1875:, since the inspiration from "writers' deeds" is "capricious" and the resemblance with real persons "partial". A similar opinion was voiced by poet and journalist Cornelia Maria Savu, who compared the narrator to a puppeteer and further assessed: "Horia Gârbea does not hate his characters, does not love them, he understands them. And by understanding them, he offers them a few moments to evolve with no strings." Reviewing the work from a stylistic point of view, Paul Aretzu analyzes the intrusion of "intertextual indulgences" throughout the work, identifying allusions to Ion Luca Caragiale,
1482:, contrasted his writings with the "boring" works by some of his contemporaries, and claimed that "directors and actors take pleasure in staging ." Gârbea's work stands out within its cultural and temporal context for its size and diversity. Aretzu sees him as "one of the most ubiquitous authors in present-day literature, gifted with a great availability in processing reality", while critic and academic Nicolae Oprea believes him to be "the most prolific" among the Bucharest-based group formed in the 1990s. Literary reviewer
1673:-antimoral of Horia Gârbea's play is that the victim proves himself tougher, more of an executioner, than his torturer. This means that the lines between victim and executioner are blurred and that, ultimately, the reeducation experiment in Pitești Prison (1949–1952), when victims were forced into becoming torturers, has succeeded. The antimoral in Gârbea's play is, however, all the more tough as the victim here becomes a torturer without being made to do so." Cesereanu ranks it and
1596:, the dramatist this time imagines an apocalypse of fiction (of the theater), during which the characters are slowly being swallowed by the mud flows of subterranean waters, which could imply that literature (fiction) unavoidably secretes its own death, so that writing (being written) and dying end up being perfect synonyms." In this analogy between literature and death, Soviany argues, one finds "the most profound message of Horia Gârbea's theater". In
1540:. Also according to Mihăilescu, Cărtărescu may have had his rival Gârbea in mind when reproaching Manolescu that he had insisted on writers who were not at all worthy of recognition. Nicolae Oprea saw Gârbea as apparently "uninhibited" in matters of literary discourse, but critically noted that the poet was also preoccupied, "to the point of obsession", with his own cultural imprint (citing as proof the fact that, in its original version,
1343:, as compliments to his predecessors in drama, novel and poetry. Speaking in 2009, Gârbea himself recalled his stylistic discovery of the 1980s: "It still seemed to me that being a writer meant having visions and struggling to communicate them so that others may have them too. I could not write prose, but I enjoyed writing drama because I had invented something very fun to do: old characters in new situations." Poet and critic
1368:", since "everything is possible at the level of the text becoming reality". He praises the author for managing to preserve an "absence that imposes", by not making his own intervention felt in the text. Diaconu admits that such an approach could be read as "gratuitously bookish, a line is more important than an event, a pun more important than a murder", but supports the notion that they all display an "
1588:("The Chekhov Machine"). Soviany singles out the text as an answer to claims that parody is always inferior to its models, by identifying its original motifs in a new statement about theater itself: ", which is without doubt ascribable to the formula of 'apocalyptic' theater, draws its substance from mixing intertextual parody with an
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When I call him using his human name, he smiles down on me, with devastating irony, so that I may grasp my complete lack of fantasizing ability. No matter what will happen in the future, these winter days shall always remain for me under the sign of having met, for the first time in life, an inexplicable creature."
2235:, Gârbea revisits the main themes of Romanian literature, looking into the biographies of various fictional characters, their lifestyles, personal preferences and social positioning. He himself defined the overview as "a sort of collection of essays on the edge of literary history." One of its chapters compares the
1653:. What is supposed to be an ordeal for the latter turns into a revelation for the former: the dissident is successful in assuring his interrogator that communism is doomed, and both flee the prison to partake in the victorious Revolution. The second part sees the dissident transformed into an agent for the reformed
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of parenting magazines, and contrasts its apparent artificiality with the awe he records having personally experienced after the birth of his son Tudor. It reads: " does not inspire in me the image of fragility and fondness, but the force of an entity which benefits from the advantage of The
Unknown.
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features the
English-language versions of five poems, translated by Gârbea's own hand). A highly critical voice is that of Bianca Burţa-Cernat. She suggests that, in adopting all forms of writing, Gârbea displays "an implausible self-certainty". She polemically connects the critical appreciation with
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represents a link which the reader needed in his relationship with the characters of stories relevant both at the time of their writing and today." According to literary critic Silvia
Dumitrache, the book creates "new paths in interpretation even when starting from literary locations that are often
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There are several controversial aspects to Gârbea's public notoriety, involving reactions against academic verdicts, and objecting to the close relationship between Gârbea and mainstream cultural forums such as the USR. The implications of positive appraisals by these venues were debated by literary
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According to his generation colleague, essayist Dan-Silviu
Boerescu, Gârbea "cannot part with the speculative charm of a brain given to bookish games", but closely follows a realistic tradition with his "sarcastic analysis of all everyday weakness." For Boerescu, Gârbea's literature is supported by
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bearing", accounting for an "intrinsic value." He speaks of the technique as "a vengeance of the theater" on the traditional historical record: "In essence, Horia Gârbea's theater emerges from the textual inconsistency of the world when faced with the consistency of history, or, better yet, from the
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of
Ionesco and Kafka. Also according to Oprea, such texts "are raised as collages of everyday images and bookish suggestions, well tied to each other, to the point where their articulation into colloquial speech puts to use the technique of reabsorbing the dramatic element and the narrative nucleus
1453:. Boerescu however believes this verdict to be "only half right", since the writer continued to employ experimental devices long after 1989, while avoiding the "referential ostentation" of other writers. Appreciation of Gârbea's work was also expressed among older critics and Gârbea's own mentors.
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The same year, Gârbea voluntarily reduced his contributions to drama and theater criticism, citing his family obligations, alongside a general disappointment with the milieu: "I grew aware that writing for the theater is usually not followed by productions. Although plays I signed were constantly
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and its "devilish verve". The same commentator states: "The novelist has a joy of writing that transmits itself to the reader. After you finish reading this novel about the ugliness of (literary) life , you feel, paradoxically, the joy of living, of communicating, of partaking in the captivating
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daily, he spoke of the editorial staff as having displayed "negligence", and noted that replacing the panel of editors was one of the sanctions being considered, while also stating that he felt none of them were "100% responsible" for the incident. Gârbea however dismissed rumors that he and his
1782:, showing the stormy encounter between a matron, a female secretary and a politician. The dialogues are seen by Mladin as "a parody of the discourses with which just about any television station assassinates us", and, Nelega writes, "the lampoon has precise targets". The story pokes fun at the
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or connect to some reality", being isolated "in its own world", and displaying "compositional precariousness." He concludes: "A book perfect in its own way, but far from perfection in ours." A similar overview is provided by Burţa-Cernat, who contends that, in taking sides and explaining his
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lifestyles. The plot, deemed "to die for" by
Galaicu-Păun, notably shows writer and former inmate Aldu Rădulescu seducing literary chronicler Alteea Fleciu, as revenge for a negative review of his work. In Paul Aretzu's view, the manner in which such developments are presented constitutes "a
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his status as a "good colleague" and "devoted shadow" of other writers, noting that Gârbea's notoriety is ensured by a promotional system with "all the stakes" and "all the pulleys", as well as by "the argument of prolificity", but that these attributes also surpass his actual value.
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writes: "The staple of writing is inventive, farcical, the obvious attribute of intelligence and refinement, also displaying bookish support and being enhanced by zestful language. The tendency of visualizing, of sketching portraits, of detailing/dissecting scenes, of verifying
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also describes his colleague as "multilateral" who "can adapt himself with great ease to any particular genre's specificity". Writing in 2007, Ștefănescu defined him a "one-man orchestra of the apathetic (and sometimes shy-brazen) Romanian literature of today." According to
1018:(FCER). This was because, during the scandal, Gârbea had explained that the FCER's reaction was an incentive in the USR's internal investigation. Goma's claim for reparations from FCER leaders, Șimonca noted, ignored the fact that Gârbea had not disclosed any names.
1985:. Boerescu writes: "The author cannot refrain from endlessly staging acts and short plays or inserting lines with an obvious dramatic hue". The same commentator identifies in the stories several allusions, homages or intertextual borrowings, from the "
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and the intertextual play. The parodic here is given birth by the disabused conscience of a postmodern spirit, who knows that all books have been written and therefore only their 'rewriting' is still possible". Commenting on the texts grouped within
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Usually assigned by their author the name of "texts", in preference over "plays", several among Gârbea's earliest works for the stage are
Postmodern reworkings of classical motifs, fashioned into new statements about the limits of literature. His
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recounts a changing of roles between torturer and victim, set to the background of political turmoil. In the first part, it introduces the two protagonists: a failed boxer turned interrogator for the main communist repressive structure, the
1929:, for being "a sort of poem dedicated to the kinds of drink and drunks in a small alcoholic town", while noting that a similar section, dedicated to the attitudes of writers when faced with fatal diseases, "creates, with the means of the
2016:. According to Ştefănescu, it and his other poetry collections are "better than those by most contemporary authors who emphatically recommend themselves as poets." Nicolae Oprea noted in particular the reworking of a motif borrowed from
1006:, a press organ edited by the USR. Paul Goma may believe whatever he likes. It is not him that we are discussing, but the magazine. I see no reason why he would sue me personally." According to an overview of the episode by journalist
1385:. According to Diaconu, Caragiale's influence constitutes the "depth" of Gârbea's work, going beyond the "surface level" of intertextual references and tributes. At the same core level, Diaconu identifies the author's debt to
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criticized in particular
Manolescu's "caprices", suggesting that, in a 2008 synthesis of Romanian literary history, his older colleague had assigned Gârbea's entry undeserved space, more than to a better known novelist like
2351:"a book as interesting as it is enjoyable . A holiday read, one could say, had this sytagm not been bastardized, in our country, by so many printed works (volumes and journals alike) that offend the reader's intellect."
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branch two years later. As a representative of the
Bucharest section, he worked closely with Editura Nouă publishing house in helping to popularize the writings of his fellow association members. Having joined the
2445:("Father's Return from War. Subjects"), where the same narrative cliché is explored from several conflicting perspectives. According to Terian, the volume as a whole displays influences from poet and satirist
1865:: "The identification of some characters with real person constitutes an abuse of interpretation which the author intends to fight off with any legal means." Ştefănescu however cautions against reading
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threatened with turning into clichés." She concludes "Through the playful note he impresses on the book, Horia Gârbea proves that his main intention does not reside in the willingness to impose a new
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continuous demonstration of brilliant intelligence and spectacular linguistic imagination." He commends a chapter of the book, which discusses how groups of people differentiated by their respective
2305:, where peasants beat each other with clubs. Another part of the book deals with the incidence of failure among intellectual protagonists, and leads Gârbea to conclude that, with the exception of
1977:
is described by
Boerescu as "a multitude of sub-worlds" structured around "framework situations", moving between the "petty politics of the day" (targeting the Social Democratic Party) and ironic
1816:
1531:, who argued that Nicolae Manolescu tended to overrate authors in his proximity, while being dismissive of Vișniec's contribution to drama (which Manolescu had claimed lacked originality). Critic
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aimed at his writer colleagues. Such contributions have consolidated Gârbea's success with the general public, but have divided critical opinion on the issue of their ultimate literary value.
1702:
1434:, the expressive value of the language, reveal the author's dominant structure as a playwright." The alternation of such stylistic traits reflects in part the writer's own parting with the
2026:
1681:(approx. "My Dead Weight/Country") among the post-1989 dramatic texts to have "brought up the Securitate issue, in a trenchant and even revelatory manner". Gârbea's fellow playwright
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of writing, who has dealt in all genres and species". Gârbea is also among the post-1990 Romanian authors to have received recognition abroad. In addition to the performances of
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In Nelega's view, Gârbea, "one of the truly alive writers of his time", was among the few debuting local playwrights to have their works staged by prominent Romanian directors—
638:
1100:, the USR, and various other venues for the benefit of award-winning writers. He was also the USR's envoy to the Three Seas Writers and Translators Committee conference on
1421:: "Thin and edgy like a razor, Gârbea's style forgives no one no thing." Soviany also argues that the "rewriting" of texts attempted by the Romanian author is carried by "
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intentions, the author adopts "the manner of an untalented journalist", with "see-through" results. She also believes that Gârbea's chief comedic resource is "the cheap
1952:, characteristic for the author". He argues: "With all the signs of his emotional involvement , the author also exercises, through correlations quotes, the function of
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448:("The Confrontation of Witnesses"), which was awarded the yearly prize of the Bucharest Association of Writers (a section of the USR). In 1996, he wrote the script for
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noted that he disliked almost all the book, because of its author's tendency to humiliate his characters "before us readers are in the least familiarized with them."
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held Gârbea's contribution in high esteem, an, in his 2008 synthesis of Romanian literary history, spoke of him as having "indisputably, the fabric of a dramatist".
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myth), Shakespeare and various others, it is also seen by Alina Nelega as a close rendition of Ion Luca Caragiale's style. The protagonist, a treacherous Moldavian
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in which Gârbea discusses the annual competition for literary prizes offer evidence both a "captivating" humorous focus on everyday occurrences and an "innocent
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132:; born August 10, 1962) is a Romanian playwright, poet, essayist, novelist and critic, also known as an academic, engineer and journalist. Known for his work in
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grid on Romanian literature, but in the attempt to demonstrate that the resources of literature can never, ever, be entirely exhausted." Cristea-Enache sees in
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698:, and has first been employed as such by the Toma Caragiu Theater since 1998. His contributions in this field include translations and adaptations of plays by
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2224:. Additionally, Burţa-Cernat comments on the irony of Cosma's reliance on intertextuality, which she finds similar to Gârbea's own work for the stage. Critic
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1618:. In addition to such themes, Mircea A. Diaconu sees Gârbea's reflection on the conflict between history and fiction as personified by the lead character in
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1409:, one of the authors to have been most inspired by the "matein" narratives, and concludes that the lineage places Gârbea on the same level as Cărtărescu and
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1253:. This also reflects Gârbea's own positioning: according to his own statement, the move from one generation group to the other coincided with his leaving
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An active member of the Writers' Union since 1994, Horia Gârbea was elected president of its Bucharest chapter in 2003, and appointed head of the Union's
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Outside the critical reevaluation of local literature, Gârbea's work includes short humorous essays about various topics in post-1989 society and modern
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1389:, while also judging his manner of "mixing eras, languages, writings, characters or historical figures, fiction and document" to echo the techniques of
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2362:, over the issue of what it means for a working artist to be treated unjustly or be privileged. Another fragment documents and ridicules the impact of
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into a single show of regular proportions. The project is increasingly confused, and the text used by Cosma mixes Shakespeare's lines with quotes from
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of terms which was published with the book. Although he acknowledges that the writing is "amusing", he also contends that it is "impossible to extend
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1405:, made famous by his cultivated style and eccentric outlook. Critic Dumitru Ungureanu sees this cultural echo as having been filtered by the style of
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performed, I never had productions at a satisfactory level nor significant material gains, except for translations." Instead, he focused on writing a
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303:, he stated his intention of having two books published by the year 2000 (he recalls: ", who was a witty but skeptical man, did not encourage me").
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2120:, as well as an actual lineage from the black humor of 1930s Surrealists. He sees a direct link between Gârbea and the Romanian Surrealist group's
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921:("Rehearsal without an Orchestra"), an anthology of prose pieces by young Romanian authors. His own work also included the 2005 essay collections
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of the characters and their fictional world; but, quite the contrary, in the points and lines at which literature intersects with social life."
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1798:. Michailov highlights the play's symbolism as illustrating "the stupidity of the political mechanism", whose sphere is turned into "a sort of
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Beyond its immediate context, critics see Horia Gârbea's contribution as greatly indebted to the work of 19th century dramatist and humorist
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284:. He recalls that his grandfather's passion for literature was passed onto him from an early age, when he first heard him reciting poems by
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1893:. Ştefănescu attributes such presences to parody, noting in passing the introduction of situations and even entire passages from Kafka's
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The USR's public expression of regret over having tolerated "a text with antisemitic content" caused Goma to threaten with a lawsuit on
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The recipient of several national awards for literature, he received critical attention for plays, short stories and novels which merge
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1574:. According to the author's own assessment, the text fits in with a Chekhovian homage trend among Romanian dramatists, also including
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1956:, of estrangement, of laughing at one's misfortunes, of projecting oneself into clichés, of surrogate existence." Literary reviewer
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decree. In March 2005, as head of the Bucharest Association of Writers, he set up the Romanian version of France's literary festival
482:("December, Live Broadcast"). It received the Writers' Union Prize for Theater. The student theater company Calandrinon featured his
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is a return to prose satire, in this case directed at the theatrical environment. The setting is a fictional theater in provincial
976:, a literary magazine managed by the Union, republished fragments from Goma's diary, which caused public outrage for its perceived
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292:, opting for a sciences-based curriculum, but envisioned becoming a writer. At around age 17, as one of the adolescent guests on a
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1861:. Alex. Ștefănescu, who writes that such portrayals caused "great agitation in the literary world", cites the author's own mock-
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Overall, Horia Gârbea's contribution to short fiction is described by Alex. Ştefănescu as "ingenious" and "endearing". The
1657:, who displays no qualms about capturing, tormenting, and finally killing his former associate. Historiographer and critic
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2315:, Romanian narratives generally show their intellectual protagonists incapable of finding their way in life. According to
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by the name of Moţoc, uses a discourse rich in political imagery, and towards the end of the play reveals himself as an
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1425:" and "the most unusual (as well as the most hilarious) arrangements of famous characters and quotes". Poet and critic
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1814:, the author returned to intertextual reworkings, this time introducing his style to the works of Ion Luca Caragiale,
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placed the intertextual references (which often make a point of transgressing historical reality) in connection with
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1750:. Nelega is critical of the text, arguing that it "does not surpass the gratuitousness of petty pokes" and is "more
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writers. This symbolism is coupled with allusions to Romanian literary life: the final story in the collection,
1328:. In a 2001 overview of the generation's contribution, Nelega herself mentioned Gârbea and the others alongside
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chronicler Bianca Burţa-Cernat describes him as one among the lesser authors of the 1990s generation, alongside
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4091:"Mircea Albulescu: 'Aş vrea foarte mult ca cititorii, spectatorii, ascultătorii mei să vrea să nu mă piardă' "
2170:. He argues: "Whichever way you look at it, set free from the contextual interpretations exercised in reading
2166:, and the protagonists, Cosmin Ciotloş notes, are composite portrayals rather than the "masked" characters of
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is his first entirely original text for the stage, and rates it over intertextual texts from the same period.
1249:. Given his relatively late consecration, Gârbea is nevertheless identified with the 1990s generation of post-
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noted: "Horia Gârbea is a dramatist who builds with a program in mind, placing his stake on the resources of
1070:("Retold Romanian Fairy Tales and Mystical Stories"), it was illustrated with reproductions of children-made
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In his review of the volume, Emil Mladin deemed it "wonderful" and "an extremely welcome project", noting: "
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1853:, Gârbea produces a satirical portrayal of his fellow Romanian writers, disguising their real names with
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vision, suggesting the regression (of world and literature) into the primordial mud. Putting to use the
1038:("Live Divorce"), was nominated for another USR award. In late 2007, he participated with fellow writers
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His career in the post-Revolution press began early in 1990, when he was among the writers published by
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drew attention for transferring the intertextual and parodic conventions into a lyrical format, mostly
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than absurd", concluding: "I fear that Gârbea did not know how to end his play and quickly fabricated,
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663:). Between 2002 and 2003, he published several works related to his field of expertise in engineering:
247:. The latter focus is complemented by his works in novel and short prose, which often take the form of
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2414:, which comprises several stories, received mixed reviews. According to Andrei Terian, the main one,
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mythology of the writers' caste". The latter episode is praised by Ştefănescu for its "irresistible"
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235:, and various other of his predecessors, addressing contemporary realities. He is also the other of
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2001:("The Tomcats in the Study Hall"), speculates about the future of Gârbea's generation, and depicts
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ambition of a failed theater manager, Cosma, who proceeds to conflate all the violent moments of
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2319:, Gârbea generally and willingly limited the scope of his investigation to canonical and urbane
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Gârbea made his debut in 1982, at age twenty, his poems being published by the student magazine
196:. The author of several scientific works on engineering, Gârbea is also a faculty member at the
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1608:, reused by the author to make a statement about drama itself and combined with elements from
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510:'s Ion Luca Caragiale Award with a three-year delay. Also in 2001, his short story collection
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2426:. In contrast, Terian notes, Gârbea shows his "sure hand" in other pieces, where he parodies
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with a trite climax", which she compares with those published by the communist-era magazine
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connects the outcome with a notoriously violent episode in Romania's communist history, the
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Academic staff of the University of Agronomic Sciences and Veterinary Medicine of Bucharest
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2034:", whom Gârbea transfers into the destitute world of garbage collectors. Part of it reads:
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1134:. Working with Editura Tritonic publishing house, Gârbea also coordinated an anthology of
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by focusing on and inventorying literary types. In spring, he participated in the project
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included Gârbea "among the best known" of post-1989 playwrights "experimenting with post-
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2973:"Imaginea Securității în literatura română în comunism și postcomunism. Studiu de caz"
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2269:'s novels. Other sections discuss the attitudes toward love in such diverse places as
1728:
3827:
3727:
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2295:'s depictions of officers disciplining their subordinates with the use of belts, and
2281:. Likewise, the avatars of violence are depicted between Ion Luca Caragiale's satire
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1968:
1953:
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group of writers, most of whom reached their creative peak after 1980: together with
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641:. He was also among the first Romanian authors to publish fiction in the new wave of
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1826:. The play was notably used as teaching material for student actors training at the
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794:, collaborating with several national television stations. He was first employed by
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1156:'s Smarter Brother"), his new volume of short prose. The same year, Gârbea visited
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1515:, published in 2005). His work was also included into English-, French-, German-,
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company Inoportun. He made his editorial debut in the genre with the 1993 volumes
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1010:, Horia Gârbea had unwittingly prompted Goma to state his intention of suing the
677:("Structures and Constructions—University Lecture", 2003; revised edition 2004).
552:
453:
388:
204:
193:
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1537:
673:("Structures and Constructions—Notions and Calculations in Reliability", 2002),
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2367:
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1418:
1369:
1191:
1171:
532:("Raising Pet Iguanas"; poetry). The former was shortlisted for the USR Award.
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journal: it specifically called "disinformation" the fragments which refer to
1039:
440:("Biographical Text"), saw print in 1996, earning him an award granted by the
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2005:
keeping pets named after the leading literary critics of the 1980s and '90s.
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where everything is possible." According to Alex. Ştefănescu, productions of
1605:
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modes of expression." Others in this group are, according to his definition,
1271:
group leader Cărtărescu. In her critical overview of Gârbea's contributions,
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1495:: "As productive as an entire literary school , Horia Gârbea is a veritable
1118:
962:
Also in 2005, Gârbea and the Writers' Union were involved in a polemic with
444:. Also that year, the writer followed up with a second collection of poems,
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and others, while also noting the presence of experimental methods echoing
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2358:. One such chapter is built around the polemic between Gârbea and writer
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2002:
1990:
1960:
issues a more reserved verdict on the text: in his view, the episodes of
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88:
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Moshe Yassur, "Romania", in Gabrielle H. Cody, Evert Sprinchorn (eds.),
3719:
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1837:
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both intervened to sanction the publication. In an early interview with
516:("Enigmas in Our City") saw print. These were followed the next year by
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for lack of subtlety, in the presence of a "not exactly indispensable"
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Oprea also highlighted ironic and dismissive borrowings from Romania's
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1917:
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695:
412:
324:
72:
2464:, editura Dionysos Boppard am Rhein/Germany 2020, ISBN 9798625419635;
2191:
929:("Contract Bridge in 41 Cheerful Stories"). Gârbea was made Knight of
739:
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2479:
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1986:
1930:
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inconsistency of history and the textual consistency of the world."
1339:
A defining characteristic of Gârbea's main works is the reliance on
694:
association of theatrical professionals in 1993, he also works as a
467:("The Mysteries of Bucharest") and the multiple award-winning novel
4163:
3546:
2395:
2324:
2262:
2215:
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2134:
1982:
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1081:("Bygone Lives of Beaus and Aces"), he investigated the history of
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grounds. In reaction, Gârbea stated: "What we are interested in is
879:
813:
749:
719:
2331:: "the author is not interested in symbolic codification, in the
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1978:
1854:
1707:
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1263:
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871:
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588:
4242:
3535:"Nominalizări pentru premiile Uniunii Scriitorilor pe anul 2006"
2418:("Article 96"), which is about a lecherous politician dating an
2174:, the novel stands only to gain." The narrative focus is on the
1993:
to a "landscape of luxuriant vegetation" characteristic for the
890:"), published the same year. Also in 2004, Gârbea premiered his
669:("Structures and Constructions with Dynamic Insulation", 2002),
4274:
4210:
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2483:
2399:
2175:
2130:
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1964:
are primarily "charades", whose main quality is being "droll".
1768:
1764:
1760:, the similitude of a profound sense where there was nothing."
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1101:
847:. Between 2002 and 2003, he worked with the public broadcaster
806:
795:
597:. His articles were also published by other venues, among them
593:
252:
208:
174:
160:
and his essays, he has published regularly in journals such as
84:
80:
48:
playwright, essayist, journalist, poet, publisher, screenwriter
4062:
1126:("Huppy's Songs"), as well as on reviewing for publishing the
387:("The Seagull in the Cherry Orchard") was first staged at the
2470:
details Gârbea's trip and offers additional insight into the
2430:("The Story of a Lazy Man") by 19th century Romanian classic
2258:
2159:
1733:
1670:
1626:
999:
372:
671:
Structuri şi construcţii – noţiuni şi calcule de fiabilitate
4095:
3916:
3873:
3133:
2887:"Despre Matei Vișniec, Saviana Stănescu, Radu Macrinici..."
1511:
has been translated into German by Veronika Dreichlinger (
1034:"), in 2006. Printed the same year, his new drama volume,
551:. Active as a theater critic and chronicler, as well as a
524:"), a volume of essays, and, in 2003, by two other books:
198:
University of Agronomical Sciences and Veterinary Medicine
1944:
spectacle of being." In Artezu's account, those parts of
995:, noting that the magazine was a historical institution.
363:
A turning point in Horia Gârbea's writing career was the
340:("The Monday Literary Club"), founded by literary critic
3692:"Azerbaidjan – Ţara Focului viu. Unde se termină lumea?"
3567:"Literatura pentru copii, între Harry Potter și clasici"
3400:
1186:(October 2010). In April 2011, Gârbea and fellow writer
2984:
1190:
were in Israel, attending the Nisan Poetry Festival in
1089:("Writers on the Royal Road"), organized by the former
528:("A Holiday in Hell"; literary criticism, 2 vols.) and
356:. His early poetry was awarded a 1986 prize by Spain's
1376:
645:, being an early contributor to the local version of
1203:
Cultural context and Postmodernist reinterpretations
498:("The Minister's Coffee"). In 2001, he published an
3730:
release, October 6, 2010; retrieved January 7, 2010
1916:environment, its heroes being vagrants, misfits or
839:. In 2001, Gârbea was also involved in writing for
681:
Literary consecration and Writers' Union activities
4504:Mihai Viteazul National College (Bucharest) alumni
2287:, where people threaten to poison each other with
2093:and they started sweeping what else could they do
3410:, September 15, 2005; retrieved September 9, 2009
2714:"Un prea-plin al inspirației, o voioşie literară"
2557:"Profesia de scriitor are nevoie de recunoaștere"
2506:, and expressed concern over Gârbea's claim that
2370:, with the rapid spread of abbreviations such as
423:("The Master of Silence"), was staged in 1994 by
156:chapter. Also recognized for his contribution to
4310:
3387:
3385:
3383:
3151:"Ioan Es. Pop: 'A început să-mi pese de viață' "
835:, where he contributed to a similar production,
506:("Who Killed Marx?"), it was a recipient of the
1600:, the theme and protagonists are borrowed from
555:popularizer, he later had permanent columns in
463:was followed in 1997 by the short story volume
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3618:
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3614:
3612:
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3416:
2042:
1972:
1579:
1122:from the Moon") and a cycle of poems known as
1068:Basme și povești mistice românești repovestite
666:Structuri și construcții cu izolatori dinamici
664:
511:
435:
322:(1986). A member of the teaching staff at his
3715:
3713:
3380:
2548:
2546:
2544:
2542:
2449:, as well as borrowings from fellow parodist
2077:he wouldn't call them out they were all there
1442:to view Gârbea's 1990s prose as a revival of
1397:. Another main influence on Gârbea's work is
1074:. His son, Tudor, was born in the same year.
391:Theater, followed in 1992 by the premiere of
4047:
4045:
4043:
3995:
3993:
3928:
3926:
3826:, New York & Chichester, 2007, p.1150.
3814:
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3489:
3487:
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3483:
3481:
3479:
3429:"Manolescu îl acuză pe Goma de antisemitism"
3218:
3216:
3067:
3003:
3001:
2999:
2720:, June 13, 2007; retrieved September 9, 2009
2702:
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2688:
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2536:
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2532:
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2526:
2524:
2522:
2434:, or where he pokes fun at the 14th century
2075:the prince-poet would gather the garbage men
1665:experiment carried out by the Securitate in
991:colleagues were considering disestablishing
621:. In 2001, he joined the editorial staff of
478:Gârbea returned to drama with the 1999 book
395:("The Clerk of Destiny") with the Bucharest
219:, Gârbea has primarily reworked motifs from
4107:
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2627:
2604:
2602:
2600:
2598:
1778:as one "of morals", turns its attention to
1261:. In 2008, he expressed much criticism for
1164:, and published some of his impressions in
1016:Federation of Jewish Communities of Romania
675:Structuri și construcții – curs universitar
486:("The Books") in its 2000 program, and the
4464:Politehnica University of Bucharest alumni
3893:
3891:
3889:
3887:
3885:
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3108:
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3100:
3079:"Postmodernismul sau soluția finală" (XXX)
2919:
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2909:
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2394:, "thanks"). Gârbea also pokes fun at the
1182:, German), was officially launched at the
4059:"Laborator. Departe de lumea dezlănţuită"
4040:
3990:
3923:
3820:The Columbia Encyclopedia of Modern Drama
3809:
3775:
3643:
3476:
3213:
2996:
2827:
2825:
2519:
1834:, who called it "extremely interesting".
1645:, who confronts his prisoner, a renegade
4484:Romanian male dramatists and playwrights
4102:
3955:
3295:
3044:
2948:
2796:
2794:
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2752:
2750:
2748:
2746:
2665:
2624:
2494:. The texts received criticism from the
1438:. The focus on everyday issues prompted
1267:, a large-scale novelistic cycle by the
790:. In 1998, Gârbea also began working in
459:performance, which premiered in France.
263:
4168:translations from Horia Gârbea, in the
4002:, "Cronicarul în cumpăna istoriei", in
3880:
3836:
3578:
3553:
3440:
3162:
3097:
2898:
2850:
2744:
2742:
2740:
2738:
2736:
2734:
2732:
2730:
2728:
2726:
2575:
1774:, seen by poet and literary chronicler
1292:, Romanian-born Israeli actor-director
1054:, which involved rewriting a series of
882:produced the collective travel account
4311:
3248:"Numărul 2/2001 al revistei de teatru
2822:
2510:was "a civilizing providential hero".
2443:Întoarcerea tatei din război. Subiecte
2089:or rather just prince his sorry poetry
2073:morning round four on an empty stomach
2044:dimineaţa pe la ora patru pe nemâncate
1912:The narrative delves into Bucharest's
1584:("Chekhov the Armorer") and Vișniec's
1174:, published by the same foundation as
184:. His career in the media also covers
3668:Fratele mai deştept al lui Kalaşnikov
2412:Fratele mai deştept al lui Kalaşnikov
1150:Fratele mai deştept al lui Kalaşnikov
970:who lived in France. This came after
906:, published a new work for the stage—
403:("Madame Bovary Are the Others") and
371:. In 1990, one of his first works in
127:
3869:"Horia Gârbea. Răzbunarea teatrului"
3362:"Ce haz mai are comedia românească?"
2723:
2349:Trecute Vieţi de Fanţi şi de Birlici
2340:Trecute Vieţi de Fanţi şi de Birlici
2239:entertaining such figures, from the
2233:Trecute Vieţi de Fanţi şi de Birlici
2146:Trecute Vieţi de Fanţi şi de Birlici
2036:
1417:his sarcasm and his contribution to
1211:, Gârbea debuted as a member of the
1079:Trecute Vieți de Fanți și de Birlici
4319:Romanian dramatists and playwrights
4241:(translated by Gabriela Lungu), at
4116:"Pumnagiul, Criticessa și Profetul"
3972:"Eșecul lui Nicolae Manolescu" (II)
3632:"Scriitori, personaje, cititori..."
2124:, and beyond, to the "existential"
1722:. Integrating further allusions to
1377:Generic traits and related polemics
1026:Gârbea published his second novel,
943:("Poets' Spring", known locally as
858:During 2004, authors Horia Gârbea,
13:
4329:Romanian collectors of fairy tales
4181:Own Goal with Actor and Accountant
4135:"Despre un neverosimil 'foc viu' "
3720:"Frankfurt to host book launch of
2081:you people say that man is a light
798:from 1998 to 2001, working on the
561:(1990–1995, and again 1998–2001),
352:circle, founded and led by critic
272:, Horia Gârbea is the grandson of
14:
4515:
4444:Romanian television personalities
4429:Romanian book publishers (people)
4384:Romanian male short story writers
4154:
4022:"Pescărușul din livada cu vișini"
3598:"Viaţa pitorească a personajelor"
2819:site; retrieved September 9, 2009
2647:"Meseria de a scrie (la comandă)"
2194:, while adopting the format of a
2046:îi aduna prinţul-poet pe gunoieri
1148:In 2010, Editura Limes published
367:of 1989, which put an end to the
288:. The future writer attended the
4439:Romanian public relations people
2937:"D-ale carnavalului literaturii"
2060:mai mult prinţ vai de poezia lui
1881:Ioan Alexandru Brătescu-Voineşti
1478:contributor, literary historian
927:Bridge în 41 de povestiri vesele
913:, and oversaw the publishing of
129:[ˈhori.arəzˈvanˈɡɨrbe̯a]
4125:
4011:
3733:
3681:
3525:
3352:
3320:
3263:
3238:
3227:"Debut. Orbitor – Aripa nebună"
3140:
3023:
2422:model, has the same defects as
2133:nature into the sphere of pure
2052:bă voi ziceţi că omu-i o lumină
1817:Conu Leonida faţă cu reacţiunea
1806:receive as much applause as "a
1714:, which romanticizes events in
1556:Pescăruşul din livada cu vişini
1138:, in which he included his own
502:of texts for the stage: titled
385:Pescărușul din livada cu vișini
379:, was performed by the British
348:, Gârbea later moved on to the
2985:Center for Imagination Studies
2482:. It features his poems about
2406:
2064:şi plecau să măture ce să facă
2008:Among his poetry collections,
1788:Romanian Democratic Convention
1700:("Moțoc's Head") reinterprets
1632:Published ten years after the
812:. He was then affiliated with
312:Agronomical Science University
215:elements. In his work for the
152:executive and the head of its
1:
3762:, Nr. 17/2011; Horia Gârbea,
3722:Azerbaijan – The Living Flame
3292:, Vol. VI, Nr. 282, July 2009
2513:
2468:Azerbaijan – The Living Flame
2158:, deriving its name from the
2048:nu mai făcea apelul erau toţi
1176:Azerbaijan – The Living Flame
1021:
947:). A month later, during the
427:'s Alexandru Davila Theater.
419:). Another one of his plays,
375:, translated into English as
4389:Romanian short story writers
4354:Romanian literary historians
3012:"Gîndiți, Domnule Ministru!"
2613:"Să rîdem cu Horia Gârbea?!"
2273:'s neorealist prose and the
2247:'s books and the antiquated
2087:fine gnashed the prince-poet
2085:they said that's what man is
2027:Mistreţul cu colţi de argint
1290:Encyclopedia of Modern Drama
639:National Theater Cluj-Napoca
280:general and diplomat of the
258:
190:Romanian television stations
7:
4479:Romanian male screenwriters
4394:Romanian television writers
4324:Romanian children's writers
4170:Romanian Cultural Institute
3041:, Nr. 201-202, January 2004
2504:Azerbaijan's Christian past
2010:Creşterea iguanelor de casă
1844:Creșterea iguanelor de casă
1598:Doamna Bovary sînt ceilalți
1542:Creşterea iguanelor de casă
980:. Gârbea and USR president
874:, on the invitation of the
788:Stanisław Ignacy Witkiewicz
725:We Won't Pay! We Won't Pay!
530:Creșterea iguanelor de casă
401:Doamna Bovary sînt ceilalți
10:
4520:
4419:Romanian writers in French
3707:, Nr. 1072, September 2010
3020:, Nr. 43-44, December 2000
2839:"Revista presei culturale"
2058:bine scrâşnea prinţul-poet
1145:("Detesting the Nation").
878:. Their experience in the
452:("They Are Moving On"), a
328:since 1987, he received a
290:Mihai Viteazul High School
192:and the popularization of
39:Romanian People's Republic
4399:Romanian textbook writers
4359:Romanian magazine editors
4349:Romanian literary critics
4008:, Nr. 1(52), January 2009
3824:Columbia University Press
3764:"Festivalul 'Nisan' 2011"
3473:, Nr. 286, September 2005
3334:la Paris și la București"
2817:Writers' Union of Romania
2472:Nagorno-Karabakh conflict
1804:Cafeaua domnului Ministru
1780:Romania's political scene
1772:Cafeaua domnului Ministru
1087:Scriitori pe calea regală
591:-based literary magazine
496:Cafeaua domnului Ministru
430:Gârbea's first volume of
320:Environmental Engineering
239:with themes borrowed the
146:Writers' Union of Romania
94:
68:
60:
52:
44:
28:
21:
4434:Engineers from Bucharest
4404:Romanian theatre critics
3606:, Nr. 450, November 2008
3033:"Premii peste premii..."
2621:, Nr. 348, November 2006
2265:preferred by thieves in
1710:by the Romanian classic
1649:member who has become a
1548:
1162:Heydar Aliyev Foundation
966:, a novelist and former
949:Romanian Comedy Festival
919:Repetiție fără orchestră
876:Vietnamese Writers Union
539:, a magazine founded by
310:. He graduated from the
144:, he is a member of the
4494:Male television writers
4489:Romanian male essayists
4414:Romanian travel writers
4369:Romanian male novelists
4298:Horia Gârbea's articles
4284:Horia Gârbea's articles
4270:Horia Gârbea's articles
4251:Horia Gârbea's articles
3747:"Poezie în Ţara Sfântă"
3507:"Căderea Elsinore-ului"
2981:Babeș-Bolyai University
2979:, Vol. 1, 2001, at the
2572:, Nr. 973, October 2008
2030:: the "prince from the
1974:Enigme în oraşul nostru
1784:Social Democratic Party
1366:All the world's a stage
1285:. Writing for the 2007
1197:
1072:Romanian Orthodox icons
941:Le Printemps des Poètes
900:Andrei Mureșanu company
513:Enigme în orașul nostru
393:Funcționarul destinului
125:Romanian pronunciation:
4459:Writers from Bucharest
3798:"Carte la pachet-2007"
3465:o revistă antisemită?"
2428:Povestea unui om leneş
2251:in Mateiu Caragiale's
2091:fine shoo back to work
2071:
2043:
2040:
2022:Ştefan Augustin Doinaş
1999:Motanii din bibliotecă
1973:
1580:
1558:is a personal take on
1354:Cine l-a ucis pe Marx?
735:Le Triomphe de l'amour
665:
512:
504:Cine l-a ucis pe Marx?
465:Misterele Bucureștilor
442:Sighet Poetry Festival
436:
336:in 1999. A regular of
334:Politehnica University
4424:Romanian anthologists
4195:The Pleasures of Life
4114:Cornelia Maria Savu,
3952:, Nr. 218, April 2004
3937:"Istorii 'albalate' "
3349:, Nr. 783, March 2005
3195:"Un joc de societate"
3191:Daniel Cristea-Enache
2847:, Nr. 630, April 2002
2662:, Nr. 992, March 2009
2611:Bianca Burța-Cernat,
2317:Daniel Cristea-Enache
2254:Craii de Curtea-Veche
2180:Shakespearean tragedy
1849:With his debut novel
1484:Daniel Cristea-Enache
1241:, he was part of the
1112:novel for the youth,
1050:project initiated by
1048:children's literature
1014:community league, or
935:order through a 2004
925:("Partial Arts") and
755:Night of January 16th
587:(after 2005) and the
264:Early life and career
4409:Romanian translators
4289:Săptămâna Financiară
4188:Who Needs No Theater
3905:"Potopul şi parodia"
3794:Emilian Galaicu-Păun
3314:Săptămâna Financiară
3260:, Nr. 54, March 2001
3235:, Nr. 430, July 2008
3159:, Nr. 434, July 2008
2895:, Nr. 57, March 2001
2835:Gabriela Adameşteanu
2460:, în traducerea lui
2458:Der vergessene Traum
2386:, "we'll talk") and
1823:O scrisoare pierdută
1763:The three-character
1703:Alexandru Lăpușneanu
1694:Decembrie, în direct
1692:Published alongside
1687:Decembrie, în direct
1655:Intelligence Service
1638:Decembrie, în direct
1493:Emilian Galaicu-Păun
1310:Alina Mungiu-Pippidi
855:on cultural issues.
851:, where he hosted a
745:The School for Wives
584:Săptămâna Financiară
488:Toma Caragiu Theater
480:Decembrie, în direct
473:Fall of the Bastille
397:experimental theater
358:University of Bilbao
181:Săptămâna Financiară
134:experimental theater
4379:Romanian male poets
4334:Romanian columnists
4099:, November 18, 2002
3949:Observator Cultural
3935:Dumitru Ungureanu,
3920:, November 11, 2002
3877:, February 10, 2003
3603:Observator Cultural
3596:Silvia Dumitrache,
3575:, December 27, 2007
3470:Observator Cultural
3437:, September 2, 2005
3277:"Literatură glossy"
3257:Observator Cultural
3232:Observator Cultural
3156:Observator Cultural
3075:Dan-Silviu Boerescu
3038:Observator Cultural
3017:Observator Cultural
3010:Mihaela Michailov,
2892:Observator Cultural
2618:Observator Cultural
2462:Christian W. Schenk
2201:Ciotloş reproached
2184:Pierre Beaumarchais
2062:bine marş la treabă
1995:Latin American Boom
1790:governments of the
1669:: "The paradox and
1634:Romanian Revolution
1586:La machine Tchekhov
1466:Alexandru Hausvater
1362:William Shakespeare
1287:Columbia University
1279:Dan-Silviu Boerescu
1274:Observator Cultural
1184:Frankfurt Book Fair
1143:Detestarea naţiunii
1130:of his grandfather
1124:Cântecele lui Huppy
1114:Făt Frumos din lună
1083:Romanian literature
1064:Christian mythology
1052:Editura Paralela 45
884:Drumul spre Nghe An
803:Ministerul Comediei
776:Niccolò Machiavelli
643:lifestyle magazines
600:Convorbiri Literare
381:Royal Court Theatre
365:Romanian Revolution
301:Mircea Sîntimbreanu
294:Romanian Television
142:Romanian literature
117:Horia-Răzvan Gârbea
4454:Postmodern writers
4449:Postmodern theatre
4364:Romanian novelists
4344:Romanian humorists
4339:Romanian essayists
4256:2012-02-20 at the
4237:2008-11-15 at the
4231:Funghi al pomodoro
4140:2011-05-18 at the
4070:2009-05-24 at the
4027:2008-02-23 at the
3977:2011-07-19 at the
3942:2012-04-03 at the
3752:2012-08-11 at the
3743:Ruxandra Cesereanu
3697:2012-04-02 at the
3565:Elena Vlădăreanu,
3540:2012-02-19 at the
3512:2012-02-26 at the
3406:2018-04-21 at the
3339:2012-02-20 at the
3332:Primăvara poeților
3282:2011-07-21 at the
3225:Beatrice Lăpădat,
3200:2012-02-26 at the
3084:2008-02-23 at the
2990:2009-04-29 at the
2969:Ruxandra Cesereanu
2811:2009-05-11 at the
2652:2009-05-31 at the
2562:2009-02-25 at the
2476:Azerbaijani people
2284:D-ale carnavalului
2079:and would ask them
1659:Ruxandra Cesereanu
1513:Ente mit Apfelsine
1472:. Gârbea's fellow
1383:Ion Luca Caragiale
1356:, literary critic
1188:Ruxandra Cesereanu
1044:Liviu Ioan Stoiciu
955:was staged by the
945:Primăvara poeților
892:Cleopatra a şaptea
784:Tennessee Williams
730:Pierre de Marivaux
715:L'Illusion comique
705:The Cherry Orchard
661:Jean Lorin Sterian
494:did the same with
346:Radu Călin Cristea
282:Kingdom of Romania
243:and his country's
225:Ion Luca Caragiale
4243:Griseldaonline.it
4216:Crime la Elsinore
4206:Raţă cu portocale
4000:Dan C. Mihăilescu
3865:Mircea A. Diaconu
3832:978-0-231-14424-7
3728:Trend News Agency
2945:, August 10, 2007
2496:Armenian Romanian
2438:, as well as the
2364:instant messaging
2360:Gheorghe Grigurcu
2277:short stories of
2203:Crime la Elsinore
2168:Căderea Bastiliei
2152:Crime la Elsinore
2142:Crime la Elsinore
2118:Vasile Alecsandri
2099:
2098:
1969:political fiction
1962:Căderea Bastiliei
1954:depersonalization
1946:Căderea Bastiliei
1927:drinking cultures
1867:Căderea Bastiliei
1851:Căderea Bastiliei
1840:Căderea Bastiliei
1828:Caragiale Academy
1724:Romanian folklore
1712:Costache Negruzzi
1533:Dan C. Mihăilescu
1509:Rață cu portocale
1455:Nicolae Manolescu
1395:Jorge Luis Borges
1358:Mircea A. Diaconu
1223:Traian T. Coșovei
1219:Mircea Cărtărescu
1160:, invited by the
1136:political fiction
1060:Romanian folklore
1028:Crime la Elsinore
982:Nicolae Manolescu
864:Mircea Ghițulescu
860:Valeriu Butulescu
845:Clanul Popeștilor
837:Naționala de bere
772:John D. MacDonald
653:George Cușnarencu
572:Monitorul de Iași
526:Vacanță în infern
518:Rață cu portocale
469:Căderea Bastiliei
409:Romanian-language
342:Nicolae Manolescu
332:diploma from the
330:Doctor of Science
314:'s Department of
299:hosted by author
249:political fiction
245:post-1989 history
233:Costache Negruzzi
140:contributions to
114:
113:
95:Literary movement
4511:
4303:Ziarul Financiar
4296:
4282:
4268:
4249:
4228:
4222:Editura LiterNet
4203:
4162:
4149:
4133:
4129:
4123:
4113:
4109:
4100:
4089:Iulia Popovici,
4088:
4084:
4075:
4053:
4049:
4038:
4019:
4015:
4009:
3997:
3988:
3966:
3962:
3953:
3934:
3930:
3921:
3901:Octavian Soviany
3899:
3895:
3878:
3863:
3859:
3834:
3816:
3807:
3792:
3788:
3773:
3772:, Nr. 20-21/2011
3759:România Literară
3741:
3737:
3731:
3717:
3708:
3689:
3685:
3679:
3675:Ziarul Financiar
3660:
3656:
3641:
3637:Viața Românească
3626:
3622:
3607:
3595:
3591:
3576:
3564:
3560:
3551:
3533:
3529:
3523:
3519:România Literară
3501:
3497:
3474:
3463:Viața Românească
3455:
3451:
3438:
3426:
3422:
3411:
3393:
3389:
3378:
3360:
3356:
3350:
3328:
3324:
3318:
3306:
3302:
3293:
3271:
3267:
3261:
3246:
3242:
3236:
3224:
3220:
3211:
3207:România Literară
3189:
3185:
3160:
3148:
3144:
3138:
3126:
3122:
3095:
3073:
3069:
3042:
3031:
3027:
3021:
3009:
3005:
2994:
2977:Caietele Echinox
2967:
2963:
2946:
2931:
2927:
2896:
2881:
2877:
2848:
2833:
2829:
2820:
2805:Curriculum Vitae
2802:
2798:
2721:
2718:Editura LiterNet
2710:Alex. Ștefănescu
2708:
2704:
2663:
2643:
2622:
2610:
2606:
2573:
2554:
2550:
2488:Khojaly Massacre
2436:Battle of Rovine
2356:Romanian culture
2321:literary realism
2307:Mihail Sebastian
2066:
2037:
1976:
1832:Mircea Albulescu
1792:post-1989 period
1720:medieval history
1620:Stăpânul tăcerii
1610:Jean-Paul Sartre
1602:Gustave Flaubert
1583:
1581:Armurierul Cehov
1521:Serbian-language
1480:Alex. Ștefănescu
1475:România Literară
1403:Mateiu Caragiale
1345:Octavian Soviany
1330:Valentin Nicolau
1318:Saviana Stănescu
1255:Cenaclul de luni
1247:Cenaclul de luni
1036:Divorț în direct
1004:Viața Românească
993:Viața Românească
973:Viața Românească
932:Meritul Cultural
831:show, and later
780:Gérald Sibleyras
760:Fernando Arrabal
710:Pierre Corneille
687:public relations
668:
618:Ziarul Financiar
612:România Literară
545:Cristian Popescu
515:
508:Romanian Academy
461:Proba cu martori
450:Ils emménagement
446:Proba cu martori
439:
421:Stăpânul tăcerii
383:. A year later,
369:communist regime
338:Cenaclul de luni
229:Gustave Flaubert
150:public relations
131:
126:
19:
18:
4519:
4518:
4514:
4513:
4512:
4510:
4509:
4508:
4309:
4308:
4294:
4280:
4266:
4258:Wayback Machine
4247:
4239:Wayback Machine
4226:
4201:
4175:Plural Magazine
4160:
4157:
4152:
4148:, March 3, 2010
4142:Wayback Machine
4131:
4130:
4126:
4111:
4110:
4103:
4086:
4085:
4078:
4072:Wayback Machine
4051:
4050:
4041:
4029:Wayback Machine
4017:
4016:
4012:
3998:
3991:
3979:Wayback Machine
3964:
3963:
3956:
3944:Wayback Machine
3932:
3931:
3924:
3897:
3896:
3881:
3861:
3860:
3837:
3817:
3810:
3803:Revista Sud-Est
3790:
3789:
3776:
3754:Wayback Machine
3739:
3738:
3734:
3718:
3711:
3699:Wayback Machine
3687:
3686:
3682:
3658:
3657:
3644:
3624:
3623:
3610:
3593:
3592:
3579:
3562:
3561:
3554:
3542:Wayback Machine
3531:
3530:
3526:
3514:Wayback Machine
3499:
3498:
3477:
3453:
3452:
3441:
3427:Manuela Golea,
3424:
3423:
3414:
3408:Wayback Machine
3391:
3390:
3381:
3377:, April 5, 2005
3358:
3357:
3353:
3341:Wayback Machine
3326:
3325:
3321:
3317:, June 30, 2005
3304:
3303:
3296:
3284:Wayback Machine
3269:
3268:
3264:
3244:
3243:
3239:
3222:
3221:
3214:
3202:Wayback Machine
3187:
3186:
3163:
3146:
3145:
3141:
3137:, July 17, 2004
3129:"Texte poetice"
3127:Nicolae Oprea,
3124:
3123:
3098:
3086:Wayback Machine
3071:
3070:
3045:
3029:
3028:
3024:
3007:
3006:
2997:
2992:Wayback Machine
2965:
2964:
2949:
2929:
2928:
2899:
2879:
2878:
2851:
2831:
2830:
2823:
2813:Wayback Machine
2800:
2799:
2724:
2706:
2705:
2666:
2654:Wayback Machine
2644:
2625:
2608:
2607:
2576:
2564:Wayback Machine
2552:
2551:
2520:
2516:
2492:Guba mass grave
2409:
2327:styles such as
2293:Anton Bacalbaşa
2241:contract bridge
2196:detective novel
2149:
2095:
2092:
2090:
2088:
2086:
2084:
2082:
2080:
2078:
2076:
2074:
2068:
2063:
2061:
2059:
2057:
2056:ziceau aia este
2055:
2053:
2051:
2049:
2047:
2045:
1847:
1810:recital." With
1757:deus ex machina
1729:Meșterul Manole
1698:Capul lui Moțoc
1551:
1462:Alexandru Darie
1451:experimentalism
1379:
1341:intertextuality
1334:Răzvan Petrescu
1283:Mihail Gălățanu
1245:nucleus inside
1205:
1200:
1091:King of Romania
1024:
1012:Jewish-Romanian
904:Sfântu Gheorghe
683:
657:Răzvan Petrescu
651:(together with
553:contract bridge
541:Laurențiu Ulici
522:Duck à l'Orange
471:(Romanian for "
454:French-language
389:Victor Ion Popa
344:and journalist
266:
261:
241:1989 Revolution
205:intertextuality
194:contract bridge
124:
33:
32:August 10, 1962
24:
17:
16:Romanian writer
12:
11:
5:
4517:
4507:
4506:
4501:
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4491:
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4461:
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4451:
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4426:
4421:
4416:
4411:
4406:
4401:
4396:
4391:
4386:
4381:
4376:
4374:Romanian poets
4371:
4366:
4361:
4356:
4351:
4346:
4341:
4336:
4331:
4326:
4321:
4307:
4306:
4292:
4278:
4264:
4245:
4224:
4199:
4166:
4156:
4155:External links
4153:
4151:
4150:
4124:
4101:
4076:
4074:, Nr. 1-2/2007
4039:
4020:Horia Gârbea,
4010:
4005:Idei în Dialog
3989:
3954:
3922:
3910:2007-06-29 at
3879:
3835:
3808:
3774:
3732:
3709:
3690:Horia Gârbea,
3680:
3678:, May 20, 2010
3642:
3640:, Nr. 1-2/2009
3608:
3577:
3572:România Liberă
3552:
3524:
3503:Cosmin Ciotloş
3475:
3457:Ovidiu Şimonca
3439:
3412:
3396:Scandal la USR
3379:
3367:2012-07-09 at
3351:
3319:
3307:Lucia Verona,
3294:
3262:
3237:
3212:
3161:
3139:
3096:
3043:
3022:
2995:
2947:
2897:
2849:
2821:
2722:
2664:
2645:Horia Gârbea,
2623:
2574:
2517:
2515:
2512:
2408:
2405:
2368:Romanian lexis
2257:to the cruder
2245:Camil Petrescu
2237:tabletop games
2211:sociologically
2148:
2139:
2110:poets laureate
2106:Mihai Eminescu
2097:
2096:
2069:
1958:Cosmin Ciotloş
1846:
1836:
1796:2000 elections
1675:Radu Macrinici
1667:Pitești Prison
1565:Cherry Orchard
1550:
1547:
1440:Cătălin Țârlea
1419:Romanian humor
1387:Eugène Ionesco
1378:
1375:
1306:Radu Macrinici
1235:Radu G. Țeposu
1204:
1201:
1199:
1196:
1172:travel writing
1077:With the 2008
1023:
1020:
1008:Ovidiu Șimonca
957:Comedy Theater
886:("The Road to
816:, writing for
768:Eugène Ionesco
682:
679:
549:Cătălin Țârlea
457:street theater
437:Text biografic
286:Dante Aligheri
265:
262:
260:
257:
217:Romanian stage
158:Romanian humor
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4474:Living people
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4460:
4457:
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4295:(in Romanian)
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4281:(in Romanian)
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4276:
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4267:(in Romanian)
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4248:(in Romanian)
4246:
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4236:
4233:
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4225:
4223:
4219:
4217:
4213:version) and
4212:
4208:
4207:
4202:(in Romanian)
4200:
4198:
4197:(Nr. 23/2004)
4196:
4191:
4190:(Nr. 10/2001)
4189:
4184:
4183:(Nr. 10/2001)
4182:
4177:
4176:
4171:
4167:
4165:
4164:Personal blog
4161:(in Romanian)
4159:
4158:
4147:
4143:
4139:
4136:
4132:(in Romanian)
4128:
4122:, Nr. 82/2007
4121:
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4112:(in Romanian)
4108:
4106:
4098:
4097:
4092:
4087:(in Romanian)
4083:
4081:
4073:
4069:
4066:
4065:
4064:Revista Drama
4060:
4056:
4052:(in Romanian)
4048:
4046:
4044:
4036:
4035:
4030:
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4023:
4018:(in Romanian)
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4001:
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3994:
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3985:
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3976:
3973:
3969:
3965:(in Romanian)
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3959:
3951:
3950:
3945:
3941:
3938:
3933:(in Romanian)
3929:
3927:
3919:
3918:
3913:
3912:archive.today
3909:
3906:
3902:
3898:(in Romanian)
3894:
3892:
3890:
3888:
3886:
3884:
3876:
3875:
3870:
3866:
3862:(in Romanian)
3858:
3856:
3854:
3852:
3850:
3848:
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3829:
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3813:
3805:
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3791:(in Romanian)
3787:
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3783:
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3662:Andrei Terian
3659:(in Romanian)
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3522:, Nr. 46/2006
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3369:archive.today
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3210:, Nr. 34/2008
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2555:Alina Boboc,
2553:(in Romanian)
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2508:Heydar Aliyev
2505:
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2447:Tudor Arghezi
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2289:sulfuric acid
2286:
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2279:Mircea Eliade
2276:
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2271:Marin Sorescu
2268:
2264:
2260:
2256:
2255:
2250:
2246:
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2238:
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2226:Andrei Terian
2223:
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2115:
2114:Octavian Goga
2111:
2107:
2104:
2103:national poet
2094:
2070:
2067:
2065:
2050:şi îi întreba
2039:
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2019:
2015:
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1896:Metamorphosis
1892:
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1800:no man's land
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1560:Anton Chekhov
1557:
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1534:
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1524:
1523:anthologies.
1522:
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1505:Il émmagement
1502:
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1411:Florin Șlapac
1408:
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1322:Matei Vișniec
1319:
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1209:Postmodernism
1207:Committed to
1195:
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1189:
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1181:
1178:(in English,
1177:
1173:
1170:. His larger
1169:
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1030:("Murders at
1029:
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920:
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915:Editura Limes
912:
911:
905:
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896:Cleopatra VII
893:
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885:
881:
877:
873:
869:
868:Mircea Petean
865:
861:
856:
854:
850:
846:
842:
838:
834:
830:
829:sketch comedy
827:
823:
822:Cornel Palade
819:
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801:
797:
793:
792:screenwriting
789:
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741:
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700:Anton Chekhov
697:
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602:
601:
596:
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590:
586:
585:
581:(1999–2001),
580:
579:
578:Contemporanul
575:(1998–1999),
574:
573:
569:(1998–2001),
568:
565:(1997–1998),
564:
560:
559:
554:
550:
546:
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538:
533:
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354:Mircea Martin
351:
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256:
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237:tragicomedies
234:
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221:Anton Chekhov
218:
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206:
201:
199:
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187:
186:screenwriting
183:
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163:Contemporanul
159:
155:
151:
147:
143:
139:
138:Postmodernist
135:
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118:
110:
106:
105:Postmodernism
102:
101:
97:
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82:
78:
74:
71:
67:
63:
59:
55:
51:
47:
43:
40:
36:
31:
27:
20:
4301:
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4230:
4227:(in Italian)
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4063:
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3982:
3968:Bogdan Crețu
3947:
3915:
3872:
3819:
3806:, Nr. 4/2007
3801:
3767:
3757:
3735:
3721:
3702:
3683:
3673:
3667:
3635:
3601:
3570:
3550:, Nr. 4/2007
3545:
3527:
3517:
3468:
3462:
3432:
3395:
3372:
3354:
3344:
3331:
3322:
3312:
3289:Dilema Veche
3287:
3273:Marius Chivu
3265:
3255:
3249:
3240:
3230:
3205:
3154:
3142:
3132:
3089:
3036:
3025:
3015:
2976:
2940:
2890:
2883:Alina Nelega
2842:
2804:
2657:
2616:
2567:
2499:
2498:community's
2467:
2466:
2457:
2456:În germană:
2455:
2442:
2427:
2423:
2416:Articolul 96
2415:
2411:
2410:
2391:
2387:
2383:
2379:
2378:, "hello"),
2375:
2371:
2353:
2348:
2339:
2337:
2310:
2300:
2282:
2252:
2232:
2230:
2219:
2202:
2200:
2167:
2164:Dromichaetes
2151:
2150:
2145:
2141:
2100:
2072:
2041:
2025:
2018:Sibiu Circle
2009:
2007:
2003:bibliophiles
1998:
1966:
1961:
1945:
1934:
1911:
1904:
1901:Albert Camus
1894:
1888:
1872:roman à clef
1870:
1869:purely as a
1866:
1850:
1848:
1843:
1839:
1821:
1815:
1811:
1803:
1771:
1762:
1755:
1737:
1727:
1701:
1697:
1693:
1691:
1686:
1683:Alina Nelega
1678:
1663:brainwashing
1647:nomenklatura
1637:
1631:
1624:Egyptian god
1619:
1613:
1597:
1590:eschatologic
1585:
1576:Iosif Naghiu
1569:
1563:
1555:
1552:
1541:
1538:Gib Mihăescu
1529:Bogdan Crețu
1525:
1512:
1508:
1504:
1500:
1497:Stakhanovite
1473:
1470:Gavril Pinte
1459:
1447:
1435:
1423:absurd humor
1415:
1380:
1353:
1338:
1326:Vlad Zografi
1314:Alina Nelega
1294:Moshe Yassur
1289:
1272:
1268:
1262:
1258:
1257:and joining
1254:
1250:
1246:
1242:
1212:
1206:
1175:
1165:
1149:
1147:
1142:
1132:Titus Gârbea
1123:
1117:
1113:
1106:
1086:
1078:
1076:
1067:
1035:
1027:
1025:
1003:
997:
992:
985:
978:antisemitism
971:
961:
952:
948:
944:
940:
937:presidential
930:
926:
922:
918:
907:
898:") with the
891:
883:
870:traveled to
857:
849:TVR Cultural
844:
836:
825:
818:Romică Țociu
809:
802:
800:variety show
764:Jacques Copi
753:
743:
733:
723:
713:
703:
684:
674:
670:
646:
622:
616:
610:
604:
598:
592:
582:
576:
570:
566:
562:
556:
536:
534:
529:
525:
517:
503:
495:
483:
479:
477:
468:
464:
460:
449:
445:
432:lyric poetry
429:
420:
404:
400:
392:
384:
376:
362:
349:
337:
323:
307:
305:
274:Titus Gârbea
267:
213:neorealistic
202:
179:
173:
167:
161:
120:
116:
115:
98:
77:lyric poetry
64:1982–present
23:Horia Gârbea
4469:1962 births
4218:(fragments)
4055:Emil Mladin
3628:Emil Mladin
3461:"A devenit
2933:Paul Aretzu
2451:Ioan Groşan
2432:Ion Creangă
2407:Other works
2345:hermeneutic
2325:allegorical
2323:, avoiding
2297:Marin Preda
2267:Eugen Barbu
2243:parties in
2131:balladesque
2108:, and from
1991:Umberto Eco
1941:black humor
1936:sui generis
1885:James Joyce
1877:Franz Kafka
1812:Leonida XXI
1776:Emil Mladin
1685:notes that
1594:deluge myth
1507:, Gârbea's
1501:The Serpent
1427:Paul Aretzu
1407:Radu Albala
1391:Argentinian
1370:existential
1364:'s phrase "
1259:Universitas
1239:Ion Stratan
1227:Florin Iaru
1154:Kalashnikov
1098:Royal House
1056:fairy tales
1040:Doina Ruști
953:Leonida XXI
951:, his play
833:Național TV
563:ArtPanorama
411:variant of
377:The Serpent
350:Universitas
316:Landscaping
278:Land Forces
148:(USR), its
89:tragicomedy
53:Nationality
4313:Categories
3769:Luceafărul
3704:Revista 22
3346:Revista 22
3309:"Citește!"
2844:Revista 22
2659:Revista 22
2569:Revista 22
2514:References
2486:city, the
2333:refraction
2312:Accidentul
2249:card games
2122:Gellu Naum
2014:free verse
1989:games" of
1922:tragicomic
1918:alcoholics
1906:The Plague
1863:disclaimer
1808:rock music
1679:T/Țara mea
1643:Securitate
1606:1857 novel
1448:Optzeciști
1446:after the
1444:neorealism
1436:Optzeciști
1302:surrealist
1269:Optzeciști
1251:Optzecişti
1243:Optzeciști
1231:Doru Mareș
1214:Optzeciști
1167:Revista 22
1158:Azerbaijan
1119:Făt Frumos
1104:, Greece.
1022:Since 2006
843:'s sitcom
696:dramaturge
637:, and the
558:Luceafărul
417:1936 novel
413:Klaus Mann
325:alma mater
308:Amfiteatru
169:Luceafărul
109:Neorealism
100:Optzeciști
73:free verse
45:Occupation
4037:, Nr. 320
3987:, Nr. 383
3434:Gardianul
3401:Divers.ro
3094:, Nr. 296
2815:, at the
2480:Armenians
2440:absurdist
2302:Moromeţii
2188:Euripides
2126:absurdism
2054:da moşule
1983:dystopias
1931:grotesque
1920:who lead
1859:word play
1857:or other
1752:burlesque
1748:Karl Marx
1746:theorist
1744:communist
1739:alter ego
1651:dissident
1094:Michael I
1066:. Titled
1032:Helsingør
987:Gardianul
968:dissident
964:Paul Goma
910:Cervantes
853:talk show
500:anthology
297:talk show
270:Bucharest
259:Biography
154:Bucharest
35:Bucharest
4254:Archived
4235:Archived
4138:Archived
4068:Archived
4034:Cuvântul
4025:Archived
3984:Cuvântul
3975:Archived
3940:Archived
3908:Archived
3750:Archived
3695:Archived
3547:Apostrof
3538:Archived
3510:Archived
3404:Archived
3374:Adevărul
3365:Archived
3337:Archived
3280:Archived
3198:Archived
3091:Cuvântul
3082:Archived
2988:Archived
2809:Archived
2650:Archived
2560:Archived
2490:and the
2474:between
2424:Crime...
2420:anorexic
2396:babytalk
2263:gambling
2216:anecdote
2207:glossary
2172:tabloids
2156:Călăraşi
2135:lyricism
2112:such as
2083:yes dude
2024:and his
1987:semiotic
1979:parables
1950:cynicism
1914:bohemian
1855:anagrams
1716:Moldavia
1517:Russian-
1489:Moldovan
1399:interwar
1180:Romanian
880:Far East
841:Antena 1
826:Alomania
814:Prima TV
805:and the
750:Ayn Rand
720:Dario Fo
627:Bulandra
606:Cuvântul
537:Nouăzeci
492:Ploiești
405:Mephisto
360:(1986).
268:Born in
136:and his
56:Romanian
4262:Cultura
4120:Cultura
2398:-based
2366:on the
2329:Onirism
2275:fantasy
2192:Molière
2176:kitschy
1890:Ulysses
1708:novella
1615:No Exit
1571:Seagull
1527:critic
1491:writer
1432:orality
1401:author
1393:writer
1264:Orbitor
1140:novella
1128:memoirs
1110:fantasy
888:Nghe An
872:Vietnam
810:La Bloc
740:Molière
648:Playboy
631:Nottara
589:Craiova
484:Cărțile
425:Pitești
4275:Ramuri
4211:e-book
4146:Ararat
3830:
2942:Ramuri
2500:Ararat
2484:Shusha
2400:jargon
2384:vorbim
2221:Urzica
2162:ruler
2032:Levant
1830:under
1769:satire
1765:comedy
1622:: the
1468:, and
1349:parody
1324:, and
1298:absurd
1237:, and
1192:Maghar
1102:Rhodes
1096:, the
908:Hotel
866:, and
807:sitcom
796:Pro TV
692:UNITER
659:, and
594:Ramuri
547:, and
253:satire
209:parody
178:, and
175:Ramuri
121:Gîrbea
85:satire
81:parody
61:Period
4220:, at
4144:, in
4118:, in
4093:, in
4061:, in
4031:, in
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3766:, in
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3467:, in
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3399:, at
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3311:, in
3286:, in
3254:, in
3250:Okean
3229:, in
3204:, in
3153:, in
3131:, in
3088:, in
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2975:, in
2939:, in
2889:, in
2841:, in
2716:, at
2656:, in
2615:, in
2566:, in
2392:mersi
2376:salut
2374:(for
2259:craps
2160:Getic
2020:poet
1838:From
1734:boyar
1726:(the
1671:moral
1627:Thoth
1549:Plays
1046:in a
1000:libel
635:Odeon
623:Okean
567:Scena
373:drama
211:with
69:Genre
4096:Ziua
3917:Ziua
3874:Ziua
3828:ISBN
3134:Ziua
2478:and
2261:and
2190:and
2144:and
2116:and
1933:, a
1899:and
1820:and
1786:and
1767:and
1706:, a
1568:and
1519:and
1503:and
1332:and
1281:and
1198:Work
1062:and
1042:and
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615:and
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318:and
276:, a
207:and
188:for
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4300:in
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2309:'s
2299:'s
2231:In
2137:."
2129:of
1981:or
1971:of
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