Ion Călugăru - Knowledge (XXG)

1956:, and curses which suppose "imaginative power" ("may your mouth move into your ear", "may your copulation last only as long as it takes steam to leave the mouth" etc.). Buiumaș's vindictive mother Țipra is herself a source for these quasi-ritual gestures: when her daughter Blima crosses her, she decides to cut her away from the family, and refuses to ever again mention her son-in-law by name. Buiumaș himself braves a similar treatment when he asks to be enlisted in a non-Jewish school. An old woman encourages Țipra to vehemently oppose his wish, suggesting that 2334:. The eponymous story begins with the boy and his mother inquiring about a possible inheritance from a relative in Japan, and culminates in describing the hypnotic effect of mice swarming around the local post office. One other short narrative shows Buiumaș lecturing his playmates about justice and sin, described by Vasilache as a strange outcome: "A child would have found any other means. That is why the sketches' endings are puzzling, depicting, with stinginess in words and even more stinginess in deeds, a world that is no longer itself." 35: 2317:("Humorless Sketches"), comprise literary portraits and musings. Critic Simona Vasilache notes that such fragments revolve around the author's subjective perception of the world: "Not all the phrases make sense, not all the scenes have depth, that being because Călugăru's search is not one for clarity but, quite the contrary, for the vapor. The sensation of memory, more precious than the reasoned test of memory." The volume, she notes, comprises elements from all the stages in Călugăru's early career, from "the 1715:, and were described by George Călinescu as "tiny biographies of the interior man", with a type of "sarcasm" that echoed the novels of Călugăru's modernist contemporary, Aderca. In Zalis' view, they speak of a "humanity that is hilariously dislocated", but are nonetheless distanced from pure avant-garde scenarios, since Călugăru masks any stylistic tension through "corrosiveness". Instead, Zalis suggests, he had acquired from his years as a leftist journalist the need to weigh events against the opinions of a 2126:, Călugăru owed his promotion "not so much to his literary talent, but to the fact that he had rushed in, like many other intellectuals, writers, artists etc., to support and popularize the new regime's accomplishments." Writing in 2006, Nicolae Manolescu opined: "Nobody speaks today of Ion Călugăru , who was considered a promise during the 1930s. Călugăru's literature was overvalued after 1948 not least of all because of communist sympathies". He dismissed 2400:, noted: " had engaged himself, with short-term profits, but failure in the long run, into an intervention against nature and against the nature of art, but also against his own nature: abruptly moving from eroticism to heroism, he was not recommended for such an enterprise by either his native temperament, his collected life experience, and his artistic means. Together with the other relics of proletkult, 1519:, the first volume published by Ion Călugăru, was also the first of several works to focus on its author's rural background. Several of the stories, reminiscent of Creangă, are jocular accounts of childhood. They include the title work, which shows the youngsters Ițe and Șămă casually plotting to steal the eponymous horses. This stream is combined with more dramatic accounts, such as the piece in which 1916:". The ritual itself is a source for wonder, as is the case with a common wedding, presented by the narrator as an alluring magic ritual. In one chapter, whose symbolism is seen by Călinescu as pointing to "the universality of faith", Mihalache, the local Christian tasked with supervising the burning candles after service in the temple, finds himself thrilled by the spectacle they offer, and marks a 1276: 1249:, which was being secretly prepared with Antonescu's support. Călugăru claimed that this account was British manipulation, suggesting that "if Hitler dared to attack the Russians he would be crushed." Still, Călugăru stood out among Romanian Jews for condemning passive compliance with Antonescu's orders, asking his coreligionists not to recognize the collaborationist 995:, as outlined in one of his columns for the paper, saw in it a synthesis "for all modern experiences". The liberating force of modernity in providing authenticity to artistic expression was voiced by him with the words: "We no longer have our brains in our hearts, nor our hearts in our sexes..." His taste for outspoken rebellion was also manifested during his time at 1968:: "tie up, or else he'll grow up into a ne'er-do-well who will go as far to baptize himself, so as to become an officer. This is how they all are, those who wear uniforms in high school; they all turn into officers. You'll be seeing him running to church with a candle in hand, or riding a horse, ordering our children to be slaughtered." 2267:. Late in 1951, Dumitriu himself had publicly pledged to follow up on Călugăru's example and write the second-ever Romanian book to deal "with the basic sector in our economy, heavy industry." In 1953, as the Romanian literary scene reoriented itself in accordance with the guidelines suggested by Soviet politico 2413:, is one of the "interesting" details "worthy of an honest literary history." Henri Zalis, who took charge of a project to reedit Călugăru's early writings as part of a larger project involving interwar Jewish contributions, complained in 2004 that there was a real danger that writers from Călugăru to 2036:

figures with rebellious impulses". The promise of revolution, coinciding with the protagonist's adolescence, is weaved into a narrative suggesting the growth of radical ideals, their progressive adoption by common individuals. Another hypothetical aspect of the book's politics was advanced by Zalis,

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earned Călugăru the annual State Prize, granted by the political and cultural leadership of the time to works seen as outstanding in ideological terms. By April 1952, the volume had also been included on a shortlist of recent communist literature, which became required reading for industrial workers

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Călugăru's permutations were registered with skepticism by his Surrealist colleagues—notably Stephan Roll, who criticized Călugăru's positioning in a 1934 letter to their mentor Fondane. Roll, who noted that his friend had just married a female painter who was both "funny and intelligent", mentioned

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in reference to "materiality": " does not refuse the word of objects and the artist will use things, all sorts of things, in order to complete his act of virtuosity. He nevertheless also discovers their secretive nature, unexplored and unsuspected in everyday life". In the same context, Călugăru and

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of "saboteurs". The author also confesses his dislike for hypocrisy in official discourse and the press, commenting on the "girlish sincerity" of dispatches from the Soviet Union, the PCR's tiny membership in 1944, on the "voluntary work" demanded by communist leaders and its transformation into a

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carriage, the refinement that the apparent vulgarity cannot bring to ruin, the blasé and cynical lechery". In Călinescu's view, the volume errs in not focusing more on such aspects, "but even as such some interior scenes are memorable". The category, he notes, includes the scuffle between cats and

1726:, investigates his actions with objectivity and sarcasm, trying to place his analytical self "behind the door". Frustrated in his attempt to find happiness with a rich American woman, he finds himself settled in a mediocre lifestyle. Henri Zalis argues that, beyond a Creangă-like narrative filter, 1197:

had been shut down. Nevertheless, he also suggested that Călugăru had relied on his trust for Ionescu, who had even "impressed him" with his intelligence, adding: "Călugăru never had the courage of taking a clear stand. He is rather humble and a victim of all those generations of persecuted people

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As his private diaries show, Călugăru had a complex relationship with Ionescu. Literary historian Cornelia Ștefănescu, who researched the notebooks, described the 1930s Călugăru as a suspicious and insecure intellectual, and noted that this character trait somehow affected the contacts between him

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the depiction is still shy or ruined by Surrealist methods. Still, even at this stage one will be struck by this strange, almost peasant-like, world, comprising forecarriage drivers, millers, porters, cabmen, water-carriers, shepherds, vagrant children, talkative old women." The same commentator

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further suggested that Călugăru, like Sebastian, ended up being "overwhelmed" by Nae Ionescu's charisma. The verdict is echoed by Cernat, who notes that, contrary to popular belief, Ionescu still had his admirers on the left. According to Cernat, Călugăru married his respect for Ionescu with his

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writers, Călugăru threw his support behind a literary movement that viewed itself as both urban and innovative, theorizing connections between the creative human and the modern rhythms of technology. His interest in cutting edge modernism was also leading him to explore the world of cinema, as a

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The diverse allegiances affected Călugăru's literary work, being reflected in a new series of works, many of which were urban-themed and distinctly modernist. According to Crohmălniceanu's classification, the subsequent works fall into two main categories: on one hand, the urban-themed modernist

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is presently interesting at most as a symptomatic study case for an as yet virtual sociology of literature." Lăcustă also noted: "After four and a half decades, can perhaps only be read as a literary document of its epoch." In contrast, others have defended the interwar Călugăru as a writer of

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and so on, that are perfectly distinguished. This initiative grants the author a first-rate role for whoever shall wish to find out how the Jews of these places were living decades ago, in most communities that were attractive in ethnographic, social and sacrificial terms, thereafter exposed to

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Literary critic Iulia Popovici described the novel as propaganda to legitimize "the socialist present", also noting that it was the only such work in which the two dominant themes, "constructing socialism in the village" and "constructing socialism in the city", overlapped. Literary historian

1658:, who noted that all these authors had matured before Urmuz was even discovered by the literary establishment, and as such that they could not be considered Urmuz's pupils (an assessment described by Cernat as "singular, although somewhat amendable"). In contrast, Perpessicius' colleague 2471:

wrote: " asks if Ion Călugăru has an echo among us, today. Upon being told that this isn't the case, he turns grim. He says he regrets, he never knew, he could not predict that, in one way or another, sooner or later, one's mistakes are paid with the others' indifference and silence..."

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also drew attention for their portrayal of socialist rebelliousness and their overall advocacy of leftist values. According to Pericle Martinescu, these works "revive" the Romanian novella genre, reconnecting it with its sources and evidencing a storyteller of "accomplished talent".

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and, through him, made new contacts with Fondane, who had himself embraced Surrealism but was living at the time in France. The three were in correspondence, and, according to Roll's testimony, Călugăru was making efforts at establishing Fondane's reputation at home by reviewing his

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that he carries within him. I tried to bring him over to my side, I tried to reach out my hand. He took distance. Ever since, I've been leaving him be, I rarely see him, but I pity his fate." The secret reports signed by Mihail Dan describe Călugăru's gradual distancing from the

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According to Ovid Crohmălniceanu, Călugăru produced "the most substantial" literature among those interwar modernists who drew inspiration from observing isolated social environments. The peculiarities of his preferred settings are underlined by Călugăru's many references to

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and his antisemitic employer—although Călugăru accepted Ionescu's invitations to supper, he feared that the far right figure was secretly despising him. In 1937, he described Ionescu as vain and ambitious, a portrait completed in 1949 with verdicts such as: "intelligent and

320:, Călugăru had doubts about the new political realities and commented with sarcasm on the regime's self-contradictions. These opinions were expressed in his private diaries, which became the subject of research and public scrutiny some fifty years after his death. 1677:, Crohmălniceanu suggests, Călugăru was outlining a "cosmic and apocalyptic" vision indebted to "Expressionist aesthetics" and composed with "remarkable consistency and originality". In Crohmălniceanu's view, the book served to illustrate Călugăru's period with 1952:, sourced from a common oral culture and together reflecting "a bitter life experience". Samples of this include sarcastic references to children as "rats", or useless consumers of food, the expressions of "aggressive pride" on the part of paupers surviving on 2248:) of not publishing his contributions so that they could later attack him for a displaying lack of motivation. The jaded author came to express a private wish of blocking out the world of politics and dedicating his entire energy to the creative process. 1222:(otherwise known for his far right sympathies). However, the Antonescu government included his name on a list of banned Jewish authors, which was circulated throughout the country. Sebastian, himself marginalized for his ethnic origins, recorded in his 2321:

exercises of youth" to "lively dialogues, written with good craftsmanship". The stories mark a return to Călugăru's preoccupation with rural and suburban life. They introduce characters who live meager existence on the margin of society, such as the

1108:, who places the "embarrassing scene" in relation to another one of Păstorel's works, Teodoreanu was proud of assaulting his reviewer, whom he called an "ass". In 1932, Călugăru also played a part in the major cultural debate surrounding literature, 1146:

According to Iron Guard member and journalist N. Roșu, Călugăru and Sebastian were among those called upon by Ionescu in autumn 1933, to be informed that the paper was backing revolutionary fascism. Commenting on this testimony, cultural historian

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The author's participation in Socialist Realism nevertheless came with a measure of conflict between Călugăru and other members of the new literary establishment. In the late 1940s, the writer kept a private diary, which documents his trips to

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just as hasty, just as cruel as is the world of , with barbaric shindigs, indifferent to death, living through the pointless momentary torments." These stories rely heavily on documenting the person's imaginary universe, as is the case with

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The dichotomy between Călugăru and his employers was the subject of public debate in the early 1930s, as reported by Vlaicu Bârna. Bârna recalled comments from various journalists, including another one of Călugăru's far right colleagues,

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quality, was more reserved when assessing its content and style, arguing that the protagonist's evolution is "uninteresting". He identified the sources of inspiration for the central narrative as being Creangă's celebrated autobiography,

2330:, shows a female shopkeeper on the night of her husband's death, struggling between closing the establishment to mark his death or keeping it open to pay for his funeral. Other fragments resurrect Buiumaș and some other protagonists of 2154:

analyzed the various echoes of Călugăru's work in the communist media of his day, and concluded that these make him part of a "second circle" of writers accepted by the Socialist Realist establishment, on the same level of approval as

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aspects", and judging them to be "often remarkable", Manolescu added: "Unfortunately, Ion Călugăru does not know how to extract from the specificity of the race and location that human universality that we find in genius writers like

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at a lively county fair. Such details, Crohmălniceanu notes, are completed by Călugăru's recourse to linguistic resourcefulness in authentically rendering his characters' speech patterns: an accumulation of proverbs, idiotisms and

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Ion Călugăru's ultimate affiliation with Socialist Realism was widely interpreted as having produced the weakest section of his work. This critical interpretation was espoused even before the end of communism, during a period of

1784:, under the guise of a lecherous aristocrat named Alexandru Lăpușneanu. The image this character projects is complex, as noted by Călinescu. The literary historian noted that Lăpușneanu blends in him: "the dignity in gossip, the 1290:

as replacements for some banned or fugitive former members who had been deemed pro-fascist. On January 9, 1948, he was made General Secretary of the Writers' Society, and as such second in line to the Society's new president,

2119:, who writes: "To be a leftist used to signify nonconformity; now, quite contrarily, to be a leftist is to show conformism." Moreover, Boia writes, there was "no longer anything specifically Jewish" in Călugăru's attitudes. 2230:", and on intellectuals "who say something other than what they think." Later notes further record the decline of his enthusiasm. Expressing fears that he was being tricked by more senior communists, Călugăru accused his 674:, Crohmălniceanu noted that Călugăru's gradual move toward a Marxist outlook was determined by his commitment to Surrealism. This path, he proposed, made Călugăru a voice similar to those of other left-wing Surrealists: 1134:, logical and a bit insane"; "With great qualities, but dominated by urges which crush his qualities. Wasn't he the one who created the antisemitism of these past years?" Commenting on the same texts, literary critic 2114:

and aesthetic reevaluation. In this context, Crohmălniceanu argued that Călugăru's late works "no longer explore, to their disadvantage, precious lode in Ion Călugăru's literature." This is also noted by historian

2580: 2183:. Călugăru himself sparked posthumous controversy for participating in communist-orchestrated attacks on the work and reputation of authors without ideological credentials. In one such situation, he argued that 3323: 350:, Ion Călugăru spent his early years in relative cultural isolation among the local Jewish community. This environment, which was later the main focus of his literary work, was described by literary historian 2210:

and shows his skepticism about some aspects of communist politics. Documenting the dire social conditions of this time, Călugăru's text includes detail on such aspects as the conspiratorial infiltration of

2541: 4889: 2360:("My Conflict with Portugal"). Vasilache notes: "These are merely projected ideas, grouped together by a not so tightly knit web of a narrative. Random matches, over which blows an avant-garde wind." 1695:. The same critic argued that, while the urban-themed novels were usually radically different in style when compared to the other half of Călugăru's 1930s writings, a crossover was still observable in 1525:Șmaia, unable to impose his paternal will, commits suicide. Călinescu also argued: "The most personal part in the literature of Ion Călugăru is the one dealing with the Jewry of upper Moldavia. In 1185:: "You don't know, but Nae Ionescu does, that without the Jews there can be no press." By 1936, the fascization of the Romanian national press made such contacts highly improbable: in early 1936, 485:, Călugăru published some of his first autobiographical fragments, which were later integrated in some of his novels. The aspiring writer was focusing his work on prose pieces largely inspired by 2287:

activists, who are nothing other than diagrams, not in any way distinguished one from the other". Similar criticism had been voiced a year earlier by communist politician and literary chronicler

2436:, notes that many of his short stories and novels incorporated real-life stories told by his elder Ion Vinea. Vartic concludes that one such short piece, published by Dumitriu under the title 1734:

life and for a rekindled passion. Călinescu assessed: "When he moves on to the urban society, Ion Călugăru no longer maintains the same density of vision, being stalked about by that sort of

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magazine. Lovinescu was a teacher at Matei Basarab, and decided to give employ his student as an editor and book reviewer. He is credited with having coined and assigned Croitoru the pen name

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poetry. Călugăru's social networking with the avant-garde also earned him a profile among Bucharest's informal avant-garde salons. According to the personal recollections of art historian

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makes a habit of frightening Jewish children; the beggar Moișă Lungu recounts macabre stories whereas the local Jewish women are fascinated by the short passage through the region of

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of his Moldavian birthplaces: several exegetes have argued that the various short stories published by Călugăru in the 1920s display the influence of Romania's classical storyteller

1687:" as defined by Ion Vinea: like Vinea and Costin, Călugăru believed that objective prose was the object of journalism rather than literature, and, while his two colleagues explored 555:. Later that decade however, he parted with this group and began working with the original representatives of Romanian Surrealism, contributing his works to publications such as 2255:

among those of first-generation Socialist Realists who had not shown themselves to be productive enough, and who had isolated themselves from the proletariat. Before that time,

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opposition centers by PCR operatives, the party's close surveillance of factory workers, and Călugăru's own questions about "labels" such as the regime's self-designation as a "

2279:. Frunză's official report, formed around Malenkov's theories about literary types and naturalness in Socialist Realist literature, argued: "The reader of Ion Călugăru's book 1272:

calls the other participants "nonentities", and the gathering "a mixture of desperate failure, thundering mediocrity, old ambitions and troubles, impudence and ostentation."

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gives rise to an alternative political voice. The latter event marks an important step in the spiritual evolution of Buiumaș, who, like the author himself, is a supporter of

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as novelists prone to illustrating Jewish specificity was already manifesting itself in the period after the novel saw print. Although an admirer of both Călugăru and Peltz,

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contains Ion Călugăru's "hunger for fairy tales and pranks". Erdora and Monis are former lovers who reunite with each other, but who find themselves unable to exchange their

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was then made a member of the editorial staff, "nobody left, perhaps thinking that this was a temporary tactic". The writer additionally met with young members of Ionescu's

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entry for June 19, 1941 a chance encounter with his former colleague. The fragment presents Călugăru as "the same small, nervous, confused, hysterical, obsessed man from

4764: 1500:, who similarly mixed traditionalist and modernist influences, and who significantly affected their stylistic choices. While discussing Călugăru and Fondane's roots in 4859: 2326:

Mahmud, hanged on cherry tree, and the philosophical Jewish salesman Șmelche. One piece, believed by Vasilache to echo the sketches of Romania's 19th century classic

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s pages, he also finds that they show the manner in which Călugăru blended his communist sympathies with political ideas from opposite sources: the philosophy of

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was for sure able to note that the author is able to individualize certain negative characters. In contrast, the reader will encounter in the same book some six

1468:, and, during the repressive communist regime, to a massive uprooting." In several instances, these sources of inspiration were intertwined with influences form 2313:

pieces, which are the last stories ever published under Ion Călugăru's name, do not comply with the Socialist Realist canon. The volume's first section, titled

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desk. Călugăru later filed a legal complaint against his alleged aggressor, claiming that Păstorel had also made death threats against him. According to writer

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The leftist politicization of Romania's avant-garde and its connections with a banned party soon alarmed the political establishment: like other members of the

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in depicting scenes of Jewish life. Some such aspects relate specifically to the minute characteristics of Judaism as practiced in a provincial community: the

1753:, the hunchback hero, Pablo Ghligal, finds himself an object of female erotic and morbid curiosity, but is nevertheless marginalized socially. Călinescu found 1666:

in works they wrote well into their careers. According to Cernat, Călugăru's texts, like those of his various colleagues, have assimilated the "Urmuz effect".

393:, but lived precariously—his family lacked the means to support him. According to his friends' testimonies, he was still noticeably poor, well into the 1930s. 4759: 2212: 4689: 2576: 2428:

During the Ceaușescu years, Călugăru's rival Dumitriu also parted with Socialist Realism and began writing more unconventional stories. Literary historian

4869: 4789: 390: 316:, widely seen as one of the most representative samples of politicized literature to have seen print in 1950s Romania. Despite his formal affiliation to 999:. The magazine, deeming him "the pawn of 20th century literature", published his 1928 appeal to the population of his native Dorohoi, reading: "You are 759:. This resulted in a sizable personal file, which informed on not just his underground connections but also, reflecting the secret policemen's personal 3127: 1286:

Shortly afterward, as the PCR gained momentum with Soviet support, Călugăru was one of the ten authors to be instated or reinstated as members of the

1943:. An episode, seen by Henri Zalis as reuniting the book's "ingenious characters" and "infantile mystique", shows the encounter between Buiumaș and a 1575:. Vinea's review stated: "Ion Călugăru reties the thread leading all the way back to Creangă, and in such conditions as to exclude the accusation of 4884: 4694: 4604: 3406: 2832: 4243: 1546:

attendants and the tailors do not manage to shatter the image of an autochthonous village. Only the candle lights visible inside houses , the old

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Other authors have retrospectively questioned Călugăru's overall value, taking in view his political status. According to historian and novelist

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in creating the Union of Jewish Writers. The inaugural meeting, held in Dorian's residence, was attended and poorly reviewed by Sebastian. His

901:' circus acts, were especially relevant for understanding the modern public's tastes. In 1933, Călugăru was to publish the first-ever Romanian 34: 4000: 3497: 2765: 1567:

and Fondane, who found them compliant with their ideal of authenticity, and who praised their return to originality through the mechanisms of

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than one notices in all Jews who are not tied down to a certain specificity. Despite all that the writer is always valuable." Commenting on

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dogs inside the manorial estate, the visit paid by Lăpușneanu's scantly clad wife to a battlefield, and the comedy surrounding Lăpușneanu's

4814: 4784: 4699: 3655: 2299:. In Macovescu's opinion, the text "is not a reportage, but an article not yet woven, or a fragment from a report not so well researched." 1238:, and another one about Charlie Chaplin for both theatre and cinema, using a new technical formula. He has also written a book of poems in 3289: 1880:

The book explored further Călugăru's connection to his Jewish Moldavian homeland, producing the personal history of an early 20th-century

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and imitation." Călugăru's own pronouncements echoed this modern recovery of primitive tradition, seen as universal rather than local; in

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to be Călugăru's "moral autobiography", interpreting the hump as an allusion to the difficulties faced by Romanian Jews before and after

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is disrupted by the intrusion of a cow, while synagogue life is interrupted by what George Călinescu refers to as "the tiny comedies of

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Călugăru's subsequent work in the novel genre was considered important, but less accomplished than his novellas, by literary chronicler

1553: 1088:. This assignment made Călugăru a main protagonist of a 1929 scandal. It was sparked by his highly critical and sarcastic reception of 1030:

Despite gravitating around the radical left and the artistic avant-garde, Ion Călugăru pursued his collaboration with the increasingly

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movement was a model to follow in setting up a "new" theater. While Cernat rates such contributions as among the "most philosoviet" in

4834: 4769: 4739: 3933: 4799: 4724: 4633: 4612: 3582: 3549: 3414: 3194: 2629: 4275: 2011: 1851:, also commented on its "extraordinary coherence", while Henri Zalis spoke of it as "excellent" and "stirring". Literary historian 207:; February 14, 1902 – May 22, 1956) was a Romanian novelist, short story writer, journalist, and critic. As a figure on Romania's 4774: 4749: 3596: 2188: 2138:", and suggested that the writer may have thus been seduced by the idea of revenging his own persecution by wartime antisemites. 1780:" and "sexual aberrations" omnipresent. This part of the book is also thought to include a portrait of Călugăru's former patron, 99:

novelist, short story writer, dramatist, journalist, film critic, art critic, literary critic, theater critic, screenwriter, poet

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Through Ghilghal's sexual affairs, readers are introduced to a world of vice and opulence, where, Călinescu notes, people are "

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was being recommended as a major accomplishment of the new literary school, in articles by Socialist Realist critics such as

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dissolved itself before Călugăru could deliver his planned conference (on the life and work of Romania's traditionalist poet

220: 4357: 633:(at the time a high school student debuting on the social scene), Călugăru frequented the same social circle as cartoonist 4734: 4729: 343: 81: 1598:—and technology". He added: "The people's creations have known no dialect, but tended toward universality. Therefore: an 4864: 4849: 4819: 4804: 1380: 1304: 1287: 2918: 1638:, reworking themes borrowed from classical works of literature, in a manner also employed at the time by his colleague 396:

Together with Fondane and Pană, he was one of the regulars at the literary parties hosted by controversial businessman

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ritual, Henri Zalis suggests, gives a respectable, mystical, air to what is a slow-moving and decadent, but "unique",

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dropped its left-wing agenda and sacked its Jewish contributors, Călugăru included, and embraced Iron Guard politics.

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would be forgotten by the public, "pulverized" by literary historians, their work "degraded by antisemitic hawking".

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as Călugăru's "one legible work". Henri Zalis commented on the mutation of Călugăru's "playful" spirit into "diffuse

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into a venue for dialogue between far right and Marxist intellectuals, also befriended the PCR member (and suspected

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journalist, recalling his surprise that Călugăru's everyday vocabulary seemed to be quoting avant-garde stories by

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and tracing the biographies of its principal inhabitants. The result was described by Crohmălniceanu as "an actual

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issue. He preserved his editorial position up to 1934, when the newspaper was abruptly banned by the government of

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after its 1923 relocation to Bucharest. While Maxy became the Troupe' designer, Călugăru directly assisted manager

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Ion Călugăru's Socialist Realist work, like other writings by his peers, fell out of favor in the 1970s and '80s:

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The dossier also includes the denunciations provided by Sergiu Dan's brother, Mihail, who had infiltrated the

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leadership entirely discarded earlier expressions of socialist literature, and removed most of them from the

4879: 4829: 4562: 2022:, with the arrival of foreign intervention forces, fascinate the locals; and, ultimately, the effect of the 1659: 1627: 1477: 921: 4500: 2081:("Unemployment Regardless of Race"), one of only two such pieces ever to be published by the pro-communist 4575: 2027: 2019: 1611: 1257: 1093: 1085: 508: 351: 4493: 4480: 4448: 4416: 4366: 4316: 4284: 4252: 4106: 4005: 3750: 3664: 3605: 3506: 3440: 3360: 3298: 3248: 3203: 2927: 2886: 2655: 1345: 2452: 2296: 2000: 1790: 1434: 1376: 1279: 973: 790:

group from an interpersonal perspective: Mihail Dan alleged that Roll, together with his fellow writers

775:

operatives therefore found cause for concern in one of Călugăru's mocking essays, targeting Nazi leader

699: 248: 4240: 3344: 1902:

between the autochthonous element and an age-old foreign tradition". The text makes heavy use of the

1711:—in the latter two, around the theme of "the ghetto condition". Such works introduce motifs related to 1639: 755: 4350: 2094: 4684: 4679: 4596: 4464: 2572: 2468: 2393: 2377: 2369: 1684: 1489: 1465: 1246: 877:. This activity too evidenced his political advocacy: Călugăru's articles described film as the new, 208: 4592: 4300: 3239: 2241: 2192: 2030:, and, according to Crohmălniceanu, expresses this by showing sympathy toward Moișă Lungu or other " 1395:

Ion Călugăru died in Bucharest only four years later, on May 22, 1956. His unpublished novellas and

1135: 985: 4540: 4211: 4171: 3938: 3807: 3494: 3431: 3380: 3183: 3132: 2837: 2770: 2646: 2264: 1965: 1758: 1481: 1469: 1077: 1066:, which acted as a mouthpiece for left-wing intellectuals, many of them Communist Party favorites. 1045: 957: 870: 486: 424: 420: 2911: 2537: 2276: 2123: 2057:("Overcoats and Nothing Else"), in which Crohmălniceanu identifies the influence of Soviet author 1845:. The volume received more high praise from Ovid Crohmălniceanu, who, suggesting it constituted a 1315:, and as such a pillar of "the new literary order." His early contributions include a stereotyped 1202:

group, congratulating him, Brunea-Fox and Voronca for having taken their leave from "the cloaca".

742:, and had personal contacts with various leftist organizations representing the Jewish community. 654:, Călugăru also sent his work to be published in more radical magazines sponsored by the outlawed 630: 4638: 3996: 3791: 3541: 2373: 2327: 2037:

who suggested that it outlines the strategies of survival of interwar Jews braving antisemitism.

1842: 1670: 1559:

Shortly after being published, the narratives were positively reviewed by Călugăru's mentors and

1445:

character: "The narrator composes a veritable spiritual census of ceremonies—births, weddings,

1438: 1349: 1308: 1230:", who "speaks terribly fast, without even looking to see whether you are listening or not." The 750: 601: 511:, suggests that Călugăru may have tried his hand in this field only because he needed the money. 358:

life", but made distinct from other environments for being both Jewish and Moldavian. Researcher

286: 61: 4432: 3652: 2866: 2429: 2397: 2245: 1375:

region, where, beginning 1948, Călugăru had been sent to cover the erection and inauguration of

439: 4400: 4268: 3490: 3282: 2410: 2151: 874: 409: 4660: 4646: 4629: 4608: 4583: 4566: 4531: 4090: 3578: 3545: 3456: 3410: 2728: 2625: 2584: 2323: 2284: 2143: 2062: 1957: 1917: 1852: 1712: 1300: 1296: 1182: 1157: 1060:

in 1933. At around the same time, he was also employed as an editor by the literary newspaper

1007:

contributors, Călugăru offered praise to the older and more influential poet and prose writer

981: 898: 727: 593: 585: 313: 301: 297: 272: 191: 175: 2483:, Maxy illustrated with sketch-commentaries several of Călugăru's prose fragments, including 2405:

talent. This is the case of Simuț, who notes that Călugăru, like his Jewish cogenerationists

1441:, who comments on the books' mix of grotesque, comedic and tragic elements, also notes their 1388:

at various locations in Romania, and the pretext for politically maneuvered "enlightenment" (

4617: 2716: 2288: 2176: 2032: 2010:

society contrasts with episodes which introduce history in the form of major upheavals: the

1976: 1831:

to be "of a perfect stylistic maturity", comparing the narrative to a "vast mural" with the

1766: 1599: 1426: 1344:. Perceived as an authority on ideological matters, he was one of the publicist employed by 1239: 1235: 1062: 1053: 597: 523: 363: 317: 838:("From Five to Five"); on the other, the writings with rural or mixed rural-urban subjects— 4548: 4504: 4475: 4443: 4411: 4361: 4305: 4279: 4247: 4101: 3802: 3659: 3600: 3533: 3501: 3355: 3293: 3198: 2922: 2881: 2724: 2268: 2197: 2074: 1936: 1735: 1716: 1635: 1501: 1074: 1012: 969: 894: 626: 490: 461: 454: 450: 371: 212: 115: 3319: 3187: 2464: 1762: 1552:-wearing men on their way back from the synagogue, book in hand, everyone's allusions to 1105: 881:

and revolutionary, means of expression, the myth of a society in the process of adopting

791: 386: 4272: 2440:, is an "erotic farce" played on Ion Călugăru at some point during the interwar period. 1433:, in which critics have seen the backbone of Călugăru's originality within the realm of 968:. Both Maxy and Călugăru were however more directly involved in the promotion of modern 2252: 2184: 2180: 2168: 2164: 2111: 2098: 2050: 1980: 1770: 1603: 1473: 1292: 1219: 1117: 1003:! Only one of you ever had the audacity of wearing his goiter on his face." Like other 929: 683: 634: 435: 244: 232: 171: 3593: 1807:. The first of three semi-autobiographical novel tracing the early life of Călugăru's 1594:, he defined tradition as: "the people's intelligence, freed from the eternal natural 698:

locally; but also that it made him stand in contrast to younger Surrealists who chose

4673: 4436: 4175: 3795: 2650: 2444: 2422: 2380:. Călugăru's books of the 1950s were reevaluated critically especially following the 2237: 2172: 1847: 1679: 1654:. This view was criticized by Călugăru's contemporary, modernist literary chronicler 1587: 1505: 1497: 1321: 1215: 1162: 1008: 965: 937: 703: 679: 551: 504: 466: 405: 253: 240: 163: 158: 152: 120: 4311: 3243: 1509: 4625: 2414: 2389: 2156: 1891: 1742:, he concluded: "Sarcasm barely covers the everyday ugliness, the thirst for great 1731: 1655: 1647: 1643: 1430: 1396: 1372: 1218:

regime, reportedly shielded from reprisals by his friend, the influential novelist

1211: 1152: 1097: 977: 942: 776: 768: 760: 687: 675: 621: 580:

and political ambiguity to side with what was the more radical and most explicitly

429: 267:, a tribune for avant-garde literature in general. Although publicly known for his 137: 3460: 1568: 514:

By January 1923, Călugăru was becoming involved with Fondane's theatrical company

4354: 1979:

was alarmed by this trend, and feared that his own novels, which focused on more

4554: 4519: 3376: 2828: 2761: 2406: 2260: 2232: 2116: 2058: 2015: 1996: 1991: 1961: 1903: 1874: 1833: 1572: 1493: 1442: 1330: 1265: 1261: 1174: 1113: 1041: 1036: 961: 886: 878: 707: 667: 577: 401: 378: 367: 359: 290: 277: 224: 216: 1890:

of humanity", depicted with "unusual sensory acuteness" and the "suaveness" of

606: 3465: 3385: 2476: 2433: 2418: 2220: 2135: 1650:, Călugăru was thought by some to be indebted to the early avant-garde figure 1607: 1109: 1081: 992: 946: 638: 589: 573: 503:

protagonists. Cernat, who sees these writings as indebted to the more popular

236: 167: 2622:

Istoria debutului literar al scriitorilor români în timpul școlii (1820-2000)

924:. This ideological set was interpreted by Paul Cernat as an indirect echo of 444: 2915: 2292: 2207: 2160: 1887: 1838: 1816: 1808: 1692: 1663: 1576: 1564: 1539: 1447: 1275: 1234:

mentions Călugăru's wartime literary projects: "He has written a play about

1031: 916:

traditions in drama, he demanded the incorporation of elements from cinema,

902: 890: 802:, leading into an explicitly communist and artistically inferior direction. 795: 786:

group. His notes document the conflict between Vinea's publications and the

735: 731: 691: 645: 581: 546: 382: 268: 141: 125: 77: 4468: 2492: 2226: 2187:"was no genius, and his books are far from reaching the value of those by 1662:

included Călugăru among those modernists who incorporated Urmuz's brand of

1496:, both Călugăru and Fondane had participated in creating "a true cult" for 576:

as administrative director. In doing so, he broke with Vinea's moderation,

414: 308:. During this final period of his career, he wrote the controversial novel 4587: 3435: 3348: 2870: 2732: 1299:, Ion Călugăru began moving away from his modernist themes, and closer to 4180: 3589: 3538:

Hitler's Forgotten Ally: Ion Antonescu and His Regime, Romania, 1940-1944

3398: 2467:. Recalling her 1971 meeting with Eliade on American soil, Romanian poet 2318: 1972: 1932: 1921: 1777: 1630:. The early products of this new preoccupation were prose fragments like 1595: 1485: 1312: 1148: 1011:. In Călugăru's case, this fused with admiration for Arghezi's outspoken 925: 827: 572:

s editorial staff, alongside writers Brunea-Fox and Voronca, with artist

347: 2766:"Măștile ludice ale lui Julian Barnes sau Comedii polițiste de moravuri" 4404: 2496: 2347: 2065:. Another such prose work from the period focused on the communist-led 1913: 1908: 1899: 1895: 1812: 1422: 1316: 1140: 1131: 1049: 941:

Maxy called attention to artistic developments taking place inside the

917: 913: 764: 671: 584:

tendency among young writers. In 1932 however, Călugăru was, with poet

404:

society of Bucharest. Their informal literary circle played host to by

334: 282: 133: 57: 1328:

At around the same time, Călugăru also began working as an editor for

988:

in running the company, becoming secretary of the artistic committee.

644:

In tandem, he was building connections with the militant socialist or

545:

Shortly after this period, Călugăru became one of the contributors to

526:). His actual editorial debut came later that year, when he published 4094: 3745: 1882: 1743: 1688: 1521: 1459: 1000: 715: 499: 338: 4524:

Capcanele istoriei. Elita intelectuală românească între 1930 și 1950

4497: 2581:

Elie Wiesel National Institute for Studying the Holocaust in Romania

1894:'s paintings, inviting readers into a universe at once "tough" and " 1161:

circle, befriending the young Orientalist, novelist and philosopher

749:

faction, Călugăru was constantly monitored and informed upon by the

2251:

In 1952, Călugăru's name was cited by official novelist and critic

1334:, the main PCR platform, while still writing for the pro-communist 1048:, noting that Călugăru's work for the paper predated an explicitly 920:

or the circus, while calling on actors and directors to prioritize

763:

tendencies rather than official policy, his publicized critique of

2460: 2384:, with which came the end of Romania's communist period. The 1995 2345:("The Holiness of Veniamin the Jew")—described by Vasilache as "a 1949: 1944: 1785: 1651: 1548: 1453: 1080:

for offering support to the violent fascist movement known as the

613: 129: 2543:"Uzina care încearcă să gonească morții". Note nepublicate (1948) 1971:

The public's tendency of defining Călugăru, and his contemporary

1256:

Călugăru found himself promoted by the new authorities after the

231:("The Childhood of a Ne'er-do-well"), bring together elements of 2451:, written during Eliade's self-exile and teaching career at the 2271:, the same book was officially criticized, on the behalf of the 1953: 1295:. In the years after 1944, and especially after the creation of 1245:

Sebastian wrote that his friend was dismissing rumors about the

285:

circles, and had an ambiguous attitude toward his employer, the

4643:

Literatura în totalitarism. Vol. II: Bătălii pe frontul literar

4013: 2475:

Călugăru's texts affected the visual experiments of his friend

1348:, a state-run institution which exclusively published works of 362:

also noted that Călugăru, like his future Surrealist colleague

1504:

tradition, Cernat noted that both writers also moved toward "

1052:

agenda, drew attention to the fact that Călugăru and novelist

561: 304:

and became and made official his relationship with the ruling

259: 2202:

as "an enormity" in terms of "servility and philosovietism".

1765:

suggested that the true story at the basis of the book was a

1379:. Sponsored in part with money from the Literary Fund of the 4607:, Éditions Paris-Méditerranée, Bucharest & Paris, 1999. 1484:

found them reminiscent of, but superior to, the writings of

1355:

His works for the period include the short story collection

912:, he also contemplated a new role for theater. Shunning the 16:

Romanian novelist, short story writer, journalist and critic

1983:

themes, would be ascribed to the same category. Reviewing

460:

B. Croitoru received his first encouragements from critic

3329: 2547: 2142:, Zalis thought, was a "rudimentary appendix to forceful 928:, particularly given its "optimism" and its sympathy for 4559:

Avangarda românească și complexul periferiei: primul val

4545:

Istoria literaturii române de la origini pînă în prezent

2097:, as one of the positive examples in Romania's emerging 1769:

landowner, known to Călugăru from the anecdotes told by

1116:, voicing his opinions on the first Romanian edition of 1803:

A similar mix of environments and styles is present in

1403:

colleague Sașa Pană, who released them under the title

1069:

Călugăru regularly published two or three articles per

4890:

Jewish Romanian writers banned by the Antonescu regime

1311:

describes him as one of the first Romanian authors of

4241:"Literatura contemporană în manualele anilor '60-'80" 2432:, who proposes that Dumitriu built his new career on 1746:. But such a theme requires more lyrical suaveness." 1260:

overthrew Antonescu. On September 1, Călugăru joined

1193:

the financial difficulties Călugăru was facing after

4657:

Literatura și artele în România comunistă. 1948-1953

3819: 3817: 1151:

concludes that, even though the Iron Guard activist

611:, a member of the editorial staff for Vinea's daily 4580:

Literatura română între cele două războaie mondiale

4176:"Insula lui Mihail Sebastian. București, 1939-1944" 3495:"Liviu Rebreanu: o conștiință politică vulnerabilă" 2854:, p.239-244, 413; Crohmălniceanu, p.65-66, 166, 346 1556:, allow one's eyes to identify the distinct race." 1092:("The Golden Pomegranate"), the play co-written by 932:. The taste for pantomime evidenced by most of the 147: 111: 103: 95: 87: 67: 44: 21: 2291:, in reference to Călugăru's contributions in the 1898:". At the core, the same critic argued, was: "The 1513:" in either prose (Călugăru) or poetry (Fondane). 834:(1934), alongside the 1935 short story collection 710:). Around 1937, Călugăru was also a columnist for 530:("Cibicioc's Horses"), a volume of short stories. 2073:("Master, Give Me the Girl!") was, together with 734:"). He was also a sporadic contributor to writer 366:, illustrated the Jewish section of the Romanian 4705:20th-century Romanian dramatists and playwrights 2455:. Eliade notably describes his meeting with the 2443:Mentions of Călugăru's life are also present in 1626:, Ion Călugăru also began his relationship with 223:, to which he belonged, with traditionalist and 4130: 4128: 4063: 4061: 4059: 3784: 3782: 3780: 3653:"Literatură și propagandă: Editura Cartea Rusă" 2715:Paul Daniel, "Destinul unui poet", postface to 1371:. The latter was based on extended visits into 1056:were two of some eleven Jews still employed by 227:elements. His early works, including the novel 3778: 3776: 3774: 3772: 3770: 3768: 3766: 3764: 3762: 3760: 2821: 2819: 2817: 2815: 2813: 2811: 2600: 2598: 2596: 2130:as "mere realist-socialist pulp", and defined 1359:("I Gave the Order to Fire", 1947), the plays 1143:, syndicalist and even communized positions." 648:groups: a contributor to the leftist platform 296:Shortly before the establishment of Romania's 275:inclinations, he was, through his position at 4582:, Vol. I, Editura Minerva, Bucharest, 1972. 3989: 3987: 3424: 3422: 2295:genre, particularly his initial piece on the 1319:about communist strike actions, published by 1165:. Eliade, who saw the opportunity of turning 936:contributors was explained by film historian 8: 4232: 4230: 3232: 3230: 3228: 3226: 3224: 3222: 3037:, p.278, 289; Răileanu & Carassou, p.150 2754: 2752: 2639: 2637: 2388:("Romanian Writers' Dictionary"), edited by 1303:, becoming recognized as one of the leading 1282:in 1952, around the time of Călugăru's visit 518:. His texts were given public readings, but 497:("Old Man Ion Popescu"), short stories with 400:. The three became well acquainted with the 243:over a conventional narrative line based on 4083: 4081: 4079: 4077: 4075: 4073: 3925: 3923: 3737: 3735: 3733: 3731: 3729: 3727: 3725: 3723: 3721: 3719: 3274: 3272: 2833:"Subterana politică a avangardei românești" 2577:Federation of Jewish Communities of Romania 1367:("The Thinking Clown", 1949), and the 1951 620:Around that time, Călugăru befriended poet 263:, was also one of the main contributors to 4207:"Epoca interbelică – refolosirea balanței" 3312: 3310: 3308: 3262: 3260: 3258: 2742: 2740: 1177:, who was by then a friend of Călugăru's. 889:era, trusted that the popularly acclaimed 18: 4710:20th-century Romanian short story writers 3403:Anii treizeci. Extrema dreaptă românească 2624:, Aramis Print, Bucharest, 2002, p.132. 2529: 2527: 2525: 2523: 2521: 2519: 2517: 2515: 2513: 2511: 4765:Romanian male dramatists and playwrights 4146: 4144: 4142: 4140: 4118: 4116: 4049: 4047: 4045: 4043: 4041: 4039: 4037: 4035: 4033: 4031: 3909: 3907: 3845: 3843: 3841: 3839: 3837: 3835: 3833: 3682: 3680: 3678: 3676: 3674: 3635: 3633: 3520: 3518: 3516: 3045: 3043: 2981: 2979: 2977: 2975: 2973: 1274: 251:. Călugăru, who moved from the moderate 4860:Romanian theatre managers and producers 4645:, Cartea Românească, Bucharest, 2008. 4134:Călinescu, p.795; Crohmălniceanu, p.348 4067:Călinescu, p.796; Crohmălniceanu, p.347 3796:"Apropieri de o moștenire diferențiată" 3024:, p.278; Răileanu & Carassou, p.150 2998:, p.225; Răileanu & Carassou, p.150 2667: 2665: 2616: 2614: 2612: 2610: 2604:Călinescu, p.795; Crohmălniceanu, p.346 2558: 2556: 2507: 2191:"—a claim retrospectively described by 1392:) meetings between public and authors. 1015:, which became the topic of one of his 281:newspaper, present in the proximity of 2706:, p.34, 39; Crohmălniceanu, p.346, 347 2040:The stories and novellas comprised in 885:. His texts, which coincided with the 4437:"Petru Dumitriu și 'negrul' său (II)" 4009:, Nr. 2/1936, p.43 (digitized by the 1040:, led by the antisemitic philosopher 190: 7: 4273:"Canonul literar proletcultist (II)" 4001:"Discuții și recenzii. Ion Călugăru" 2014:manages to disrupt the entire town; 869:s film critics, with Fondane, Roll, 842:("A Primer of Folk Stories", 1930), 257:magazine to the Surrealist platform 4760:Romanian dramatists and playwrights 3128:"M. H. Maxy – artistul integralist" 1873:, and the memoirs of Soviet author 1247:Nazi-led attack on the Soviet Union 862:result of which he was also one of 822:("The Man behind the Door", 1931), 438:, as well as, on occasion, artists 370:and its connections with the local 4690:20th-century Romanian male writers 4601:Fundoianu/Fondane et l'avant-garde 3827:, p.76, 143; Crohmălniceanu, p.346 3594:"Imaginea unei vremi încrîncenate" 3407:Editura Fundației Culturale Române 2899:Răileanu & Carassou, p.99, 107 2651:"Personajul episodic iese în față" 2061:, is set to the background of the 1931:These are complemented by various 1761:. Contrarily, a rumor recorded by 798:, exercised absolute control over 666:, both edited by pro-PCR activist 39:Călugăru, photographed before 1935 14: 4870:Jewish dramatists and playwrights 4790:Romanian male short story writers 4312:"Literatura română și comunismul" 3283:"Acum optzeci de ani - Bătaie la 2568:Demnitate în vremuri de restriște 2356:("Misunderstood Characters") and 1722:Charlie Blum, the protagonist of 493:, publishing, under the pen name 3571:Istoria stalinismului în România 3569:Boia, p.264-265; Victor Frunză, 3381:"Actualitatea cazului Sebastian" 857:In joining the common effort of 818:("Statistical Paradise", 1926), 559:(which he helped establish) and 385:, together with his poet friend 312:("Steel and Bread"), an epic of 33: 4885:Romanian people of World War II 4695:20th-century Romanian novelists 4659:, Humanitas, Bucharest, 2010. 3934:"Jacques Costin, avangardistul" 3244:"Un istoric literar de vocație" 2940:Crohmălniceanu, p.153, 166, 346 2727:, Bucharest, 1978, p.614-615. 2386:Dicționarul scriitorilor români 2217:dictatorship of the proletariat 1466:Antonescu-ordered extermination 1363:("Ion and Salomeia", 1947) and 854:("The Light of Spring", 1947). 215:, he was noted for combining a 4355:"Literatură scrisă la comandă" 3266:Răileanu & Carassou, p.115 2805:Răileanu & Carassou, p.167 2746:Răileanu & Carassou, p.150 2343:Sfințenia lui Veniamin Jidovul 2105:Călugăru and Socialist Realism 2012:1907 Romanian Peasants' Revolt 1697:Abecedar de povestiri populare 1531:Abecedar de povestiri populare 1019:articles (published in 1925). 976:, promoting the international 905:on Chaplin's life and career. 840:Abecedar de povestiri populare 714:, with a series of social and 201:Buium sin Strul-Leiba Croitoru 1: 4605:Fondation Culturelle Roumaine 4507:; retrieved February 17, 2010 4498:Institute for Cultural Memory 4014:Transsylvanica Online Library 2796:, p.76; Crohmălniceanu, p.346 2550:; retrieved February 17, 2010 1399:were collected by his former 1350:Russian and Soviet literature 1206:During and after World War II 464:, who published his texts in 4795:Romanian short story writers 2358:Conflictul meu cu Portugalia 1691:, he opened his work to the 1602:will resemble in subtlety a 984:and administrative director 908:Like other staff members of 381:, the young author moved to 4815:Romanian surrealist writers 4785:Romanian male screenwriters 4700:20th-century Romanian poets 3577:, Bucharest, 1990, p.252. 3409:, Bucharest, 1995, p.227. 3192:și cuvintele lui Sebastian" 2583:, Bucharest, 2008, p.174. 2487:. A collector's edition of 2382:Romanian Revolution of 1989 2341:comprises novellas such as 1960:is a vehicle for Christian 1480:, while literary historian 1305:Romanian Socialist Realists 718:pieces collectively titled 389:. He managed to attend the 211:scene throughout the early 4906: 4855:Romanian newspaper editors 4715:20th-century screenwriters 3389:, Nr. 1018, September 2009 1837:qualities of paintings by 565:. He was also a member of 82:Romanian People's Republic 4835:Socialist realism writers 4770:Romanian literary critics 4740:Romanian male biographers 4494:Cultural item description 4224:Crohmălniceanu, p.153-154 4193:Crohmălniceanu, p.349-350 3332:; retrieved March 8, 2011 2499:work by the same artist. 2089:, together with works by 2085:, which also recommended 2055:Paltoane și nimic altceva 2042:De la cinci până la cinci 1634:("Miss Lot"), which used 1407:("House of Mice", 1958). 1325:review in December 1947. 1288:Romanian Writers' Society 836:De la cinci până la cinci 391:Matei Basarab High School 221:Jewish-Romanian community 219:perspective on the rural 32: 4800:Romanian theatre critics 4725:20th-century biographers 3544:, London, 2006, p.123. 2091:George Mihail Zamfirescu 2087:Copilăria unui netrebnic 1985:Copilăria unui netrebnic 1805:Copilăria unui netrebnic 1798:Copilăria unui netrebnic 1782:Alexandru Bogdan-Pitești 1683:, and the influence of " 844:Copilăria unui netrebnic 809:theorist and film critic 738:'s leftist publication, 696:Miron Radu Paraschivescu 656:Romanian Communist Party 398:Alexandru Bogdan-Pitești 306:Romanian Communist Party 229:Copilăria unui netrebnic 4775:Romanian male novelists 4750:Romanian male essayists 4215:, Nr. 406, January 2008 4025:Crohmălniceanu, p.63-64 4011:Babeș-Bolyai University 3330:Memoria Digital Library 3325:Evocări: Braseria Corso 3136:, Nr. 243, October 2004 2916:"Prieteni din anii '30" 2548:Memoria Digital Library 2479:. During their time at 2297:Hunedoara Steel Foundry 2273:Romanian Writers' Union 1811:, Buiumaș, between his 1660:Pompiliu Constantinescu 1628:experimental literature 1377:Hunedoara Steel Foundry 1280:Hunedoara Steel Foundry 1123:Lady Chatterley's Lover 830:the Hunchback", 1934), 541:and the socialist press 192:[iˈonkəˈluɡəru] 188:Romanian pronunciation: 4840:Yiddish-language poets 4825:Romanian propagandists 4780:Romanian screenwriters 4720:20th-century essayists 4469:"Întâlniri la Chicago" 3942:, Nr. 181, August 2003 3469:, Nr. 701, August 2003 2495:city museum, features 2067:Grivița Strike of 1933 2028:proletarian revolution 1815:years and his life in 1622:While contributing to 1283: 1210:Ion Călugăru survived 945:, suggesting that the 600:, and writer-director 549:'s modernist magazine 509:N. D. Popescu-Popnedea 4810:Expressionist writers 4755:Romanian film critics 4150:Crohmălniceanu, p.349 4122:Crohmălniceanu, p.348 3686:Crohmălniceanu, p.350 3436:"Poemul din pudrieră" 2985:Crohmălniceanu, p.347 2967:Crohmălniceanu, p.345 2958:Crohmălniceanu, p.158 2841:, Nr. 417, April 2008 2774:, Nr. 364, March 2007 2671:Crohmălniceanu, p.346 2453:University of Chicago 1819:, it was followed by 1618:The avant-garde years 1606:, as will a Romanian 1437:. Literary historian 1365:Clovnul care gîndește 1357:Am dat ordin să tragă 1307:. Literary historian 1278: 1251:Central Jewish Office 991:Călugăru's theory on 850:("The Trust", 1937), 700:libertarian socialism 489:and the 19th-century 4735:Romanian biographers 4730:Romanian art critics 4565:, Bucharest, 2007. 4530:, Bucharest, 2012. 4159:Călinescu, p.795-796 3651:Letiția Constantin, 3349:"Despre pornografie" 2949:Crohmălniceanu, p.73 2565:Liviu Rotman (ed.), 2171:, but ranking below 2006:The timelessness of 1935:-like episodes: the 1855:, who also recorded 1490:Emanoil Grigorovitza 1425:religious practice, 1214:and the antisemitic 329:Early life and debut 300:, Călugăru embraced 271:convictions and his 247:and the classics of 197:Ștrul Leiba Croitoru 25:Ștrul Leiba Croitoru 4865:People from Dorohoi 4850:Romanian columnists 4805:Romanian male poets 4576:Ovid Crohmălniceanu 4212:Observator Cultural 4006:Societatea de Mâine 3939:Observator Cultural 3808:Convorbiri Literare 3713:Vasile, p.92-94, 98 3133:Observator Cultural 2838:Observator Cultural 2771:Observator Cultural 2489:Paradisul statistic 2378:national curriculum 2337:The second half of 1966:Jewish assimilation 1675:Paradisul statistic 1590:and an article for 1435:Romanian literature 1346:Editura Cartea Rusă 1094:Păstorel Teodoreanu 1086:Alexandru Kirițescu 958:Friedrich Nietzsche 816:Paradisul statistic 753:'s secret service, 425:Claude Sernet-Cosma 354:as "not actually a 352:Ovid Crohmălniceanu 249:Romanian literature 4745:Romanian essayists 4622:Journal, 1935-1944 4503:2010-09-19 at the 4474:2012-03-11 at the 4442:2012-03-11 at the 4410:2012-03-11 at the 4405:"Gelozia maladivă" 4360:2011-11-09 at the 4338:Selejan, p.59, 133 4278:2011-02-28 at the 4246:2009-09-04 at the 4100:2012-03-11 at the 3997:Pericle Martinescu 3801:2009-03-08 at the 3744:Simona Vasilache, 3704:Selejan, p.132-134 3658:2009-09-22 at the 3599:2012-03-11 at the 3542:Palgrave Macmillan 3500:2015-09-24 at the 3461:"Belu Zilber (II)" 3354:2008-12-01 at the 3292:2012-03-11 at the 3197:2012-03-11 at the 2921:2012-03-11 at the 2880:2015-09-24 at the 2873:Causeries du lundi 2374:national communist 2328:Ion Luca Caragiale 2069:. The short story 2024:Russian Revolution 1937:Romanian policeman 1870:Childhood Memories 1843:Nicolae Grigorescu 1827:. Călinescu found 1755:Don Juan Cocoșatul 1751:Don Juan Cocoșatul 1705:Don Juan Cocoșatul 1671:Pericle Martinescu 1284: 824:Don Juan Cocoșatul 814:novels, including 756:Siguranța Statului 62:Kingdom of Romania 4665:978-973-50-2773-5 4655:Cristian Vasile, 4651:978-973-23-1961-1 4628:, London, 2003. 4571:978-973-23-1911-6 4563:Cartea Românească 4551:, Bucharest, 1986 4536:978-973-50-3533-4 4091:Nicolae Manolescu 3746:"Poezii, în fond" 3345:Gheorghe Grigurcu 2589:978-973-630-189-6 2370:Nicolae Ceaușescu 2348:vanitas vanitatum 2285:Central Committee 2213:Social Democratic 2189:Mikhail Sholokhov 2144:industrialization 2071:Pane, dă-mi fata! 2063:Russian Civil War 2047:Luceafărul morții 2020:Romanian campaign 1958:popular education 1918:Sign of the Cross 1853:Nicolae Manolescu 1825:Lumina primăverii 1713:social alienation 1640:Jacques G. Costin 1527:Caii lui Cibicioc 1517:Caii lui Cibicioc 1470:Romanian folklore 1301:Socialist Realism 1297:Communist Romania 982:Yankev Shternberg 852:Lumina primăverii 690:internationally, 594:Nicolae Carandino 528:Caii lui Cibicioc 487:Romanian folklore 344:historical region 314:industrialization 302:Socialist Realism 181: 180: 176:Socialist Realism 148:Literary movement 55:February 14, 1902 4897: 4875:Jewish novelists 4820:Scînteia editors 4618:Mihail Sebastian 4541:George Călinescu 4508: 4491: 4485: 4481:România Literară 4463: 4459: 4453: 4449:România Literară 4431: 4427: 4421: 4417:România Literară 4399: 4395: 4389: 4386: 4380: 4377: 4371: 4367:România Literară 4351:Alex. Ștefănescu 4349: 4345: 4339: 4336: 4330: 4329:Selejan, p.35-38 4327: 4321: 4317:România Literară 4309: 4299: 4295: 4289: 4285:România Literară 4267: 4263: 4257: 4253:România Literară 4239:Iulia Popovici, 4238: 4234: 4225: 4222: 4216: 4204: 4200: 4194: 4191: 4185: 4170: 4166: 4160: 4157: 4151: 4148: 4135: 4132: 4123: 4120: 4111: 4107:România Literară 4089: 4085: 4068: 4065: 4054: 4053:Călinescu, p.796 4051: 4026: 4023: 4017: 3995: 3991: 3982: 3975: 3969: 3962: 3956: 3949: 3943: 3931: 3927: 3918: 3911: 3902: 3895: 3889: 3882: 3876: 3869: 3863: 3856: 3850: 3849:Călinescu, p.795 3847: 3828: 3821: 3812: 3790: 3786: 3755: 3751:România Literară 3743: 3739: 3714: 3711: 3705: 3702: 3696: 3693: 3687: 3684: 3669: 3665:România Literară 3650: 3646: 3640: 3637: 3628: 3625: 3619: 3616: 3610: 3606:România Literară 3588: 3567: 3561: 3560:Sebastian, p.611 3558: 3552: 3531: 3525: 3524:Sebastian, p.368 3522: 3511: 3507:România Literară 3489: 3485: 3479: 3476: 3470: 3455: 3451: 3445: 3441:România Literară 3432:Ioana Pârvulescu 3430: 3426: 3417: 3396: 3390: 3375: 3371: 3365: 3361:România Literară 3343: 3339: 3333: 3318: 3314: 3303: 3299:România Literară 3280: 3276: 3267: 3264: 3253: 3249:România Literară 3238: 3234: 3217: 3214: 3208: 3204:România Literară 3184:Ioana Pârvulescu 3182: 3178: 3172: 3165: 3159: 3152: 3146: 3145:Călinescu, p.889 3143: 3137: 3125: 3121: 3115: 3108: 3102: 3099: 3093: 3086: 3080: 3073: 3067: 3060: 3054: 3047: 3038: 3031: 3025: 3018: 3012: 3005: 2999: 2992: 2986: 2983: 2968: 2965: 2959: 2956: 2950: 2947: 2941: 2938: 2932: 2928:România Literară 2910: 2906: 2900: 2897: 2891: 2887:România Literară 2865: 2861: 2855: 2848: 2842: 2827: 2823: 2806: 2803: 2797: 2790: 2784: 2781: 2775: 2760: 2756: 2747: 2744: 2735: 2713: 2707: 2700: 2694: 2691: 2685: 2678: 2672: 2669: 2660: 2656:România Literară 2647:Ioana Pârvulescu 2645: 2641: 2632: 2618: 2605: 2602: 2591: 2564: 2560: 2551: 2535: 2531: 2315:Schițe fără umor 2289:George Macovescu 2201: 2177:Mihail Sadoveanu 2095:Stoian Gh. Tudor 1989: 1977:Mihail Sebastian 1861: 1728:Omul de după ușă 1724:Omul de după ușă 1701:Omul de după ușă 1604:Romanian carving 1585: 1482:George Călinescu 1341:Viața Românească 1258:August 1944 Coup 1236:John the Baptist 1054:Mihail Sebastian 1046:Ioana Pârvulescu 955: 868: 820:Omul de după ușă 751:Romanian Kingdom 610: 598:Henric Streitman 571: 448: 433: 418: 364:Benjamin Fondane 318:Marxism-Leninism 298:communist regime 199:, also known as 194: 189: 74: 54: 52: 37: 19: 4905: 4904: 4900: 4899: 4898: 4896: 4895: 4894: 4845:Yiddish theatre 4670: 4669: 4597:Michel Carassou 4549:Editura Minerva 4516: 4511: 4505:Wayback Machine 4492: 4488: 4476:Wayback Machine 4465:Constanța Buzea 4461: 4460: 4456: 4444:Wayback Machine 4429: 4428: 4424: 4412:Wayback Machine 4397: 4396: 4392: 4387: 4383: 4378: 4374: 4362:Wayback Machine 4347: 4346: 4342: 4337: 4333: 4328: 4324: 4303: 4297: 4296: 4292: 4280:Wayback Machine 4265: 4264: 4260: 4248:Wayback Machine 4236: 4235: 4228: 4223: 4219: 4205:Iulia Deleanu, 4202: 4201: 4197: 4192: 4188: 4168: 4167: 4163: 4158: 4154: 4149: 4138: 4133: 4126: 4121: 4114: 4102:Wayback Machine 4095:"Romane uitate" 4087: 4086: 4071: 4066: 4057: 4052: 4029: 4024: 4020: 3993: 3992: 3985: 3976: 3972: 3963: 3959: 3950: 3946: 3929: 3928: 3921: 3912: 3905: 3896: 3892: 3883: 3879: 3870: 3866: 3857: 3853: 3848: 3831: 3822: 3815: 3803:Wayback Machine 3788: 3787: 3758: 3741: 3740: 3717: 3712: 3708: 3703: 3699: 3694: 3690: 3685: 3672: 3660:Wayback Machine 3648: 3647: 3643: 3638: 3631: 3626: 3622: 3617: 3613: 3601:Wayback Machine 3586: 3568: 3564: 3559: 3555: 3534:Dennis Deletant 3532: 3528: 3523: 3514: 3502:Wayback Machine 3487: 3486: 3482: 3477: 3473: 3453: 3452: 3448: 3428: 3427: 3420: 3397: 3393: 3373: 3372: 3368: 3356:Wayback Machine 3341: 3340: 3336: 3316: 3315: 3306: 3294:Wayback Machine 3281:Dumitru Hîncu, 3278: 3277: 3270: 3265: 3256: 3236: 3235: 3220: 3215: 3211: 3199:Wayback Machine 3180: 3179: 3175: 3166: 3162: 3153: 3149: 3144: 3140: 3126:Irina Cărăbaș, 3123: 3122: 3118: 3109: 3105: 3100: 3096: 3087: 3083: 3074: 3070: 3061: 3057: 3048: 3041: 3032: 3028: 3019: 3015: 3006: 3002: 2993: 2989: 2984: 2971: 2966: 2962: 2957: 2953: 2948: 2944: 2939: 2935: 2923:Wayback Machine 2908: 2907: 2903: 2898: 2894: 2882:Wayback Machine 2863: 2862: 2858: 2849: 2845: 2825: 2824: 2809: 2804: 2800: 2791: 2787: 2782: 2778: 2758: 2757: 2750: 2745: 2738: 2725:Editura Minerva 2714: 2710: 2701: 2697: 2692: 2688: 2684:, p.34, 36, 276 2679: 2675: 2670: 2663: 2643: 2642: 2635: 2619: 2608: 2603: 2594: 2573:Editura Hasefer 2562: 2561: 2554: 2533: 2532: 2509: 2505: 2469:Constanța Buzea 2394:Marian Papahagi 2366: 2354:Firi neînțelese 2339:Casa șoarecilor 2311:Casa șoarecilor 2307: 2304:Casa șoarecilor 2269:Georgy Malenkov 2219:" or about the 2195: 2107: 2079:Șomaj fără rasă 2075:Alexandru Sahia 2001:Bashevis-Singer 1987: 1941:Romania's Queen 1859: 1801: 1793:to his priest. 1736:cosmopolitanism 1717:focal character 1636:intertextuality 1620: 1583: 1492:. According to 1474:oral traditions 1418: 1413: 1405:Casa șoarecilor 1361:Ion și Salomeia 1208: 1028: 1013:anticlericalism 953: 895:Charlie Chaplin 866: 811: 627:French-language 604: 569: 543: 495:Moș Ion Popescu 491:adventure novel 478:, "the monk"). 462:Eugen Lovinescu 455:Claudia Millian 451:Nicolae Tonitza 442: 427: 412: 331: 326: 213:interwar period 187: 116:adventure novel 107:1920–1956 91:Moș Ion Popescu 76: 72: 56: 50: 48: 40: 28: 26: 24: 17: 12: 11: 5: 4903: 4901: 4893: 4892: 4887: 4882: 4880:Moldavian Jews 4877: 4872: 4867: 4862: 4857: 4852: 4847: 4842: 4837: 4832: 4830:Social realism 4827: 4822: 4817: 4812: 4807: 4802: 4797: 4792: 4787: 4782: 4777: 4772: 4767: 4762: 4757: 4752: 4747: 4742: 4737: 4732: 4727: 4722: 4717: 4712: 4707: 4702: 4697: 4692: 4687: 4682: 4672: 4671: 4668: 4667: 4653: 4636: 4615: 4593:Petre Răileanu 4590: 4573: 4552: 4538: 4515: 4512: 4510: 4509: 4486: 4454: 4422: 4390: 4388:Selejan, p.333 4381: 4379:Selejan, p.153 4372: 4340: 4331: 4322: 4301:Al. Săndulescu 4290: 4258: 4226: 4217: 4195: 4186: 4161: 4152: 4136: 4124: 4112: 4069: 4055: 4027: 4018: 3983: 3970: 3957: 3944: 3919: 3903: 3890: 3877: 3864: 3851: 3829: 3813: 3756: 3715: 3706: 3697: 3688: 3670: 3641: 3629: 3627:Selejan, p.154 3620: 3611: 3562: 3553: 3526: 3512: 3480: 3471: 3457:Stelian Tănase 3446: 3418: 3391: 3366: 3334: 3304: 3268: 3254: 3240:Al. Săndulescu 3218: 3216:Boia, p.34, 44 3209: 3173: 3160: 3147: 3138: 3116: 3103: 3094: 3081: 3068: 3055: 3039: 3026: 3013: 3000: 2987: 2969: 2960: 2951: 2942: 2933: 2901: 2892: 2856: 2843: 2807: 2798: 2785: 2776: 2748: 2736: 2708: 2695: 2686: 2673: 2661: 2633: 2606: 2592: 2552: 2536:Ion Călugăru, 2506: 2504: 2501: 2491:, kept by the 2485:Domnișoara Lot 2365: 2362: 2306: 2301: 2253:Petru Dumitriu 2242:Traian Șelmaru 2193:Al. Săndulescu 2185:Liviu Rebreanu 2181:Camil Petrescu 2169:Alexandru Toma 2165:Cezar Petrescu 2112:liberalization 2106: 2103: 2099:Social Realism 2051:class conflict 1800: 1795: 1771:Zaharia Stancu 1685:Constructivism 1642:. Like Vinea, 1632:Domnișoara Lot 1619: 1616: 1554:biblical times 1542:janitors, the 1417: 1416:Early writings 1414: 1412: 1409: 1397:sketch stories 1381:Writers' Union 1293:Zaharia Stancu 1220:Liviu Rebreanu 1207: 1204: 1173:double agent) 1136:Al. Săndulescu 1118:D. H. Lawrence 1027: 1021: 986:Mordechai Mazo 974:Romanian drama 930:street theater 810: 804: 651:Cuvântul Liber 635:Saul Steinberg 592:, journalists 542: 532: 436:Ilarie Voronca 377:Shortly after 330: 327: 325: 322: 245:oral tradition 233:Social Realism 179: 178: 172:Social Realism 149: 145: 144: 113: 109: 108: 105: 101: 100: 97: 93: 92: 89: 85: 84: 75:(aged 54) 69: 65: 64: 46: 42: 41: 38: 30: 29: 22: 15: 13: 10: 9: 6: 4: 3: 2: 4902: 4891: 4888: 4886: 4883: 4881: 4878: 4876: 4873: 4871: 4868: 4866: 4863: 4861: 4858: 4856: 4853: 4851: 4848: 4846: 4843: 4841: 4838: 4836: 4833: 4831: 4828: 4826: 4823: 4821: 4818: 4816: 4813: 4811: 4808: 4806: 4803: 4801: 4798: 4796: 4793: 4791: 4788: 4786: 4783: 4781: 4778: 4776: 4773: 4771: 4768: 4766: 4763: 4761: 4758: 4756: 4753: 4751: 4748: 4746: 4743: 4741: 4738: 4736: 4733: 4731: 4728: 4726: 4723: 4721: 4718: 4716: 4713: 4711: 4708: 4706: 4703: 4701: 4698: 4696: 4693: 4691: 4688: 4686: 4683: 4681: 4678: 4677: 4675: 4666: 4662: 4658: 4654: 4652: 4648: 4644: 4640: 4637: 4635: 4634:0-7126-8388-7 4631: 4627: 4623: 4619: 4616: 4614: 4613:2-84272-057-1 4610: 4606: 4602: 4598: 4594: 4591: 4589: 4585: 4581: 4577: 4574: 4572: 4568: 4564: 4560: 4556: 4553: 4550: 4546: 4542: 4539: 4537: 4533: 4529: 4525: 4521: 4518: 4517: 4513: 4506: 4502: 4499: 4495: 4490: 4487: 4483: 4482: 4477: 4473: 4470: 4466: 4462:(in Romanian) 4458: 4455: 4452:, Nr. 16/2005 4451: 4450: 4445: 4441: 4438: 4434: 4430:(in Romanian) 4426: 4423: 4420:, Nr. 43/2005 4419: 4418: 4413: 4409: 4406: 4402: 4398:(in Romanian) 4394: 4391: 4385: 4382: 4376: 4373: 4370:, Nr. 27/2005 4369: 4368: 4363: 4359: 4356: 4352: 4348:(in Romanian) 4344: 4341: 4335: 4332: 4326: 4323: 4320:, Nr. 34/2006 4319: 4318: 4313: 4307: 4302: 4298:(in Romanian) 4294: 4291: 4288:, Nr. 28/2008 4287: 4286: 4281: 4277: 4274: 4270: 4266:(in Romanian) 4262: 4259: 4256:, Nr. 26/2002 4255: 4254: 4249: 4245: 4242: 4237:(in Romanian) 4233: 4231: 4227: 4221: 4218: 4214: 4213: 4208: 4203:(in Romanian) 4199: 4196: 4190: 4187: 4184:, Nr. 11/2007 4183: 4182: 4177: 4173: 4172:Leon Volovici 4169:(in Romanian) 4165: 4162: 4156: 4153: 4147: 4145: 4143: 4141: 4137: 4131: 4129: 4125: 4119: 4117: 4113: 4110:, Nr. 34/2006 4109: 4108: 4103: 4099: 4096: 4092: 4088:(in Romanian) 4084: 4082: 4080: 4078: 4076: 4074: 4070: 4064: 4062: 4060: 4056: 4050: 4048: 4046: 4044: 4042: 4040: 4038: 4036: 4034: 4032: 4028: 4022: 4019: 4015: 4012: 4008: 4007: 4002: 3998: 3994:(in Romanian) 3990: 3988: 3984: 3980: 3974: 3971: 3967: 3961: 3958: 3954: 3948: 3945: 3941: 3940: 3935: 3930:(in Romanian) 3926: 3924: 3920: 3916: 3910: 3908: 3904: 3900: 3894: 3891: 3887: 3881: 3878: 3874: 3868: 3865: 3861: 3855: 3852: 3846: 3844: 3842: 3840: 3838: 3836: 3834: 3830: 3826: 3820: 3818: 3814: 3811:, August 2004 3810: 3809: 3804: 3800: 3797: 3793: 3789:(in Romanian) 3785: 3783: 3781: 3779: 3777: 3775: 3773: 3771: 3769: 3767: 3765: 3763: 3761: 3757: 3754:, Nr. 45/2008 3753: 3752: 3747: 3742:(in Romanian) 3738: 3736: 3734: 3732: 3730: 3728: 3726: 3724: 3722: 3720: 3716: 3710: 3707: 3701: 3698: 3695:Vasile, p.105 3692: 3689: 3683: 3681: 3679: 3677: 3675: 3671: 3668:, Nr. 25/2009 3667: 3666: 3661: 3657: 3654: 3649:(in Romanian) 3645: 3642: 3636: 3634: 3630: 3624: 3621: 3615: 3612: 3609:, Nr. 24/2000 3608: 3607: 3602: 3598: 3595: 3591: 3587:(in Romanian) 3584: 3583:973-28-0177-8 3580: 3576: 3572: 3566: 3563: 3557: 3554: 3551: 3550:1-4039-9341-6 3547: 3543: 3539: 3535: 3530: 3527: 3521: 3519: 3517: 3513: 3509: 3508: 3503: 3499: 3496: 3492: 3488:(in Romanian) 3484: 3481: 3478:Boia, p.60-62 3475: 3472: 3468: 3467: 3462: 3458: 3454:(in Romanian) 3450: 3447: 3444:, Nr. 36/2001 3443: 3442: 3437: 3433: 3429:(in Romanian) 3425: 3423: 3419: 3416: 3415:973-9155-43-X 3412: 3408: 3404: 3400: 3395: 3392: 3388: 3387: 3382: 3378: 3374:(in Romanian) 3370: 3367: 3363: 3362: 3357: 3353: 3350: 3346: 3342:(in Romanian) 3338: 3335: 3331: 3327: 3326: 3321: 3317:(in Romanian) 3313: 3311: 3309: 3305: 3302:, Nr. 44/2009 3301: 3300: 3295: 3291: 3288: 3286: 3279:(in Romanian) 3275: 3273: 3269: 3263: 3261: 3259: 3255: 3251: 3250: 3245: 3241: 3237:(in Romanian) 3233: 3231: 3229: 3227: 3225: 3223: 3219: 3213: 3210: 3207:, Nr. 30/2009 3206: 3205: 3200: 3196: 3193: 3191: 3185: 3181:(in Romanian) 3177: 3174: 3170: 3164: 3161: 3157: 3151: 3148: 3142: 3139: 3135: 3134: 3129: 3124:(in Romanian) 3120: 3117: 3113: 3107: 3104: 3101:Cernat, p.239 3098: 3095: 3091: 3085: 3082: 3078: 3072: 3069: 3065: 3059: 3056: 3052: 3046: 3044: 3040: 3036: 3030: 3027: 3023: 3017: 3014: 3010: 3004: 3001: 2997: 2991: 2988: 2982: 2980: 2978: 2976: 2974: 2970: 2964: 2961: 2955: 2952: 2946: 2943: 2937: 2934: 2931:, Nr. 30/2003 2930: 2929: 2924: 2920: 2917: 2913: 2909:(in Romanian) 2905: 2902: 2896: 2893: 2890:, Nr. 25/2000 2889: 2888: 2883: 2879: 2876: 2874: 2868: 2864:(in Romanian) 2860: 2857: 2853: 2847: 2844: 2840: 2839: 2834: 2830: 2826:(in Romanian) 2822: 2820: 2818: 2816: 2814: 2812: 2808: 2802: 2799: 2795: 2789: 2786: 2783:Cernat, p.273 2780: 2777: 2773: 2772: 2767: 2763: 2759:(in Romanian) 2755: 2753: 2749: 2743: 2741: 2737: 2734: 2730: 2726: 2722: 2718: 2712: 2709: 2705: 2699: 2696: 2690: 2687: 2683: 2677: 2674: 2668: 2666: 2662: 2659:, Nr. 16/2002 2658: 2657: 2652: 2648: 2644:(in Romanian) 2640: 2638: 2634: 2631: 2630:973-8294-72-X 2627: 2623: 2620:Tudor Opriș, 2617: 2615: 2613: 2611: 2607: 2601: 2599: 2597: 2593: 2590: 2586: 2582: 2578: 2574: 2570: 2569: 2563:(in Romanian) 2559: 2557: 2553: 2549: 2545: 2544: 2539: 2534:(in Romanian) 2530: 2528: 2526: 2524: 2522: 2520: 2518: 2516: 2514: 2512: 2508: 2502: 2500: 2498: 2494: 2490: 2486: 2482: 2478: 2473: 2470: 2466: 2462: 2458: 2454: 2450: 2449:Autobiography 2446: 2445:Mircea Eliade 2441: 2439: 2435: 2431: 2426: 2424: 2423:Alexandru Jar 2420: 2416: 2412: 2408: 2403: 2402:Oțel și pîine 2399: 2395: 2391: 2387: 2383: 2379: 2375: 2371: 2363: 2361: 2359: 2355: 2350: 2349: 2344: 2340: 2335: 2333: 2329: 2325: 2320: 2316: 2312: 2305: 2302: 2300: 2298: 2294: 2290: 2286: 2282: 2281:Oțel și pîine 2278: 2274: 2270: 2266: 2265:Mihai Novicov 2262: 2258: 2257:Oțel și pîine 2254: 2249: 2247: 2243: 2239: 2238:Silviu Brucan 2235: 2234: 2229: 2228: 2222: 2218: 2214: 2209: 2203: 2199: 2194: 2190: 2186: 2182: 2178: 2174: 2173:Tudor Arghezi 2170: 2166: 2162: 2158: 2153: 2147: 2145: 2141: 2140:Oțel și pîine 2137: 2133: 2129: 2128:Oțel și pîine 2125: 2120: 2118: 2113: 2104: 2102: 2100: 2096: 2092: 2088: 2084: 2080: 2076: 2072: 2068: 2064: 2060: 2056: 2052: 2048: 2043: 2038: 2035: 2034: 2029: 2025: 2021: 2017: 2013: 2009: 2004: 2002: 1998: 1993: 1986: 1982: 1978: 1974: 1969: 1967: 1963: 1959: 1955: 1951: 1946: 1942: 1938: 1934: 1929: 1927: 1923: 1919: 1915: 1911: 1910: 1905: 1901: 1897: 1893: 1889: 1885: 1884: 1878: 1876: 1872: 1871: 1865: 1864:Bildungsroman 1858: 1854: 1850: 1849: 1848:Bildungsroman 1844: 1840: 1836: 1835: 1830: 1826: 1822: 1818: 1814: 1810: 1806: 1799: 1796: 1794: 1792: 1787: 1783: 1779: 1774: 1772: 1768: 1764: 1760: 1756: 1752: 1747: 1745: 1741: 1737: 1733: 1729: 1725: 1720: 1718: 1714: 1710: 1706: 1702: 1698: 1694: 1690: 1686: 1682: 1681: 1680:Contimporanul 1676: 1672: 1667: 1665: 1661: 1657: 1653: 1649: 1645: 1641: 1637: 1633: 1629: 1625: 1617: 1615: 1613: 1612:Mongolian one 1609: 1605: 1601: 1597: 1593: 1592:Contimporanul 1589: 1588:art manifesto 1582: 1578: 1574: 1570: 1566: 1562: 1561:Contimporanul 1557: 1555: 1551: 1550: 1545: 1541: 1537: 1532: 1528: 1524: 1523: 1518: 1514: 1512: 1511: 1507: 1506:Expressionist 1503: 1499: 1498:Tudor Arghezi 1495: 1491: 1487: 1483: 1479: 1475: 1471: 1467: 1462: 1461: 1456: 1455: 1450: 1449: 1444: 1440: 1436: 1432: 1428: 1424: 1415: 1410: 1408: 1406: 1402: 1398: 1393: 1391: 1386: 1385:Oțel și pîine 1382: 1378: 1374: 1370: 1369:Oțel și pîine 1366: 1362: 1358: 1353: 1351: 1347: 1343: 1342: 1337: 1336:Contemporanul 1333: 1332: 1326: 1324: 1323: 1322:Contemporanul 1318: 1314: 1310: 1306: 1302: 1298: 1294: 1289: 1281: 1277: 1273: 1271: 1267: 1263: 1259: 1254: 1252: 1248: 1243: 1241: 1237: 1233: 1229: 1225: 1221: 1217: 1216:Ion Antonescu 1213: 1205: 1203: 1201: 1196: 1190: 1188: 1184: 1178: 1176: 1172: 1168: 1164: 1163:Mircea Eliade 1160: 1159: 1154: 1150: 1144: 1142: 1137: 1133: 1127: 1125: 1124: 1119: 1115: 1111: 1107: 1103: 1099: 1095: 1091: 1087: 1083: 1079: 1076: 1072: 1067: 1065: 1064: 1059: 1055: 1051: 1047: 1044:. Researcher 1043: 1039: 1038: 1033: 1025: 1022: 1020: 1018: 1014: 1010: 1009:Tudor Arghezi 1006: 1002: 998: 994: 989: 987: 983: 979: 975: 971: 967: 966:Georges Sorel 964:doctrines of 963: 959: 952: 948: 944: 939: 938:Iordan Chimet 935: 931: 927: 923: 922:improvisation 919: 915: 911: 906: 904: 900: 896: 892: 888: 884: 880: 876: 872: 871:Barbu Florian 865: 860: 855: 853: 849: 845: 841: 837: 833: 829: 825: 821: 817: 808: 805: 803: 801: 797: 793: 789: 785: 780: 778: 774: 770: 766: 762: 758: 757: 752: 748: 743: 741: 737: 733: 729: 725: 721: 717: 713: 709: 705: 704:Gherasim Luca 701: 697: 693: 689: 685: 681: 680:Robert Desnos 677: 673: 669: 665: 661: 657: 653: 652: 647: 642: 640: 636: 632: 628: 623: 618: 616: 615: 608: 603: 599: 595: 591: 587: 583: 579: 575: 568: 564: 563: 558: 554: 553: 552:Contimporanul 548: 540: 536: 535:Contimporanul 533: 531: 529: 525: 524:George Coșbuc 521: 517: 512: 510: 506: 505:genre fiction 502: 501: 496: 492: 488: 484: 479: 477: 473: 469: 468: 463: 458: 456: 452: 446: 441: 437: 431: 426: 422: 421:Armand Pascal 416: 411: 407: 406:F. Brunea-Fox 403: 399: 394: 392: 388: 384: 380: 375: 373: 369: 365: 361: 357: 353: 349: 345: 341: 340: 336: 328: 323: 321: 319: 315: 311: 310:Oțel și pîine 307: 303: 299: 294: 292: 288: 284: 280: 279: 274: 270: 266: 262: 261: 256: 255: 254:Contimporanul 250: 246: 242: 241:Expressionism 238: 234: 230: 226: 222: 218: 214: 210: 206: 202: 198: 193: 185: 177: 173: 169: 165: 164:Expressionism 161: 160: 159:Contimporanul 155: 154: 150: 146: 143: 139: 135: 131: 127: 123: 122: 121:Bildungsroman 117: 114: 110: 106: 102: 98: 94: 90: 86: 83: 79: 70: 66: 63: 59: 47: 43: 36: 31: 20: 4656: 4642: 4626:Random House 4621: 4600: 4579: 4558: 4544: 4523: 4489: 4484:, Nr. 9/2007 4479: 4457: 4447: 4425: 4415: 4393: 4384: 4375: 4365: 4343: 4334: 4325: 4315: 4293: 4283: 4261: 4251: 4220: 4210: 4198: 4189: 4179: 4164: 4155: 4105: 4021: 4004: 3979:Avangarda... 3978: 3973: 3966:Avangarda... 3965: 3960: 3953:Avangarda... 3952: 3947: 3937: 3915:Avangarda... 3914: 3899:Avangarda... 3898: 3893: 3886:Avangarda... 3885: 3880: 3873:Avangarda... 3872: 3867: 3860:Avangarda... 3859: 3854: 3825:Avangarda... 3824: 3806: 3749: 3709: 3700: 3691: 3663: 3644: 3623: 3618:Vasile, p.79 3614: 3604: 3570: 3565: 3556: 3537: 3529: 3510:, Nr. 6/2000 3505: 3483: 3474: 3464: 3449: 3439: 3402: 3394: 3384: 3369: 3364:, Nr. 2/2007 3359: 3337: 3324: 3320:Vlaicu Bârna 3297: 3284: 3252:, Nr. 2/2004 3247: 3212: 3202: 3189: 3176: 3169:Avangarda... 3168: 3163: 3156:Avangarda... 3155: 3150: 3141: 3131: 3119: 3112:Avangarda... 3111: 3106: 3097: 3092:, p.239, 262 3090:Avangarda... 3089: 3084: 3077:Avangarda... 3076: 3071: 3064:Avangarda... 3063: 3058: 3051:Avangarda... 3050: 3035:Avangarda... 3034: 3029: 3022:Avangarda... 3021: 3016: 3009:Avangarda... 3008: 3003: 2996:Avangarda... 2995: 2990: 2963: 2954: 2945: 2936: 2926: 2912:Amelia Pavel 2904: 2895: 2885: 2872: 2859: 2852:Avangarda... 2851: 2846: 2836: 2801: 2794:Avangarda... 2793: 2788: 2779: 2769: 2720: 2717:B. Fundoianu 2711: 2704:Avangarda... 2703: 2698: 2689: 2682:Avangarda... 2681: 2676: 2654: 2621: 2566: 2542: 2538:Ioan Lăcustă 2488: 2484: 2480: 2474: 2456: 2448: 2442: 2437: 2427: 2415:Felix Aderca 2401: 2390:Mircea Zaciu 2385: 2367: 2357: 2353: 2346: 2342: 2338: 2336: 2332:Copilăria... 2331: 2314: 2310: 2308: 2303: 2280: 2277:Eugen Frunză 2275:, by author 2256: 2250: 2236:colleagues ( 2231: 2225: 2204: 2157:Mihai Beniuc 2148: 2139: 2132:Copilăria... 2131: 2127: 2124:Ioan Lăcustă 2121: 2108: 2086: 2082: 2078: 2070: 2054: 2046: 2041: 2039: 2031: 2007: 2005: 1992:ethnographic 1984: 1970: 1930: 1925: 1907: 1892:Marc Chagall 1881: 1879: 1868: 1863: 1857:Copilăria... 1856: 1846: 1832: 1829:Copilăria... 1828: 1824: 1820: 1804: 1802: 1797: 1775: 1763:Vlaicu Bârna 1759:emancipation 1754: 1750: 1748: 1739: 1732:middle-class 1727: 1723: 1721: 1708: 1704: 1700: 1696: 1678: 1674: 1668: 1656:Perpessicius 1648:Adrian Maniu 1644:Felix Aderca 1631: 1623: 1621: 1600:African idol 1591: 1580: 1560: 1558: 1547: 1535: 1534:added: "The 1530: 1526: 1520: 1516: 1515: 1508: 1458: 1452: 1446: 1443:ethnographic 1431:Hebrew Bible 1419: 1404: 1400: 1394: 1389: 1384: 1373:Transylvania 1368: 1364: 1360: 1356: 1354: 1339: 1335: 1329: 1327: 1320: 1285: 1269: 1255: 1244: 1231: 1227: 1223: 1212:World War II 1209: 1199: 1194: 1191: 1186: 1183:N. Davidescu 1179: 1170: 1166: 1156: 1153:Vasile Marin 1145: 1128: 1121: 1106:Vlaicu Bârna 1101: 1098:Adrian Maniu 1090:Rodia de aur 1089: 1070: 1068: 1061: 1057: 1035: 1029: 1023: 1016: 1004: 996: 990: 978:Vilna Troupe 950: 943:Soviet Union 933: 909: 907: 883:collectivism 863: 858: 856: 851: 847: 843: 839: 835: 831: 823: 819: 815: 812: 806: 799: 787: 783: 781: 777:Adolf Hitler 772: 769:Nazi Germany 754: 746: 744: 739: 723: 719: 711: 688:Pablo Neruda 676:Louis Aragon 670:. Himself a 663: 659: 649: 643: 631:Amelia Pavel 622:Stephan Roll 619: 612: 586:N. Davidescu 566: 560: 556: 550: 544: 538: 534: 527: 519: 515: 513: 498: 494: 482: 480: 475: 472:Ion Călugăru 471: 465: 459: 395: 376: 337: 333:A native of 332: 309: 295: 276: 264: 258: 252: 228: 204: 200: 196: 184:Ion Călugăru 183: 182: 157: 151: 138:sketch story 119: 73:(1956-05-22) 71:May 22, 1956 23:Ion Călugăru 4685:1956 deaths 4680:1902 births 4639:Ana Selejan 4555:Paul Cernat 4520:Lucian Boia 4304: [ 3932:Dan Gulea, 3888:, p.76, 143 3792:Henri Zalis 3639:Boia, p.295 3377:Paul Cernat 3158:, p.34, 149 3066:, p.277-278 3011:, p.286-292 2829:Paul Cernat 2762:Paul Cernat 2407:Ury Benador 2261:Sami Damian 2221:show trials 2196: [ 2117:Lucian Boia 2059:Isaak Babel 2016:World War I 1997:Joseph Roth 1981:existential 1962:proselytism 1950:execrations 1928:community. 1904:picturesque 1875:Maxim Gorky 1834:chiaroscuro 1610:resemble a 1573:primitivism 1563:colleagues 1494:Paul Cernat 1478:Ion Creangă 1439:Henri Zalis 1427:Jewish lore 1309:Ana Selejan 1266:Ury Benador 1262:Emil Dorian 1175:Belu Zilber 1132:sophistical 1114:pornography 1042:Nae Ionescu 1034:periodical 962:syndicalist 899:Fratellinis 897:, like the 887:silent film 879:proletarian 761:antisemitic 720:Urangutania 708:Dolfi Trost 684:Paul Éluard 668:N. D. Cocea 605: [ 602:Sandu Eliad 588:, novelist 578:eclecticism 481:While with 453:, and poet 443: [ 428: [ 413: [ 402:avant-garde 379:World War I 374:tradition. 368:avant-garde 360:Paul Cernat 291:Nae Ionescu 225:avant-garde 217:picturesque 205:B. Croitoru 27:B. Croitoru 4674:Categories 4514:References 4433:Ion Vartic 3466:Revista 22 3386:Revista 22 2867:Geo Șerban 2693:Boia, p.34 2477:M. H. Maxy 2434:plagiarism 2430:Ion Vartic 2419:Sergiu Dan 2398:Aurel Sasu 2246:Sorin Toma 2136:proletkult 1791:confession 1608:fairy tale 1544:bath house 1488:raconteur 1486:Bukovinian 1110:censorship 1082:Iron Guard 993:modern art 947:proletkult 639:Sesto Pals 590:Sergiu Dan 574:M. H. Maxy 507:novels of 483:Sburătorul 467:Sburătorul 440:Iosif Ross 237:Surrealism 168:Surrealism 153:Sburătorul 96:Occupation 51:1902-02-14 4588:490001217 4528:Humanitas 4496:, at the 4401:Ion Simuț 4269:Ion Simuț 3575:Humanitas 3491:Ion Simuț 3328:, at the 2733:252065138 2546:, at the 2465:Sașa Pană 2411:I. Peretz 2293:reportage 2208:Hunedoara 2161:Geo Bogza 2152:Ion Simuț 1888:monograph 1839:Rembrandt 1817:Bucharest 1809:alter ego 1767:Teleorman 1693:grotesque 1664:absurdism 1577:mannerism 1569:naïve art 1565:Ion Vinea 1540:synagogue 1448:Kol Nidre 1171:Siguranța 1032:far right 903:monograph 891:pantomime 875:I. Peretz 796:Geo Bogza 792:Sașa Pană 773:Siguranța 736:Isac Ludo 732:orangutan 724:urangutan 716:satirical 692:Geo Bogza 646:communist 637:and poet 582:left-wing 547:Ion Vinea 476:călugărul 410:Henri Gad 387:Sașa Pană 383:Bucharest 342:, in the 324:Biography 287:far right 269:socialist 209:modernist 142:reportage 126:biography 78:Bucharest 4501:Archived 4472:Archived 4440:Archived 4408:Archived 4358:Archived 4276:Archived 4244:Archived 4181:Apostrof 4098:Archived 3977:Cernat, 3964:Cernat, 3951:Cernat, 3913:Cernat, 3897:Cernat, 3884:Cernat, 3871:Cernat, 3858:Cernat, 3823:Cernat, 3799:Archived 3656:Archived 3597:Archived 3590:Z. Ornea 3498:Archived 3399:Z. Ornea 3352:Archived 3290:Archived 3285:Cuvântul 3195:Archived 3190:Cuvântul 3167:Cernat, 3154:Cernat, 3110:Cernat, 3088:Cernat, 3075:Cernat, 3062:Cernat, 3049:Cernat, 3033:Cernat, 3020:Cernat, 3007:Cernat, 2994:Cernat, 2919:Archived 2878:Archived 2850:Cernat, 2792:Cernat, 2702:Cernat, 2680:Cernat, 2481:Integral 2457:Cuvântul 2233:Scînteia 2083:Era Nouă 2033:déclassé 2018:and the 1973:I. Peltz 1933:anecdote 1922:Shabbath 1778:neurotic 1624:Integral 1596:pastiche 1581:Integral 1510:écorchés 1472:and the 1429:and the 1390:lămurire 1331:Scînteia 1313:agitprop 1228:Cuvântul 1195:Cuvântul 1167:Cuvântul 1158:Trăirist 1149:Z. Ornea 1102:Cuvântul 1078:Carol II 1071:Cuvântul 1058:Cuvântul 1037:Cuvântul 1024:Cuvântul 1017:Integral 1005:Integral 1001:goitered 960:and the 951:Integral 934:Integral 926:Futurism 910:Integral 893:acts of 864:Integral 859:Integral 846:(1936), 828:Don Juan 807:Integral 728:Romanian 712:Reporter 664:Era Nouă 660:Reporter 567:Integral 557:Integral 348:Moldavia 289:thinker 278:Cuvântul 273:far left 265:Integral 88:Pen name 3981:, p.345 3968:, p.349 3955:, p.348 3917:, p.225 3901:, p.143 3171:, p.149 3114:, p.275 3079:, p.278 3053:, p.289 2497:collage 2319:lyrical 1914:bigotry 1909:yeshiva 1900:osmosis 1896:bucolic 1821:Trustul 1813:Dorohoi 1707:and in 1673:. 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The 722:(from 658:(PCR)— 520:Insula 516:Insula 500:hajduk 474:(from 434:, and 356:ghetto 339:shtetl 104:Period 4478:, in 4446:, in 4414:, in 4364:, in 4314:, in 4308:] 4282:, in 4250:, in 4209:, in 4178:, in 4104:, in 4003:, in 3936:, in 3805:, in 3748:, in 3662:, in 3603:, in 3504:, in 3463:, in 3438:, in 3383:, in 3358:, in 3296:, in 3246:, in 3201:, in 3130:, in 2925:, in 2884:, in 2835:, in 2768:, in 2653:, in 2503:Notes 2461:Urmuz 2324:Tatar 2200:] 2179:, or 1988:' 1945:rabbi 1860:' 1786:boyar 1703:, in 1699:, in 1652:Urmuz 1584:' 1549:payot 1454:Purim 1026:years 954:' 867:' 730:for " 614:Facla 609:] 570:' 447:] 432:] 417:] 130:essay 112:Genre 4661:ISBN 4647:ISBN 4630:ISBN 4609:ISBN 4584:OCLC 4567:ISBN 4532:ISBN 3579:ISBN 3546:ISBN 3411:ISBN 2729:OCLC 2626:ISBN 2585:ISBN 2421:and 2409:and 2396:and 2309:The 2093:and 1964:and 1954:alms 1823:and 1646:and 1571:and 1411:Work 1338:and 1264:and 1112:and 1096:and 1075:King 794:and 767:and 740:Adam 706:and 694:and 662:and 596:and 449:and 239:and 68:Died 45:Born 2463:or 2447:'s 2372:'s 2263:or 2146:". 2077:'s 2003:." 1999:or 1990:s " 1841:or 1749:In 1614:." 1401:unu 1242:." 1200:unu 1120:'s 997:unu 972:or 800:unu 788:unu 784:unu 747:unu 562:unu 539:unu 346:of 260:unu 4676:: 4641:, 4624:, 4620:, 4603:, 4599:, 4595:, 4578:, 4561:, 4557:, 4547:, 4543:, 4526:, 4522:, 4467:, 4435:, 4403:, 4353:, 4310:, 4306:ro 4271:, 4229:^ 4174:, 4139:^ 4127:^ 4115:^ 4093:, 4072:^ 4058:^ 4030:^ 3999:, 3986:^ 3922:^ 3906:^ 3832:^ 3816:^ 3794:, 3759:^ 3718:^ 3673:^ 3632:^ 3592:, 3585:; 3573:, 3540:, 3536:, 3515:^ 3493:, 3459:, 3434:, 3421:^ 3405:, 3401:, 3379:, 3347:, 3322:, 3307:^ 3271:^ 3257:^ 3242:, 3221:^ 3186:, 3042:^ 2972:^ 2914:, 2869:, 2831:, 2810:^ 2764:, 2751:^ 2739:^ 2723:, 2719:, 2664:^ 2649:, 2636:^ 2609:^ 2595:^ 2575:, 2571:, 2555:^ 2540:, 2510:^ 2417:, 2392:, 2244:, 2240:, 2198:ro 2175:, 2163:, 2159:, 2101:. 2053:. 1877:. 1862:s 1773:. 1719:. 1586:s 1457:, 1451:, 1383:, 1352:. 1253:. 1126:. 873:, 826:(" 779:. 726:, 686:, 682:, 678:, 641:. 617:. 607:ro 537:, 457:. 445:ro 430:fr 423:, 419:, 415:ro 408:, 293:. 235:, 203:, 174:, 170:, 166:, 162:, 156:, 140:, 136:, 132:, 128:, 124:, 118:, 80:, 60:, 4016:) 3287:" 3188:" 2875:" 2871:" 2224:" 1139:" 702:( 186:( 53:) 49:(

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