bone marrow autograft
821:'s 1998 anthology of
797:electronic literature
745:Tratament fabulatoriu
693:Tratament fabulatoriu
675:), the mouthpiece of
562:Un purtător de cuvânt
275:collaborative fiction
267:Tratament fabulatoriu
140:collaborative fiction
4001:People from Fundulea
3536:, Nr. 277, July 2005
3469:, Nr. 273, June 2005
3373:, Nr. 125, July 2002
3001:, Nr. 432, July 2008
2685:"Inginerie textuală"
2553:, Nr. 432, July 2008
1618:Nineteen Eighty-Four
1351:Gabriela Adameşteanu
953:Cultural positioning
719:was co-written with
669:Scînteia Tineretului
245:and, in some cases,
3986:Romanian librarians
3971:Romanian memoirists
3904:Observator Cultural
3804:, Constanța, 2002.
3796:Florin Mihăilescu,
3734:Observator Cultural
3699:Povestea Poveștilor
3680:Observator Cultural
3648:Observator Cultural
3579:Observator Cultural
3533:Observator Cultural
3466:Observator Cultural
3370:Observator Cultural
3351:, November 22, 2005
3339:Cristian Teodorescu
3321:, Nr. 20, July 2000
3318:Observator Cultural
3311:Genţiana Moşneanu,
3280:Observator Cultural
3208:Observator Cultural
3146:Observator Cultural
3093:Observator Cultural
2998:Observator Cultural
2958:Observator Cultural
2884:Observator Cultural
2638:Observator Cultural
2587:, Nr. 20, July 2000
2584:Observator Cultural
2550:Observator Cultural
2445:Observator Cultural
2285:Observator Cultural
2168:Gaudeamus Book Fair
2127:Povestea poveștilor
2099:Observator Cultural
2049:Observator Cultural
1956:Povestea poveștilor
1733:Columbia University
1661:" characteristics.
1586:and his celebrated
1527:Ryszard Kapuściński
1199:optical instruments
1163:Cristian Teodorescu
1080:constrained writing
926:freedom of movement
922:Gaudeamus Book Fair
751:was turned into an
634:Ovid Crohmălniceanu
473:official censorship
3966:Romanian humorists
3946:Minimalist writers
3926:Romanian essayists
3846:2017-07-01 at the
3776:Marcel Cornis-Pope
3620:2008-12-10 at the
3582:, Nr. 13, May 2000
3572:2012-04-03 at the
3416:, Nr. 85/2006, p.8
3406:2007-10-29 at the
3313:"Banalul cotidian"
3244:2011-07-21 at the
3055:2009-04-09 at the
2769:2007-10-08 at the
2732:2011-07-28 at the
2725:Simona Vasilache,
2690:2011-07-28 at the
2438:2012-03-09 at the
2390:2011-03-03 at the
2066:Zodia Scafandrului
1928:Zodia Scafandrului
1841:Zodia Scafandrului
1810:Zodia Scafandrului
1803:Zodia Scafandrului
1666:Și ieri va fi o zi
1558:Și ieri va fi o zi
1535:1944-1945 campaign
1343:Marcel Cornis-Pope
1058:Western literature
1030:Catcher in the Rye
1005:Ion Luca Caragiale
902:
888:Zodia Scafandrului
697:Și ieri va fi o zi
574:Rise to prominence
525:national communist
396:Zodia Scafandrului
392:Hodgkin's lymphoma
231:experimental prose
3831:978-0-231-13306-7
3725:Ion Bogdan Lefter
3706:Evenimentul Zilei
3550:Cornis-Pope, p.44
3434:Cornis-Pope, p.40
3425:Mihăilescu, p.301
3292:Mihăilescu, p.224
3199:Svetlana Cârstean
3158:Mihăilescu, p.225
3065:, January 9, 2009
3062:Evenimentul Zilei
3046:Dan C. Mihăilescu
2824:, January 6, 1998
2629:Ion Bogdan Lefter
2385:"Mircea Nedelciu"
1968:Romanian folklore
1948:erotic literature
1914:theories such as
1830:Ion Bogdan Lefter
1576:Utopian socialism
1422:Nicolae Ceaușescu
1403:Radio Free Europe
1399:Romanian diaspora
1250:collective trauma
1230:historical region
1210:Ion Bogdan Lefter
1119:Mircea Cărtărescu
1062:May 1968 movement
841:, a rare type of
839:Hodgkin's disease
823:erotic literature
778:Nicolae Manolescu
665:Radio Free Europe
589:Cartea Românească
481:and the works of
469:Nicolae Ceaușescu
353:Emil Paraschivoiu
205:
204:
182:Literary movement
152:erotic literature
48:November 12, 1950
4078:
3893:(various issues)
3877:(selection from
3835:Adina Dinițoiu,
3764:
3763:
3761:
3759:
3744:
3738:
3723:
3719:
3710:
3694:
3690:
3684:
3672:
3662:
3658:
3652:
3641:
3637:
3631:
3627:România Literară
3612:
3602:
3598:
3592:
3589:
3583:
3561:
3557:
3551:
3548:
3537:
3525:
3515:
3511:
3470:
3458:
3448:
3444:
3435:
3432:
3426:
3423:
3417:
3397:Laszlo Alexandru
3395:
3391:
3374:
3362:
3358:
3352:
3337:
3333:
3322:
3310:
3306:
3293:
3290:
3284:
3272:
3268:
3255:
3233:
3229:
3212:
3197:
3193:
3180:
3177:
3168:
3165:
3159:
3156:
3150:
3138:
3134:
3103:
3083:
3072:
3066:
3044:
3040:
3034:
3033:
3031:
3030:
3015:
3002:
2987:
2983:
2962:
2949:Gheorghe Crăciun
2947:
2943:
2906:
2903:
2897:
2894:
2888:
2876:
2866:
2862:
2825:
2822:
2807:
2803:
2780:
2760:Cornel Ungureanu
2758:
2754:
2743:
2739:România Literară
2724:
2720:
2701:
2697:România Literară
2679:
2675:
2642:
2627:
2623:
2588:
2573:
2569:
2554:
2542:
2532:
2528:
2455:
2428:
2401:
2397:România Literară
2382:
2372:
2368:
2295:
2275:
2264:
2135:Cornel Ungureanu
2062:Zmeura de cîmpie
2014:Ernest Hemingway
1984:
1960:profane language
1942:Other late works
1932:Communist Poland
1920:Zmeura de cîmpie
1912:pseudoscientific
1890:collectivization
1814:Alexandru Mușina
1745:historical novel
1682:Nichita Stănescu
1628:Crowds and Power
1584:Mateiu Caragiale
1580:Zmeura de cîmpie
1547:Zmeura de cîmpie
1519:Communist Poland
1511:Zmeura de cîmpie
1478:Zmeura de cîmpie
1475:historical novel
1430:communist states
1407:Monica Lovinescu
1379:Dubravka Ugrešić
1347:Eastern European
1327:Laszlo Alexandru
1246:ideal projection
1171:literary realism
1136:artistic license
1132:self-referential
1051:
1035:Ernest Hemingway
1021:American fiction
1009:Mateiu Caragiale
994:
983:
906:American dollars
880:external auditor
863:
820:
809:
790:
773:România Literară
761:
732:
709:Editura Militară
689:Zmeura de cîmpie
602:
555:
510:
487:William Faulkner
483:Mikhail Bulgakov
421:House of Savings
385:communist system
376:
365:
350:
339:
328:
317:
305:Gheorghe Crăciun
291:
263:Zmeura de cîmpie
229:. The author of
227:Romanian letters
218:
213:
164:historical novel
71:
47:
45:
33:
19:
4086:
4085:
4081:
4080:
4079:
4077:
4076:
4075:
3916:
3915:
3890:Plural Magazine
3856:
3848:Wayback Machine
3802:Editura Pontica
3772:
3767:
3757:
3755:
3746:
3745:
3741:
3721:
3720:
3713:
3709:, April 1, 2009
3695:Oana Botezatu,
3692:
3691:
3687:
3666:
3660:
3659:
3655:
3643:"150 de romane"
3639:
3638:
3634:
3622:Wayback Machine
3606:
3604:Alex Ștefănescu
3600:
3599:
3595:
3590:
3586:
3574:Wayback Machine
3563:Ana Maria Sandu
3559:
3558:
3554:
3549:
3540:
3519:
3513:
3512:
3473:
3452:
3446:
3445:
3438:
3433:
3429:
3424:
3420:
3408:Wayback Machine
3393:
3392:
3377:
3363:Victoria Luţă,
3360:
3359:
3355:
3335:
3334:
3325:
3308:
3307:
3296:
3291:
3287:
3270:
3269:
3258:
3246:Wayback Machine
3231:
3230:
3215:
3195:
3194:
3183:
3178:
3171:
3166:
3162:
3157:
3153:
3136:
3135:
3106:
3077:
3073:
3069:
3057:Wayback Machine
3042:
3041:
3037:
3028:
3026:
3017:
3016:
3005:
2985:
2984:
2965:
2945:
2944:
2909:
2904:
2900:
2895:
2891:
2870:
2864:
2863:
2828:
2816:
2805:
2804:
2783:
2771:Wayback Machine
2756:
2755:
2746:
2734:Wayback Machine
2722:
2721:
2704:
2692:Wayback Machine
2677:
2676:
2645:
2625:
2624:
2591:
2571:
2570:
2557:
2536:
2530:
2529:
2458:
2440:Wayback Machine
2429:
2404:
2392:Wayback Machine
2376:
2374:Alex Ștefănescu
2370:
2369:
2298:
2269:
2265:
2180:
2176:
2101:in July 2008).
2097:, published by
2044:
1978:
1976:Alex Ștefănescu
1944:
1936:Gdańsk Shipyard
1904:historiographic
1875:art restoration
1806:
1773:1989 Revolution
1765:Ana Maria Sandu
1711:science fiction
1633:Michel Foucault
1565:
1447:
1393:and the openly
1363:Sławomir Mrożek
1355:Péter Esterházy
1296:sleight of hand
1266:
1180:Monica Spiridon
1144:
1070:intertextuality
1045:
988:
977:
975:Alex Ștefănescu
955:
950:
857:
835:
814:
803:
784:
755:
726:
701:1989 Revolution
677:Communist Youth
596:
594:Alex Ștefănescu
576:
549:
504:
491:John Dos Passos
461:Western culture
457:countercultural
417:Călărași County
409:
404:
370:
368:Constantin Stan
359:
344:
333:
322:
311:
285:
243:intertextuality
211:
208:Mircea Nedelciu
176:science fiction
104:Alma mater
73:
69:
55:Călărași County
49:
43:
41:
24:
23:Mircea Nedelciu
17:
16:Romanian writer
12:
11:
5:
4084:
4082:
4074:
4073:
4068:
4063:
4058:
4053:
4048:
4043:
4038:
4033:
4028:
4023:
4018:
4013:
4008:
4003:
3998:
3993:
3988:
3983:
3978:
3973:
3968:
3963:
3958:
3953:
3948:
3943:
3938:
3933:
3928:
3918:
3917:
3914:
3913:
3894:
3855:
3854:External links
3852:
3851:
3850:
3833:
3812:
3794:
3784:John Benjamins
3771:
3768:
3766:
3765:
3739:
3711:
3685:
3664:Adina Dinițoiu
3653:
3632:
3593:
3584:
3552:
3538:
3517:Adina Dinițoiu
3471:
3450:Adina Dinițoiu
3436:
3427:
3418:
3375:
3353:
3323:
3294:
3285:
3256:
3213:
3181:
3169:
3160:
3151:
3104:
3075:Caius Dobrescu
3067:
3035:
3003:
2963:
2907:
2898:
2889:
2868:Adina Dinițoiu
2826:
2814:Ziarul de Iași
2781:
2744:
2727:"Toate numele"
2702:
2643:
2589:
2555:
2534:Adina Dinițoiu
2456:
2402:
2296:
2177:
2175:
2172:
2139:Femeia în roșu
2131:fringe theater
2091:Femeia în roșu
2075:Femeia în roşu
2054:Femeia în roşu
2043:
2040:
1943:
1940:
1846:soteriological
1805:
1800:
1796:Femeia în roșu
1769:Femeia în roșu
1729:John Dillinger
1717:Femeia în roșu
1609:counter-utopia
1594:narrative mode
1564:
1562:Femeia în roșu
1551:
1446:
1443:
1435:Femeia în roșu
1395:anti-communist
1331:narratological
1265:
1262:
1195:Camil Petrescu
1192:Social Realist
1184:verisimilitude
1143:
1140:
1096:action writing
1072:techniques of
1043:Caius Dobrescu
1025:J. D. Salinger
986:Adina Dinițoiu
954:
951:
949:
946:
934:Bellu Cemetery
899:Bellu Cemetery
834:
831:
762:, directed by
753:eponymous film
749:Femeia în roșu
738:Adriana Babeți
724:Mircea Mihăieș
717:Femeia în roșu
661:anti-communist
622:Writers' Union
575:
572:
495:J. D. Salinger
465:liberalization
408:
405:
403:
400:
283:Mircea Mihăieș
279:Adriana Babeți
271:Femeia în roșu
225:generation in
203:
202:
183:
179:
178:
123:
119:
118:
115:
111:
110:
105:
101:
100:
97:
93:
92:
89:Bellu Cemetery
86:
82:
81:
72:(aged 48)
66:
62:
61:
39:
35:
34:
26:
25:
22:
15:
13:
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4009:
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3906:
3905:
3900:
3899:
3895:
3892:
3891:
3886:
3882:
3880:
3876:
3875:Swampward Ho!
3871:
3869:
3864:
3862:
3858:
3857:
3853:
3849:
3845:
3842:
3838:
3834:
3832:
3828:
3824:
3820:
3816:
3813:
3811:
3810:973-9224-63-6
3807:
3803:
3799:
3795:
3793:
3792:90-272-3452-3
3789:
3785:
3781:
3777:
3774:
3773:
3769:
3754:(in Romanian)
3753:
3749:
3743:
3740:
3736:
3735:
3730:
3726:
3722:(in Romanian)
3718:
3716:
3712:
3708:
3707:
3702:
3700:
3693:(in Romanian)
3689:
3686:
3682:
3681:
3676:
3670:
3665:
3661:(in Romanian)
3657:
3654:
3650:
3649:
3644:
3640:(in Romanian)
3636:
3633:
3630:, Nr. 40/2008
3629:
3628:
3623:
3619:
3616:
3610:
3605:
3601:(in Romanian)
3597:
3594:
3588:
3585:
3581:
3580:
3575:
3571:
3568:
3564:
3560:(in Romanian)
3556:
3553:
3547:
3545:
3543:
3539:
3535:
3534:
3529:
3523:
3518:
3514:(in Romanian)
3510:
3508:
3506:
3504:
3502:
3500:
3498:
3496:
3494:
3492:
3490:
3488:
3486:
3484:
3482:
3480:
3478:
3476:
3472:
3468:
3467:
3462:
3456:
3451:
3447:(in Romanian)
3443:
3441:
3437:
3431:
3428:
3422:
3419:
3415:
3414:
3409:
3405:
3402:
3398:
3394:(in Romanian)
3390:
3388:
3386:
3384:
3382:
3380:
3376:
3372:
3371:
3366:
3361:(in Romanian)
3357:
3354:
3350:
3349:
3344:
3340:
3336:(in Romanian)
3332:
3330:
3328:
3324:
3320:
3319:
3314:
3309:(in Romanian)
3305:
3303:
3301:
3299:
3295:
3289:
3286:
3282:
3281:
3276:
3271:(in Romanian)
3267:
3265:
3263:
3261:
3257:
3253:
3252:
3247:
3243:
3240:
3236:
3232:(in Romanian)
3228:
3226:
3224:
3222:
3220:
3218:
3214:
3210:
3209:
3204:
3200:
3196:(in Romanian)
3192:
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3188:
3186:
3182:
3176:
3174:
3170:
3164:
3161:
3155:
3152:
3148:
3147:
3142:
3139:Mihai Oprea,
3137:(in Romanian)
3133:
3131:
3129:
3127:
3125:
3123:
3121:
3119:
3117:
3115:
3113:
3111:
3109:
3105:
3101:
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3095:
3094:
3089:
3088:
3081:
3076:
3071:
3068:
3064:
3063:
3058:
3054:
3051:
3047:
3043:(in Romanian)
3039:
3036:
3025:(in Romanian)
3024:
3020:
3014:
3012:
3010:
3008:
3004:
3000:
2999:
2994:
2990:
2986:(in Romanian)
2982:
2980:
2978:
2976:
2974:
2972:
2970:
2968:
2964:
2960:
2959:
2954:
2950:
2946:(in Romanian)
2942:
2940:
2938:
2936:
2934:
2932:
2930:
2928:
2926:
2924:
2922:
2920:
2918:
2916:
2914:
2912:
2908:
2902:
2899:
2893:
2890:
2886:
2885:
2880:
2879:"Match Point"
2874:
2869:
2865:(in Romanian)
2861:
2859:
2857:
2855:
2853:
2851:
2849:
2847:
2845:
2843:
2841:
2839:
2837:
2835:
2833:
2831:
2827:
2823:
2820:
2815:
2810:
2806:(in Romanian)
2802:
2800:
2798:
2796:
2794:
2792:
2790:
2788:
2786:
2782:
2778:
2777:
2772:
2768:
2765:
2761:
2757:(in Romanian)
2753:
2751:
2749:
2745:
2742:, Nr. 26/2005
2741:
2740:
2735:
2731:
2728:
2723:(in Romanian)
2719:
2717:
2715:
2713:
2711:
2709:
2707:
2703:
2700:, Nr. 35/2007
2699:
2698:
2693:
2689:
2686:
2682:
2678:(in Romanian)
2674:
2672:
2670:
2668:
2666:
2664:
2662:
2660:
2658:
2656:
2654:
2652:
2650:
2648:
2644:
2640:
2639:
2634:
2630:
2626:(in Romanian)
2622:
2620:
2618:
2616:
2614:
2612:
2610:
2608:
2606:
2604:
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2019:
2015:
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1939:
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1933:
1929:
1925:
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1917:
1916:protochronism
1913:
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1901:
1897:
1896:
1895:Bildungsroman
1891:
1887:
1883:
1878:
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1870:Cousteauesque
1866:
1865:Mediterranean
1862:
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1831:
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1788:Sigmund Freud
1786:
1785:psychoanalyst
1781:
1776:
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1770:
1766:
1762:
1758:
1757:William Totok
1754:
1753:Banat Swabian
1750:
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1664:Noted within
1662:
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1648:
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1624:
1623:Elias Canetti
1620:
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1614:
1613:George Orwell
1610:
1606:
1602:
1597:
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1577:
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1569:
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1548:
1544:
1540:
1539:anti-fascists
1536:
1532:
1531:Miško Kranjec
1528:
1524:
1520:
1516:
1512:
1508:
1504:
1500:
1496:
1492:
1487:
1486:archeological
1483:
1479:
1476:
1473:The apparent
1471:
1469:
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1461:
1456:
1452:
1444:
1442:
1440:
1436:
1431:
1427:
1423:
1419:
1414:
1413:textualist".
1412:
1408:
1404:
1400:
1396:
1392:
1388:
1384:
1380:
1376:
1372:
1371:Toomas Raudam
1368:
1364:
1360:
1356:
1352:
1348:
1344:
1340:
1335:
1332:
1328:
1324:
1320:
1316:
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1309:
1308:Ion Manolescu
1305:
1301:
1297:
1293:
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1285:
1284:interactivity
1279:
1276:
1272:
1271:Eugen Negrici
1263:
1261:
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1247:
1243:
1239:
1238:Transylvanian
1235:
1231:
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1219:
1215:
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1200:
1196:
1193:
1189:
1185:
1181:
1177:
1176:authenticated
1172:
1168:
1164:
1160:
1157:
1153:
1149:
1141:
1139:
1137:
1133:
1128:
1124:
1120:
1116:
1112:
1111:Postmodernism
1108:
1103:
1101:
1100:exact science
1097:
1093:
1092:Georges Perec
1089:
1085:
1081:
1077:
1076:
1071:
1067:
1063:
1059:
1055:
1054:Northrop Frye
1049:
1044:
1040:
1036:
1032:
1031:
1026:
1022:
1018:
1014:
1013:Mircea Eliade
1010:
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981:
976:
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840:
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830:
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813:
807:
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798:
794:
788:
783:
782:Ion Manolescu
779:
775:
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769:
765:
764:Mircea Veroiu
759:
754:
750:
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739:
736:
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725:
722:
718:
714:
710:
706:
705:Romanian Army
702:
698:
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623:
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586:
582:
581:Curtea de aer
573:
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559:
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531:
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522:
518:
514:
513:Brașov County
508:
503:
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388:
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369:
363:
358:
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348:
343:
337:
332:
331:Gheorghe Iova
326:
321:
315:
310:
306:
302:
298:
293:
289:
284:
280:
276:
272:
268:
264:
260:
256:
252:
251:Postmodernism
248:
244:
240:
236:
232:
228:
224:
223:
217:
209:
201:
197:
193:
192:Postmodernism
189:
188:
184:
180:
177:
173:
169:
165:
161:
157:
153:
149:
145:
141:
137:
136:
135:Bildungsroman
131:
127:
126:autobiography
124:
120:
116:
112:
109:
106:
102:
98:
94:
90:
87:
85:Resting place
83:
80:
76:
68:July 12, 1999
67:
63:
60:
56:
52:
40:
36:
32:
27:
20:
3909:
3902:
3897:
3888:
3878:
3874:
3867:
3860:
3836:
3818:
3815:Harold Segel
3797:
3779:
3756:. Retrieved
3751:
3742:
3732:
3704:
3698:
3688:
3678:
3656:
3646:
3635:
3625:
3596:
3591:Segel, p.201
3587:
3577:
3555:
3531:
3464:
3430:
3421:
3411:
3368:
3356:
3346:
3316:
3288:
3278:
3251:Dilema Veche
3249:
3206:
3179:Segel, p.200
3163:
3154:
3144:
3098:
3091:
3086:
3070:
3060:
3038:
3027:. Retrieved
3022:
2996:
2989:Carmen Mușat
2956:
2901:
2892:
2882:
2812:
2774:
2737:
2695:
2636:
2582:
2548:
2450:
2443:
2431:
2400:, Nr. 6/2002
2395:
2290:
2283:
2278:
2267:Sanda Cordoș
2160:
2151:
2147:Ana Cumpănaș
2142:
2138:
2126:
2123:Călin Torsan
2119:Andrei Bodiu
2111:Sorin Stoica
2103:
2098:
2094:
2090:
2086:
2082:
2079:Proză scurtă
2078:
2074:
2070:
2065:
2061:
2057:
2053:
2047:
2045:
2033:
2027:
2021:
2017:
2002:Carmen Muşat
1998:Ion Dumitriu
1993:
1991:
1955:
1945:
1927:
1919:
1893:
1879:
1850:
1840:
1838:
1834:superstition
1821:
1809:
1807:
1802:
1795:
1777:
1768:
1761:Comloșu Mare
1737:Harold Segel
1725:Ana Cumpănaș
1720:
1716:
1715:
1705:("The First
1702:
1693:
1673:
1669:
1668:, the story
1665:
1663:
1642:
1636:
1626:
1616:
1601:Möbius strip
1598:
1587:
1579:
1567:
1566:
1561:
1557:
1553:
1546:
1510:
1507:totalitarian
1495:cinemaphilia
1481:
1477:
1472:
1463:
1454:
1450:
1448:
1434:
1417:
1415:
1405:contributor
1386:
1336:
1312:
1300:conservative
1280:
1267:
1222:
1214:World War II
1207:
1203:kaleidoscope
1175:
1155:
1150:approach to
1145:
1114:
1106:
1104:
1073:
1028:
1001:
970:
956:
942:Bastille Day
937:
931:
903:
887:
883:
871:
865:
836:
826:
801:Dan Petrescu
792:
771:
767:
748:
744:
742:
716:
713:World War II
696:
692:
688:
687:
680:
672:
668:
655:
651:
645:
641:
637:
625:
617:
615:
604:
584:
580:
577:
565:
561:
547:Sanda Cordoș
539:Danube Delta
536:
528:
520:
516:
502:Ion Dumitriu
499:
476:
453:cosmopolitan
434:
430:Iron Curtain
410:
395:
389:
378:
342:Ioan Lăcustă
309:Gheorghe Ene
300:
294:
270:
266:
262:
220:
207:
206:
185:
133:
70:(1999-07-12)
4041:1999 deaths
4036:1950 births
3667: [
3607: [
3520: [
3453: [
3235:Simona Sora
3078: [
2871: [
2817: [
2575:Paul Cernat
2537: [
2377: [
2270: [
2089:(2006) and
1987:picturesque
1979: [
1964:Paul Cernat
1952:Ion Creangă
1908:nationalism
1882:upper class
1868:behind the
1780:Simona Sora
1721:retro roman
1709:Exile"), a
1707:Chronoscope
1631:, and from
1517:authors in
1445:Debut works
1375:Piotr Szewc
1367:Péter Nádas
1258:meteorology
1218:Radu Cosaşu
1167:Sorin Preda
1159:Ioan Groşan
1084:avant-garde
1046: [
1027:, in whose
1017:Marin Preda
989: [
978: [
967:autofiction
963:metafiction
910:fundraisers
867:Contrapunct
858: [
833:Final years
815: [
804: [
785: [
776:and critic
756: [
735:comparatist
727: [
606:sui generis
597: [
550: [
530:July Theses
505: [
371: [
360: [
357:Sorin Preda
345: [
334: [
323: [
312: [
297:avant-garde
286: [
235:autofiction
168:metafiction
130:autofiction
91:, Bucharest
3920:Categories
3770:References
3348:Cotidianul
3029:2022-09-14
2776:Revista 22
2143:Optzeciști
2060:at 28 and
1900:Securitate
1699:antithesis
1578:. Like in
1525:, such as
1468:binoculars
1426:capitalism
1391:dissidents
1387:Optzeciști
1359:Danilo Kiš
1254:archeology
1156:Optzecişti
1152:Neorealism
1148:minimalist
1115:Optzeciști
1107:Desant '83
1066:textuality
872:Optzeciști
793:Optzeciști
656:Optzeciști
652:Optzeciști
647:Desant '83
585:Luceafărul
567:Luceafărul
558:parasitism
543:tour guide
407:Early life
380:Desant '83
320:Ioan Flora
259:Neorealism
255:minimalist
239:textuality
222:Optzeciști
200:Minimalism
196:Neorealism
187:Optzeciști
96:Occupation
44:1950-11-12
3883:, in the
3870:(excerpt)
3863:(excerpt)
2107:Dan Lungu
2083:Zmeura...
1938:strikes.
1852:alter ego
1819:euphemism
1741:docudrama
1690:Timișoara
1686:deserting
1680:for poet
1659:Bovaryist
1655:formalist
1651:mannerist
1515:reportage
1503:Hungarian
1491:etymology
1411:socialist
1349:authors:
1288:demagogic
1275:Modernist
1234:Wallachia
1225:Bucharest
1190:Romanian
1088:lipograms
969:. Inside
876:Stalinism
851:Marseille
812:Luca Pițu
721:Anglicist
441:Bucharest
402:Biography
144:docudrama
117:1970–1999
75:Bucharest
3844:Archived
3758:July 16,
3618:Archived
3570:Archived
3404:Archived
3242:Archived
3053:Archived
2767:Archived
2730:Archived
2688:Archived
2436:Archived
2388:Archived
2163:Fundulea
1886:Fundulea
1521:and the
1499:Romanian
1383:Mati Unt
1323:snobbery
1292:sophisms
1188:interwar
1075:Tel Quel
882:program
843:lymphoma
682:Scînteia
478:Tel Quel
449:bohemian
437:Brănești
413:Fundulea
257:form of
148:dystopia
51:Fundulea
3413:Tribuna
1792:autopsy
1755:writer
1657:" and "
1647:baroque
1621:, from
1572:fantasy
1460:enemies
1439:Marxism
1339:subtext
1315:orality
1294:" and "
1242:romance
997:baroque
626:Junimea
534:life."
247:fantasy
160:fantasy
79:Romania
3829:
3808:
3790:
2121:, and
2042:Legacy
1924:Pisces
1861:satire
1857:Navrom
1826:quinsy
1605:autism
1560:, and
1381:, and
1117:camp.
1037:. The
1015:, and
493:, and
253:and a
172:satire
114:Period
3901:, at
3731:, in
3703:, in
3677:, in
3671:]
3645:, in
3624:, in
3611:]
3576:, in
3530:, in
3524:]
3463:, in
3457:]
3410:, in
3367:, in
3345:, in
3315:, in
3277:, in
3248:, in
3205:, in
3143:, in
3090:, at
3082:]
3059:, in
3023:ZF.ro
2995:, in
2955:, in
2881:, in
2875:]
2821:]
2811:, in
2773:, in
2736:, in
2694:, in
2635:, in
2581:, in
2547:, in
2541:]
2442:, at
2394:, in
2381:]
2282:, at
2274:]
2174:Notes
2006:motto
1983:]
1822:gâlci
1050:]
993:]
982:]
862:]
819:]
808:]
789:]
760:]
731:]
673:SLARS
601:]
554:]
509:]
375:]
364:]
349:]
338:]
327:]
316:]
290:]
156:essay
122:Genre
3827:ISBN
3806:ISBN
3788:ISBN
3760:2022
2032:and
1972:oral
1678:wake
1529:and
1256:", "
1165:and
1127:Pope
1068:and
971:Noii
965:and
948:Work
938:Noii
914:visa
810:and
733:and
671:(or
521:Noii
517:Noii
455:and
366:and
301:Noii
281:and
65:Died
38:Born
3887:'s
1653:",
1635:'s
1625:'s
1615:'s
1493:or
1232:of
1090:of
853:'s
3922::
3907:,
3872:,
3865:,
3821:,
3817:,
3800:,
3782:,
3750:.
3727:,
3714:^
3673:,
3669:ro
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3609:ro
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3541:^
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3184:^
3172:^
3107:^
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3084:,
3080:ro
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3006:^
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46:)
42:(
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