Poor Dionis - Knowledge (XXG)

556: 1714: 1544:. The story never reveals whether Dionis or Dan is the actual protagonist—according to Pârvulescu, the solution is "so very simple that everyone misses it by a long shot: the 'real' hero of these episodes is the poet, no matter what pseudonym he uses, and his dream is the poem". As noted by Ciopraga, "Dionis is, without a doubt, a double of a very young Eminescu, who, in sketching the character's fictional profile, sketches out—to a certain degree at least—his own autobiography." Early on, Eminescu admirers were especially prone to arriving at this conclusion. Eminescian poet 573: 1353: 424: 856: 27: 517:-wearing Ruben—telling him that the shadow he left behind has written a precious memoir. "Ruben" reveals himself to be his book vendor, Riven, and denies any knowledge of their dialogues on metempsychosis. Despondent, Dan begins to suspect that he has been tricked by devils. Eminescu ends his account with a series of open questions, without revealing any explicit moral to the story. 502:

letter, confessing his affection. When, from the window, she shows him that the letter has impressed her, Dionis faints with emotion. He is carried to hospital by concerned philanthropists and makes a slow recovery, while Maria secretly arranges to have his room cleaned and refurbished. Dionis wakes up in a beautified home, with Maria watching over him. They become lovers.

461:, Ruben teaches, may only happen if one changes places with one's ancestors or descendants. Taking the Dionis experience as evidence that Ruben is right, Dan asks to be transported into an ideal universe, and is told by his master that such a place exists "in your immortal soul". If Dan wishes to reach it, he is to read every seventh page of a 894:, the controversial essayist and logician, also declared the work to be philosophically ambitious, but incoherent: "All the discouraging lack of logic that characterizes this short story stands as evidence in anyone's eyes that Eminescu was not a philosopher." In his view, Eminescu merely tried to give a literary representation to 1677:: "The novella was just one of the forms in which Eminescu displayed his ability to weld the magical logic of the traditional fairy tale with a remarkably modern historical logic of national destiny . Such fictions were a substantive advance in the imagining of continuity, placed on a new psychological plane." Author 1766:; in 1906, Panu also contributed notes which restated his criticism of the work as "insane", but also included some words of praise. In addition to Fondane and Davidescu, other Romanian Symbolists were enthusiastic about Eminescu's creation. They include the poet Gheorghe Orleanu (1873–1908), who, together with 1589:

Much discussion surrounds the topography of Eminescu's apocalyptic landscape. G. Călinescu makes a special mention of the fact that, although he follows the Romantic cult of ruins and decrepitude, Eminescu does not use its conventions to deplore decadence: "Quite the contrary, Eminescu rejoices." The

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is Kantian or Schopenhauerian has been the topic of dispute among other critics—according to philosopher Angela Botez, this is mainly because Schopenhauer, who fascinated young Eminescu, borrowed and revolutionized some of the core Kantian ideas. "In truth", she notes, "from the philosophical musings

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describes Eminescu's "grand novella" as "one of the most beautiful and most particular works of European Romanticism". Luisa Valmarin, the Italian philologist, calls Eminescu's work "the only philosophical novella produced by Romanian Romanticism". Among the scholars who regard the story as primarily

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notes that he imagined Eminescu to be a sort of sleepwalking Dionis, and that, to his surprise, his idol was rather "a stout and round-faced, aging, man, short-haired and dressed like any other". In 1930, however, Victor Morariu extended the Dionis comparison to describe the real-life Eminescu as a

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should not be read as a passive and contemplative scenario: "The image of the world as the insipid dream of a tomcat seems a daring minimization of philosophical concepts, curiously so in a spirit such as Eminescu's, that is so very attracted to speculative matters. However, once we hold everything

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and all other prose works by Eminescu were only marginally relevant to students of Eminescu, well into the interwar period. By then, however, the story had drawn attention from the Carlo Tagliavini, who published commentary on it for an Italian reading public (1923). It also remained a favorite of

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To some degree, this transfiguration also appears in Eminescu's treatment of other settings and landscapes. The Bucharest of Eminescu's imagination is not just affected by magic, but also suffering from "topographic incoherence" (an expression used by Eminescu expert Ioana Both). Likewise, Ruben's

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With this (half-uttered) blasphemy, everything is lost. Feeling himself expelled from Heaven, Dan reawakens as Dionis, and catches a glimpse of the singing girl: "Ophelia" is Dan's Maria. Still confused by his apparent change of status, and not being sure of himself, Dionis decides to write her a

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Nu totdeauna suntem din țara care ne-a văzut născând și de aceea căutăm adevărata noastră patrie. Îmi pare c-am trăit odată în Orient, și când în vremea carnavalului mă deghizez cu vrun caftan, cred a relua adevăratele mele vesminte. Am fost întotdeauna surprins că nu pricep curent limba arabă.

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Upon rereading the story during World War II, Eliade declared himself: "less enthused than previously. In places, Eminescu's language is viscous, artificial; cacophonies abound." Physician Constantin Colonaș authored another play based on Eminescu's text, which was considered for staging by the

751:. Claiming to speak for the entire group, Panu recounted that the work read like "a philosophical aberration", "as weak as they get", without "at least the characteristics of a fantasy novella". Eminescu's biographers have dismissed Panu's claim as mystification. A lively opponent of Eminescu's 1704:

as a collective tragedy. The episode was cited by scholar Petru Zugun as evidence that Eminescu was not a xenophobe, as has been argued by other historians. Overall, however, Eminescu had an ambiguous attitude toward the Jews, veering between entirely positive characterizations and antisemitic

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We are not always from the country where we were born ... and so we keep searching for our real homeland. It seems as though I have lived in the Orient, and that during the carnival, when I disguise myself with ... a few authentic baubles, I feel as though I have put on my real clothes. I am

1144:, while the moonscape replicates visions of paradise found in ancestral Romanian stories. Ruben's hybrid appearance also follows early Romanian ideas about the physical attributes of wisdom. The ideal of an unreachable but desirable lady, seen from below, is described by historian of culture 457:: "you can slip into the lives of all the ones who led up to your life into all the future lives caused by your present life"; "you can go any place you want, although you cannot leave it void behind you. there's no such thing as fully vacant space." Simultaneous travel in 1581:

as a record of youth, "with its illusions, its sweet sorrow, its mirage of love eternal and fairy-tale life"; "readers will feel like they co-wrote ". Knowing that Eminescu died as a mental ward patient, some have argued that the travel episodes are records of a developing

2980: 1564:". To some degree, the notion resurfaces in other biographically-inclined scholars. Iorga believed that the work was not only generically autobiographical, but also an actual record of Eminescu's various cultural immersions, including his destitute career as a 489:

As a new Zoroaster, Dan carries his lover to the moon. No longer held back by the laws of physics, he rearranges the celestial sphere and the lunar landscape for Maria's pleasure, building her a heavenly abode, serviced by the angels and decorated with

1299:, a rhyming companion to the novella, have thus been read as "typically Romantic" self-irony, "bohemian cynicism", or a "grave parody". According to Vera Călin, the addendum "wittingly paraphrases" Schopenhauerian philosophy, in the playful key of 944:. Revisiting the project in 1996, he comments: "I am no wiser today as to whether this thought is mere idiocy or not". Dionis' detachment from his shadow may be a discreet self-mockery on Eminescu's part, as suggested by literary historians like 717:

did not notice that, at heart, with his use of fairy tale settings, Eminescu depicted the fate of the genius artist whom a hostile environment has condemned to a chimerical, deplorable, life." Maiorescu and Pogor eventually agreed to serialize

1159:: "Eminescu was convinced of the Orient's superiority when confronted with the so-called progress in the West . The Orient is the only place where the ancient knowledge survives." Bhose has pleaded for the work to be seen as one of Eminescu's 1461:

Various commentators have revised the casual readings of the story as a late-Romantic joke, while also rejecting its interpretation in purely philosophical terms. According to scholar Ilina Gregori, the realistic and dream-like levels of

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episode where Dionis-Dan reshapes his universe also strikes a personal note: Dumitrescu-Bușulenga sees here a "last echo" of Eminescu's youthful belief in his own creative powers, crowning his idealization of the Romantic artist as a

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suggested that "such mentions have usually been compromised by exaggerations that would turn the poet into a precursor (if not indeed a coauthor) of the theory of relativity. Thankfully, more serious approaches have since followed".

1649:, is highlighted by Simion as "an evident anachronism". In his hostile account, George Panu highlights the issues posed by Eminescu's belief in pristine simplicity: "Searching for that old Romanian type, Eminescu had taken his hero, 908:

supposes that some "subtle philosophical undertones" might still exist in the account, but "when it comes to the artistic achievement, the fairy tale most definitely enjoys primacy." The same conclusion is drawn by his colleague

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outbursts. Ioana Both sees a connection between the apocalyptic nightmare of a city haunted by demons, on one hand, and, on the other, Eminescu's political articles, which proclaim that Romania was being invaded by foreigners.

1405:. Like some German theorists of the day, Eminescu was convinced that "gen'rous youngsters" everywhere had made it their mission to destroy civilization, referring to them as "idiots" with "rotten bodies"; as noted by scholar 482:; and that he, Dan, as the reincarnation of Zoroaster, is entitled to use the book as he pleases. The monk and his shadow strike a deal: Dan will assign his mortal's identity to the shadow, while he himself will become a " 1576:

tribunal in the 1860s. Resisting the posthumous glorification of Eminescu, Lovinescu also suggests that, like his protagonist, Eminescu lived his final decades in abject squalor. More generally, Sanielevici described

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of Kantian concepts cannot function. According to G. Călinescu's verdicts, Kant did not view time as subjective, but rather as a subject of physical phenomena—Eminescu's interpretation comes from Kantian critics like

494:; in this arrangement, Earth itself is a contemptible atom, consumed by hatred and war. Dan finds that the entire cosmos is his, except for the inaccessible "dome of God". He becomes obsessed with looking upon the 1914:, with the accent falling on the plight of misunderstood geniuses living in squalor. As Mihai Zamfir notes, this approach tended to favor "fragments of rough drafts" over the published version. In 1969, actor 1668:

takes the center stage, highlighting his conservative vision of history. Panu's view was embraced and nuanced by later exegetes. Historian Alex Drace-Francis notes that Eminescu's work follows the trend of

1002: 676:. He writes: "Eminescu never shared with anyone what he was writing on, and if he had written something he would not even show it to his roommates, but locked away his manuscript. Hence, we got to know of 889:

merely saw the work as "illegible, were it not for the beauty of each passage". Any complex idea, Iorga argues, only spoke of Eminescu's fascination with philosophical tropes, and came out as "bizarre".

405:. In this reverie, his eyes affixed on the zodiac, Dionis understands that he can freely travel back into the glorified past. He chooses for his destination ancient Moldavia, under the rule of 740:. According to scholar Dimitrie Vatamaniuc, it was also then that Eminescu added two paragraphs of prose and the Gautier quote, which were meant to clarify the work's philosophical intention. 301:

literary club, it was dismissed as an incoherent oddity by critics of the day, and overlooked by researchers before 1900. It was then reevaluated by successive generations, beginning with the

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and Mihai Drăgan—the former proposed a reading of Eminescu's evolution as a writer, which excluded the novella. Interest in Eminescu's prose was also kept alive among the Romanians of the

1572:, his enduring affection for Iași, and his scholarly interest in magic. According to researcher Vasile Bînzar, descriptions of Dionis' destitution closely resemble Eminescu's clerking for 672:

to be of an "extravagant and sensationalistic" Romantic nature. Their claim to have known the work in its early stages is contrasted by the recollections of yet another Vienna student,

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proposes that, on its own, Ruben the Jew may embody a positive stereotype, that of the "wise rabbi", which has some deep roots in Romanian folklore. The oblique references to Ruben's

823:, occult symbols are borrowed for an actual escape into a magical universe. The move, she notes, "prefigures" Eminescu's poems. Somewhat different accounts are provided by scholars 478:

Mesteacăn, and secretly wishes to kidnap her. As Dan weighs in the possibilities, his own shadow begins talking to him, telling him that the book he read was written by the prophet

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had anticipated his finds; Einstein kept corresponding with Șerbu, but did not show an interest in reading the story. In addition to investigating such connections herself, critic

4172:" 'Primii mei profesori de limbă și literatură română au fost timbrele, copiii din România și autorii de capodopere literare'. Dialog cu eseistul și traducătorul Michel Wattremez" 4314: 664:, whose comments inaugurated a long sequence of negative criticism: at the time, Slavici described the work as merely "bizarre". Another Romanian colleague in Vienna, linguist 245:. Its eponymous central character, a daydreaming scholar, moves between selves over time and space, between his miserable home, his earlier existence as a monk in 15th-century 1175:(known to have been read in translation by young Eminescu), even though, she asserts, the text does not follow such ideas to the letter. Bhose sees the novella as akin to the 465:

book: each will take him to a new place, in no known order, and no location can be visited twice. After Dan leaves, book in hand, Ruben is revealed to have been possessed by

1835:, who reportedly knew the story "almost by heart", may have been inspired by it and other Eminescu fantasy works in his contribution as a novelist. Originally impressed by 1692:

A political focus is apparent in Eminescu's treatment of the Jewish character, who is a familiar outsider in both the medieval and modern settings. Cultural anthropologist

767:, who noted that Panu could not have been present at that meeting, and that his account is a "literary forgery, which is attributable to either bad faith or poor memory". 1253:" motif that had already inspired him to write the 1869 short story "My Shadow". Eminescu's characterology is described by several authors as a nod in the direction of 1508:, the Symbolist propagandist, who in 1939 described Eminescu as Romania's first Symbolist. Davidescu's claim was rejected by Lovinescu, who insisted that Eminescu and 728:, where the first episode appeared on December 1, 1872. Not discouraged by the reception, Eminescu responded with a subtle satire, meant to be read as an addendum to 2479: 810:, exposing Romania to "Eminescu's hurricane of genius, bringing in all the elements of German sentimentality, filtered through a singular, personal, temperament." 3942: 3621: 813:

The story signals some essential transitions in Eminescu's work. Luisa Valmarin writes that Eminescu stepped up from his early representations of the occult: in

498:, and with reshaping the angels into instruments of his will; Dan begins to formulate a thought, that he himself may be God, and may not be remembering as much. 4730: 1197:. The reincarnation imagery and Eminescu's underlying belief in "the perishable outer layer of man and his undying soul" are also explored in the short story 386:, reduced to poverty and prone to daydreaming. He is an orphan, born out of wedlock to a mysterious aristocrat and a priest's daughter. Although a passionate 4130:

Studies on Literature, Discourse and Multicultural Dialogue. The Proceedings of the International Conference Literature, Discourse and Multicultural Dialogue

2785: 1849:, and borrowed themes from it in the novella "Nights at Serampore". An essay he published in June 1939 defended Eminescu as a fantasy author, defining his 1512:

only appeared Symbolist because of a substantial debt to Kantianism. The Symbolist connection was revisited in 2008 by researcher Rodica Marian, who sees

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monastic clothes, and grasping the almanac. He is Friar Dan, who he has only dreamed of being Dionis, and the book is a present from his teacher, Ruben.

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Others suggest that the doubling of Dionis' being is not necessarily a purist philosophical commentary, and may in fact be tongue-in-cheek. Philosopher

1653:, down to the age of Alexander the Good, and wishing to confront us with old homes, wide verandas and ancient customs, he resorted to inventing them." 4640: 486:", with the shadow's power to transcendent. Under this guise, Dionis visits Maria, and persuades her to make a similar exchange with her own shadow. 4720: 1815:(a cultivation of the immediate experience), generalized interest in Eminescu's fantasy prose. Although the work had been censured by their mentor, 1356: 1301: 1281:, readers are slowly immersed into "a mellow chaos of signs", rather than confronted with sheer Gothic terror. As read by Botez, the resolution of 1770:

and Constantin Calmuski, rewrote the story into a five-act Symbolist play. It was performed only once, in June 1909, for the Eminescu festival in

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Women, Suffrage, and Politics: The Papers of Sylvia Pankhurst, 1882–1960 (From the Internationaal Instituut voor Sociale Geschiedenis, Amsterdam)

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In medieval Iași, Dan also experiences a rude awakening, and, like Dionis, is apparently ill. He is visited by a Jewish man, whom he takes for a

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Among the Eminescu scholars, Gheorghe Ceaușescu proposes that the novella, and in particular the Gautier quote, stand as evidence of Eminescu's

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Petre Pascu, "La trei pătrare de veac... Articol publicat cu prilejul comemorării a 75 de ani de la moartea marelui poet Mihail Eminescu", in

2043:. By 1929, he had taken the initiative of translating the story into his adoptive French, without ever managing to finish that work. Although 4700: 4509: 4389: 4340: 4137: 3825: 3782: 3578: 3364: 3296: 646: 1443: 4310: 835:, seems to them a direct precursor of the Dionis narrative, especially when it comes to the poetic landscape. Researchers, beginning with 555: 348:

also caught attention, and was held in contrast to other works by Eminescu, which border on antisemitism. Various scholars, however, see

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monster. The same characteristic is noted by Ioana Em. Popescu, according to whom Dionis is the expression of immeasurable ambition, a "

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atmosphere was localized by Eminescu, treated with ironic detachment, and completed by intertextual allusions to another German motif:

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up to the poet's polemical intent, his parody of meditation and mockery of cosmogonic representations reveal their true significance."

4690: 4685: 4610: 3774: 2080: 2009:'s anthology of "feline poetry", published 2008. Likewise, Eminescu's discourse about relativity, like its possible kinship with the 4740: 4715: 4620: 4551: 4537: 4332: 3525: 2562: 2554: 2535: 4366: 3090: 2134:, pp. 691–726, with some of Eminescu's typographical preferences. English translations by Florin Bican ("The Sorrowful Dionis", in 1786: 1504:

as an actual Symbolist masterpiece, his terminology also listing Novalis among the Symbolists. The same notion was entertained by

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also described Dionis as one of the first and most important protagonists of the genre, as it had developed in Romania. Reviewing

401:, and listening, through the open window, to a girl singing; charmed by the sound, he sees (or imagines) the girl as a modern-day 4735: 4580: 3413: 2139: 1778:

into the dramatic format. Similar adaptations were penned by the actor State Dragomir and by Dragomir's pupil, Nicolae Beligan.

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is central to another debate, which focuses on Eminescu's status as a late Romantic, versus his possibly role as a forerunner of

4171: 3693: 3453: 4660: 4605: 3356: 638: 547:, November 2, 1872—some of Audebrand's musings on Gautier are also included right after the quote. Part of the fragment reads: 4695: 4625: 3875: 3175: 2284:

Simion, pp. 222–223. See also Botez, pp. 11–12; Lovinescu (1943), pp. 25–28, 148–152; Perpessicius, pp. 167–168, 195, 469–471

1895:. As argued in 1975 by critic Emil Manu, it could have resulted in a "grandiose film", capturing "Eminescu from the inside". 288: 3995: 1713: 1538:

In various critical interpretations of the novella, special note is made about the possibility that Dionis is the writer's

4705: 4615: 3845: 1497: 1237:" minstrel of Novalis' prose. In addition to this floral motif, Eminescu takes from Novalis the whole narrative device of 1033: 302: 3976:

Oana Tei, "Festivalul Național Cîntarea României. Carte. 'Istorie (reală și imaginară) a unui itinerar profesional'", in

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appears to be "mocking the readers" and their expectation of logical coherence. Following patterns found in Hoffmann and

1229:. Among the Eminescu scholars, Perpessicius, Philippide, Simion and Ciopraga see a special connection between Dionis and 4680: 4675: 4585: 4501: 1892: 1614: 1421:

As a lamentation of the poet's marginality in modern society, the poetry fragment is, according to writer and academic

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both noted that "the ending and the resolution do not match into the whole structure". According to literary historian

4590: 1970: 4710: 4422: 1305:. The core stanzas are Eminescu's mock defense of an idle and imbecilic feline, who may be the dreamer of the world: 787: 3016: 1422: 4600: 4529: 2527: 1862: 1824: 1633:, followed by withdrawal into creativity. In his own essay on Eminescu's sexuality, I. P. Culianu postulates that " 1254: 406: 2047:

was rendered into French by both S. Pavès (1945) and Veturia Drăgănescu-Vericeanu (1974), full French versions of

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overflows with self-confessions, aspirations and romanesque ideals": Dionis' unrequited love is the author's own "

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The story's various folkloric reminiscences are in part introduced by Romantic localism. They reach down through

3537: 3454:"M. Eminescu—'Poetul național', nu scriitor xenofob, antisemit și rasist. Argumentare lingvistică și stilistică" 2013:, has since continued to stimulate Romanian critics and scientists. Writing in 2006, mathematician and essayist 1082:. Literary historian Constantin Ciopraga similarly notes that the fixation on Ruben's book of magic is a not to 4655: 4635: 4428: 3557: 1360: 1352: 1230: 905: 417: 4087: 4072: 3117: 2441: 1375: 472:

Back in his room, Dan decides to use the book for an egotistic purpose. He is in love with Maria, daughter of

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took the work's ambitions more seriously, noting Eminescu's subtlety in rendering concepts that were new to

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Dumitru Ignat, Vasile Bînzar, "Ambianța în care a stat Eminescu la Botoșani a trecut în literatura sa", in

2725: 1370:, who were entirely different in style and approach. Draft versions of the poem specify the main targets: 1277:

sees both Hoffmann and Eminescu as authors interested in the "absurd" side of fantasy. He argues that, in

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was included as optional reading material in some high-school textbooks. It was also the opening work in

1409:, Dionis is ostensibly a poet by vocation, capable of putting together accomplished verse on a dare. The 2036: 1984: 1290: 1246: 1063: 980: 926: 882: 752: 310: 94: 3958: 2836: 2373: 2079:

in 1980. The entire corpus of Eminescu's prose works was rendered into Chinese by Feng Zhichen, of the

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Dumitrescu-Bușulenga proposes that Eminescu's Hoffmann-like Romanticism, with more distant echoes from

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published his rendition (the first one in Hungarian) in 1955, while a Russian translation appeared at

1782: 1717: 1058:. In 1928, Einstein received a letter from his Romanian admirer, Melania Șerbu, who informed him that 4296: 2316: 2010: 1911: 1806: 1670: 1055: 1050:, for instance), has intrigued Romanian students of physics, particularly after they became aware of 972: 683:

Eminescu made a trip back to the country and, on September 1, 1872, read the story to his patrons at

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also sees the story as quintessentially "Biedermeier", wrapped up in "tamed" or "high" Romanticism.

855: 736:("Poor Dionis' Musings"). It was interwoven into the first installment of the story as published in 4670: 4665: 4413: 4176: 3925: 3820:, pp. 12–13. Bucharest: Editura Biblioteca Bucureștilor & Union of Romanian Filmmakers, 2001. 3659: 3458: 3418: 3351:

Ioana Both, "Elégie pour une ville absurde: Bucarest", in Thomas Hunkeler, Edith Anna Kunz (eds.),

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could be better trusted to understand the world. According to Perpessicius, this piece is "tied to

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Constantinescu, pp. 126–127, 130–134; Perpessicius, pp. 132, 163, 170, 172, 195, 456, 465, 472–474

164: 2035:. This was followed ten years later by M. Schroff's version. Even after discarding Symbolism for 2032: 1887: 1674: 1565: 1553: 1218: 1149: 1141: 1114: 957: 936:

notes that, upon first reading the story as an adolescent, he traced its links with the views of

878: 779: 495: 469:, who takes joy at having ensnared a pious monk: the book is in fact an instrument of perdition. 409: 333: 276: 260: 210: 90: 86: 4493: 4288: 1979: 1693: 1274: 525:

The narrative came with Eminescu's "conclusive notes", and ends with a quote from Romantic poet

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

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Andreea Mironescu, "Eminescu și cultura amintirii. De la evocare la ficțiunea postmodernă", in

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Lovinescu (1943), pp. 25–28, 148–152; Perpessicius, pp. 145, 167–170, 469–471; Simion, p. 223;

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The story is also commonly believed to have inspired the "Philosopher" sculpture, completed by

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Mircea Ardeleanu, "Eminescu en français. La langue des traductions", in Iulian Boldea (ed.),

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was the first Eminescu work to appear in Serbian, in a version done by Lepoša Pavlič (1940);

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and received good reviews. This project was ultimately cut short by the turn of tides on the

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and its Schopenhauerian content were the product of frustration with, and withdrawal from, "

1070:, and of Eminescu's work in general, was given by its multiple levels, and especially by its 913:, who notes that any Kantian overtones are submerged under "the prestige of the fairy tale." 4381: 4101: 3836: 3134: 3020: 2519: 2060: 2001:. Under post-communism, Eminescu's story remained outside the national curriculum, although 1989: 1943: 1927: 1870: 1741: 1646: 1493: 1489: 1471: 1341: 1194: 1130: 1098: 914: 446: 66: 1762: 4516:

PRODIDACTICA. Revistă de teorie și practică educațională a Centrului Educațional (Moldova)

4462: 4109: 3801: 3159: 2781: 1951: 1701: 1630: 1518: 1455: 1250: 1190: 1177: 1145: 1079: 1051: 1037: 976: 953: 792: 462: 371: 272: 242: 4416:, "Eminescu. Contradicțiile erei burgheze oglindite în ideologia lui Eminescu", pp. 5–45. 4378:

The Traditions of Invention: Romanian Ethnic and Social Stereotypes in Historical Context

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contributions. She believes that, beyond adopting Kantian and Schopenhauerian discourse,

665: 320:

has intrigued researchers with its cultural complexity, discussed in connection with the

2673: 4434: 4327:, "Irony and World-Creation in the Work of Mihai Eminescu", in Frederick Garber (ed.), 4292: 4222:Ștefan Selek, "'Picuri de lumină... Eminescu' la Biblioteca Județeană Petre Dulfu", in 3232: 2893:, Issue 5/1909, p. 389; Botez, p. 10; Iorga, p. 146; Simion, pp. 223, 233, 237, 240–242 2644: 2076: 2014: 1993:, by Cărtărescu, makes cult or tongue-in-cheek references to Eminescu's story, as does 1795: 1775: 1604: 1425:, merely a "Romantic cliché". In his depiction of Dionis' lodging, particularly so for 1402: 1383: 1267: 1238: 1075: 1029: 998: 710: 702: 450: 375: 218: 44: 4490:(Centrul de Cercetări Literare și Enciclopedice, GERFLINT), Issue 3/2008, pp. 111–120. 4484:"Le dédoublement dans le discours narratif fantastique de G. Rodenbach et M. Eminescu" 2849:

Ciopraga (1971), p. 169; Perpessicius, p. 171; Philippide, p. 49; Simion, pp. 220, 228

2748: 2105: 1074:

suggestions. In her view, Zoroaster's book is a mirror of the world symbol, as in the

1032:

precedes the German school by several generations, finding its literary expression in

537:. Eminescu was familiar with them from a fragmentary version, appearing as a quote in 4574: 4448: 4324: 3798:

Teatrul românesc: privire istorică. Vol. VIII: Teatrul românesc în perioada 1940—1950

3766: 3753: 3254: 2052: 1947: 1923: 1840: 1767: 1753: 1697: 1583: 1479: 1430: 1401:, "cat swarm", which alternate and contrast with words from the deeper layers of the 1379: 949: 941: 886: 807: 442: 238: 32: 3042: 1125:. Philologist Anca Voicu also writes that the Gnostic source, a borrowing from the " 529:, in Eminescu's own translation. They trace back to a letter on drama, addressed to 4521: 4440: 3711: 3529: 3409: 1994: 1962: 1729: 1682: 1678: 1505: 1186: 1182: 1071: 910: 867: 828: 706: 661: 361: 332:. Its unreliable depiction of the historical past is also noted in connection with 2298: 1140:

s very "narrative matter". The angels' description is picked up directly from the

1752:. It was only during that interval that the first critical commentary, penned by 4456: 3733: 3068: 2701: 1816: 1757: 1665: 1645:

presence in early medieval Moldavia, where he is employed by a not-yet-existing

1573: 1467: 1438: 1263:, which also tells the story of an ill-adjusted savant reclaiming the universe. 1234: 1156: 1083: 945: 891: 748: 491: 483: 387: 379: 341: 268: 234: 4467:

T. Maiorescu și contemporanii lui, I. V. Alecsandri, M. Eminescu, A. D. Xenopol

2257: 1935: 1915: 1832: 1749: 1686: 1527: 1172: 1122: 1102: 961: 895: 474: 325: 226: 170: 3923:

Mihai Drăgan, "Eminescu în viziunea critică a lui Vladimir Steinu (III)", in

621:, p. 726. Also rendered (without emphasis) in Perpessicius, pp. 176, 477–478. 4544:

Letteratura della Romania. Quaderni del Premio Letterario Giuseppe Acerbi, 6

3297:"Eugen Lovinescu: lecturi eminesciene. Însemnări de psihanaliză... textuală" 2323:, "Despre incidentul avut de Eminescu cu Caragiale, pe cînd poetul lucra la 1878: 1736:

rather than German ideologies. In 1890, one year after its author had died,

1733: 1638: 1540: 1466:

should never be separated. According to Gregori, the work as a whole is an "

1437:. Historian of ideas Ana-Stanca Tăbărași suggests that Spitzweg's declining 1391: 1286: 1118: 1041: 863: 479: 458: 427: 398: 383: 250: 4546:, pp. 68–71. San Pietro in Cariano: Il Segno dei Gabrielli Editori, 2005. 3520:, pp. 263–264, 366–367. Bucharest: Editura Biblioteca Bucureștilor, 2001. 2059:

collection) by Michel Wattremez. Several English translations were done by

1771: 1185:. Shankara preached that all the selves in the cosmos are reflections of a 956:, wherein space and time are merely subjective realities. Likewise, critic 952:. They note that Eminescu follows to the letter a Romantic critique of the 763:

was being presented for review. The same was claimed by the poet's nephew,

4474: 4202: 4117: 3545: 3135:"Tradiționalism, modernitate sau avangardă în poezia lui Barbu Fundoianu?" 1700:

background and his refusal to convert may show that Eminescu regarded the

1270:, takes on German philosophical concepts only as a literary device, while 1105:. In the 1960s, academic Rosa del Conte proposed that the text alluded to 360:

Eminescu begins his story in mid-thought, with first-person musings about

150: 4514:

Sergiu Pavlicencu, "Prezențe spaniole în proza literară eminesciană", in

4453:

Istoria literaturii românești contemporane. I: Crearea formei (1867–1890)

4304: 4030: 4000: 3880: 1732:. Later in the 1870s, Slavici intended to write a spin-off, one based on 1657: 1626: 1595: 1242: 1110: 390:

and reader of sacred books, Dionis is more of "a superstitious atheist".

246: 35:'s "Poor Poet" (1839), a supposed visual inspiration for Eminescu's story 4407: 2753: 2678: 1591: 1569: 1226: 1168: 685: 431: 413: 402: 394: 382:

Dionis. He describes the latter as an unkempt, but good looking, young

345: 344:

insight into Eminescu's biography. Its favorable depiction of Jews and

321: 297: 284: 222: 214: 118: 4419:

Constantin Ciopraga, "'Nocturnul' în opera lui Eminescu", pp. 164–185.

967:

A trenchant point of view on the matter is expressed by G. Călinescu.

4057: 4035: 3978: 3678:

Analele Universității de Vest din Timișoara. Seria Științe Filologice

2809: 1789:

in Iași; the work may also be a Schmidt-Faur self-portrait. Overall,

1334:

And I'd show the gen'rous youngsters, the young ladies gay and bright

657: 656:

Eminescu finished writing his story during an extended study trip to

635:

Stratified Modernism: The Poetics of Excavation from Gautier to Olson

507: 366: 98: 3751:

Emil Manu, "Scriitorii români în comentariul lui Mircea Eliade", in

3694:"Ion Biberi – 110 ani de la naștere: Repere de biografie spirituală" 1977:

was also being recovered by Romania's modernist and late-modernist (

1823:

revived the Dionisian misunderstood hero; early study cases include

271:

texts. Beyond its philosophical vocabulary, the story is Eminescu's

3471:

Oișteanu, pp. 10, 18, 26, 51–52, 55, 71, 98, 181, 199, 209, 257–261

1922:, re-released in 2011; the entire story was read by another actor, 1221:. It is most closely related to late-18th-century fantasy works by 697:

a lukewarm reception. As recorded by the society's official diary,

378:". The narrator then reveals that this is a quote from the amateur 3113:"Realismul magic românesc în contextul realismului magic european" 1018: 513: 466: 4070:

N. N. Muntean, "Bibliografia literară română în streinătate", in

3893:

Constantin Stoiciu, "Cronica TV. În ceea ce privește poezia", in

2222:

Lovinescu (1943), p. 151; Perpessicius, p. 456; Vatamaniuc, p. 85

1938:, adapted by Biberi from the novella. During the 1970s and '80s, 1641:" self, idealizing his transformation into a "desirable suitor". 1336:

That this world is merely dreamland and a cat's fantastic vision.

2551:

Flying Against the Arrow: An Intellectual in Ceaușescu's Romania

689:—his "first-ever personal contact" with that literary club. The 535:

Histoire de l'art dramatique en France depuis vingt-cinq ans III

4132:, Vol. I pp. 679–681. Târgu-Mureș: Arhipelag XXI Press, 2013. 2184:

Iulian Negrilă, "M. Eminescu – student la Viena și Berlin", in

340:, while its depiction of mundane contemporary scenes may offer 2971:

Sorina Florea (Darie), "Neologisme, xenisme și pancronisme în

2341: 2339: 2337: 2204:, p. 71. Bucharest: Institutul de Arte Grafice C. Sfetea, 1914 1969:

published another project for a Dionis screenplay. Before the

1965:

references to the 1872 narrative. Four years later, filmmaker

1307: 1918:(brother of the poet-screenwriter) recorded his rendition of 1843:, also introduced references to the story in his 1936 novel, 1720:'s "Philosopher", commonly seen as a representation of Dionis 144: 4542:

Luisa Valmarin, "Mihai Eminescu", in Giorgio Colombo (ed.),

3943:"Grafica de carte în creația plasticianului Gheorghe Vrabie" 3043:"Eminescu – Spitzweg. O posibilă sursă de inspirație pentru 2876:

Perpessicius, pp. 173–174, 475; Simion, pp. 219–222, 232–235

3571:

Istoria teatrului la Botoșani: 1838–1944. Vol. 1: 1838–1900

2834:

Gheorghe Glodeanu, "Eminescu in perspectivă comparată", in

1040:, before arriving at Gautier. Eminescu's own perception of 660:. Reportedly, he first read it to friend and fellow writer 3839:, "Note. Revistele regiunilor și profesiunilor românești. 3603:"Radu Beligan: Actoria e o meserie care se ia prin osmoză" 2145: 2063:, with a definitive version only published in 1979 by the 1454:

s conclusive "come, oh, sleep or come, oh death". Scholar

960:

viewed the story as mainly a record of Dionis' break with

4367:"Transpuneri în limbile europene ale liricii eminesciene" 4238:

Foaia Noastră. Gazeta Oamenilor Muncii Romîni din Ungaria

1552:

Among the early reviewers, G. D. Pencioiu took a radical

1330:

If I were an artful thinker, I would not eschew derision;

1774:, and is mainly noted for merging poems by Eminescu and 1332:

In a set of public lectures for ideals I'd boldly fight,

877:

is rated by some exegetes (including Indian philologist

583:

of December 1, 1872, featuring the first installment of

3622:"85 de ani de la dezvelirea statuii lui Mihai Eminescu" 1429:, Eminescu may have been inspired by prints made after 259:

is one of the first, and most characteristic, works of

3657:

Constantin Ciopraga, "Un romancier arhitect (II)", in

1983:) authors, who revived fantasy prose, and then by the 1660:

indifference has political implications: at the core,

1315:

Filosof de-aș fi — simțirea-mi ar fi vecinic la 'aman!

617:

Eminescu's translation, with Eminescu's own emphasis;

3353:

Metropolen der Avantgarde/Métropoles des avant-gardes

1213:

Beyond its seeming cultivation of German philosophy,

412:. When he awakens, he finds himself on a meadow near 4053:"Tratat și -logíe (un element de compunere savantă)" 3714:, "Fragmente critice. Literatura experimentală", in 3554:

Studii eminesciene. 75 de ani de la moartea poetului

1930:, which was aired before 1973. Early that year, the 964:, his "pulling into the past by an invisible hand." 4443:, "Fantasticul în proza lui Eminescu", pp. 219–242. 1877:, turned its attention to Eminescu's novella. Poet 1618:. The story's tragic note, he concludes, is in the 156: 142: 134: 124: 114: 104: 82: 72: 62: 50: 40: 2807:Gheorghe Ceaușescu, "În căutarea Șeherazadei", in 2353: 2351: 1740:was featured in an Eminescu anthology compiled by 1321:Le arăt că lumea vis e — un vis sarbăd — de motan. 1028:Various historiographers note that the concept of 819:, the theme reconstructs an ancient mythology; in 626:frequently surprised by not understanding Arabic. 2706:— Establishing Specificity in a European Context" 2665: 2663: 2591:G. Călinescu, pp. 34–35; Simion, pp. 224–226, 235 1492:. Eminescu's story was lauded by poet and critic 1470:manifesto", an attack on the very conventions of 680:and all his poetry only in their printed form." 229:. It is a liberal interpretation of contemporary 4651:Works originally published in Romanian magazines 4646:Works originally published in literary magazines 3534:Din poezia noastră parnasiană. Antologie critică 3288: 3286: 2940: 2938: 1289:, this technique also announced developments in 997:that introduce the novella, and down to Dionis' 249:, and his higher-level existence as a celestial 2307:, Issue 12/2009. See also Vatamaniuc, pp. 84–85 2232: 2230: 2228: 1724:Even before being recovered by the Symbolists, 1474:. Similarly, writer Eugen Cadaru proposes that 1319:Și junimei generoase, domnișoarelor ce scapăr, 1001:, all this chaotic story is a powerful echo of 971:, he writes, is merely "a fantasy novella à la 802:s reaction, the same Lovinescu also noted that 4425:, "Eminescu și romantismul german", pp. 60–73. 4373:, Vol. LV, September–December 2013, pp. 91–99. 4345:Constantin Ciopraga, "Magicul eminescian", in 3908:Ioana Mălin, "'Privitor ca la teatru...'", in 3347: 3345: 2774: 2772: 2471: 2469: 1313: 1044:, as apparent in the story and in some poems ( 843:as a reprisal of Eminescu's "youthful novel", 602: 295:). Read out by Eminescu upon his induction to 233:and ancient motifs, discussing themes such as 221:, classified by scholars as either a novel, a 162: 54: 4349:, Vol. XXIV, Issue 2, January 1989, pp. 1, 4. 4331:, pp. 188–201. Amsterdam & Philadelphia: 3194: 3192: 2712:, Vol. 56, Issue 3, September 2011, pp. 14–15 2710:Studia Universitatis Babeș-Bolyai. Philologia 2637: 2635: 2633: 2138:, Issue 4/1999, pp. 13–44) and Peter Mamara ( 1193:and reincarnation came to Eminescu by way of 921:, in particular his attempt to coin the term 831:: the poem "Mirodonis", adapted from earlier 561:Gautier in Oriental clothes, 1857 etching by 393:In his miserable room, Dionis is studying an 8: 3812: 3810: 3009: 3007: 2097: 2095: 1954:published his illustrations for the story. 1689:, the object of all idealized projections." 1189:. Also according to Bhose, concepts such as 449:", has instructed his favorite pupil about " 19: 4560:: din laboratorul poeziei eminesciene", in 4431:, "Eminescu și gîndirea poetică", p. 46–59. 4311:"Mihai Eminescu între Kant și Schopenhauer" 3929:, Vol. XCVI, Issue 3, March 1989, pp. 11–12 3862:, Vol. XXVI, Issue 11, November 1975, p. 43 3676:. Crizele identitare ale imaturității", in 2830: 2828: 2428: 2426: 2424: 2246: 2244: 2242: 1366:The joke is on several poets cultivated by 4315:Ministry of Culture and National Patrimony 2858:Ciopraga (1971), pp. 169, 170–171, 179–180 2726:"Dionis reiterează mitul Sophiei gnostice" 2524:Cuvânt împreună despre rostirea românească 1942:was the topic of disputes between critics 1664:is one of several texts by Eminescu where 847:, from which it borrowed whole fragments. 713:, such reactions were merely myopic: "The 352:mainly as a work of sheer literary fancy. 18: 3518:Jean Bart (Eugeniu Botez). Viața și opera 2786:"Fantasmele erosului la Eminescu. Poemul 2649:"Scrisori către și de la Albert Einstein" 2374:"De ce l-a ignorat Lovinescu pe Slavici?" 1869:, supervised by state-appointed managers 1802:as one of the top ten Romanian novellas. 1602:, Eminescu is primarily dominated by his 1413:addendum, Simion believes, explains that 743:One particularly virulent account of the 430:, as depicted in the 18th-century German 3858:Emil Manu, "Două modalități lirice", in 3672:Gabriela Glăvan, "Constantin Fântâneru, 2840:, Vol. XXXIII, Issue 23, June 1989, p. 5 2553:, p. 140. Budapest & New York City: 2409:G. Călinescu, p. 20; Simion, pp. 235–236 2031:into German, penned by W. Majerczik and 1934:marked Eminescu's 123th birthday with a 1712: 1351: 1209:Romantic satire and proto-Symbolist work 1003:Schopenhauerian philosophical categories 854: 422: 4321:, Vol 57, Issues 1–2, 2010, pp. 15–32). 4226:, Vol. XXIII, Issue 1, June 2015, p. 71 3215:"Cum se împacă literații cu muzicienii" 3164:Istoria literaturii române contemporane 2091: 1865:in 1941. During the same interval, the 1317:În prelegeri populare idealele le apăr. 521:Publication history and poetic footnote 4566:, Vol. VIII, Issue 1, 1977, pp. 76–94. 4241:, Vol. VIII, Issue 12, June 1964, p. 6 4100:Paul Daniel, "Destinul unui poet", in 4085:"Însemnări. Eminescu în nemțește", in 3876:"Emil Botta … de la Dante la Eminescu" 2083:. Its first edition came out in 2003. 3982:, Vol. XLI, Issue 6, June 1988, p. 24 3573:, p. 166. Botoșani: Quadrant, 2008. 3248:Dimitrie A. Teodoru, "Dl Pencioiŭ și 1673:, mystifying the historical past and 1066:believed that the modern interest of 7: 4731:Short stories about Jews and Judaism 4469:. Bucharest: Casa Școalelor, 1943. 4437:, "Satira eminesciană", pp. 186–218. 3339:Constantinescu, pp. 130–133, 141–145 3280:, Vol. VII, Issue 6, June 1989, p. I 2885:Alexandru Bogdan, "Mihail Eminescu, 755:, Panu was not even in contact with 628:It must be that I have forgotten it. 2482:Opere VI, Publicistică 1, 1909–1923 2331:, Issue 1, May–June 2020, pp. 46–47 1390:, Eminescu introduces the derisive 1086:concepts of the "world as a book". 747:reading survives in the memoirs of 4359:. Bucharest: Casa Școalelor, 1947. 3775:State University of New York Press 3585:, "Teatrul Național din Iași", in 3507:Perpessicius, pp. 168–169, 470–471 2749:"Eminescu și viziunea paradiziacă" 2618:Perpessicius, pp. 173–174, 475–476 2510:Perpessicius, pp. 169–172, 471–473 2081:Beijing Foreign Studies University 1853:critics as "gilded mediocrities" ( 1249:, the Romanian writer borrowed a " 1129:" myth (with some echoes from the 14: 4333:John Benjamins Publishing Company 4263:"Scrierile lui Eminescu în China" 4039:, Issue 153, December 2011, p. 16 3601:Alex Săvițescu, Ciprian Butnaru, 2627:Pavlicencu, p. 32; Simion, p. 225 2555:Central European University Press 2157:Simion, p. 238; Vatamaniuc, p. 85 1612:he depicts himself as the erotic 782:and Romantic-era sub-chapters of 778:remains a pioneering work in the 4641:Works originally read at Junimea 4031:"Teorie și practică în educație" 2437:"Eminescu și filozofiile Indiei" 2051:were only published in 1979, by 2039:, Fondane was an avid reader of 1881:took it upon himself to write a 1681:also notes that: "In Eminescu's 571: 554: 374:, and the physical world being " 25: 4721:Short fiction about time travel 4394:Vasile Ene, Ion Nistor (eds.), 3552:, "Eminescu, erou literar", in 3330:Dumitrescu-Bușulenga, pp. 70–71 3235:, "Eminescu și Alecsandri", in 3021:"Un Eminescu între două secole" 1957:In 1984, Maia Belciu published 1885:screenplay, which saw print in 1809:, and its growth into Romanian 1526:. She identifies both works as 4317:site (originally published in 3639:Perpessicius, pp. 148–149, 450 3489:Perpessicius, pp. 360, 366–367 3414:" 'Evul miez' eminescian (II)" 3091:"Umbra lui Eminescu la Berlin" 2704:Eminescu or about the Absolute 1685:vision the Middle Ages are a 1534:Memoir and political statement 1498:Romania's own Symbolist circle 1478:is a Romanian contribution to 1217:is stylistically an homage to 1133:and other orthodox writs), is 1009:, Eminescu penned a dialogue, 975:", and, for all of Eminescu's 305:, serving to inspire both the 1: 4596:Romanian magic realism novels 4530:Museum of Romanian Literature 4061:, Issue 145, March 2011, p. 6 3961:, "Trăiri și întîmplări", in 2213:Lovinescu (1943), pp. 28, 145 1744:, and reappeared in the 1914 1500:(ca. 1915). Fondane regarded 1181:, the metaphysical school of 1148:as a nod in the direction of 267:, and one of the poet's last 4701:Short stories set in Romania 4502:University of Nebraska Press 4285:Antologia nuvelei fantastice 3045:Cugetările sărmanului Dionis 2903:Antologia nuvelei fantastice 2732:, Issues 3-4/2008, pp. 46–49 2480:"Publicistică. Nae Ionescu, 2186:Studii de Știință și Cultură 2132:Antologia nuvelei fantastice 1245:of "magical idealism". From 1201:, which invoked themes from 734:Cugetările Sărmanului Dionis 649:; Eminescu's emphasis added. 633:Translation by Sasha Colby, 619:Antologia nuvelei fantastice 16:1872 novel by Mihai Eminescu 4224:Bibliotheca Septentrionalis 2953:Călin, p. 196; Piru, p. 191 2345:Dumitrescu-Bușulenga, p. 64 2055:, and 1993 (as part of the 2027:published a translation of 1997:' 2012 biographical novel, 885:. The historian and critic 441:Ruben, a learned and pious 4757: 4726:Novels about reincarnation 4518:, Issue 4/2000, pp. 32–33. 4017:, Vol. 16, 2014, pp. 39–49 3846:Revista Fundațiilor Regale 3556:, pp. 609–610. Bucharest: 3538:Editura Fundațiilor Regale 2983:), Issue 2/2010, pp. 15–16 2923:Perpessicius, pp. 179, 480 2130:Full version published in 1987:. The 1996 installment of 1932:state broadcasting company 1863:National Theater Bucharest 1798:, who, in 1940, described 1359:'s death, 1864 etching by 533:and published in the 1858 275:homage to the founders of 4691:Fictional Christian monks 4686:Fictional Romanian people 4611:Historical fantasy novels 4195:Adam Matthew Publications 3996:"Entomologi la vânătoare" 3800:, pp. 86, 92. Bucharest: 3558:Editura pentru literatură 3258:, Issue 7/1890, pp. 92–96 3239:, Issues 3–4/1936, p. 184 2975:, de Mihai Eminescu", in 1926:, in a live broadcast on 1900:Romanian communist regime 1203:Ancient Egyptian religion 1167:incorporates echoes from 1017:, suggesting that even a 1013:, which ridiculed Kant's 881:) as primarily a work of 603: 126:Published in English 24: 4741:Short stories about cats 4716:Novels about time travel 4621:Historical short stories 4429:Alexandru Al. Philippide 4423:Zoe Dumitrescu-Bușulenga 3680:, Vol. XLV, 2007, p. 234 3536:, pp. 89–90. Bucharest: 2526:, pp. 73–80. Bucharest: 2391:Lovinescu (1943), p. 274 2202:Amintiri despre Eminescu 2121:Lovinescu (1943), p. 145 1785:in the 1920s as part of 1549:case of social failure. 1496:, a prominent figure in 1378:, and, beyond him, the " 1361:Ferdinand II of Portugal 1231:Heinrich von Ofterdingen 1187:formless divine presence 906:Alexandru Al. Philippide 788:Zoe Dumitrescu-Bușulenga 722:in the club's magazine, 445:living in exile at the " 289:modern French literature 4736:Jewish Romanian history 4581:Works by Mihai Eminescu 4380:. Leiden & Boston: 4353:Pompiliu Constantinescu 4287:(with introductions by 3849:, Issue 10/1943, p. 206 3589:, Issue 11/1932, p. 558 3386:Biblioteca Bucureștilor 2745:Horia-Roman Patapievici 2547:Horia-Roman Patapievici 1875:Ion Filotti Cantacuzino 1625:s subordination to the 1600:Pompiliu Constantinescu 1199:Avatarii faraonului Tlà 1015:transcendental idealism 934:Horia-Roman Patapievici 901:Critique of Pure Reason 866:painter (attributed to 862:, ca. 1533, by unknown 4661:Biedermeier literature 4606:Romanian short stories 4556:Dimitrie Vatamaniuc, " 4193:, p. iv. Marlborough: 4091:, Issue 4/1904, p. 127 4076:, Issue 7/1944, p. 251 3967:, Issue 18/1985, p. 10 3899:, March 12, 1973, p. 2 3607:Suplimentul de Cultură 3141:, Vol. 3, 2005, p. 230 1910:were standards of the 1867:Romanian film industry 1839:, Ionescu's disciple, 1721: 1556:stand, proposing that 1554:socially deterministic 1363: 1328: 1314: 1311: 1078:terminology coined by 871: 438: 194: 163: 55: 4696:Novels set in Romania 4626:Fantasy short stories 4213:Drace-Francis, p. 274 4158:, Issue 5/1980, p. 19 4108:, p. 626. Bucharest: 4015:Studii Eminescologice 3914:, Issue 3/1973, p. 25 3757:, Issue 10/1982, p. 7 3720:, Issue 48/1969, p. 4 3663:, Issue 7/1973, p. 11 3609:, Issue 275, May 2010 3397:Drace-Francis, p. 172 3198:Ciopraga (1989), p. 1 3041:Ana-Stanca Tăbărași, 2813:, Issue 6/1989, p. 13 2798:, Issue 15, June 2000 2757:, Issue 4/2012, p. 19 2691:Ciopraga (1989), p. 4 2682:, Issue 2/2007, p. 15 2299:"Memorialiști români" 2275:Vatamaniuc, pp. 85–87 2188:, Issue 1/2008, p. 96 2166:Vatamaniuc, pp. 86–87 2112:, Issue 6/2010, p. 23 2037:Jewish existentialism 1787:the Eminescu monument 1716: 1675:"inventing" tradition 1598:" figure. As read by 1355: 1291:postmodern literature 1247:Adelbert von Chamisso 927:infinite divisibility 883:philosophical fiction 858: 753:national conservatism 426: 243:post-Kantian idealism 201:; also translated as 197:, originally spelled 95:philosophical fiction 4706:Bucharest in fiction 4616:Philosophical novels 4376:Alex Drace-Francis, 4319:Revista de Filosofie 3896:Scînteia Tineretului 3771:The Portugal Journal 3388:, Issue 1/2000, p. 8 3303:, Issue 6/2009, p. 5 3139:Philologica Yearbook 2492:, Issue 12, May 2000 2435:Simona Grazia Dima, 2317:Corneliu Vadim Tudor 2198:Teodor V. Ștefanelli 2104:Valentin Coșereanu, 2011:theory of relativity 1855:mediocri scăpărători 1846:Domnișoara Christina 1825:Constantin Fântâneru 1807:modernist literature 1671:Romanian nationalism 1397:, "to Heinefy", and 1251:man without a shadow 1056:theory of relativity 1034:Calderón de la Barca 1025:by direct threads". 674:Teodor V. Ștefanelli 608:Trebuie s-o fi uitat 338:Romanian nationalism 336:, in the context of 330:theory of relativity 241:through the lens of 207:The Sorrowful Dionis 4681:Romanian philosophy 4676:Arthur Schopenhauer 4586:1872 fantasy novels 4558:Per aspera ad astra 4189:Margreet Schrevel, 4177:Convorbiri Literare 4152:, nr. 12/1979", in 3941:Victoria Rocaciuc, 3926:Convorbiri Literare 3816:Călin Stănculescu, 3732:Elisabeta Lăsconi, 3660:Convorbiri Literare 3516:Constantin Mohanu, 3459:Convorbiri Literare 3419:Convorbiri Literare 3321:G. Călinescu, p. 12 3186:Marian, pp. 114–115 3166:, p. 43. Chișinău: 3150:Marian, pp. 112–113 3133:Ana-Maria Tomescu, 3096:Convorbiri Literare 2867:Simion, pp. 226–228 2795:Observator Cultural 2674:"Preatânăra doamnă" 2489:Observator Cultural 2478:Gabriela Trifescu, 2400:Valmarin, pp. 69–70 2024:Bukarester Tagblatt 1928:Romanian Television 1516:as compatible with 1171:philosophy and the 1107:Babylonian religion 1091:Christian mythology 986:Arthur Schopenhauer 919:Romanian philosophy 851:Philosophical novel 786:. Romanian scholar 784:Romanian literature 738:Convorbiri Literare 725:Convorbiri Literare 580:Convorbiri Literare 539:Philibert Audebrand 303:Romanian Symbolists 265:Romanian literature 51:Original title 21: 4591:1872 short stories 4526:Studii eminesciene 4488:Synergies Roumanie 4396:Studii eminesciene 3773:, p. 203. Albany: 3569:Ștefan Cervatiuc, 3384:"George Panu", in 3089:Daniela Petroșel, 2889:. (Sfârșit).", in 2730:Constelații Ieșene 2573:Călin, pp. 197–198 2463:Iorga, pp. 145–146 2297:Teodor Vârgolici, 2146:Globusz Publishing 2106:"Jurnalul Junimii" 2033:Henric Sanielevici 1950:, where, in 1979, 1722: 1376:Theodor Șerbănescu 1364: 1243:uchronic worldview 1219:German Romanticism 1150:damsel in distress 1142:Apocalypse of Paul 1064:Ioana Em. Petrescu 958:Henric Sanielevici 898:, and imitate the 872: 837:Garabet Ibrăileanu 806:carried with it a 496:divine countenance 439: 410:Alexander the Good 334:invented tradition 277:German Romanticism 91:historical fantasy 4601:Romanian novellas 4510:978-0-8032-2098-0 4390:978-90-04-21617-4 4341:978-963-05-4844-1 4138:978-606-93590-3-7 4051:Marcela Ciortea, 4029:Marcela Ciortea, 3959:Mircea Iorgulescu 3826:978-606-8337-27-2 3783:978-1-4384-2958-8 3734:"Femei diabolice" 3579:978-606-8238-88-3 3440:Pavlicencu, p. 33 3365:978-3-0343-0347-7 3295:Ioan Pop-Curșeu, 3278:Caiete Botoșănene 3069:"Printre clasici" 2992:Piru, pp. 191–192 2702:"Rosa del Conte, 2700:Cristina Gogâță, 2501:Philippide, p. 56 2321:Gheorghe Eminescu 2258:"Poetul în proză" 1971:fall of communism 1967:Cătălina Buzoianu 1568:in Bucharest and 1562:bourgeois society 1546:Alexandru Vlahuță 1524:Georges Rodenbach 1350: 1349: 1223:E. T. A. Hoffmann 1005:." Shortly after 973:Théophile Gautier 954:Kantian framework 938:Gottfried Leibniz 860:The Dream of Life 833:Romanian folklore 765:Gheorghe Eminescu 654: 653: 647:978-3-03911-932-5 563:Félix Bracquemond 527:Théophile Gautier 293:Théophile Gautier 281:E. T. A. Hoffmann 231:German philosophy 203:Wretched Dionysus 199:Sermanul Dionisie 176: 175: 115:Publication place 4748: 4631:Satirical novels 4481: 4457:Editura Adevĕrul 4414:George Călinescu 4400:Editura Albatros 4382:Brill Publishers 4365:Florian Copcea, 4364: 4272: 4268:România Literară 4261: 4257: 4251: 4248: 4242: 4233: 4227: 4220: 4214: 4211: 4205: 4187: 4181: 4169: 4165: 4159: 4155:România Literară 4146: 4140: 4126: 4120: 4098: 4092: 4083: 4077: 4068: 4062: 4050: 4046: 4040: 4028: 4024: 4018: 4011: 4005: 3993: 3989: 3983: 3974: 3968: 3964:România Literară 3956: 3950: 3940: 3936: 3930: 3921: 3915: 3911:România Literară 3906: 3900: 3891: 3885: 3873: 3869: 3863: 3856: 3850: 3837:Petru Comarnescu 3834: 3828: 3818:Cartea și filmul 3814: 3805: 3791: 3785: 3764: 3758: 3749: 3743: 3739:România Literară 3731: 3727: 3721: 3717:România Literară 3709: 3703: 3699:România Literară 3691: 3687: 3681: 3670: 3664: 3655: 3649: 3646: 3640: 3637: 3631: 3627:Curierul de Iași 3620: 3616: 3610: 3600: 3596: 3590: 3567: 3561: 3514: 3508: 3505: 3499: 3496: 3490: 3487: 3481: 3478: 3472: 3469: 3463: 3451: 3447: 3441: 3438: 3432: 3431:Oișteanu, p. 229 3429: 3423: 3408: 3404: 3398: 3395: 3389: 3382: 3376: 3373: 3367: 3355:, p. 156. Bern: 3349: 3340: 3337: 3331: 3328: 3322: 3319: 3313: 3310: 3304: 3294: 3290: 3281: 3274: 3268: 3265: 3259: 3246: 3240: 3230: 3224: 3220:România Literară 3211:Ioana Pârvulescu 3209: 3205: 3199: 3196: 3187: 3184: 3178: 3157: 3151: 3148: 3142: 3132: 3128: 3122: 3110: 3106: 3100: 3088: 3084: 3078: 3074:România Literară 3066: 3062: 3056: 3052:România Literară 3040: 3036: 3030: 3026:România Literară 3015: 3011: 3002: 2999: 2993: 2990: 2984: 2969: 2963: 2960: 2954: 2951: 2945: 2942: 2933: 2930: 2924: 2921: 2915: 2912: 2906: 2900: 2894: 2883: 2877: 2874: 2868: 2865: 2859: 2856: 2850: 2847: 2841: 2832: 2823: 2820: 2814: 2805: 2799: 2780: 2776: 2767: 2764: 2758: 2743: 2739: 2733: 2723: 2719: 2713: 2698: 2692: 2689: 2683: 2672:Alexandru Ruja, 2671: 2667: 2658: 2654:România Literară 2643: 2639: 2628: 2625: 2619: 2616: 2610: 2607: 2601: 2598: 2592: 2589: 2583: 2580: 2574: 2571: 2565: 2544: 2538: 2520:Constantin Noica 2517: 2511: 2508: 2502: 2499: 2493: 2477: 2473: 2464: 2461: 2455: 2452: 2446: 2434: 2430: 2419: 2416: 2410: 2407: 2401: 2398: 2392: 2389: 2383: 2379:România Literară 2368: 2364: 2358: 2355: 2346: 2343: 2332: 2329:Scriitorul Român 2314: 2308: 2304:România Literară 2296: 2291: 2285: 2282: 2276: 2273: 2267: 2263:România Literară 2254:Ioana Pârvulescu 2252: 2248: 2237: 2234: 2223: 2220: 2214: 2211: 2205: 2195: 2189: 2182: 2176: 2173: 2167: 2164: 2158: 2155: 2149: 2128: 2122: 2119: 2113: 2103: 2099: 2061:Sylvia Pankhurst 1999:Viețile paralele 1944:Vladimir Streinu 1912:state curriculum 1871:Nichifor Crainic 1783:Ion Schmidt-Faur 1728:was emulated by 1718:Ion Schmidt-Faur 1624: 1494:Benjamin Fondane 1472:literary realism 1453: 1435:The Poor Painter 1407:Ioana Pârvulescu 1323: 1308: 1195:Hindu philosophy 1139: 1131:Book of Proverbs 915:Constantin Noica 839:, also describe 825:George Călinescu 801: 613: 612: 593: 592: 575: 558: 531:Gérard de Nerval 376:our soul's dream 168: 146: 106:Publication date 67:Sylvia Pankhurst 58: 29: 22: 4756: 4755: 4751: 4750: 4749: 4747: 4746: 4745: 4711:Iași in fiction 4656:Romantic novels 4636:Romanian satire 4571: 4570: 4569: 4494:Andrei Oișteanu 4482:Rodica Marian, 4479: 4463:Eugen Lovinescu 4362: 4297:Editura Univers 4289:Matei Călinescu 4280: 4275: 4271:, Issue 42/2003 4259: 4258: 4254: 4249: 4245: 4234: 4230: 4221: 4217: 4212: 4208: 4188: 4184: 4167: 4166: 4162: 4147: 4143: 4127: 4123: 4110:Editura Minerva 4099: 4095: 4084: 4080: 4069: 4065: 4048: 4047: 4043: 4026: 4025: 4021: 4012: 4008: 3991: 3990: 3986: 3975: 3971: 3957: 3953: 3938: 3937: 3933: 3922: 3918: 3907: 3903: 3892: 3888: 3871: 3870: 3866: 3857: 3853: 3835: 3831: 3815: 3808: 3802:Editura Minerva 3792: 3788: 3765: 3761: 3750: 3746: 3729: 3728: 3724: 3710: 3706: 3702:, Issue 34/2014 3689: 3688: 3684: 3671: 3667: 3656: 3652: 3647: 3643: 3638: 3634: 3630:, June 13, 2014 3618: 3617: 3613: 3598: 3597: 3593: 3568: 3564: 3515: 3511: 3506: 3502: 3497: 3493: 3488: 3484: 3479: 3475: 3470: 3466: 3449: 3448: 3444: 3439: 3435: 3430: 3426: 3406: 3405: 3401: 3396: 3392: 3383: 3379: 3374: 3370: 3350: 3343: 3338: 3334: 3329: 3325: 3320: 3316: 3311: 3307: 3292: 3291: 3284: 3275: 3271: 3266: 3262: 3250:Sermanul Dionis 3247: 3243: 3231: 3227: 3223:, Issue 15/2009 3207: 3206: 3202: 3197: 3190: 3185: 3181: 3160:Eugen Lovinescu 3158: 3154: 3149: 3145: 3130: 3129: 3125: 3121:, Issue 11/2014 3108: 3107: 3103: 3086: 3085: 3081: 3077:, Issue 19/1999 3064: 3063: 3059: 3055:, Issue 32/2000 3038: 3037: 3033: 3029:, Issue 34/2000 3013: 3012: 3005: 3000: 2996: 2991: 2987: 2973:Sărmanul Dionis 2970: 2966: 2961: 2957: 2952: 2948: 2943: 2936: 2931: 2927: 2922: 2918: 2913: 2909: 2901: 2897: 2884: 2880: 2875: 2871: 2866: 2862: 2857: 2853: 2848: 2844: 2833: 2826: 2821: 2817: 2806: 2802: 2782:Ioan P. Culianu 2778: 2777: 2770: 2765: 2761: 2741: 2740: 2736: 2721: 2720: 2716: 2699: 2695: 2690: 2686: 2669: 2668: 2661: 2657:, Issue 28/2006 2641: 2640: 2631: 2626: 2622: 2617: 2613: 2608: 2604: 2599: 2595: 2590: 2586: 2582:Botez, pp. 9–10 2581: 2577: 2572: 2568: 2545: 2541: 2518: 2514: 2509: 2505: 2500: 2496: 2475: 2474: 2467: 2462: 2458: 2453: 2449: 2445:, Issue 30/2010 2432: 2431: 2422: 2417: 2413: 2408: 2404: 2399: 2395: 2390: 2386: 2366: 2365: 2361: 2357:Valmarin, p. 70 2356: 2349: 2344: 2335: 2315: 2311: 2294: 2292: 2288: 2283: 2279: 2274: 2270: 2266:, Issue 14/2000 2250: 2249: 2240: 2235: 2226: 2221: 2217: 2212: 2208: 2196: 2192: 2183: 2179: 2174: 2170: 2165: 2161: 2156: 2152: 2136:Plural Magazine 2129: 2125: 2120: 2116: 2101: 2100: 2093: 2089: 2065:Romanian Review 1961:, a novel with 1952:Gheorghe Vrabie 1711: 1694:Andrei Oișteanu 1631:unrequited love 1622: 1536: 1519:Bruges-la-Morte 1456:Virgil Nemoianu 1451: 1444:Komm, süßer Tod 1346: 1340:translation by 1337: 1335: 1333: 1331: 1325: 1320: 1318: 1316: 1275:Matei Călinescu 1239:dream sequences 1211: 1191:time perception 1178:Advaita Vedanta 1146:Ioan P. Culianu 1137: 1080:Jacques Derrida 1052:Albert Einstein 853: 799: 793:Eugen Lovinescu 773: 637:, p. 48. Bern: 630: 614: 591: 590: 589: 588: 587: 576: 567: 566: 565: 559: 541:'s article for 523: 372:time perception 358: 316:Traditionally, 195:Sărmanul Dionis 165:Sărmanul Dionis 159: 135:Media type 127: 107: 56:Sărmanul Dionis 36: 17: 12: 11: 5: 4754: 4752: 4744: 4743: 4738: 4733: 4728: 4723: 4718: 4713: 4708: 4703: 4698: 4693: 4688: 4683: 4678: 4673: 4668: 4663: 4658: 4653: 4648: 4643: 4638: 4633: 4628: 4623: 4618: 4613: 4608: 4603: 4598: 4593: 4588: 4583: 4573: 4572: 4568: 4567: 4554: 4540: 4519: 4512: 4491: 4477: 4460: 4446: 4445: 4444: 4438: 4435:Alexandru Piru 4432: 4426: 4420: 4417: 4392: 4374: 4360: 4357:Eseuri critice 4350: 4343: 4329:Romantic Irony 4322: 4309:Angela Botez, 4307: 4295:). Bucharest: 4293:Roger Caillois 4281: 4279: 4276: 4274: 4273: 4252: 4243: 4228: 4215: 4206: 4182: 4170:Ofelia Ichim, 4160: 4150:Revue Roumaine 4141: 4121: 4093: 4078: 4063: 4041: 4019: 4006: 4004:, Issue 9/2007 3994:Mihaela Ursa, 3984: 3969: 3951: 3949:, 2014, p. 144 3931: 3916: 3901: 3886: 3884:, Issue 7/2012 3874:Amalia Lumei, 3864: 3851: 3829: 3806: 3786: 3759: 3744: 3742:, Issue 4/2008 3722: 3704: 3692:Mihaela Albu, 3682: 3665: 3650: 3641: 3632: 3611: 3591: 3583:Sandu Teleajen 3562: 3509: 3500: 3498:Marian, p. 115 3491: 3482: 3473: 3464: 3462:, January 2012 3442: 3433: 3424: 3399: 3390: 3377: 3368: 3341: 3332: 3323: 3314: 3305: 3282: 3269: 3260: 3241: 3225: 3200: 3188: 3179: 3168:Editura Litera 3152: 3143: 3123: 3111:Eugen Cadaru, 3101: 3079: 3067:Dan Croitoru, 3057: 3031: 3003: 3001:Simion, p. 230 2994: 2985: 2977:Revista Română 2964: 2955: 2946: 2934: 2932:Simion, p. 229 2925: 2916: 2907: 2895: 2878: 2869: 2860: 2851: 2842: 2824: 2822:Marian, p. 114 2815: 2800: 2768: 2766:Simion, p. 231 2759: 2734: 2714: 2693: 2684: 2659: 2645:Solomon Marcus 2629: 2620: 2611: 2602: 2600:Botez, pp. 5–9 2593: 2584: 2575: 2566: 2539: 2512: 2503: 2494: 2465: 2456: 2447: 2420: 2411: 2402: 2393: 2384: 2382:, Issue 3/2005 2359: 2347: 2333: 2309: 2286: 2277: 2268: 2238: 2224: 2215: 2206: 2190: 2177: 2175:Simion, p. 222 2168: 2159: 2150: 2123: 2114: 2110:Caiete Critice 2090: 2088: 2085: 2015:Solomon Marcus 1985:postmodernists 1959:Dionys sărmanu 1805:The spread of 1796:Liviu Rebreanu 1776:Veronica Micle 1756:, appeared in 1746:Complete Works 1710: 1707: 1702:1492 Expulsion 1647:Socola Academy 1535: 1532: 1403:Romanian lexis 1384:Heinrich Heine 1348: 1347: 1326: 1268:Gothic fiction 1210: 1207: 1161:Hindu-inspired 1127:fall of Sophia 1076:deconstruction 999:metempsychosis 904:. Philologist 852: 849: 772: 769: 711:Alexandru Piru 703:Titu Maiorescu 693:literati gave 652: 651: 623: 599: 598: 596: 577: 570: 569: 568: 560: 553: 552: 551: 550: 549: 544:L'Illustration 522: 519: 484:shape of light 451:metempsychosis 447:Socola Academy 357: 354: 311:postmodernists 219:Mihai Eminescu 213:prose work by 174: 173: 160: 157: 154: 153: 148: 140: 139: 136: 132: 131: 128: 125: 122: 121: 116: 112: 111: 108: 105: 102: 101: 84: 80: 79: 74: 70: 69: 64: 60: 59: 52: 48: 47: 45:Mihai Eminescu 42: 38: 37: 30: 15: 13: 10: 9: 6: 4: 3: 2: 4753: 4742: 4739: 4737: 4734: 4732: 4729: 4727: 4724: 4722: 4719: 4717: 4714: 4712: 4709: 4707: 4704: 4702: 4699: 4697: 4694: 4692: 4689: 4687: 4684: 4682: 4679: 4677: 4674: 4672: 4669: 4667: 4664: 4662: 4659: 4657: 4654: 4652: 4649: 4647: 4644: 4642: 4639: 4637: 4634: 4632: 4629: 4627: 4624: 4622: 4619: 4617: 4614: 4612: 4609: 4607: 4604: 4602: 4599: 4597: 4594: 4592: 4589: 4587: 4584: 4582: 4579: 4578: 4576: 4565: 4564: 4559: 4555: 4553: 4552:88-88163-83-2 4549: 4545: 4541: 4539: 4538:973-8031-34-6 4535: 4531: 4528:. Bucharest: 4527: 4523: 4520: 4517: 4513: 4511: 4507: 4503: 4499: 4495: 4492: 4489: 4485: 4478: 4476: 4472: 4468: 4464: 4461: 4458: 4455:. Bucharest: 4454: 4450: 4449:Nicolae Iorga 4447: 4442: 4439: 4436: 4433: 4430: 4427: 4424: 4421: 4418: 4415: 4412: 4411: 4409: 4405: 4401: 4398:. Bucharest: 4397: 4393: 4391: 4387: 4383: 4379: 4375: 4372: 4368: 4363:(in Romanian) 4361: 4358: 4354: 4351: 4348: 4344: 4342: 4338: 4334: 4330: 4326: 4323: 4320: 4316: 4312: 4308: 4306: 4302: 4298: 4294: 4290: 4286: 4283: 4282: 4277: 4270: 4269: 4264: 4260:(in Romanian) 4256: 4253: 4250:Copcea, p. 97 4247: 4244: 4240: 4239: 4232: 4229: 4225: 4219: 4216: 4210: 4207: 4204: 4200: 4196: 4192: 4186: 4183: 4179: 4178: 4173: 4168:(in Romanian) 4164: 4161: 4157: 4156: 4151: 4145: 4142: 4139: 4135: 4131: 4125: 4122: 4119: 4115: 4111: 4107: 4103: 4097: 4094: 4090: 4089: 4082: 4079: 4075: 4074: 4067: 4064: 4060: 4059: 4054: 4049:(in Romanian) 4045: 4042: 4038: 4037: 4032: 4027:(in Romanian) 4023: 4020: 4016: 4010: 4007: 4003: 4002: 3997: 3992:(in Romanian) 3988: 3985: 3981: 3980: 3973: 3970: 3966: 3965: 3960: 3955: 3952: 3948: 3944: 3939:(in Romanian) 3935: 3932: 3928: 3927: 3920: 3917: 3913: 3912: 3905: 3902: 3898: 3897: 3890: 3887: 3883: 3882: 3877: 3872:(in Romanian) 3868: 3865: 3861: 3855: 3852: 3848: 3847: 3842: 3838: 3833: 3830: 3827: 3823: 3819: 3813: 3811: 3807: 3803: 3799: 3795: 3790: 3787: 3784: 3780: 3776: 3772: 3768: 3767:Mircea Eliade 3763: 3760: 3756: 3755: 3754:Contemporanul 3748: 3745: 3741: 3740: 3735: 3730:(in Romanian) 3726: 3723: 3719: 3718: 3713: 3708: 3705: 3701: 3700: 3695: 3690:(in Romanian) 3686: 3683: 3679: 3675: 3669: 3666: 3662: 3661: 3654: 3651: 3648:Copcea, p. 92 3645: 3642: 3636: 3633: 3629: 3628: 3623: 3619:(in Romanian) 3615: 3612: 3608: 3604: 3599:(in Romanian) 3595: 3592: 3588: 3587:Boabe de Grâu 3584: 3580: 3576: 3572: 3566: 3563: 3559: 3555: 3551: 3547: 3543: 3539: 3535: 3531: 3527: 3526:973-98919-5-0 3523: 3519: 3513: 3510: 3504: 3501: 3495: 3492: 3486: 3483: 3480:Iorga, p. 224 3477: 3474: 3468: 3465: 3461: 3460: 3455: 3452:Petru Zugun, 3450:(in Romanian) 3446: 3443: 3437: 3434: 3428: 3425: 3421: 3420: 3415: 3411: 3407:(in Romanian) 3403: 3400: 3394: 3391: 3387: 3381: 3378: 3375:Simion, p.231 3372: 3369: 3366: 3362: 3358: 3354: 3348: 3346: 3342: 3336: 3333: 3327: 3324: 3318: 3315: 3309: 3306: 3302: 3298: 3293:(in Romanian) 3289: 3287: 3283: 3279: 3273: 3270: 3267:Iorga, p. 146 3264: 3261: 3257: 3256: 3255:Contemporanul 3251: 3245: 3242: 3238: 3237:Gând Românesc 3234: 3229: 3226: 3222: 3221: 3216: 3212: 3208:(in Romanian) 3204: 3201: 3195: 3193: 3189: 3183: 3180: 3177: 3173: 3169: 3165: 3161: 3156: 3153: 3147: 3144: 3140: 3136: 3131:(in Romanian) 3127: 3124: 3120: 3119: 3114: 3109:(in Romanian) 3105: 3102: 3098: 3097: 3092: 3087:(in Romanian) 3083: 3080: 3076: 3075: 3070: 3065:(in Romanian) 3061: 3058: 3054: 3053: 3048: 3046: 3039:(in Romanian) 3035: 3032: 3028: 3027: 3022: 3018: 3014:(in Romanian) 3010: 3008: 3004: 2998: 2995: 2989: 2986: 2982: 2978: 2974: 2968: 2965: 2959: 2956: 2950: 2947: 2944:Călin, p. 196 2941: 2939: 2935: 2929: 2926: 2920: 2917: 2911: 2908: 2904: 2899: 2896: 2892: 2888: 2882: 2879: 2873: 2870: 2864: 2861: 2855: 2852: 2846: 2843: 2839: 2838: 2831: 2829: 2825: 2819: 2816: 2812: 2811: 2804: 2801: 2797: 2796: 2791: 2789: 2783: 2779:(in Romanian) 2775: 2773: 2769: 2763: 2760: 2756: 2755: 2750: 2746: 2742:(in Romanian) 2738: 2735: 2731: 2727: 2722:(in Romanian) 2718: 2715: 2711: 2707: 2705: 2697: 2694: 2688: 2685: 2681: 2680: 2675: 2670:(in Romanian) 2666: 2664: 2660: 2656: 2655: 2650: 2646: 2642:(in Romanian) 2638: 2636: 2634: 2630: 2624: 2621: 2615: 2612: 2606: 2603: 2597: 2594: 2588: 2585: 2579: 2576: 2570: 2567: 2564: 2563:963-9116-57-2 2560: 2556: 2552: 2548: 2543: 2540: 2537: 2536:973-28-0643-5 2533: 2529: 2525: 2521: 2516: 2513: 2507: 2504: 2498: 2495: 2491: 2490: 2485: 2483: 2476:(in Romanian) 2472: 2470: 2466: 2460: 2457: 2454:Iorga, p. 145 2451: 2448: 2444: 2443: 2438: 2433:(in Romanian) 2429: 2427: 2425: 2421: 2415: 2412: 2406: 2403: 2397: 2394: 2388: 2385: 2381: 2380: 2375: 2371: 2367:(in Romanian) 2363: 2360: 2354: 2352: 2348: 2342: 2340: 2338: 2334: 2330: 2326: 2322: 2318: 2313: 2310: 2306: 2305: 2300: 2295:(in Romanian) 2290: 2287: 2281: 2278: 2272: 2269: 2265: 2264: 2259: 2255: 2251:(in Romanian) 2247: 2245: 2243: 2239: 2233: 2231: 2229: 2225: 2219: 2216: 2210: 2207: 2203: 2199: 2194: 2191: 2187: 2181: 2178: 2172: 2169: 2163: 2160: 2154: 2151: 2147: 2143: 2142: 2141:Poor Dionysus 2137: 2133: 2127: 2124: 2118: 2115: 2111: 2107: 2102:(in Romanian) 2098: 2096: 2092: 2086: 2084: 2082: 2078: 2074: 2073:Zoltán Franyó 2070: 2066: 2062: 2058: 2054: 2053:Annie Bentoiu 2050: 2046: 2042: 2038: 2034: 2030: 2026: 2025: 2019: 2016: 2012: 2008: 2007:Șerban Foarță 2004: 2000: 1996: 1992: 1991: 1986: 1982: 1981: 1976: 1972: 1968: 1964: 1960: 1955: 1953: 1949: 1948:Moldavian SSR 1945: 1941: 1937: 1933: 1929: 1925: 1924:Ion Caramitru 1921: 1917: 1913: 1909: 1905: 1901: 1896: 1894: 1893:Eastern Front 1890: 1889: 1884: 1880: 1876: 1872: 1868: 1864: 1858: 1856: 1852: 1848: 1847: 1842: 1841:Mircea Eliade 1838: 1834: 1830: 1826: 1822: 1818: 1814: 1813: 1808: 1803: 1801: 1797: 1792: 1788: 1784: 1779: 1777: 1773: 1769: 1768:Eugeniu Botez 1765: 1764: 1759: 1755: 1754:Nicolae Iorga 1751: 1748:, put out by 1747: 1743: 1742:Vasile Morțun 1739: 1735: 1731: 1727: 1719: 1715: 1708: 1706: 1703: 1699: 1695: 1690: 1688: 1684: 1680: 1676: 1672: 1667: 1663: 1659: 1654: 1652: 1648: 1642: 1640: 1636: 1632: 1628: 1621: 1617: 1616: 1611: 1607: 1606: 1601: 1597: 1593: 1587: 1585: 1584:schizophrenia 1580: 1575: 1571: 1567: 1563: 1559: 1555: 1550: 1547: 1543: 1542: 1533: 1531: 1529: 1525: 1521: 1520: 1515: 1511: 1507: 1503: 1499: 1495: 1491: 1487: 1483: 1481: 1480:magic realism 1477: 1473: 1469: 1465: 1459: 1457: 1450: 1446: 1445: 1440: 1436: 1432: 1431:Carl Spitzweg 1428: 1424: 1419: 1416: 1412: 1408: 1404: 1400: 1396: 1393: 1389: 1385: 1381: 1380:Young Germany 1377: 1374:poet-soldier 1373: 1369: 1362: 1358: 1354: 1345: 1344: 1343: 1342:Leon Levițchi 1327: 1324: 1322: 1310: 1309: 1306: 1304: 1303: 1298: 1294: 1292: 1288: 1284: 1280: 1276: 1273: 1269: 1264: 1262: 1261: 1256: 1252: 1248: 1244: 1240: 1236: 1232: 1228: 1224: 1220: 1216: 1208: 1206: 1204: 1200: 1196: 1192: 1188: 1184: 1180: 1179: 1174: 1170: 1166: 1162: 1158: 1153: 1151: 1147: 1143: 1136: 1132: 1128: 1124: 1120: 1116: 1112: 1108: 1104: 1100: 1096: 1092: 1087: 1085: 1081: 1077: 1073: 1069: 1065: 1061: 1057: 1053: 1049: 1048: 1043: 1039: 1038:1635 allegory 1035: 1031: 1030:dreamed world 1026: 1024: 1020: 1016: 1012: 1008: 1004: 1000: 995: 991: 987: 982: 978: 974: 970: 965: 963: 959: 955: 951: 947: 943: 942:Immanuel Kant 939: 935: 930: 928: 924: 920: 916: 912: 907: 903: 902: 897: 893: 888: 887:Nicolae Iorga 884: 880: 876: 869: 865: 861: 857: 850: 848: 846: 842: 838: 834: 830: 826: 822: 818: 817: 811: 809: 808:culture shock 805: 798: 794: 789: 785: 781: 777: 770: 768: 766: 762: 758: 754: 750: 746: 741: 739: 735: 731: 727: 726: 721: 716: 712: 708: 704: 700: 696: 692: 688: 687: 681: 679: 675: 671: 668:, also found 667: 663: 659: 650: 648: 644: 640: 634: 629: 624: 622: 618: 611: 607: 601: 600: 597: 595: 594: 586: 582: 581: 574: 564: 557: 548: 546: 545: 540: 536: 532: 528: 520: 518: 516: 515: 510: 509: 503: 499: 497: 493: 487: 485: 481: 477: 476: 470: 468: 464: 460: 456: 452: 448: 444: 437: 433: 429: 425: 421: 419: 416:, dressed in 415: 411: 408: 404: 400: 396: 391: 389: 385: 381: 380:metaphysician 377: 373: 369: 368: 363: 355: 353: 351: 347: 343: 342:autofictional 339: 335: 331: 327: 323: 319: 314: 312: 308: 304: 300: 299: 294: 290: 286: 282: 278: 274: 270: 266: 262: 258: 254: 252: 248: 244: 240: 239:reincarnation 236: 232: 228: 224: 220: 216: 212: 208: 204: 200: 196: 192: 188: 187: 186:Poor Dionysus 182: 181: 172: 167: 166: 161: 158:Original text 155: 152: 149: 147: 141: 137: 133: 129: 123: 120: 117: 113: 109: 103: 100: 96: 92: 88: 85: 81: 78: 75: 71: 68: 65: 61: 57: 53: 49: 46: 43: 39: 34: 33:Carl Spitzweg 28: 23: 4563:Manuscriptum 4561: 4557: 4543: 4525: 4522:Perpessicius 4515: 4497: 4487: 4466: 4452: 4441:Eugen Simion 4395: 4377: 4370: 4356: 4346: 4328: 4318: 4284: 4266: 4255: 4246: 4236: 4231: 4223: 4218: 4209: 4190: 4185: 4175: 4163: 4153: 4149: 4144: 4129: 4124: 4105: 4102:B. Fundoianu 4096: 4086: 4081: 4071: 4066: 4056: 4044: 4034: 4022: 4014: 4009: 3999: 3987: 3977: 3972: 3962: 3954: 3946: 3934: 3924: 3919: 3909: 3904: 3894: 3889: 3879: 3867: 3859: 3854: 3844: 3840: 3832: 3817: 3797: 3794:Ioan Massoff 3789: 3770: 3762: 3752: 3747: 3737: 3725: 3715: 3712:Eugen Simion 3707: 3697: 3685: 3677: 3673: 3668: 3658: 3653: 3644: 3635: 3625: 3614: 3606: 3594: 3586: 3570: 3565: 3553: 3550:Mihai Gafița 3533: 3530:N. Davidescu 3517: 3512: 3503: 3494: 3485: 3476: 3467: 3457: 3445: 3436: 3427: 3417: 3410:Mihai Cimpoi 3402: 3393: 3385: 3380: 3371: 3352: 3335: 3326: 3317: 3308: 3300: 3277: 3272: 3263: 3253: 3249: 3244: 3236: 3228: 3218: 3203: 3182: 3163: 3155: 3146: 3138: 3126: 3116: 3104: 3099:, March 2009 3094: 3082: 3072: 3060: 3050: 3044: 3034: 3024: 3017:Mihai Zamfir 2997: 2988: 2976: 2972: 2967: 2962:Piru, p. 191 2958: 2949: 2928: 2919: 2914:Botez, p. 10 2910: 2902: 2898: 2891:Transilvania 2890: 2886: 2881: 2872: 2863: 2854: 2845: 2835: 2818: 2808: 2803: 2793: 2787: 2762: 2752: 2737: 2729: 2724:Anca Voicu, 2717: 2709: 2703: 2696: 2687: 2677: 2652: 2623: 2614: 2605: 2596: 2587: 2578: 2569: 2550: 2542: 2523: 2515: 2506: 2497: 2487: 2481: 2459: 2450: 2440: 2414: 2405: 2396: 2387: 2377: 2362: 2328: 2324: 2312: 2302: 2289: 2280: 2271: 2261: 2236:Piru, p. 190 2218: 2209: 2201: 2193: 2185: 2180: 2171: 2162: 2153: 2140: 2135: 2131: 2126: 2117: 2109: 2068: 2064: 2056: 2048: 2044: 2040: 2028: 2022: 2020: 2002: 1998: 1995:Florina Ilis 1988: 1978: 1974: 1963:intertextual 1958: 1956: 1939: 1919: 1907: 1903: 1897: 1886: 1882: 1859: 1854: 1850: 1844: 1836: 1828: 1820: 1810: 1804: 1799: 1790: 1780: 1761: 1745: 1737: 1730:Ioan Slavici 1725: 1723: 1691: 1683:palingenetic 1679:Mihai Cimpoi 1661: 1655: 1650: 1643: 1634: 1619: 1613: 1609: 1603: 1588: 1578: 1557: 1551: 1539: 1537: 1517: 1513: 1509: 1506:N. Davidescu 1501: 1485: 1484: 1475: 1463: 1460: 1448: 1442: 1434: 1433:'s canvass, 1426: 1423:Mihai Zamfir 1420: 1414: 1410: 1398: 1394: 1387: 1371: 1367: 1365: 1339: 1329: 1312: 1300: 1296: 1295: 1282: 1278: 1265: 1258: 1255:J. W. Goethe 1214: 1212: 1198: 1183:Adi Shankara 1176: 1164: 1154: 1134: 1088: 1067: 1059: 1045: 1027: 1022: 1010: 1006: 993: 977:intertextual 968: 966: 931: 922: 911:Perpessicius 899: 874: 873: 868:Michelangelo 859: 845:Geniu pustiu 844: 840: 829:Eugen Simion 820: 814: 812: 803: 796: 775: 774: 760: 756: 744: 742: 737: 733: 729: 723: 719: 714: 707:Vasile Pogor 698: 694: 690: 684: 682: 677: 669: 666:Vasile Burlă 662:Ioan Slavici 655: 636: 632: 627: 620: 616: 609: 604: 584: 578: 542: 534: 524: 512: 506: 504: 500: 492:blue flowers 488: 473: 471: 443:Sephardi Jew 440: 436:Clavis Artis 435: 392: 365: 362:subjectivity 359: 349: 317: 315: 296: 273:intertextual 256: 255: 225:or a modern 206: 202: 198: 185: 184: 179: 178: 177: 169:at Romanian 20:Poor Dionis 4500:. Lincoln: 4480:(in French) 4180:, June 2003 3528:. See also 3422:, July 2003 3312:Botez, p. 9 3233:I. M. Rașcu 2609:Botez, p. 5 2069:Poor Dionis 2049:Poor Dionis 2041:Poor Dionis 2029:Poor Dionis 1975:Poor Dionis 1940:Poor Dionis 1904:Poor Dionis 1883:Poor Dionis 1837:Poor Dionis 1817:Nae Ionescu 1800:Poor Dionis 1791:Poor Dionis 1758:George Panu 1738:Poor Dionis 1726:Poor Dionis 1666:medievalism 1662:Poor Dionis 1651:Poor Dionis 1635:Poor Dionis 1610:Poor Dionis 1579:Poor Dionis 1558:Poor Dionis 1528:prose poems 1514:Poor Dionis 1510:Poor Dionis 1502:Poor Dionis 1486:Poor Dionis 1476:Poor Dionis 1464:Poor Dionis 1439:Biedermeier 1415:Poor Dionis 1357:Tomcat Murr 1302:Tomcat Murr 1283:Poor Dionis 1279:Poor Dionis 1272:comparatist 1235:Blue Flower 1215:Poor Dionis 1165:Poor Dionis 1157:Orientalism 1152:mythology. 1135:Poor Dionis 1072:hermeneutic 1068:Poor Dionis 1060:Poor Dionis 1023:Poor Dionis 1007:Poor Dionis 994:Poor Dionis 981:reification 979:clues, the 969:Poor Dionis 946:Tudor Vianu 892:Nae Ionescu 879:Amita Bhose 875:Poor Dionis 841:Poor Dionis 821:Poor Dionis 804:Poor Dionis 776:Poor Dionis 761:Poor Dionis 749:George Panu 730:Poor Dionis 720:Poor Dionis 695:Poor Dionis 678:Poor Dionis 670:Poor Dionis 585:Poor Dionis 388:esotericist 384:Bucharester 350:Poor Dionis 318:Poor Dionis 257:Poor Dionis 235:time travel 180:Poor Dionis 4671:Kantianism 4666:Gnosticism 4575:Categories 4371:Philologia 4325:Vera Călin 4278:References 4088:Luceafărul 4073:Luceafărul 3357:Peter Lang 3176:9975740502 3118:Luceafărul 2788:Luceafărul 2442:Luceafărul 2045:Cugetările 2003:Cugetările 1980:Optzeciști 1936:radio play 1920:Cugetările 1916:Emil Botta 1908:Cugetările 1898:Under the 1833:Ion Biberi 1750:A. C. Cuza 1687:golden age 1596:Catilinary 1449:Cugetările 1427:Cugetările 1411:Cugetările 1392:neologisms 1388:Cugetările 1297:Cugetările 1241:, and the 1173:Upanishads 1123:Bogomilism 1103:Gnosticism 992:. Whether 962:positivism 950:Vera Călin 896:Kantianism 639:Peter Lang 475:Spatharios 434:treatise, 432:alchemical 326:Gnosticism 307:modernists 227:fairy tale 171:Wikisource 63:Translator 31:Detail of 4532:, 2001. 4504:, 2009. 4475:935314935 4402:, 1971. 4384:, 2013. 4335:, 2008. 4313:, at the 4299:, 1970. 4203:931343086 4197:, 1991. 4118:252065138 4112:, 1978. 3777:, 2010. 3546:162749007 3540:, 1943. 2557:, 2003. 2530:, 1996. 2528:Humanitas 2370:Ion Simuț 2057:Actes Sud 2021:In 1904, 1879:Dan Botta 1821:Trăirists 1794:novelist 1734:Platonism 1709:Influence 1608:, and in 1592:Luciferic 1541:alter ego 1490:Symbolism 1395:a heiniza 1287:Jean Paul 1119:Mithraism 1095:apocrypha 1047:La steaua 1042:spacetime 990:J. Fichte 864:Mannerist 791:a novel, 715:Junimists 641:, 2009. 480:Zoroaster 459:spacetime 428:Zoroaster 399:astrology 328:, or the 251:Zoroaster 151:635101592 4305:43727773 4148:M. M., " 4001:Apostrof 3881:Apostrof 3674:Interior 3359:, 2011. 3170:, 1998. 2887:Strigoii 2148:version) 2077:Chișinău 1990:Blinding 1831:(1932). 1829:Interior 1812:Trăirism 1698:Sephardi 1658:uchronic 1627:demiurge 1574:Botoșani 1566:prompter 1399:motănime 1372:Junimist 1257:and his 1111:Buddhism 1084:Hermetic 1011:Archaeus 923:nefinire 816:Strigoii 699:Junimist 418:Orthodox 309:and the 269:Romantic 247:Moldavia 215:Romanian 209:) is an 191:Romanian 77:Romanian 73:Language 4459:, 1934. 4410:; see: 4408:3220293 4347:Cronica 3841:Familia 2837:Tribuna 2754:Orizont 2679:Orizont 1888:Familia 1851:Junimea 1570:Giurgiu 1468:oneiric 1382:" idol 1368:Junimea 1233:, the " 1227:Novalis 1169:Vedanta 1115:Orphism 1093:, into 797:Junimea 780:fantasy 757:Junimea 745:Junimea 701:doyens 691:Junimea 686:Junimea 403:Ophelia 395:almanac 346:Judaism 322:Vedanta 298:Junimea 285:Novalis 261:fantasy 223:novella 119:Romania 87:Fantasy 4550: 4536: 4508: 4473: 4406: 4388: 4339: 4303: 4201: 4136: 4116: 4106:Poezii 4058:Timpul 4036:Timpul 3979:Femeia 3860:Steaua 3843:", in 3824: 3804:, 1981 3781: 3577: 3560:, 1965 3544: 3524: 3363: 3301:Steaua 3252:", in 3174: 2905:, p. 9 2810:Ramuri 2561: 2534: 2327:", in 2325:Timpul 1772:Galați 1639:voyeur 1620:daimon 1615:daimon 1447:, for 1121:, and 1099:heresy 1019:gander 771:Themes 658:Vienna 645: 511:- and 508:kaftan 455:apport 453:" and 407:Prince 367:qualia 287:) and 99:satire 41:Author 4486:, in 4369:, in 4265:, in 4174:, in 4055:, in 4033:, in 3998:, in 3945:, in 3878:, in 3736:, in 3696:, in 3624:, in 3605:, in 3456:, in 3416:, in 3299:, in 3217:, in 3137:, in 3115:, in 3093:, in 3071:, in 3049:, in 3023:, in 2981:ASTRA 2792:, in 2751:, in 2728:, in 2708:, in 2676:, in 2651:, in 2486:, in 2439:, in 2376:, in 2301:, in 2260:, in 2108:, in 2087:Notes 1763:Lupta 1656:Such 1623:' 1522:, by 1452:' 1386:. In 1260:Faust 1138:' 925:for " 800:' 759:when 514:payot 467:Satan 463:spell 217:poet 138:Print 83:Genre 4548:ISBN 4534:ISBN 4506:ISBN 4471:OCLC 4404:OCLC 4386:ISBN 4337:ISBN 4301:OCLC 4291:and 4199:OCLC 4134:ISBN 4114:OCLC 3947:Arta 3822:ISBN 3779:ISBN 3575:ISBN 3542:OCLC 3522:ISBN 3361:ISBN 3172:ISBN 2559:ISBN 2532:ISBN 1906:and 1873:and 1857:). 1605:Eros 1101:and 988:and 948:and 940:and 827:and 705:and 643:ISBN 414:Iași 356:Plot 237:and 211:1872 145:OCLC 130:1979 110:1872 1827:'s 1760:'s 1225:or 1054:'s 1036:'s 929:". 397:of 263:in 205:or 183:or 4577:: 4524:, 4496:, 4465:, 4451:, 4355:, 4104:, 3809:^ 3796:, 3769:, 3581:; 3548:; 3532:, 3412:, 3344:^ 3285:^ 3213:, 3191:^ 3162:, 3019:, 3006:^ 2937:^ 2827:^ 2784:, 2771:^ 2747:, 2662:^ 2647:, 2632:^ 2549:, 2522:, 2468:^ 2423:^ 2372:, 2350:^ 2336:^ 2319:, 2256:, 2241:^ 2227:^ 2200:, 2144:, 2094:^ 2067:. 1973:, 1902:, 1819:, 1629:: 1586:. 1530:. 1482:. 1293:. 1205:. 1117:, 1113:, 1109:, 1097:, 732:: 370:, 364:, 324:, 313:. 283:, 253:. 193:: 97:, 93:, 89:, 3047:" 2979:( 2790:" 2484:" 1338:— 870:) 631:— 615:— 610:. 291:( 279:( 189:(

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