548:("Ion the Spinster"), which causes him some embarrassment for being shared with a Romani man, and therefore crossing a traditional ethnic divide. Nică is shown to be enjoying the work despite the fact that it is traditionally performed by women, but he is irritated by additional tasks such as babysitting his youngest sibling. Disobeying his mother's word, the boy leaves the cradle unattended and runs away to bathe in the river. After recounting the superstitious rituals performed by children during such escapades (such as dripping water from one's years onto stones, of which one is God's and the other the Devil's), the narrator describes being caught in the act by Smaranda, who punishes him by taking hold of all his clothes and leaving him to return naked through the village. This he manages following an elaborate route, from one hiding place to another, and avoiding being bitten by angry dogs by standing absolutely still for a long interval. After reaching his house, the narrator indicates, "I tidied up and cleaned the house as well as any grown-up girl", a behavior earning praises from his mother. The chapter ends with another overview, itself concluded with the words: "I myself was placed on this Earth like a clay figure endowed with eyes, a handful of animated
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909:, a work so not like folk narratives in its intent." In reference to the similarities between the text and the Renaissance tradition, Vianu also noted: "The idea of fictionalizing oneself, of outlining one's formative steps, the steady accumulation of impressions from life, and then the sentiment of time, of its irreversible flow, of regret for all things lost in its consumption, of the charm relived through one's recollections are all thoughts, feelings and attitudes defining a modern man of culture. No popular model could have ever stood before Creangă when he was writing his
424:
762:. The four chapters were produced in several consecutive sessions of writing, separated by lengthy intervals, and were first published as distinct texts. The fourth part was left unfinished by the author's illness and eventual death. Each chapter was the product of an extensive work on the part of the author: by the time its first draft versions began circulating, the author was already known in the literary community for his laborious approach to the process of writing (as notably documented by the contemporary account of
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scraggy" horses, and the despondency which grips him and
Zaharia in front of the unknown. This sentiment is enhanced by the remarks of passers-by, which refer to the poor state of Luca's belongings and gain in sarcasm as the three travelers approach their destination. The account includes the writer's impressions of the Moldavian landscape, and his stated preference for the mountainous landscape of the west, which the cart was leaving behind, to the areas over the
913:, but, surely, neither could the cultured prototypes of the genre, the first autobiographies and memoirs of the Renaissance". According to his interpretation: "Here, as in his stories and novellas, Creangă effects the passage from the popular level of literature to its cultured level, following a strictly spontaneous path by organically developing a talent exercised throughout the past of an old rural culture, now reaching a point where it surpasses itself."
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ultimately reaches his destination, the boy makes his way back to the hoopoe's lime tree and easily ties up the exhausted bird, hiding her in the attic of his house, where it no longer can sing. His deed proves detrimental to the entire community, deprived of its alarm clock, and rumors quickly spread that Nică is responsible. While
Smaranda decides whether she should trust these reports, the boy assesses that his best choice is to sell the hoopoe at the
536:. He proceeds to do so, but his entire scheme crumbles once a sly old man, pretending to assess the bird, releases it from its bonds. As the bird flies back to her nest, Nică angrily demands reparation. He is instead ridiculed by the old man, who informs him that Ștefan is also attending the fair and might be interested in the conversation, thus exposing the boy and prompting him to rush out of the market in fear of more severe repercussion.
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633:. The narrator sketches portraits of his friends, based on their defining abilities or moods: the old man Bodrângă, who entertains the group with flute songs; Oșlobanu, a man of the mountain, can lift and carry a cartload of logs on his back; the handsome David, whose early death is attributed by the writer to excessive effort in learning; the irreverent Mirăuță, who taunts
649:; Zaharia "Gâtlan" Simionescu, a flatterer who can persuade adults to tolerate his daring gestures; Buliga, a priest given to drinking and merrymaking, who is depicted blessing the group's parties. The noisy men tour pubs in and outside the city, their escapades being marked by rudeness, womanizing and even
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volume evidenced "Creangă's genius", which was linked to "the naïve and carefree register of childhood", and therefore implicitly superior to all his other works in prose. The second part's opening (where the narrator refers to his childhood games, to his mother's pets, and to his household oven) has
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This introduction is followed by Creangă's rendition of interactions between his father, depicted as aloof and moody, but often amused by his boy's misbehaving, and his mother, who supervises the children directly and criticizes Ștefan for not following her lead. Indicating that he deserved the often
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beliefs, which he himself had come to share. Following
Smaranda's indication, Nică believed that blond-haired boys such as himself could invoke sunny weather by playing outside on a rainy day, that various dangers could be cursed away, and that marking the human body with soot or mud meant protection
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description of his native area, with a short overview of Humulești's history and his family's social status. The first chapter introduces and focuses on several characters directly linked to Nică's earliest school years: Vasile an
Ilioaei, the young teacher and Orthodox cleric, who enlists him in the
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has sadly been mirroring its face for so many centuries!"), his family and companions, and the local customs related to partying and dancing. His plans about staying home or becoming a monk are shattered by his mother
Smaranda, who angrily invokes her ancestors' reputation in persuading him to leave
390:, where he and his cousin Dumitru are enlisted in a more affordable establishment. This requires adaptation on the part of Nică and Dumitru, both of whom weep once their long hair is shaved off on the new teacher's orders. They are both hosted by a middle-aged woman, Irinuca, in a small house on the
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supplies. These involve "posts", contraptions which are designed to singe one's toes during sleep, and their application manages to alienate the victims, who leave the house on by one. However, the final such attempt produces a scuffle between the two camps, so loud that neighbors mistaken it for a
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The narrative focus then covers the trip from Humulești to the
Moldavian capital: Creangă and Gâtlan are passengers in the horse-drawn wagon of Luca, their neighbor and family friend. The narrator recounts sense of his shame and frustration upon noticing that Luca's "steeds" are actually "weak and
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commented: "even if we take into account that the grown-up will embellish, transfigure, 'enrich' the memories of his childhood, how could we not recognize the sincerity in Creangă's heart-warming evocation of his childhood's village?" Djuvara used the fragment to discuss the structure of
Romanian
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on their quest to find the beautiful princess
Natalia (events which the writer claims to have witnessed himself). This exposition leads the narrator to conclude that the place of his birth "do not live like a bear in its lair". His statement serves to introduce the next period in Nică's life: his
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of the stove, round which mother used to tie a piece of string with tassels at the end of it, with which the cats played till they plopped, the earthen ledge of the stove that I used to cling to when I was learning to walk with my head held high, the place on top of the stove where I used to hide
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cuckoo"). Miserable over having to wake up early every morning to the sound of the bird, Nică exercises his revenge by trapping the bird inside her nest, a time-consuming process which drives the awaiting and isolated laborers to despair. Met with much hostility by his father's employees when he
961:. Manea notes that, through this section of prose, Creangă managed to "perfectly" convey both the "spatial and timely positioning" of his account, "as well as all the details of an ingenuous and restless universe". He contrasts this perspective with another first-person fragment: the opening of
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a problematic book for translations into other languages. A Romanian-to-English topical comparison made by academic Anca Mureșan cautioned: "Creangă's local and popular language poses diverse and serious difficulties to a translator. Among the lexical problems, special mention should be made of
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Creangă's portrayal of the childhood universe as a timeless reality, like his emphasis on tradition, relate to the characteristics of his native village and surrounding region. In Norman Manea's view, the "perfectly recognizable" narrative setting points to "repetitive cycles". Focusing on the
1071:, Constantinescu writes, is a figure among those who educate young Creangă by resorting to "farce" instead of a stern lesson in morals. Other figures she considers relevant for this analysis are Chiorpec the shoemaker, Bodrângă the performer and the various old women who function as healers.
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After a few paragraphs in which he focuses on the serendipitous nature of such outcomes, which serve him to avert producing further damage, Creangă moves on to describe his first employment: pulled out of school by Ștefan, the boy is enlisted in the village's textile trade, and becomes a
612:, where, to his confessed surprise, he reunites with Nică Oșlobanu. Creangă's entry into the school follows the discovery that all his close friends were moving out of Teodorescu's school and leaving him directly exposed to the teacher's severity. He ultimately persuades his father to
730:(where, according to Luca, "the water's bad and wood is scarce; in summer you're smothered with heat and the mosquitoes are an awful torment"). The chapter and volume end abruptly with a description of students from all Moldavian schools gathering into the Socola Monastery yard.
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and an illustration of his abilities as a raconteur. He argued: "The stories are true, but typical, without depth. Once retold with a different kind of gesticulation, the subject would lose all of its lively atmosphere." In contrast, Călinescu's contemporary and colleague
1059:, is able to understand the value of providing his grandson with a formal education. According to Constantinescu: " common sense is also apparent in the field of religious belief, where, as any good Christian in a Romanian village of the mid 19th century, he takes
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Various commentators of the text have focused on the measure of difference between Creangă's account and the actual details of his biography, in particular life within Ștefan's family. According to George Călinescu, the
Moldavian writer actually grew up in a
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infection. Creangă then recounts how, while attempting to cure themselves with frequent baths in the river, he and his cousin dislodged a cliff which rolled down and tore through
Irinuca's household. After leaving Broșteni in a hurry and spending a while in
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seminary teachers with gifts, noting that such presents could effectively spare a student from all learning effort. Parts of the text however insists on the teaching methods employed by the seminary, which involve learning by heart and chanting elements of
625:, and lead the narrator to exclaim: "A terrible way to stultify the mind, God alone knows!" Living far from parental supervision and sharing a house with some of his colleagues and their landlord Pavel the cobbler, the young man pursues a
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The second section opens with another nostalgic soliloquy, which famously begins with the words: "I wouldn't know what other people are like, but for myself, when I start thinking about my birthplace, Humulești, about the post holding the
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finds the narrator's outbursts against the practice of learning by heart to innovative choices Creangă made in his own career as an educator, and especially his support for Titu Maiorescu's theories on reforming the
673:). This ends when all young men are evicted from the house, Creangă himself moving in with a local smith. In spring, it becomes apparent that the Fălticeni school is to be closed down, and its students moved to the
494:. In summer, the boy plans a ruse to steal cherries from his uncle's property, and makes his way into the orchard by pretending to be looking for a cousin. Caught red-handed by his aunt and chased by her through a
564:, restructuring it as the point of departure for an imaginary dialogue the writer carries out with himself. It offers additional detail on the general history of Humulești, an account leading as far back as the
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Niculai Oșlobanu, the boy's father. Enhanced by a quarrel over theological and administrative matters, it culminates with Oșlobanu and his subordinate monks chasing Teodorescu out of their establishment.
355:, noting that his motivations for attending were the promise of a priest's career, the close supervision of his mother, the prospects of impressing Smărăndița, and the material benefits of singing in the
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critic and literary historian, argued that the writing appealed to traditional storytelling, lacking in individuality, and therefore dissimilar to "a confession or a diary." Instead, he believed, the
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household, raised only by his mother Smaranda, who may never have been legally married to Ștefan. Creangă's biographer Dan Grădinaru believes the narrative to reveal Nică as "a loner", and, using
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in 1892 (upon the bequest of the writer's son Constantin). The second such edition was included in the first-ever complete edition of Creangă's work, published between 1902 and 1906 by folklorist
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from Humulești, who's never been handsome before age twenty, wise before age thirty, nor rich before age forty. But neither was I ever as poor as I was this year, last year and throughout life!"
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812:, who probably copied and proofread his manuscript text. The last and incomplete section was probably written during 1889. This was at a time when Creangă was no longer affiliated with
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A topic of interest for critic Muguraș Constantinescu was the regulatory status of old men and women within a Moldavian community in the context of social change, as disclosed by the
187:, and is considered by critics to be Creangă's masterpiece. Structured into separate chapters written over several years (from 1881 to ca. 1888), it was partly read in front of the
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and is assigned to the care of shepherds, but he himself falls ill with what the narrator claims was cholera, and, upon returning home with a high fever, is instantly cured with a
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445:, as well as other games and delights full of childlike fun and charm, I seem to feel my heart pound with joy even to this moment!" The text goes on to recount his mother's
315:; Smărăndița, the intelligent but misbehaved daughter of the priest; Creangă's father Ștefan and mother Smaranda. One of the first episodes detailed by the book relates to
592:, and his apparent despondency when faced with students such as Nică Oșlobanu (depicted as unruly and egotistic). This attitude leads to conflict between Teodorescu and
386:. A while after, claiming insolvency, Ștefan withdraws his son from school. Owing to Smaranda's persistence, the child follows his maternal grandfather David Creangă to
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poems, but spends little time on schoolwork; Trăsnea, who can only learn grammar by memorizing the entire textbook, and who is much upset by the recent replacement of
47:
584:. There follows a detailed rendition of Ghica's opening speech, as witnessed by Creangă himself. The story then focuses on Teodorescu, his methods for teaching
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of its own accord." The narrator uses this as a pretext to describe the things most dear to him in Humulești: the landscape ("the smooth-flowing crystal-clear
993:, who discussed Călinescu's "deformity" of interpreting writers through their work, without separating contexts, and judged Grădinaru's comments as proof a "
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severe punishments applied by his parents, the narrator then details his mischievousness and antics. He recounts his participation in the customs related to
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players in celebrations as noisy as to irritate the settled villagers. The story also shows Nică greedily consuming all the milk his mother leaves out for
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beginning 1881. The first chapter in its original fragmentary version and the subsequent Romanian versions of the whole book open with Creangă's words:
339:). The fragment is also a humorous retrospective account of his interactions with other children, from their favorite pastimes (trapping flies with the
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Much critical attention retrospectively focused on the measure of difference between, on one hand, the originality and subjectivity in Ion Creangă's
924:"does not even exist outside unveiling of an enchanted, traditional, rigorous concreteness". Referring to a text by critic Mircea Moț, who found
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214:, with much insight into the social landscape of his childhood universe, describing relationships between its hero, mainly referred to with his
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Muguraș Constantinescu, "Figures et représentations du vieillir et de la vieillesse dans les contes de Ion Creangă", in Alain Montandon (ed.),
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1177:. A number of new editions of the book saw print at the time, including ones published by the new and eponymous state-run publishing house,
411:, the two boys arrive in the village, where they are welcomed by David's wife Nastasia. She cures their scabies using another local remedy,
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players are chased away by angered householders shows that some peasants preferred a quieter celebration to what was in effect an echo of
454:. The narrator also mentions his regret at not having shown his mother his full appreciation, and refers to childhood as "the merry age".
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rural society in Moldavia, made relatively wealthy by textile enterprises, in comparison to its counterpart in the southern region of
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representative of the structure to whom he belongs and the written universe, intuitively a profane space, a vague imitation of the
769:). Creangă would at times read the individual texts, like his other writings, in front of a public constituted from the members of
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The product of Creangă's work is noted for its relatively isolated linguistic context, often relying on obscure elements in the
544:. It is there that he meets Măriuca, a daughter his age, for whom he develops a sympathy. She jokingly assigns him the nickname
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1185:(the originals of which form a permanent exhibit at Creangă's memorial house in Humulești) and another one with plates by
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opens with Creangă's depiction of his own doubts at having to leave Humulești for the more distant Iași: "A bear will not
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spirits, or bothering Chiorpec the shoemaker to the point where the aging man would punish him by covering his face in
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life and teaching methods has also been linked by literary critics with the larger aspects of his personal worldview.
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The individual texts, including the posthumously-published fourth section, were first hosted by various issues of the
653:. The writer also makes vague mention of his relationship with the daughter of a priest, who becomes his first lover.
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After spending some time being tutored by teacher Iordache, whom the text depicts as a drunk, a sudden outbreak of
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The entire text was first published in book form as a section of the incomplete Creangă reader, edited by Gruber,
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kills his teacher and pushes Smaranda and Ștefan to send their child out of the village. Nică follows the path of
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Another such episode details the boy's trip on the outskirts of the village, sent over to provide food for the
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Creangă's use of numerous terms related to rural life and system, to church service, superstition and so on."
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first became a source for inspiration for various Romanian authors during the early 20th century and the
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fire or an attack by the Austrian troops stationed in Fălticeni (a military presence concomitant to the
249:, imparting Creangă's worldview and regrets. The text itself is noted for its characteristic use of the
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outline "the childhood of the universal child." Assessing that the book adapts the characteristics of
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Such themes were also present in later critical commentary. In a 2000 article, essayist and novelist
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hired by Ștefan and Smaranda. This episode sees the boy's unsupervised encounter with the village
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1154:("The Catechists from Humulești")—deeming it "superfluous" to Creangă's already "dramatic" text.
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leader" and "enlightened man", guided by "the wisdom and balance of the ripe age", who, although
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went through several editions since its 1890s reprint, and came to be seen as a classic of local
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builds on Călinescu's conclusions to assert that the "stable", "serene" and "solar" narrator of
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are to be taken into account, one finds himself in a different country." Folklorist and critic
804:("A dedication to Mrs. L. M."). This is a reference to Livia, daughter of Creangă's mentor and
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The book offers an in-depth account of Ion Creangă's early life in what was then the state of
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reenlistment in school, which this time around is a new institution founded on the orders of
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and, on the other, their debt to the affixed conventions of traditional literary discourse.
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The first section of the book's third chapter follows up on the "handful of animated humus"
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197:. While three of the total four section were published in Creangă's lifetime by the
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himself assessed that the work evidenced "a tension between the individual as a
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and Iași. The narrative flow is often interrupted by lengthy and characteristic
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passage, from an idyllic age spent the remote village of Humulești (now part of
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as recommended by the priest: children were made to sit on a chair known as
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and behaves like a practicing Christian, but does not encourage his wife's
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identified an additional product of Creangă's influence as a memoirist in
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More interest in the text came later in the century, during Romania's
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1926:Între Orient și Occident. Țările române la începutul epocii moderne
359:. School is however abruptly interrupted when Vasile an Ilioaei is
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Nr. 30/2007 (with illustrations by Lívia Rusz and Vasile Socoliuc)
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on the part of Creangă (whose career in the clergy was to end in
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on Smărăndița and the misuse of corporal punishment by a jealous
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plot, he manages to escape when she gets tangled in the plants.
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description of Humulești found in the opening lines, historian
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or specifically rural speech patterns. Such elements have made
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terminology, sees the entire volume as proof of "dethronement
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genre, it includes some of the most recognizable samples of
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Echoes of the book were also found in Romania's neighbor,
1162:("The Childhood of a Ne'er-do-well"), a 1936 novel by the
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of the catechist school would discourage any candidate."
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Creangă's account opens with an extended soliloquy and a
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Istoria literaturii române de la origini pînă în prezent
820:'s literary club, a venue frequented by him and Gruber.
969:, which directly plunges the reader into a universe of
403:, the two children hasten for David Creangă's home in
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reputedly become one of the best known fragments in
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The narrative then focuses on Creangă's time at the
1138:" by Călinescu. The same critic also discussed the
237:town) to rebellious adolescence and training for a
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1067:." The unnamed old man who cheats Nică out of his
2073:Works originally published in Romanian magazines
2068:Works originally published in literary magazines
1134:("The Tale of Childhood")—called "a disgraceful
363:off the street and forcefully drafted into the
167:) is one of the main literary contributions of
1970:, Vol. II, Editura Minerva, Bucharest, 1998.
1399:"The Stylistics of the Parts of the Speech in
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1019:, concluding: "if the mud hut villages of the
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1987:, Vol. II, Editura Minerva, Bucharest, 1970.
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1911:, Clermont-Ferrand, 2005, p. 59-71.
1635:, Swedenborg Press, New York, 2007, p.9.
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948:." Writing in 2008, literary historian
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431:second chapter, in its manuscript form
175:. The largest of his two works in the
1862:"Copilăria: o recuperare postmodernă"
1482:"Ion Creangă între natură și cultură"
621:or entire works of commentary on the
407:. After an eventful trip through the
162:
7:
1909:Presses Universitaires Blaise Pascal
1688:Trecute vieți de fanți și de birlici
1222:subregion, and formerly part of the
932:", literary chronicler and essayist
901:argued: "The character in stories,
842:by adopting colloquial, antiquated,
775:literary society (some of whom were
928:to be "one of the saddest works in
629:lifestyle and is introduced to the
241:priesthood in the urban centers of
656:Creangă's account also focuses on
580:, and presided upon by theologian
25:
963:Adventures in Immediate Unreality
164:[aminˈtirʲdinkopiləˈri.e]
2063:Works originally read at Junimea
1407:Lucian Blaga University of Sibiu
701:The fourth and final chapter of
1694:, Bucharest, 2008, p.127-128.
1211:(based on the hoopoe episode).
1099:discussed the text as proof of
905:and anecdotes recounts himself
566:Polish–Ottoman War of 1672–1676
2058:Romanian children's literature
1798:"Bijuteria de pe Valea Ozanei"
1633:Paganism in Roumanian Folklore
1427:Călinescu, p.481; Manea, p.275
1218:(within historical Moldavia's
1207:as the grown-up narrator) and
484:and trying to blame it on the
51:Cover of the 1959 edition (as
32:Amintiri din copilărie (album)
1:
1027:took the book as a record of
1586:"O monografie spectaculoasă"
697:, which runs across Moldavia
582:Isaia "Popa Duhu" Teodorescu
427:Introductory section of the
18:Childhood Memories (Creangă)
2010:Romanian Cultural Institute
1769:Romanian Cultural Institute
1074:Ion Creangă's depiction of
441:when we children played at
223:Nică al lui Ștefan a Petrei
2099:
1822:; retrieved August 3, 2009
1364:Ornea, p.236; Vianu, p.212
855:Structure, genre and style
742:are, with his portrait of
505:Nică decides to steal the
135:Recollections of Childhood
29:
2004:Translated excerpts from
1152:Catiheții de la Humulești
965:by the interwar novelist
764:experimental psychologist
227:Nic-a lui Ștefan a Petrei
44:
1515:ca vocație și provocare"
1160:Copilăria unui netrebnic
802:Dedicație d-șoarei L. M.
141:Memories of My Childhood
1820:Internet Movie Database
1779:March 21, 2012, at the
1665:Constantinescu, p.62-63
1415:, Vol. V, December 2004
578:Grigore Alexandru Ghica
509:. 1892 illustration by
181:first-person narratives
2083:1880s children's books
1267:Amintiri din copilărie
1246:in the Moldavian SSR.
1200:Amintiri din copilărie
1130:in his own 1909 work,
1115:Tributes and influence
1107:), adding: "Creangă's
1087:through institutional
890:Renaissance literature
866:first-person narrative
698:
513:
432:
335:", after the school's
303:
274:Amintiri din copilărie
156:Amintiri din copilărie
155:
147:Memories of My Boyhood
82:Amintiri din copilărie
53:Amintiri din copilărie
1968:Junimea și junimismul
1401:Memories of Childhood
1126:. It was imitated by
944:act, and therefore a
833:Gheorghe T. Kirileanu
692:
504:
426:
327:with a device called
293:
265:children's literature
2043:Works by Ion Creangă
1840:cu Elisabeta Bostan"
1656:Constantinescu, p.62
1338:Augustin Z. N. Pop,
1095:. Himself a writer,
829:Grigore Alexandrescu
746:(eponymously titled
590:cross-multiplication
323:("White Horse") and
1947:Plicuri și scrisori
1932:, Bucharest, 1995.
1905:Figures du vieillir
1513:Istoria literaturii
1179:Editura Ion Creangă
1132:Povestea copilăriei
1093:professionalization
959:Romanian literature
930:Romanian literature
844:Moldavian dialectal
797:Convorbiri Literare
734:Publication history
409:Eastern Carpathians
317:corporal punishment
255:Moldavian dialectal
204:Convorbiri Literare
185:Romanian literature
78:Original title
57:Editura Tineretului
41:
40:Childhood Memories
2006:Childhood Memories
1867:2011-07-21 at the
1765:"All Those Images"
1741:2012-03-11 at the
1619:Djuvara, p.226-227
1591:2010-11-02 at the
1520:2009-04-12 at the
1487:2009-04-05 at the
1345:2011-07-19 at the
1316:2011-07-28 at the
1309:Gabriela Ursachi,
1205:Ștefan Ciubotărașu
1146:chapter by writer
1144:Childhood Memories
1120:Childhood Memories
1049:Childhood Memories
1021:Danube flood plain
926:Childhood Memories
922:Childhood Memories
907:Childhood Memories
872:, the influential
848:Childhood Memories
818:Nicolae Beldiceanu
785:Alexandru Lambrior
740:Childhood Memories
703:Childhood Memories
699:
514:
433:
429:Childhood Memories
365:Moldavian military
304:
296:Casa din Humulești
261:Childhood Memories
129:Childhood Memories
1900:, Bucharest, 1986
1834:Ingrid Ciofoaia,
1763:Arina Stoenescu,
1732:Nicolae Manolescu
1700:978-973-23-1977-2
1692:Cartea Românească
1478:Gheorghe Grigurcu
1156:Nicolae Manolescu
1029:Romanian folklore
1005:Historical record
950:Nicolae Manolescu
934:Gheorghe Grigurcu
643:Romanian Cyrillic
637:businessmen with
462:'s feast (modern
257:particularities.
239:Romanian Orthodox
193:literary club in
125:
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16:(Redirected from
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1085:local curriculum
983:psychoanalytical
952:argued that the
888:leading back to
886:frame narratives
870:George Călinescu
744:Isaia Teodorescu
675:Socola Monastery
669:and a Moldavian
631:drinking culture
619:Romanian grammar
575:Moldavian Prince
511:Theodor Buiucliu
466:), fashioning a
269:Elisabeta Bostan
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2015:Plural Magazine
2001:
1953:, Iași, 2004.
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1874:Revista Sud-Est
1869:Wayback Machine
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1816:Ion Creangă
1803:Evenimentul
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1311:"Decembrie"
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1197:: the 1964
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301:Aurel Băeșu
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72:Ion Creangă
2078:1881 books
2037:Categories
2020:Nr. 6/2000
1884:References
1272:Wikisource
1220:Bessarabia
1187:Lívia Rusz
1183:Eugen Taru
1105:defrocking
1057:illiterate
756:fairy tale
738:Creangă's
586:arithmetic
349:peer tutor
341:horologion
220:patronymic
216:hypocorism
160:pronounced
61:Eugen Taru
2008:, in the
1930:Humanitas
1818:, in the
1767:, in the
1405:, in the
1261:Based on
1234:novelist
1017:Wallachia
971:modernist
946:sacrilege
942:demiurgic
894:soliloquy
794:magazine
748:Popa Duhu
662:Christmas
610:Fălticeni
606:catechism
570:Austrians
415:extract.
308:nostalgic
281:Narrative
243:Fălticeni
201:magazine
1964:Z. Ornea
1865:Archived
1777:Archived
1739:Archived
1589:Archived
1527:Apostrof
1518:Archived
1485:Archived
1343:Archived
1314:Archived
1136:pastiche
1109:Memories
1080:Z. Ornea
1076:seminary
954:Memories
911:Memories
903:novellas
878:Memories
874:interwar
760:anecdote
627:bohemian
602:seminary
562:metaphor
529:Armenian
452:evil eye
392:Bistrița
388:Broșteni
325:strapped
212:Moldavia
169:Romanian
152:Romanian
92:Romanian
88:Language
2048:Memoirs
1993:7431692
1951:Polirom
1226:as the
1216:Moldova
1166:author
1065:bigotry
987:complex
814:Junimea
808:leader
806:Junimea
792:Junimea
772:Junimea
752:memoirs
542:spinner
492:terpene
487:strigoi
482:souring
470:into a
405:Pipirig
396:scabies
372:cholera
361:lassoed
353:truancy
199:Junimea
190:Junimea
171:author
112:Romania
1991:
1974:
1957:
1936:
1915:
1698:
1639:
1069:hoopoe
635:Jewish
594:parson
525:hoopoe
518:Romani
507:hoopoe
472:rattle
384:lovage
313:parson
177:memoir
102:memoir
68:Author
1871:, in
1842:, in
1800:, in
1745:, in
1595:, in
1524:, in
1491:, in
1349:, in
1320:, in
1250:Notes
1150:, as
1039:pagan
1034:buhai
995:mania
711:Ozana
707:dance
623:Bible
614:bribe
550:humus
527:(or "
477:buhai
413:birch
401:Borca
357:choir
345:crush
331:(or "
121:print
98:Genre
1989:OCLC
1972:ISBN
1955:ISBN
1934:ISBN
1913:ISBN
1696:ISBN
1637:ISBN
1091:and
1061:mass
1053:clan
884:and
827:and
783:and
758:and
693:The
679:Iași
534:fair
496:hemp
438:flue
218:and
195:Iași
2012:'s
1771:'s
1409:'s
1193:by
1001:."
997:of
787:).
677:in
225:or
183:in
144:or
2039::
2026:,
2022:,
2018::
1983:,
1966:,
1949:,
1945:,
1928:,
1924:,
1907:,
1896:,
1892:,
1756:^
1734:,
1690:,
1686:,
1647:^
1631:,
1584:,
1571:^
1480:,
1458:^
1444:^
1432:^
1420:^
1390:^
1369:^
1288:^
1170:.
1044:.
835:.
779:,
722:.
367:.
277:.
158:,
154::
150:;
138:,
1836:"
1511:"
1403:"
1274:)
1270:(
604:(
34:.
20:)
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