Ion Creangă - Knowledge

2773:. The episode, which the text itself indicates is just one in a series of Nichifor's conquests among his female clients, highlights the seducer's verbose monologue, which covers accounts of his unhappy marriage, allusions about the naturalness of physical love, and intimidating suggestions that wolves may be tempted to attack the wagon (prompting the young woman to seek refuge in his arms). The seducer's behavior, Constantinescu notes, presents an alternative to the theme of old age as a time of immobility: "the still-green old man, the rake, the joker who enjoys his amorous escapades, while justifying them by the natural course of life". Nichifor mostly expresses himself with the help of folk sayings, which he casually mixes in with personal observations about the situation. The background to the plot is a record of various 2556:. The resulting effect, Călinescu argued, was not that of "a confession or a diary", but that of a symbolic account depicting "the childhood of the universal child." According to Vianu, the text is especially illustrative of its author's "spontaneous passage" between the levels of "popular" and "cultured" literature: "The idea of fictionalizing oneself, of outlining one's formative steps, the steady accumulation of impressions from life, and then the sentiment of time, of its irreversible flow, of regret for all things lost in its consumption, of the charm relived through one's recollections are all thoughts, feelings and attitudes defining a modern man of culture. No popular model could have ever stood before Creangă when he was writing his 2319:, but, according to Călinescu, the rural setting provides a sharp contrast to the classical motif. Persecuted by her stepmother and stepsister, the kind and loving daughter of the old man is forced into a position of servitude reflecting the plight of many peasant women in Creangă's lifetime. In this case, the old man is negatively depicted as cowardly and entirely dominated by his mean wife. The focal point of the narrative is the meeting between the good daughter and Holy Sunday. The latter notices and generously rewards the girl's helpful nature and mastery of cooking; in contrast, when her envious sister attempts the same and fails, she ends up being eaten by serpent-like creatures ( 1069: 1303: 642:. Proud of this tradition, she insisted that her son pursue a career in the Church. According to his own recollection, the future writer was born on March 1, 1837—a date which has since been challenged. Creangă's other statements mention March 2, 1837, or an unknown date in 1836. The exactitude of other accounts is equally unreliable: community registers from the period gave the date of June 10, 1839, and mention another child of the same name being born to his parents on February 4, 1842 (the more probable birth date of Creangă's younger brother Zahei). The imprecision also touches other aspects of his family life: noting the resulting conflicts in data, 1835:

which represent, in fact, two characteristic steps and two sociopolitical models in the evolution of Romanian structures which ... were confronting themselves in a process that would later prove decisive." According to the same commentator, the two plus Eminescu are their generation's great writers, with Slavici as one "in their immediate succession." While listing what he believes are elements bridging the works of Creangă and Caragiale, other critics have described as strange the fact that the two never appear to have mentioned each other, and stressed that, although not unlikely, a direct encounter between them was never recorded in sources.

1234:'s shop he had established shortly before being dismissed. This stage marked a final development in Creangă's conflict with the church hierarchy. Summoned to explain why he was living the life of a shopkeeper, he responded in writing by showing his unwillingness to apologize, and indicated that he would only agree to face secular courts. The virulent text notably accused the church officials of being his enemies on account of his "independence, sincerity, honesty" in supporting the cause of "human dignity". After the gesture of defiance, the court recommended his defrocking, its decision being soon after confirmed by the 2518: 2434:), which can miraculously trap anything in existence. In order to circumvent the laws of nature, Ivan subsequently makes use of both his magical item and his innate shrewdness. In one such episode, pretending not to understand the proper position of bodies inside a coffin, he tricks impatient Death into taking his place, and traps her inside. Eventually, he is allowed to keep his life, but is promised an eternity of old age, which he ingeniously counterbalances by attending an endless succession of wedding parties, and therefore never having to feel sad. 1627:, quoting its claim that "the invisible hand of God" was what made seeds grow into plants. Creangă replied with a measure of irony, stating that "had God not pierced the skin over our eyes, we would be unable to see each other's mistakes". Nevertheless, Călinescu argued, Nădejde's comments had shaken his adversary's religious sentiment, leading Creangă to question the immortality of the soul in a letter he addressed to one of his relatives in the clergy. According to other assessments, he was himself an atheist, albeit intimately so. 2560:, but, surely, neither could the cultured prototypes of the genre, the first autobiographies and memoirs of the Renaissance". Grădinaru and essayist Mircea Moț analyzed the volume as a fundamentally sad text, in stated contrast with its common perception as a recollection of joyful moments: the former focused on moments which seem to depict Nică as a loner, the latter highlighted those sections which include Creangă's bitter musings about destiny and the impregnability of changes. A distinct interpretation was provided by critic 680: 3741: 1187: 8564: 2378:", whose eponymous peasant hero is characterized by what Șerban Anghelescu calls "idiocy serving to initiate", or, according to Gabriela Ursachi, "complete, and therefore sublime, stupidity." The first part of the story shows Dănilă exchanging his oxen for an empty bag—a set of dialogues which, George Călinescu argued, is almost exactly like a comedy play. In what was described as a complete reversal in characterization, the hero uses intelligence and ruse to trick and frighten several devils. Contrarily, " 2644:. A similar piece, "The Flax and the Shirt", reveals the circuit of fibers from weed-like plants into recycled cloth, leading to the conclusion that "all things are not what they seem; they were something else once, they are something else now;—and shall become something else." The technique employed by Creangă has the flax plant teaching the less knowledgeable textile, a dialogue which Călinescu likened to that between old women in a traditional society. Included alongside the two stories were: 1541: 2267:" partly illustrates the notion that parental love subdues even physical repulsion, showing an elderly peasant couple cherishing their adopted porcine son, who, unbeknown to them, is enchanted. The creature instantly offsets his parents' sadness and immobility by his witty intelligence. Having applied his perseverance and spells to erect a magical bridge, the piglet fulfills the requirement for marrying the emperor's daughter, after which it is uncovered that he is a 1504:, and completed as many as 22 of his poems. Creangă introduced his younger friend to a circle of companions which included Zahei Creangă, who was by then a cantor, as well as Răceanu, priest Gheorghe Ienăchescu, and clerk Nicșoi (all of whom, Călinescu notes, had come to share the raconteur's lifestyle choices and his nationalist opinions). Eminescu was especially attracted by their variant of simple life, the rudimentary setting of Creangă's house and the group's 1824:. This view complements George Călinescu's definition, placing the Moldavian author in the company of Slavici and Caragiale as one of the "great prose writers" of the 1880s. Lucian Boia, who noted that "the triad of Romanian classics" includes Creangă alongside Eminescu and Caragiale, also cautioned that, compared to the other two (with whom "the Romanians have said almost all there is to say about themselves"), Creangă has "a rather more limited register". 51: 2072:. Born much earlier, Creangă showed up where there exists an ancient tradition, and therefore a species of erudition, ... in a mountain village ... where the people is unmixed and keeping ." Outlining his own theory about the aspects of "national specificity" in Romanian letters, he expanded on these thoughts, listing Creangă and Eminescu as "core Romanians" who illustrated a "primordial note", complemented by the "southern" and " 1565: 1781:. Creangă's complex take on individuality and the art of writing was attested by his own foreword to an edition of his collected stories, in which he addressed the reader directly: "You may have read many stupid things since you were put on this Earth. Please read these as well, and where it should be that they don't agree with you, take hold of a pen and come up with something better, for this is all I could see myself doing and did." 2397:("frowzy" or "lacking in freshness"), and the wording reflects rural attitudes about men who fail to marry during a certain age interval. Toward the end, the story focuses on a corrupt old woman who tries to trick Stan's new wife into committing adultery, but fails and is banished to the remotest area of Hell. Viewed by Călinescu as Creangă's "most original manner of dealing with the fabulous", and paralleled by him with Caragiale's 2656:

and kill their baby. This, essayist and chronicler Simona Vasilache argues, highlights "a family-based division" of illogical behavior, in which women are depicted as the main propagators of both "astonishing nonsense" and "prudent stupidity". Instead, literary critic Ion Pecie identified inside the narrative a meditation on "the link between spirit and nature", with the unpredictable ball of salt representing the equivalent of a "

335: 3343: 2544:. George Călinescu proposed that, like his fairy tales, the book illustrates popular narrative conventions, a matter accounting for their special place in literature: "The stories are true, but typical, without depth. Once retold with a different kind of gesticulation, the subject would lose all of its lively atmosphere." Also based on the techniques of traditional oral accounts, it features the topical interventions of a 8583: 2339: 906: 963:, and in particular of the new methods of teaching reading and writing. During and after completing normal school, he was assigned to teaching positions at Trisfetite. While there, he earned the reputation of a demanding teacher (notably by accompanying his reports on individual students with characterizations such as "idiot", "impertinent" or "envious"). Accounts from the period state that he made use of 2330:

teaches that greed can shatter families, while offering symbolic retribution to men who are unhappy in marriage. The old man's rooster, chased away by the old woman for being unproductive, ends up amassing a huge fortune, which he keeps inside his belly and regurgitates back into the courtyard; the jealous old woman ends up killing her favorite hen, who has failed in replicating the rooster's feat.

2814:, pieces collectively known as "corrosives" and which have for long treated with discretion by literary historians. In Călinescu's view, this chapter in Creangă's literature created another link between the Moldavian writer and the Renaissance tradition of Rabelais: "All Rabelaisians have penetrated deeply into the realm of vulgarity." The taste for titillating accounts was also cultivated by 2837:, recounts how a peasant disrespectful of divinity has his entire maize harvest transformed into male genitalia, but is able to turn out a profit by catering to the sexual appetites of women. The final section, seen by Gârbea as a sample of anticlerical jeers recorded by "the defrocked Creangă", depicts the rape of a priest by one such sexual object. Although explicit, literary historian 2803:

write it short." Contrarily, the writer's posterity referred to it as one of the greatest Romanian contributions to the genre: according to George Călinescu, the insight into Nichifor's musings resulted in transforming the writing as a whole into "the first great Romanian novella with a stereotypical hero", while Voinescu described the entire story as "a true masterpiece."

1897:", passing from "erudite beauty" to "obscene laughter". Some of the expressions characteristic of Creangă's style are obscure in meaning, and some other, such as "drought made the snake scream inside the frog's mouth", appear to be spontaneous and nonsensical. Another specific trait of this language, commented upon by Vianu's and compared by him to the aesthetics of 2161:". Z. Ornea sees the main protagonists in Creangă's comedic narratives as, in effect, "particularized incarnations of the same symbolic character", while the use of humor itself reflects the traditional mindset, "a survival through intelligence, that of a people with an old history, whose life experience has for centuries been concentrated into gestures and words." 2568:

memories of his childhood, how could we not recognize the sincerity in Creangă's heart-warming evocation of his childhood's village?" The book stays true to life in depicting ancient customs: discussing the impact of paganism on traditional Romanian customs, Marcu Beza communicated a detail of Creangă's account, which shows how January 1 celebrations of

1593:. The two failed to reconnect, and their relationship ended. After one of the meetings, he recorded that the delusional poet was carrying around a revolver with which to fend off unknown attackers—among the first in a series of episodes which ended with Eminescu's psychiatric confinement and death during June 1889. Around that time, Creangă, like other 2845:, and noting that they still display the author's place as a "great stylist", Voinescu also signaled the texts' "very obvious" debt to folkloric sources. In his definition, Ion Creangă is "possibly the only writer" to draw on the legacy of "luscious popular jests" found in local "erotic folklore". Nevertheless, according to literary critic 1923:, who had mentioned it as a main proof of affiliation to realism. The distinctive manner of characterization through "realistic dialogues" is seen by Vianu as a highly personal intervention and indicator of the Moldavian writer's originality. Both Vianu and Călinescu discussed this trait, together with the technique of imparting 2938:. It was set up as the first of Romania's "memorial houses" on April 15, 1918. Restored the same year and again in 1933–1934, it houses an important part of Creangă's personal items and the first known among Creangă's portraits, painted by his contemporary V. Mușnețanu. While Constantin Creangă had a successful career in the 1380:, all of Creangă's biographers have come to dismiss Maiorescu's statement. Several sources mention that the future writer was introduced to the society by Eminescu, who was an active member around 1875. This and other details lead Ornea to conclude that membership was granted to Creangă only after the summer break of 1875. 2008:, the accounts appeal to cultured tastes, having as the generation of comedy and volubility as their main purpose. According to Vianu's assessment Creangă was "a supreme artist" whose use of "typical sayings" attests "a man of the people, but not an anonymous and impersonal sample." These verdicts, directly contradicting 3788:. New monuments honoring the writer include a bust unveiled in Târgu Neamț, the work of sculptor Ovidiu Ciobotaru. The patrimony associated with Creangă's life has also sparked debates: local authorities in Târgu Neamț were criticized for not maintaining the site near his house in its best condition, while the 2032:

referred to "the great secret of the man who has managed to transfer unaltered the code of popular creativity into the immanence of the cultured one." In Braga's assessment, this synthesis managed "the impossible", but the difficulty of repeating it with each story also resulted in mediocre writings:

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as the rough equivalent of Creangă's interest in the peasantry. The same parallelism is explained by Ornea as a consequence of the two authors' social outlook: " have cemented aesthetically the portrayal of two worlds. Creangă's is the peasant world, Caragiale's the suburban and urban one. Two worlds

800:, this was done either "for aesthetic reasons" (as his new name, literally meaning "branch" or "bough", "sounds good") or because of a likely discovery that Ștefan was not his real father. Dan Grădinaru, a researcher of Creangă's work, believes that the writer had a special preference for the variant 3060:

ideology in particular: while the group shared his nostalgic outlook on the rural past in stark contrast to the modernized world, the Moldavian author could "maintain, intelligently, the middle ground between contraries". Likewise, Mircea Braga reacted against the perception of Creangă as announcing

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argued that such conclusions "may seem excessive", but that they were ultimately validated by the literary work being "a plurality of levels". A similar piece is the prose fable "The Story of a Lazy Man": fed up with the protagonist's proverbial indolence, which has led him as far as to view chewing

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quest, handed down by a king to his three sons: the most fit among them is supposed to reach the court of the Green Emperor, who is the king's brother, and succeed him to the throne. According to Călinescu, the mission bases itself on travels undertaken by young men in Creangă's native region, while

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which always keeps things under watch. The narrator sides with the three young women in depicting their violent retribution, showing them capturing their oppressor, torturing her until she is left speech impaired, and leaving her on the brink of death. The mother-in-law's end turns into a farce: the

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in order not to antagonize sides during literary debates (notably, by declaring himself "for against" during a two-option vote), his irony in reference to his own admirers (such as when he asked two of them to treasure the photograph of himself in the middle and the two of them on either side, while

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decided that it was not possible for one to know if the writer's parents were married to each other (and, if so, if they were on their first marriage), nor how many children they had together. At a time when family names were not legally required, and people were primarily known by various nicknames

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A second museum entirely dedicated to the writer was opened at his Târgu Neamț home in 1951, and donated to the state by his successors in 1965. During the following decades, it reportedly became the most visited memorial house in Romania. The authorities also financed a new cultural center, raised

3206:, to whom Călinescu reproached having largely ignored Creangă in his nonfictional texts. Creangă's writings also earned followers among the more radical wing of the modernist scene. The authenticity and originality of Creangă's prose were highlighted and treasured by the influential modernist venue 2567:

Several of the book's episodes have drawn attention for the insight they offer into the culture, structure and conflicts of traditional society before 1900. Commenting on this characteristic, Djuvara asserted: "even if we take into account that the grown-up will embellish, transfigure, 'enrich' the

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opposes the two fictional monarchs, with the Red Emperor replicating an ancient tradition which attributes malignant characteristics to the color. By contrast, the Green Emperor probably illustrates the ideals of vitality and healthy lifestyle, as hinted by his culinary preference for "lettuce from

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sees the good girl marrying not Prince Charming, but a simple man described as "kind and industrious"—this outcome, Călinescu assessed, did not in effect spare the old man's daughter from a life of intense labor. A story very similar to "The Old Man's Daughter ..." is "The Purse a' Tuppence", which

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genres involved collecting and transforming narratives circulating throughout his native region, which intertwine with his characteristic storytelling to the point where they become original contributions. According to Călinescu, the traditional praise for Ion Creangă as a creator of literary types

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for a world of independent landowning peasants, and argued that Creangă's literary and political outlook were both essentially conservative. Ornea commented: "One could say that it was through that the writer debuted and that, within the space of his work it became, in its own right, an expression

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that surfaced the first gesture of transmitting a literary direction to some writers of rural extraction: a phenomenon of great importance, the neglect of which would render unexplainable the entire subsequent development of our literature." Also referring to cultural positioning within and outside

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rooms, she shared Creangă's peasant-like existence. This lifestyle implied a number of eccentricities, such as the former deacon's practice of wearing loose shirts throughout summer and bathing in a natural pond. His voracious appetite, called "proverbial gluttony" by George Călinescu, was attested

1053:. Around 1867, his wife Ileana left him. After that moment, Creangă began losing interest in performing his duties in the clergy, and, while doing his best to hide that he was no longer living with his wife, took a mistress. The marriage's breakup was later attributed by Creangă himself to Ileana's 2742:

Divan, even though both were in favor of 'Union'. It's only that the old ones wanted a negotiated 'Union', and the young ones a 'Union' done without proper thinking, as it came to pass." According to Muguraș Constantinescu: " opposes the intelligence of common folk, their common sense, their humor

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With "Human Stupidity", Creangă builds a fable about incompetence in its absolute forms. The story centers on a peasant's quest to find people who are less rational than his wife, having been infuriated by her panic at the remote possibility that a ball of salt could fall from its place of storage

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to people preferring a quieter celebration. The work also offers details on the traditional roles of a rural society such as that of Humulești, in the context of social change. Muguraș Constantinescu highlights the important roles of old men and women within Nică's universe, and especially that of

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schemes made it into his writings, where it became a defining trait. As part of this process, Călinescu assessed, "Creangă acts as all his characters in turn, for his stories are almost entirely spoken. ... When Creangă recounts, the composition is not extraordinary, but once his heroes begin

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Although he occasionally downplayed his own contribution to literature, Creangă himself was aware that his texts went beyond records of popular tradition, and made significant efforts to be recognized as an original author (by corresponding with fellow writers and willingly submitting his books to

3158:, whose contribution attempts to elucidate the more mysterious parts of the writer's vocabulary, and educator Dumitru Furtună, whose biographical studies provided a main source for subsequent research. By then, interest in Creangă's life and writings had diversified. This phenomenon first touched 2802:

journal to either modify it or refrain from publishing it altogether. This was complemented by its author's own self-effacing assessment: calling the text "a childish thing", he suggested to Maiorescu that revisions were needed, stating "I have written it long, because there was no time for me to

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intent, chopped off his long hair, one of the traditional marks of an Orthodox priest. The latter gesture scandalized his superiors, particularly since Creangă explained himself using an ancient provision of canon law, which stipulated that priests were not supposed to grow their hair long. After

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himself condemns his subordinate to service the peasant. Călinescu highlights the naturalness of exchanges between the two protagonists, the latter of whom assumes the endearing form of a frail boy, Chirică, who ends up moving in with Stan and entering his service. The writing was also noted for

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While their author continued to receive praise for his main contributions, the erotic tales were most often kept hidden from the public eye. George Călinescu summarized this contrast by stating: "The 'corrosives' left by Creangă are not known publicly." An exception to this rule was Kirileanu's

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with a preventive or didactic purpose, even in cases were the fault was trivial or imagined, concluding: "Here, ... Creangă loses much of his depth." Pecie's conclusion was treated with reserve by Grigurcu, who believed that, instead, the narrator refrains from passing any judgment on "the

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Despite assuming the external form of traditional literature, Ion Creangă's interests and creative interventions, Călinescu noted, separated him from his roots: "peasants do not have entirely cultured gifts. ... Too much 'atmosphere', too much dialogic 'humor', too much polychromy at the

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in-between characters' replies, as creating other meeting points between Creangă and his counterpart Caragiale. Partly replicating in paper the essence of social gatherings, Ion Creangă often tried to transpose the particular effects of oral storytelling into writing. Among these characteristic

1512:, the capital city, regularly receiving letters in which Creangă was asking him to return. He was however against Eminescu's plan to marry Veronica Micle, and made his objection known to the poet. In 1879, as a sign that he was formalizing his own affair with Tinca Vartic, Creangă purchased the 1387:

ideal of authenticity. He also became treasured for his talkative and jocular nature, self-effacing references to himself as a "peasant", and eventually his debut works, which became subjects of his own public readings. His storytelling soon earned him dedicated spectators, who deemed Creangă's

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wrote: "Romanians consider Ion Creangă a classic writer belonging to the modern age. His work can be read and understood by the entire range of social classes, in all the provinces of our country. In spite of the abundant presence of Moldavian words in his writings, the work would not remain a

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aristocracy and the peasant category, closely reflecting, according to historian Philip Longworth, a conflict mounting during the second half of the 19th century. The same is argued by Ornea, who also proposes that the protagonist offers insight into Creangă's own conservative reflexes and his

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critic Ruth S. Lamb, the writer's style merges "the rich vocabulary of the Moldavian peasant" with "an original gaiety and gusto comparable to that of Rabelais." According to George Călinescu: " got the idea that he was a clever man, like all men of the people, and therefore used irony to make

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George Călinescu also assessed that these literary connections served to highlight the elevated nature of Creangă's style, his "erudite device", concluding: "Writers such as Creangă can only show up in places where the word is ancient and equivocal, and where experience has been condensed into

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by recovering authenticity, and reacting against those cultural imports it deemed excessive, the group notably encouraged individual creativity among peasants. Reflecting back on Maiorescu's role in the process, George Călinescu wrote: "A literary salon where the personal merit would take the

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with closely studying Creangă's methods, investigations which produced a report evidencing Creangă's laborious and physical approach to the creative process. The latter also involved his frequent exchanges of ideas with Vartic, in whom he found his primary audience. In addition to his fiction

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performance, as well as for defiantly claiming that there was "nothing scandalous or demoralizing" in what he had seen, and reportedly further antagonized the monks by firing a gun to scare off the rooks nesting on his church. The latter incident, which some commentators believe fabricated by

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went through many editions during the late 19th century. The impact of his works was also a contributing factor to preserving a noted interest in rural subjects, a subsequent defining trait in modern Romanian literature. Discussing "stylistic harmony", which he believed to be bridging all of

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referred to Creangă as a predecessor when, in 1937, he urged his congregation to refrain from purchasing merchandise sold by Jews (a measure which he believed was a practical alternative to the Jews' forced eviction). In 1939, as part of a press campaign targeting Călinescu's work, the

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sympathetically but controversially referred to his friend as "a primitive and uncouth talent". Maiorescu's critical texts also provide little individual coverage of Creangă's contributions, probably because these failed to comply exactly with his stratification of literary works into

2064:, whose style mixes erudite playfulness with popular tastes. These contextual traits, researchers assess, did not prevent Creangă's overall work from acquiring a universal aspect, particularly since various of his writings use narrative sequences common throughout world literature. 1170:, maintaining that, unlike others, he was not afraid of doing so. Confronted by Metropolitan Calinic himself, Creangă allegedly argued that he could think of no other way to eliminate rooks, being eventually pardoned by the prelate when it was ruled that he had not infringed on 2277:

character who assumes his real identity only by night. Although the plot is supposed to deal with imperial magnificence in fairy tale fashion, the setting is still primarily rural, and the court itself is made to look like an elevated peasant community. According to researcher

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in 1898. The Gruber copies were sold to a Dr. Mendel, and only a part of them was recovered by exegetes, alongside various fragments accidentally discovered at Iași market, where they were being used for wrapping paper. The collection, structured into a whole by folklorist

2129:. The latter habit was notably illustrated by his answer to people who would ask him for money: "not since I born was I as poor as I was poor yesterday and the day before yesterday and last week and last week and throughout life". His joyfulness complemented his overall 1456:

before Creangă's death. Reportedly, the decision to begin writing down his stories had been the direct result of Eminescu's persuasion. His talent for storytelling and its transformation into writing fascinated his new colleagues. Several among them, including poet

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The frequent comparison between Creangă and Caragiale in particular is seen by Vianu as stemming from both their common "wide-ranging stylistic means" and their complementary positions in relations to two superimposed phenomenons, with Caragiale's depiction of the

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beauty", and since readers from outside the writer's native area could confront it "with some irritation." For Călinescu, the result nevertheless displays "an enormous capacity of authentic speech", also found in the works of Caragiale and, in the 20th century,

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forefront did not exist and, had Creangă been born two decades earlier, he would not have been able to present 'his peasant material' to anyone. Summoning the creativity of the peasant class and placing it in direct contact with the aristocrats is the work of

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some assessment, his superiors agreed not to regard this action as more than a minor disobedience. He was temporarily suspended in practice but, citing an ambiguity in the decision (which could be read as a banishment in perpetuity), Creangă considered himself

2255:", in which Creangă makes ample use of a traditional theme in Romanian humor, which portrays mothers-in-law as mean, stingy and oppressive characters. The embodiment of such offensive traits, she is also shown to be ingenious, pretending that she has a hidden 2250:

sees an inversion of the natural roles, an episode which, ethnologist Șerban Anghelescu notes, is dominated by "the culinary fire": the goat exercises her brutal revenge by trapping and slowly cooking the predator. This approach partly resonates with that of

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members in general found Creangă more of an entertainer rather than a serious writer, and treasured him only to the measure where he illustrated their theories about the validity of rural literature as a source of inspiration for cultured authors. Therefore,

705:. Among his colleagues was a female student, Smărăndița popii (known later as Smaranda Posea), for whom he developed an affection which lasted into his adult life, over decades in which the two no longer saw each other. He was taught reading and writing in 3294:", which left writers with "no solid tradition to draw on, and precious little chance to evade ... the vigilant morals of a straitlaced public." The nationalist aspects of Ion Creangă's public discourse were however approved of and recovered by the 2241:

depiction of the cunning and immoral stranger. The plot shows the wolf making his way into the goat's house, where he eats the two older and less obedient kids, while the youngest one manages to escape by hiding up the chimney—the symbolism of which was

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other realistic elements alluding to everyday life, such as the overtly colloquial exchange between Chirică and Satan, or the episodes in which the young devil helps Stan woo a peasant woman. Although relatively young, Stan himself is referred to as

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The tale builds on intricate symbolism stemming from obscure sources. It features what Muguraș Constantinescu calls "the most complex representation of Holy Sunday", with mention of her isolated and heavenly abode on "flower island". A background

1851:, their accumulation making Creangă's work very difficult to translate, George Călinescu reacted against claims that the narratives reflected antiquating patterns. He concluded that, in effect, Creangă's written language was the equivalent of a " 3492:, a state-run institution, was founded in Bucharest, and its subsequent activity included staging several of the writer's fairy tales for a junior public. Among such contributions were two adaptation of "Harap Alb", directed respectively by 1162:

Creangă's detractors, was judged absurd by the ecclesiastical authorities, who had been further alarmed by negative reporting in the press. When told that no clergyman other than him had been seen using a gun, Creangă issued a reply deemed "

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Relations between Creangă and Grigoriu were exceptionally tense. Only weeks after his wedding, the groom, who had probably agreed to marriage only because it could facilitate succeeding Grigoriu, signed a complaint addressed to Metropolitan

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and the pleasure of allegorical discourse to the pompous and hollow speeches of some politicians". In this context, Cuza's presence is depicted as both legitimate and serendipitous, as he takes a personal interest in curbing boyar abuse.

3662:, Creangă was one of the Romanian-language writers whose works were still allowed for publishing by the new authorities. This provided local contributors to Romanian literature contact with older cultural models, directly inspiring the 3846: 2310: 1344:

orientation", represented by both Maiorescu and Negruzzi, but was still fundamentally committed to Maiorescu's agenda in the field of education. Literary historians Carmen-Maria Mecu and Nicolae Mecu also argue that, after attending

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By the second half of communist rule, several new approaches in the critical assessment of Creangă's literature were emerging. His work became a main topic of critical interest and the sole subject of many works, to the point where

2004:

expense of linear epic movements. The peasant wants the bare epic and desires the unreal." The commentator passed a similar judgment on the author's use of ancient sayings, concluding that, instead of crystallizing and validating

921:, before his position as deacon was cut out of the budget and his belongings were evicted out of his temporary lodging in 1864. He contemplated leaving the city, and even officially requested a new assignment in the more remote 1524:("The Geography of Iași County"), followed soon after by a map of the same region, researched by Creangă and Răceanu. A final work in the area of education followed in 1880, as a schoolteacher's version of Maiorescu's study of 2833:, "Tale of the Dick" or "Tale of the Cock"). The former shows its cunning hero having intercourse with a priest's daughter, moving between prose and verse to describe the act. "The Tale of All Tales", which makes ample use of 847:, but, not being of the necessary age, was instead handed a certificate to attest his school attendance. He was soon after married, after a brief courtship, to the 15-year-old Ileana, daughter of Priest Ioan Grigoriu from the 1855:

museum", and even contrasted by the writer's more modern everyday parlance. Also discussing the impression that Creangă's work should be read with a Moldavian accent, noted for its "softness of sound" in relation to standard

2587:

leader" David Creangă. The latter, she notes, is an "enlightened man" displaying "the wisdom and balance of the ripe age", a person able to insist on the importance of education, and a churchgoer who frowns on "his wife's

1588:

Despite his activity being much reduced, he still kept himself informed about the polemics agitating Romania's cultural and political scene. He was also occasionally hosting Eminescu, witnessing his friend's struggle with

2260:

eldest and most intelligent of the killers manipulates her victim's dying sounds into a testament partitioning her wealth, and a thin decorum is maintained at the funeral ceremony by the daughters' hypocritical sobbing.

2052:, one of Moldavia's leading chroniclers. While he made his own comparison between Creangă and Pann, Tudor Vianu concluded that the Moldavian writer was in fact superior, as well as being more relevant to literature than 3064:

Directly influenced by Creangă, several early 20th century and interwar authors within the new traditionalist trend explicitly stood for the legacy of folkloric, spontaneous and unskilled literature: the peasant writer

1860:, Călinescu cautioned against interpretative exaggerations, maintaining that the actual texts only offer faint suggestions of regional pronunciation. Contrasting Creangă with the traditions of literature produced by 1485:("Guide to Reading by Writing in the Phonetic System"). It was supposed to become a standard textbook for the training of teachers, but was withdrawn from circulation soon afterward, when the Catargiu cabinet fell. 3174:("The Catechists from Humulești")—a literary contribution judged "superfluous" by George Călinescu, who noted that the original was already "dramatic" in style. The writer's stories also became an inspiration for 2194:, postulating the prevalence of three ancient and related narrative pretexts throughout his contributions: the preexistence of a "perturbing situation" (attributable to fatality), the plunging of the hero into a 2599:

Another significant part of the account, detailing Creangă's education, shows him frustrated by the old methods of teaching, insisting on the absurd image of children learning by heart and chanting elements of

2734:, his main interest, according to the stories themselves, was in curbing the boyars' infringement of peasant rights. The stories' narrator directs his hostility not at boyars in general, but at the younger 1913:

talking, their gesticulation and wording reach a height in typical storytelling." According to the critic, discovering this "fundamental" notion about Creangă's work was the merit of literary historian and

8454:

Scientific Collection «INTERCONF» Proceedings of the 1st International and Practical Conference „Science, Education, Innovation: Topical Issues and Modern Aspects”, Tallinn, Estonia: Uhingu Teadus juhatus

1868:, Călinescu also argued in favor of a difference in mentality: the "balance" evidenced by Moldavian speech and illustrated in Ion Creangă's writings is contrasted by the "discoloration and roughness" of " 1580:

with accelerated and debilitating episodes. He was also severely overweight, weighing some 120 kilograms (over 250 pounds), with a height of 1.85 meters (6 feet), and being teasingly nicknamed

3007:

A more thorough evaluation of Creangă's literature began after 1900. At the time, it became a topic of interest to the emerging traditionalist and populist trend, illustrated by the two venues rivaling

3365:, which lasted between 1948 and 1989, the critical evaluation of Ion Creangă's work went through several periods, complementing political developments. Throughout the first part of this interval, when 1424:. By that the late 1870s, he was secretly redirecting political support from the former Factionalists to his new colleagues, as confirmed by an encrypted letter he addressed to Negruzzi in March 1877. 1777:

and Creangă's "somewhat surreptitious" method of blending his own style into the folkloric standard, likening it to the historical process whereby local painters improvised over the strict canons of

621:

The family had reached a significant position within their community: Ștefan sin Petre had made a steady income from his itinerant trade in wool, while his wife was the descendant of the Creangăs of

3432:, this approach controversially reevaluated various Romanian writers, Creangă included, presenting them as figures who anticipated most developments on the world stage. Papu's own conclusion about " 2636:

scold the byproducts of their work for having forgotten their lowly origin. The inspiration behind this theme was identified by Călinescu as "The Story of a Gold Coin", written earlier by Creangă's

7402: 3515:, was created as a main publisher of children's literature, and its output included editions of Creangă's own works. The new editions were illustrated by several visual artists of note, among them 2677:

of his own immobility." Braga interpreted the story as evidence of "the primacy of ethics" over social aspects in the local tradition. Ion Pecie saw in the story proof of Creangă's own support for

2288:. The story introduces three additional characters, old women who assess and reward the efforts of the virtuous: Holy Wednesday, Holy Friday and Holy Sunday. They represent a mix of Christian and 3243:, the 19th century writer became better known to an international audience. This process produced translations into English, some of which, Călinescu argued, reached significant popularity among 2252: 1433: 434: 3000: 2403:

on account of its realist approach to the supernatural, "Stan Pățitul" is, according to Vianu, untraceable in its inspiration: " folk origin could not be identified, but it is not dismissible".

2930: 2028:

passed a similar judgment, believing that Creangă was motivated by a "strictly intellectual sensuousness" and the notion that "pleasure arises from gratuitousness", while Manolescu's colleague

1243: 1192: 525: 7426: 3565: 3489: 2096:

are to be taken into account, one finds himself in a different country." Ornea, who noted that Eminescu effectively shared Creangă's worldview, believed the latter to have been dominated by

6949: 3452:—a conclusion which literary historian Florin Mihăilescu has seen as proof of Papu's "exegetic obsession", lacking in "sense of humor, not just sense of reality." One of Papu's disciples, 2761:("Old Man Nichifor Slyboots") establishes a connection with the language of fairy tales, being located in a legendary and non-historical age. It details the elaborate seduction of a young 8301:

Romania: Cultural Identity and Education for Civil Society. Romanian Philosophical Studies, V. Cultural Heritage and Contemporary Change, Series IVA, Eastern and Central Europe, Volume 24

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politics, and, like his new friend Eminescu, voiced support for the group's nationalist faction, in disagreement with the more cosmopolitan and aristocratic segment led by Maiorescu and

1396:("Old Man Creangă" or "Father Creangă"), which was a sign of respect and sympathy. Among Ion Creangă's most dedicated promoters were Eminescu, his former political rival Iacob Negruzzi, 3476:" stands as "the character who dominates world history in our century". Left outside the scope of this critical interest, the "corrosives" were left out of new Creangă readers (such as 811:

Having witnessed, according to his own claim, the indifference and mundane preoccupations of his peers, Creangă admitted to having taken little care in his training, submitting to the

2934:

nevertheless fell into disrepair. It was eventually purchased by an "Ion Creangă Committee", whose members included Constantin Creangă, Kirileanu and the ultra-nationalist politician

3131: 3914: 2874:

Soon after the Creangă's death, efforts began to collect his manuscript writings and the updated versions of his printed works. This project involved his son Constantin, alongside

823:, while pursuing an affair with the daughter of a local priest. According to his own statement, he was a philanderer who, early in his youth, had already "caught the scent" of the 7945: 7940: 3313:

accused the literary historian of having exposed Creangă's biography for the sake of compromising the "genial Moldavian" by turning him into "an unfrocked epileptic and a drunk."

2979:

stranger to its readers. What other European culture can take pride in having a classic writer read by all categories of readers?" The "thematic grip of the village" was noted by

1147: 2604:

and even whole texts. The narrator refers to this method as "a terrible way to stultify the mind". The negative portrayal of teaching priests was commented by writer and critic

1936:(an expression literally meaning "that word", but covering the sense of "as word goes around"). One example of this connects the notions of abundance and personal satisfaction: 3279: 2056:, the prime collector of tales in 19th-century Wallachia. Also making use of the Rabelais analogy, literary chronicler Gabriela Ursachi found another analogy in local letters: 7568: 6183: 2092:

with the writer's place of birth, an affluent village in an isolated region, contrasting heavily with the 19th century Wallachian countryside: "if the mud hut villages of the

2202:

which brings the triumph of good over evil (often as a brutal and uncompromising act). Like their sources and predecessors in folklore, these accounts also carry transparent

1364:

proposed to transform the club into a political party. The information was considered dubious by Z. Ornea, who argued that the episode may have been entirely invented by the

8758: 1223:

By then a teacher at the 1st School for Boys, on Română Street, Creangă was ordered out of his secular assignment in July 1872, when news of his status and attitude reached

701:, Ion Creangă was sent to primary school, an institution then in the care of Orthodox Church authorities, where he became noted for his rebellious attitude and appetite for 3480:'s 1970 edition), being, according to a 1976 essay by scholar George Munteanu, "still unpublishable" for lack of "a general level of aesthetic education" among Romanians. 1412:

who rarely took the floor during public debates, and who were avid listeners of his literary productions (it was to this latter gathering that Creangă later dedicated his

2347: 3320:, which shows Creangă listening to Eminescu reading his poems. Two busts of the author were erected in Iași, respectively at his grave site and, in 1932, the gardens of 2441:", one of Ion Creangă's most complex narratives, carries a moral defined by Călinescu as "the gifted man will earn a reputation under any guise." The story opens with a 1788:

promoters was Eminescu, himself noted for expressing a dissenting social perspective which only partly mirrored Maiorescu's take on conservatism. According to historian

5792: 3837:), both of which were noted for resorting exclusively to antiquated slang. In 2004, another one of Creangă's stories was subjected to a Postmodern interpretation, with 3780:) signed a decision to posthumously revert the decision to exclude Ion Creangă from among the Moldavian clergy. The public polled during a 2006 program produced by the 3251:

assessed that the variants used antiquated words and "sounded terrible" in English. Among the series of early English-language versions was a 1920 edition of Creangă's

3117: 1872:". He also criticized those views according to which Creangă's variant of the literary language was "beautiful", since it failed to "please everyone on account of some 970:

In parallel, he was beginning his activities in support of education reform. By 1864, he and several others, among them schoolteacher V. Răceanu, were working on a new

8092: 7878: 7111: 2182:

is erroneous, since his characters primarily answered to ancient and linear narrative designs. The conclusion is partly shared by Braga, who links Creangă's tales to

3611: 3121:

in honor of the writer. Creangă's various works also provided starting points for several other writers of diverse backgrounds. They included representatives of the

2125:

and implicitly assigning them the role of thieves), and his recourse to puns and proverbs which he usually claimed to be citing from oral tradition and the roots of

1255:

for "tiny hut"), a small house located on the outskirts of Iași. Officially divorced in 1873, he was living there with his lover Ecaterina "Tinca" Vartic. A former

1224: 6696: 2818:

members, who discreetly signaled their wish to hear more explicit content by asking Creangă to recount stories from "the wide street". A product of this context,

1065:. Creangă's accusations, Călinescu contends, are nevertheless dubious, because the deacon persisted in working for the same monastery after the alleged incident. 8012: 6606: 3804: 2898: 2838: 3833:. The book included versions of the text in English (the work of Alistair Ian Blyth) and French (translated by Marie-France Ionesco, the daughter of playwright 3700: 3587: 2928:

Shortly after her lover's death, Tinca Vartic married a man who lived in the same part of Iași. The target of organized tourism from as early as 1890, the Iași

7510: 3602: 3330: 1356:

The exact date of his reception is a mystery. According to Maiorescu's own recollections, written some decades after the event, Creangă was in attendance at a

752:

After returning to school between late 1849 and early 1850, Creangă was pulled out by his financially struggling father, spent the following period working in

426: 3866: 2489:, also connects the servant-prince's antagonists with various reflections of ethnic strife in Romanian folklore: the Red Emperor as standing for the medieval 3659: 2961:

The popularity of Ion Creangă's accounts outside his regional and dialectal context, together with his own contribution as an educator, played a part in the

1816:

literature. This verdict is found in several of Vianu's texts, which uphold Creangă as a great exponent of his generation's literature, comparable to fellow

2673:, he seals his own fate by asking: "But are your bread crumbs soft?" The peculiar effect of this moral is underlined by Anghelescu: "The lazy man dies as a 2464:

creatures. Călinescu described as "playful realism" the method through which Creangă outlined the mannerisms of several other characters, in particular the

3717: 3597: 3159: 7395: 3895: 8335: 6571: 6362: 4807: 3497: 2846: 2661: 2379: 1122:

rule, and was probably among the rioters. At around the same time, he began circulating antisemitic tracts, and is said to have demanded that Christians

882: 418: 8066: 7514: 7097: 4171: 3838: 3799:

Creangă's work was also subject to rediscovery and reevaluation. This implied the publishing of his "corrosives", most notably in a 1998 edition titled

2561: 1230:. Upset by the circumstances, and objecting in writing on grounds that it did not refer to his teaching abilities, he fell back on income produced by a 6742: 3413: 2987:, who investigated its impact on "some of the most revered names in the history of Romanian literature", from Creangă and Slavici to interwar novelist 2537: 1287:. This is said to have taken place in summer 1875, when Eminescu was working as an inspector for Maiorescu's Education Ministry, overseeing schools in 1115: 917:, and, in December 1860, fathered a son, Constantin. His life still lacked in stability, and he decided to move out of Grigoriu's supervision and into 778: 471:

priest with an unconventional lifestyle, Creangă made an early impact as an innovative educator and textbook author, while pursuing a short career in

8733: 8713: 8318: 7996: 7824: 7423: 3891: 3179: 3048:. Tudor Vianu however noted that, unlike Eminescu's outlook, Creangă's "authentic ruralism" did not complement the "spiritual complications", global 1500:, his fellow poet and previous landlord, Eminescu even moved inside the house, where he reputedly pursued his discreet love affair with woman writer 947:, who served as his teacher and supervisor, and whence he graduated as the first in his class (June 1865). Embittered by his own experience with the 7542: 4320: 3871: 1616: 8541:"The Story of the Pig". Hog Bridegrooms (tales of Aarne-Thompson-Uther type 441 in which a beautiful maiden is forced to marry a hog or a hedgehog) 7002: 3887: 3457: 3309: 2669:. This upsets the sensibility of a noblewoman who happens to witness the incident. When she offers to take the lazy man into her care and feed him 6101: 7961: 5853: 3678:. The endorsement of Creangă's public image within the Moldavian SSR was also reflected in art: in 1958, the writer's bust, the work of sculptor 2883: 2211: 2138: 1465: 629: 3821: 8718: 8217:

Muguraș Constantinescu, "Figures et représentations du vieillir et de la vieillesse dans les contes de Ion Creangă", in Alain Montandon (ed.),

8155: 7478: 7362: 6995: 4478: 3883: 3679: 3346: 3299: 2476:("Eat-All") help the hero overcome seemingly impossible tasks set by the Red Emperor, by ingesting unnaturally huge amounts of food and drink. 2029: 1549: 8500: 7130: 4999: 3808: 3061:

a "series" of authors, noting that, for all imitation, he was "an exceptional and, as far as Romanian literary history goes, unique creator."

2596:

who bothers his morning sleep, only to be tricked into releasing it by old man, who understands the bird's vital role as village alarm clock.

1079:

By the second half of the 1860s, the future writer was also pursuing an interest in politics, which eventually led him to rally with the more

500:, Creangă helped propagate the group's cultural guidelines in an accessible form. Later critics have often described him, alongside Eminescu, 7804: 7335: 7187: 3713: 2841:

argued, the text "is refined and full of charm". While acknowledging both "corrosives" for their "popular charm" in the line of Rabelais and

6575: 5004: 2592:." The seniors' regulatory role within the village is evidenced throughout the book, notoriously so in the episode where the boy captures a 2068:

unchanging formulas. It would have been more natural for such a prose writer to have emerged a few centuries later, into an era of Romanian

1276: 8511: 3830: 3493: 3408:

assessed that "everything has been said about Creangă". Within this exegetic phenomenon, an original interpretation of his stories from an

2233:

in prose, opposing the eponymous characters, caricatures of a garrulous but hard-working woman and her restless sons, to the sharp-toothed

1761:("popular", that is anonymous or collective) and otherwise. Tudor Vianu's theory defines Creangă as a prime representative of the "popular 792:(a variant of his given name and a family name based on his patronymic), the adolescent student eventually adopted his maternal surname of 7366: 7326: 3369:

was politically imposed on Romanian letters, Creangă was spared the posthumous censorship which affected several other classical writers (

978:("A New Method of Writing and Reading for the Use of 1st Grade Primary Course Students"). It mainly addressed the issues posed by the new 8608: 1268: 760:("Spinster"). He only returned in third grade some four years later, having been sent to the Târgu Neamț public school, newly founded by 7134: 3993: 8653: 7799: 7446: 3792:

where he once lived was controversially put up for sale by its private owners in 2009, at a time when city hall could not exercise its

889:, and demanding to be allowed a divorce. The response to this request was contrary to his wishes: he was ordered into isolation by the 6671: 5255: 5244: 5233: 3928:, and streets or squares were also named in the writer's honor in cities throughout Romania: Târgu Neamț, Iași, Fălticeni, Bucharest, 8633: 8457: 8045: 1203:

Creangă eventually moved out of the monastery, but refused to relinquish his key to the church basement, and, in what was probably a

851:, where he is believed to have been in training as a schoolteacher. The ceremony took place in August 1859, several months after the 2829:

content survive as samples of Creangă's erotic authorship: "The Tale of Ionică the Fool" and "The Tale of All Tales" (also known as

2781:

or antisemitic: Nichifor voices the belief that priests crossing one's path will produce bad luck, as well as the claim that Jewish

8753: 6543: 4863: 1932:. He also often interrupted his narratives with concise illustrations of his point, often in verse form, and usually introduced by 8603: 7414: 2374:, most often with the comedic intent of showing such personages behaving like regular people. A defining story in this series is " 1291:: reportedly, Eminescu was fascinated with Creangă's talents as a raconteur, while the latter admired Eminescu for his erudition. 8683: 8382: 4814: 4569: 2796:

illustrated its ambivalence toward Creangă. Maiorescu found the text "interesting in its way and decisively Romanian", but asked

2382:" shows its hero fraternizing with a lesser demon. Following the opening episode, in which the latter accidentally eats a bit of 1585:("Tubby") by his friends (although, according to testimonies by his son and daughter-in-law, he did not actually look his size). 8515: 7070: 3282:

as the first critical edition of his entire literature. According to critic Adrian Solomon, the Romanian tradition of silencing

2141:'s report contended, Creangă's writing relied on him being "a strong sensual and auditive type", and a "very emotional" person. 17: 8738: 6124: 2206:, ranging from the regulation of family life to meditations about destiny and lessons about tolerating the marginals. However, 1721:

the group, Carmen-Maria Mecu and Nicolae Mecu took the acceptance of "literate peasants" such as Creangă as exemplary proof of

1489: 1332:

literary club presided upon by Maiorescu, whose cultural and political prestige was increasing. This event, literary historian

733:, handing him into the care of a middle-aged woman, Irinuca. Ion Creangă spent several months at Irinuca's remote house on the 7623: 2468:

creatures who provide the youngest prince with additional and serendipitous assistance. In one noted instance, the characters

2048:. Within local tradition, the literary historian saw a symbolic connection between Creangă and the early 18th century figure, 1812:. 20th century critics have described Creangă as one of his generation's most accomplished figures, and a leading exponent of 8708: 8658: 8367: 8272: 8212: 7222: 6858: 6774: 3104: 2076:" group of Caragiale and others. Claiming that the "core" presence had "not primitive, but ancient" origins, perpetuated by " 7649: 4610: 4178: 2564:, who reacted against the tradition of viewing Creangă's actual childhood as inseparable from his own subjective rendition. 2149:

himself seem stupid." In Călinescu's view, the author's antics had earned him a status equivalent to that of his Wallachian

1642:

leader would not respond to his request, and, during his final years, switched allegiance to the literary circle founded by

574:

trader Ștefan sin Petre Ciubotariul and his wife Smaranda. His native area, bordering on heavily forested areas, was in the

8643: 8504: 3768:". The latter tour saw Moldovan politicians and cultural delegates demanding, and obtaining, that they be allowed to visit 2738:

ones, whom he portrays as gambling on Moldavia's future: " a clash of ideas opposing old boyars to the youth of Moldavia's

2446:

the subsequent episodes in the narrative reinforce the impression of familiarity, from the "peasant speech" adopted by the

2293: 1928:

touches were interrogations addressed to the readers as imaginary listeners, and pausing for effect with the visual aid of

1084: 590:. Another characteristic of the area, which left an impression on Creangă's family history, was related to the practice of 8728: 7674: 7285: 3878:(1996). There were also several post-1989 theatrical adaptations of Ion Creangă's texts, contributed by various Romanian 3853:

published a personal take on "The Story of a Lazy Man". Ion Creangă's own didactic tales have remained a presence in the

1769:

doyen himself), cautioning however that Creangă's example was never mentioned in such a context by Maiorescu personally.

1392:("Ioan Gadabout"). Although still in his forties, the newcomer was also becoming colloquially known to his colleagues as 1157:, his consecutive actions show that he was "going out of his way for scandal". He was initially punished for attending a 1112: 626: 7991: 2033:"from among his few texts, even fewer are located on the relatively highest level of the relative aesthetic hierarchy". 8723: 8663: 8019: 3761: 3712:. Also during that period, "The Goat ..." and "The Purse a' Tuppence" were made into animated shorts (directed by 2632:

fables written as lively dialogues, among them "The Needle and the Sledge Hammer", in which the objects of traditional

2371: 8489: 7697: 6369: 1118:. It is likely that Creangă shared the outlook of other Factionalists, according to which secession was preferable to 848: 8618: 8613: 8440: 8403: 8390: 8326: 8308: 8290: 8251: 8230: 8150: 8142: 8129: 7911: 7729: 7490: 6898: 6846: 6727: 6416: 5869: 5624: 5399: 1869: 7965: 6613: 1967:

In other cases, the short riddles relate to larger themes, such as divine justification for one's apparent fortune:

885:, denouncing his father in law as "a killer", claiming to have been mistreated by him and cheated out of his wife's 8688: 8070: 5476: 3683: 3350: 2962: 2422:, while, according to researcher of children's literature Muguraș Constantinescu, the main character is similar to 2137:

habits: his accounts are often marked by a special interest in describing acts related to food and drink. Overall,

1844: 1634:

removed Creangă from his schoolteacher's post, and he subsequently left for Bucharest in order to petition for his

1336:

argued, followed a time of indecision: as a former Factionalist, Creangă was a natural adversary of the mainstream

1252: 729:

in late 1848, David Creangă withdrew his grandson from the local school and took him to a similar establishment in

3606: 1881:. According to the same commentator, the dialectical interventions formed a background to a lively vocabulary, a " 1388:

fictional universe a "sack of wonders" at a time when the author himself had started casually using the pseudonym

8693: 8678: 7761: 6328: 3753: 3372: 1658:, Son of the Mare"). He died after an epileptic crisis, on the last day of 1889, his body being buried in Iași's 8519: 7092: 2532: 2523: 2512: 1452: 1264:

by contemporary accounts. These depict him consuming uninterrupted successions of whole meals on a daily basis.

697: 381: 8743: 3233: 2762: 1139: 7821: 3992:. Creangă's name was assigned to several landmarks and institutions in post-Soviet Moldova. Among them is the 3232:

contributed various prose works which borrow some of Creangă's storytelling techniques to depict the lives of

1729: 8748: 8623: 8493: 8484: 6890: 4890:

Călinescu, p. 445, 480; Ornea (1998), p. 232–233, 239–241, 244–245; Vianu, Vol. II, p. 210–212

4246: 3757: 3122: 2678: 2153:

counterpart Caragiale, with the exception that the latter found his inspiration in urban settings, matching "

2084:", he asserted: "Creangă shows our civilization's contemporaneity with the world's oldest civilizations, our 515:

Ion Creangă was posthumously granted several honors, and is commemorated by a number of institutions in both

496:. Although viewed with reserve by many of his colleagues there, and primarily appreciated for his records of 3380:

was omitted from critical commentary, and readers were instead referred to Creangă as a realist critical of

2965:, at a new phase in which many dialectal variations were incorporated into the spoken language. His primers 1773:

critical scrutiny). Vianu commented at length on the exact relationship between the narrative borrowed from

8648: 8638: 8359: 3389: 3366: 3248: 2088:

age." The alternating national and regional characteristics in Creangă's writings are related by historian

1469:

writing, the emerging author followed Maiorescu's suggestion and, in 1876, published a work of educational

1416:). In parallel to his diversified literary contribution, the former priest himself became a noted voice in 1302: 1088: 479:. His literary debut came late in life, closely following the start of his close friendship with Romania's 476: 1808:, and in particular his claim that rural authenticity lay hidden by a "superimposed stratum" of urbanized 1728:

Maiorescu is known to have had much appreciation for Creangă and other writers of peasant origin, such as

1068: 8668: 8628: 8479: 7705: 7539: 6785:

Braga, p. 199–200; Ornea (1998), p. 238; Vianu, Vol. III, p. 38, 79–80, 209, 211, 242, 244

4317: 3773: 3749: 3191: 3092: 2222: 2012:

theories, were mirrored by several other 20th century exegetes belonging to distinct schools of thought:

873:

by his father in law's church, he was ordained in December of the same year, assigned to the position of

430: 7024: 6999: 3202:, two biographical novels centered on Eminescu's amorous life, written by the prominent interwar critic 3073:, an agriculturalist by profession, who took inspiration from his techniques of rendering dialogue; and 2430:. In the beginning of the account, God rewards the soldier's exemplary charity by granting him a pouch ( 2414:

serviceman, is shown rebelling against Heaven and Hell, and ultimately accomplishing the human ideal of

2144:

Ion Creangă's sense of humor was instrumental in forging the unprecedented characteristics of his work.

831:). In August 1855, circumstances again forced him to change schools: confronted with the closure of his 8243: 7779: 7041: 3826: 3469: 3376:). His work was officially praised for its aesthetic qualities, but its association with the condemned 2264: 1307: 987: 964: 761: 706: 3570: 3154:, dedicated important segments of their activity to the works of Ion Creangă. Other such figures were 8534: 8524: 7601: 6766: 3765: 718: 7590: 7475: 5722:

Beza, p. 104–105; Călinescu, p. 484; Ornea (1995), p. 84; Vianu, Vol. II, p. 215

4342:

Călinescu, p. 479; Ornea (1998), p. 233–234, 235. See also Vianu, Vol. II, p. 32, 207

3605:" and the 1985 film "Ramasagul" which was based on "The Bag with 2 Coins". The series also includes 2485:

the garden of the bear". Historian Adrian Majuru, building on earlier observations made by linguist

1010:("The Little Bird in Wintertime"). The book was followed in 1871 by another such work, published as 734: 8545: 8530: 8222: 7597: 6714:

Jürgen Erfurt, "Dimensiunile sociolingvistice ale limbii române vorbite", in Klaus Bochmann (ed.),

3777: 2731: 2343: 2178: 2105:", Vianu contrarily asserted: "Creangă's nostalgia ... has an individual, not social, sense." 1646:(where he was introduced by Gruber). Among Creangă's last works was a fourth and final part of his 843:. Ștefan sin Petre's 1858 death left him without means of support, and he requested being directly 579: 563: 468: 402: 199: 7297: 7184: 3045: 1915: 1158: 1153:

By 1868, Creangă's rebellious stance was irritating his hierarchical superiors, and, according to

3918: 3663: 3539:

prize. A major project of the time involved Creangă translations into other languages, including

2517: 2013: 1517: 1462: 1057:

affair with a Golia monk, and rumors spread that Ileana's lover was a high-ranking official, the

764: 571: 8598: 7853: 7535: 3052:

perspective and intellectual background associated with these trends, making Creangă "the least

8356:

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

8264: 8204: 7694: 7323: 3785: 3070: 2545: 2282:, the text is, outside of its humorous context, a distant reworking of ancient legends such as 2108:

The witty and playful side of Creangă's personality, which became notorious during his time at

2041: 2036:

Călinescu viewed such intellectual traits as shared by Creangă with his Wallachian counterpart

1852: 967:

in disciplining his pupils, and even surpassed the standards of violence accepted at the time.

929: 925:. Since January 1864, when the Faculty of Theology had been closed down, he had been attending 3551:). During the same epoch, Creangă and his stories first became sources of inspiration for the 3512: 2486: 2101:

of the world that was about to vanish." Commenting on Creangă's "robust realism" and lack of "

8028: 7920: 7196: 7139: 7075: 6719: 6622: 6378: 6337: 4944:

Ornea (1998), p. 200, 232–233, 244–245; Vianu, Vol. I, p. 304; Vol. II, p. 210

4823: 4619: 4255: 4187: 3949: 3667: 3544: 2705: 2375: 2218:

vein of some traditional narratives, by featuring "grotesqueries" and "illogical surprises".

1809: 1700: 922: 852: 586:, textile manufacturing and related occupations, and noted for preserving the older forms of 414: 376: 5140:

Călinescu, p. 480; Vianu, Vol. II, p. 211, 212. See also Ornea (1995), p. 443

3505: 3255:, translated by Lucy Byng and published by Marcu Beza. It was also during the interwar that 3033: 1920: 1792:, the "authentic Moldavian peasant" that was Creangă also complemented Eminescu's own "more 914: 8703: 8698: 6668: 6408: 5252: 5241: 5230: 3985: 3854: 3393: 3147: 2879: 2735: 2458:"), the prince is three times tested and aided by Holy Sunday, who doubles as the queen of 2122: 2061: 1659: 1569: 1474: 1458: 1349:, the author was able to assimilate some of its innovative teachings into his own style of 1080: 948: 894: 769: 575: 472: 116: 5616: 4490: 3421: 3155: 2045: 1497: 730: 684: 31: 8: 8050: 7858: 7833: 7769: 7586: 7519: 7000:" 'O, țară tristă, plină de humor! De asta iubesc România' " (interview with Paul Bailey) 6552: 4868: 4574: 3781: 3720:). In 1978, an operatic version of "The Goat and Her Three Kids" was created by composer 3465: 3424:, the recovery of nationalist discourse into official dogma also encouraged the birth of 3271: 2947: 2892: 2798: 2714: 2363: 2005: 1924: 1638:

rights. Having hoped to be granted assistance by Maiorescu, he was disappointed when the

1442: 1275:, his friend Maiorescu granted Creangă the position of schoolteacher in the Iași area of 860: 753: 587: 450: 8186: 8176: 7180: 6866: 6540: 3548: 3325: 3017: 2246:

by Dan Grădinaru, who claims it constitutes an allusion to Creangă's own childhood. The

1508:

escapades. Circumstances drew the two friends apart: by 1877, Eminescu had relocated in

1167: 1154: 797: 643: 611: 8673: 8427:

Radu Voinescu, "Romanian Erotic Literature", in Gaëtan Brulotte, John Phillips (eds.),

7411: 3921: 3772:. In 1993, answering a petition signed by a group of cultural personalities from Iași, 3540: 3453: 3317: 3283: 3100: 2834: 2419: 2174: 1857: 1830: 1821: 1805: 1801: 1695:

The impact of Ion Creangă's work within its cultural context was originally secured by

1643: 1397: 1361: 1119: 1100: 501: 398: 219: 106: 8351: 4811: 3913:

Creangă's name was assigned to several education institutions, among them Bucharest's

3129:, who was inspired by Creangă's narrative style in writing his fantasy and verse play 2822:

itself is said to have had at least one sexually explicit variant, circulated orally.

1272: 639: 8559: 8473: 8436: 8418: 8399: 8386: 8363: 8322: 8304: 8286: 8268: 8247: 8226: 8208: 8167: 8146: 8125: 8101: 7725: 6894: 6842: 6770: 6723: 6701: 6412: 5865: 5620: 5395: 5346:

Ornea (1998), p. 237; Vianu, Vol. I, p. 305, 306; Vol. II, p. 211, 214

3793: 3705: 3552: 3405: 3362: 3229: 3175: 3083:

literary circle acclaimed as "a new Creangă", and who made ample use of a modernized

2905:

in 1902 and 1906. In addition to being mentioned in the memoirs of several prominent

2811: 2641: 2569: 2427: 2057: 2025: 1865: 1671: 1413: 1213: 979: 971: 582:. The surrounding region's population preserved an archaic way of life, dominated by 458: 442: 351: 204: 152: 8303:, Council for Research in Values and Philosophy, Washington, 2004, p. 181–193. 5468: 4763: 3834: 3825:

writers. A trilingual edition of Creangă's original text was published in 2006 as a

2021: 1557: 1014:("The Children's Teacher") and co-authored by V. Răceanu. It included several prose 8568: 8345: 8075: 7974: 7620: 7540:"Promovarea culturii costă bani, bani și iarăși bani!" (interview with Jenö Farkas) 7165: 6838: 3969: 3690:. His works were illustrated by one of the Moldavian SSR's leading visual artists, 3671: 3582: 3556: 3420:("Creangă and the Golden Bough"). During the final two decades of communism, under 3397: 3385: 3217: 3151: 2854: 2842: 2778: 2766: 2723: 2722:

complex views on the union, while outlining several connections which the brand of

2601: 2284: 2195: 2093: 2017: 1878: 1762: 1631: 1525: 1377: 956: 836: 812: 689: 679: 567: 454: 265: 80: 4881:

Călinescu, p. 479; Ornea (1998), p. 234; Vianu, Vol. II, p. 209–210

3740: 3695: 3473: 3256: 2943: 2407: 2384: 1650:, most likely written during 1888. The book remained unfinished, as did the story 1383:

Gradually or instantly, Creangă made a positive impression by confirming with the

1186: 918: 538: 410: 144:

Short story writer, educator, folklorist, poet, textile worker, cleric, politician

8163: 8023: 7915: 7828: 7783: 7765: 7701: 7632: 7627: 7546: 7494: 7482: 7430: 7418: 7406: 7330: 7301: 7289: 7191: 7159: 7006: 6830: 6675: 6617: 6547: 6373: 6332: 6129: 5259: 5248: 5237: 4818: 4614: 4607: 4485: 4324: 4250: 4182: 4175: 3861: 3816: 3639: 3260: 3203: 3183: 3163: 3056:

among our writers." According to Ornea, Creangă has "nothing in common" with the

2951: 2902: 2858: 2612:, in line with various satirical works targeting the Romanian clergy: "Creangă's 2609: 2423: 2274: 2112:

and constituted a significant part of his appeal, was reflected into a series of

2053: 1909: 1890: 1590: 1496:, where he was looked after by the couple. For five months after quarreling with 1341: 1073: 1050: 900: 870: 542: 8555: 8337:

Intelectualii și promovarea socială (pentru o morfologie a câmpului universitar)

8256: 7936: 3925: 3857:

after 2000, particularly in areas of education targeting the youngest students.

3850: 3460:, claimed that Creangă was equal to, or even more important than world classics 2770: 2605: 1663: 1432:

Autumn 1875 is also often described as his actual debut in fiction prose, with "

913:

In 1860, Creangă enlisted at the Faculty of Theology, part of the newly founded

5793:"Thoughts about a Possible History of Gaster's Presence in Romanian Literature" 3907: 3651: 3592: 3384:

society. In 1948, the new authorities granted him posthumous membership in the

3244: 3126: 2999: 2988: 2910: 2579: 2415: 2243: 2126: 2102: 1902: 1774: 1753: 1520:

in exchange. That same year, he, Răceanu and Ienăchescu published the textbook

1501: 1353:, and thus helped diffuse its message outside the purely academic environment. 1315: 1280: 1227: 1143: 991: 952: 944: 828: 816: 741:

infection and his hastened departure for Pipirig, where he cured himself using

497: 483: 446: 7433:

republished by the Institute for Cultural Memory; retrieved September 10, 2009

7282: 4635:

Călinescu, p. 435; Ornea (1998), p. 231; Vianu, Vol. II, p. 207

3704:: an adaptation of "Ivan Turbincă" and one of the successful samples of early 3616: 1488:

After losing his job as school inspector following the decisions of a hostile

1288: 1091:. An agitator for his party, Creangă became commonly known under the nickname 8592: 8539: 8452:

Corina, Iordan. Linguistic and Cultural Characteristics of Creangă's Speech.

8235: 6878: 6738: 6097: 5337:

Ornea (1998), p. 236–239, 252, 258–259; Vianu, Vol. II, p. 211, 214

3997: 3929: 3845:("A Report about Harap Alb"). In 2009, Țurlea followed up with a version of " 3729: 3687: 3631: 3620: 3516: 3448: 3425: 3354: 3208: 3112: 3041: 3022: 2980: 2975: 2939: 2875: 2442: 2145: 2089: 1778: 1675: 1607: 1553: 1421: 1373: 1284: 1204: 1104: 960: 932: 480: 372: 8016: 3524: 3079: 2730:. Although Roată, a real-life person, was a representative of the pro-union 2269: 2247: 1655: 1134:"). He was eventually selected as one of the Factionalist candidates for an 8549: 7011: 6945: 6758: 6366: 4329: 3694:, who also painted a portrait of the author. In 1967, Ioviță and filmmaker 3655: 3627: 3532: 3477: 3136: 3066: 3049: 2984: 2774: 2698: 2670: 2633: 2326: 2234: 2199: 2187: 2130: 1894: 1733: 1679: 1540: 1401: 1318:, referred to as "the eminent writer and the greatest poet among Romanians" 1019: 1003: 983: 774: 615: 603: 591: 505: 487: 249: 224: 8171: 7904: 7487: 3977: 3789: 3501: 3436:", outlined in a 1983 volume, depicted Creangă as a direct predecessor of 2921:("Electorals"). The same author referred to his counterpart in one of his 2694: 832: 782: 607: 559: 334: 70: 8410: 8282: 8196: 8134: 7849: 7223:"Despre mitocritică, mitanaliză, arhetipuri și alți demoni critici" (III) 6882: 6610: 5387: 3941: 3721: 3675: 3443: 3409: 3324:

neighborhood. After 1943, another such piece was unveiled in Bucharest's

3240: 3225: 3074: 2826: 2629: 2553: 2399: 2367: 2226: 2170: 2049: 1882: 1793: 1789: 1709: 1624: 1505: 1470: 1437: 1376:. According to Ornea's assessment, with the exception of literary critic 1329: 1231: 1146:. The episode is supposed to have taken place at the earliest during the 1032: 999: 820: 746: 390: 244: 8422: 5122:

Călinescu, p. 480; Vianu, Vol. I, p. 303; Vol. II, p. 210

4776:

Călinescu, p. 479; Vianu, Vol. I, p. 302; Vol. II, p. 214

4679:

Călinescu, p. 479; Vianu, Vol. I, p. 302; Vol. II, p. 208

3957: 1716:

is itself ... an aristocratic society. Nevertheless, it is through

1662:. His funeral ceremony was attended by several of Iași's intellectuals ( 695:

After an idyllic period, which is recounted in the first section of his

457:

of rural inspiration. They are accompanied by a set of contributions to

8469: 8117: 7887: 7658: 7573: 7551: 7227: 6950:"From the Musical Folklore of Children to the Comic Opera for Children" 5319:

Călinescu, p. 413; Ornea (1998), p. 57–58, 65, 67, 70–71, 157

3879: 3709: 3691: 3635: 3528: 3520: 3429: 3287: 3221: 3088: 3029: 3013: 2935: 2782: 2481: 2451: 2315: 2279: 2191: 2077: 2037: 1898: 1667: 1545: 1311: 1279:. During the same period, Ion Creangă met and became best friends with 1209: 905: 897:, being allowed to go free only on promise to reconcile with Grigoriu. 844: 710: 656: 648: 465: 422: 214: 7758: 6325: 4758: 3917:, and to an annual prize granted by the Romanian Academy. There is an 3103:, while the reworking of regional folklore themes earned intellectual 8432: 7742: 7400:

de Șerban Foarță, după Ion Creangă (Teatrul de Păpuși din Timișoara)"

5861: 3440: 3433: 3381: 3295: 3263: 3213: 3187: 3026: 2955: 2617: 2549: 2460: 2438: 2351: 2302: 2256: 2215: 2183: 2154: 2097: 1873: 1861: 1598: 1509: 1450:

would publish 15 works of fiction and the four existing parts of his

1256: 1171: 1163: 1058: 856: 595: 406: 368: 364: 170: 165: 50: 7854:*articleID_5796-articles_details.html "Povestea poveștilor ..." 7240:

Boia (2001), pp. 79–81; Mihăilescu, pp. 149, 153, 158, 171

6833:, "The Memoirs of N. Batzaria: The Young Turks and Nationalism", in 4899:

Ornea (1998), p. 233, 239–240, 245; Vianu, Vol. II, p. 210

3937: 3933: 3829:

project, with illustrations made for the occasion by graphic artist

3099:, combined Creangă's storytelling techniques with the traditions of 2746: 2158: 2116:. These accounts detail his playing the ignorant in front of fellow 1736:. Late in life, he used this connection to challenge accusations of 1564: 1368:

leader, and noted that it contradicted both Negruzzi's accounts and

877:

in Holy Trinity Church, and, in May 1860, returned to Forty Saints.

8577: 8573: 8372: 8240:Între Orient și Occident. Țările române la începutul epocii moderne 4313: 3725: 3342: 3291: 3143:("Inside a Swallow's Nest") borrows from "The Flax and the Shirt". 3084: 3069:, whose memoirs borrow stylistic elements from Creangă's accounts; 2754:

Seen by Romanian critic Radu Voinescu as an extended anecdote, the

2710: 2690: 2683: 2666: 2494: 2465: 2289: 2134: 2113: 2081: 2069: 1929: 1848: 1800:

notes that the poet used Creangă's positions to illustrate his own

1797: 1744: 1577: 1350: 1333: 1054: 865: 785: 599: 583: 394: 194: 74: 5029:

Ornea (1998), p. 236–237; Vianu, Vol. II, p. 18, 210–211

4243: 2909:, Creangă had his political career fictionalized and satirized by 2652:("Five Loafs of Bread"), which serves as a condemnation of greed. 2454:

Red Emperor. Forced to pass himself off as a foreign servant (or "

2418:. The plot retells a theme present in both Romanian tradition and 998:

became one the period's most circulated textbooks. In addition to

713:

techniques, before the overseeing teacher, Vasile a Ilioaiei, was

8299:

in Education for a Civil Society", in Magdalena Dumitrana (ed.),

5864:, Cambridge, Massachusetts & London, 2006, p. 227, 247. 5480: 3965: 3945: 3870:

of 1992 (an adaptation of "The Old Man's Daughter ...") and

3643: 3536: 3304: 3150:, a new generation of critics, most notably George Călinescu and 3108: 3096: 2922: 2755: 2589: 2490: 2450:

known as the Bald Man, to the "crass vulgarity" evidenced by the

2447: 2359: 2338: 2333: 2073: 1740: 1635: 1602: 1369: 1324: 1267:

In May 1874, soon after taking over Minister of Education in the

1123: 1045: 804:, generally used in more learned circles, instead of the variant 738: 726: 702: 622: 534: 520: 516: 492: 386: 271: 234: 97: 27:

Moldavian - born writer, raconteur and school teacher (1837–1889)

7569:"Adrian Pintea, un actor extraordinar și un profesor desavîrșit" 4702:

Călinescu, p. 479. See also Vianu, Vol. II, p. 208–209

1197: 1135: 1108: 1062: 1040: 990:(which had been officially discarded in 1862). Largely based on 926: 840: 530: 449:, his writings occupy the middle ground between a collection of 102: 8341: 8191:

Ion Creangă; Viața și opera ("Ion Creangă; His Life and Works")

7112:"Nature and Architecture: The Parks and Gardens of the Capital" 6679: 5364:

Vianu, Vol. II, p. 217; Vol. III, p. 208–209, 211–212

5263: 3981: 3973: 3953: 3578: 2674: 2657: 2593: 2541: 2498: 2411: 2321: 2238: 2207: 874: 634: 625:, a family of community leaders. The latter's members included 405:

includes narratives structured around eponymous protagonists ("

239: 229: 3036:. The new editions of his works enlisted the collaboration of 2717:. The texts convey a sense of tension between the traditional 1843:

Highlighting Ion Creangă's recourse to the particularities of

1597:, was involved in a clash of ideas with the emerging Romanian 901:

Beginnings as schoolteacher and clash with the Orthodox Church

5419:

Vianu, Vol. I, p. 305; Vol. II, p. 136–137, 221–222

3961: 3860:

New films based on Creangă's writings include, among others,

3461: 3437: 3321: 2718: 2628:

Creangă's contribution to literature also covers a series of

2574: 2455: 2389: 2297: 2230: 2203: 2040:, in turn linking both writers to the satirical component of 1886: 1235: 1217: 1126:

Jewish business. He is thought to have coined the expression

1030:(a borrowing of the fictional folk character better known as 1015: 976:

Metodă nouă de scriere și cetire pentru uzul clasei I primară

886: 742: 714: 209: 7773: 4089:

Călinescu, p. 477, 478; Vianu, Vol. II, p. 206–207

4064:

Călinescu, p. 477. See also Vianu, Vol. II, p. 206

3752:, which signaled the end of communism, closely preceded the 3595:

in the title role. Popescu-Gopo also directed the 1976 film

533:, which, in 1918, was opened as the first memorial house in 7294: 4587:

Ornea (1998), p. 231, 234; Vianu, Vol. II, p. 207

3803:("The Tale of the Tales of the 80s Generation"). Edited by 3508:

also completed work on a stage version of "Ivan Turbincă".

2869: 2765:

bride by a worldly Moldavian wagoner, on the route between

2584: 2085: 1131: 721:

at some point before 1848. After another teacher, whom the

8277:

Ruth S. Lamb, "Romanian Drama", in Stanley Hochman (ed.),

6763:

The Columbia Literary History of Eastern Europe Since 1945

6184:"Khazar Jews. Romanian History and Ethnography" (excerpts) 6125:"Spațiul fascinant în care muzica se întîlnește cu filmul" 5921:

Călinescu, p. 481, 483; Constantinescu, p. 65–66

5328:

Călinescu, p. 413; Ornea (1998), p. 57–58, 70–71

4046:

Călinescu, p. 477, 488; Djuvara, p. 226–227, 244

3396:

controversially described Creangă as a writer indebted to

3095:, who divided his career between Romania and the southern 1220:

clothes everywhere, a matter which caused public outrage.

1142:, as documented by the memoirs of his conservative rival, 835:

school, Creangă left for the Central Seminary attached to

614:, his father's origin may have been further southwest, in 566:, a former village which has since been incorporated into 7679:

Patrimoniul istoric și arhitectural al Republicii Moldova

7675:"Busturi / Sculptură și pictură monumentală: Ion Creangă" 6436:

Constantinescu, p. 61; Ornea (1998), p. 242–243

5079:

Vianu, Vol. I, p. 305; Vol. II, p. 209, 220–221

3569:(starring child actor Ion Bocancea as the young Nică and 3428:. In one of its aspects, theorized by cultural historian 3267: 2994: 2954:, earning his reputation by redesigning much of downtown 1483:

Povățuitoriu la cetire prin scriere după sistema fonetică

8279:

The McGraw-Hill Encyclopedia of World Drama. Vol. 4: O-S

8201:

Avangarda românească și complexul periferiei: primul val

8181:

Istoria literaturii române de la origini pînă în prezent

6524:

Călinescu, p. 479, 488; Vianu, Vol. II, p. 213

5602:

Călinescu, p. 482; Vianu, Vol. II, p. 217, 219

5215:

Călinescu, p. 480; Vianu, Vol. II, p. 211, 212

4631: 4629: 3910:

show using both Creangă's original and Nedelciu's text.

2974:

Romania's social and literary environments, philosopher

2024:. Writing during the second half of the century, critic 4015:

Călinescu, p. 477; Vianu, Vol. II, p. 206–207

3708:, it was also noted for the musical score, composed by 3615:, focuses on the friendship between Creangă (played by 1901:, sees much of Creangă's prose being set to a discreet 610:-born peasants, while, according to literary historian 7515:"Fantasy & Science Fiction. Premiile care au fost" 6497:

Călinescu, p. 486–487; Constantinescu, p. 62

5206:

Ornea (1998), p. 236; Vianu, Vol. II, p. 212

5047:

Ornea (1998), p. 232; Vianu, Vol. II, p. 210

4518:

Ornea (1998), p. 234; Vianu, Vol. II, p. 208

3555:. Among the first were two contributions of filmmaker 3290:

made "The Tale of All Tales" circulate "rather like a

1322:

At around the same time, Creangă also began attending

8417:, Vol. I-III, Editura Minerva, Bucharest, 1970–1971. 5898:

Călinescu, p. 482; Constantinescu, p. 64–65

5880:

Călinescu, p. 482; Constantinescu, p. 63–65

4626: 3472:, while asserting that the eponymous protagonist of " 1708:." His cogenerationist and fellow literary historian 773:

string of reforms. A colleague of future philosopher

508:, as one of the most accomplished representatives of 8759:

Members of the Romanian Academy elected posthumously

3559:, both released in the early 1960s and based on the 3298:

of the 1920s and '30s. High-ranking Orthodox cleric

3247:

readers of Romanian literature. In contrast, writer

1492:

executive, Mihai Eminescu spent much of his time in

1177: 1095:("Priest Sour Cream"). In April 1866, shortly after 1002:

texts, it also featured Creangă's isolated debut in

541:, one of the leading Romanian architects during the 355:; March 1, 1837 – December 31, 1889), also known as 6841:, Leiden, Boston & Cologne, 2002, p. 565. 6653:

Braga, p. 215; Vianu, Vol. II, p. 212–213

6411:, Houndmills & London, 1997, p. 136, 155. 5373:

Braga, p. 213; Vianu, Vol. II, p. 215–216

4735:

Călinescu, p. 479; Vianu, Vol. II, p. 209

4693:

Călinescu, p. 479; Vianu, Vol. II, p. 208

4479:"Spațiul viral al geniului: o cameră și un ceardac" 4360:

Călinescu, p. 479; Vianu, Vol. II, p. 207

4268:

Călinescu, p. 478; Vianu, Vol. II, p. 207

4209:

Călinescu, p. 477; Vianu, Vol. II, p. 207

4138:

Călinescu, p. 477; Vianu, Vol. II, p. 206

3847:

The Old Man's Daughter and the Old Woman's Daughter

3626:The legacy of Ion Creangă was also tangible in the 2665:food as an effort, his fellow villagers organize a 2311:

The Old Man's Daughter and the Old Woman's Daughter

1241:In the meantime, Creangă moved into what he called 1072:Ion Creangă's home (present-day Creangă Museum) in 1022:, "Human Stupidity", to which later editions added 439:

The Old Man's Daughter and the Old Woman's Daughter

6681:Patrimoniul istoric și arhitectural, Iași, România 5265:Patrimoniul istoric și arhitectural, Iași, România 3182:, two Romanian composers who worked in children's 2849:, "The Tale of All Tales" may in fact be based on 2536:is, together with a short story about his teacher 2292:traditions, by being both personifications of the 2229:illustration of motherly love, Creangă produced a 674: 638:David, and her uncle Ciubuc Clopotarul, a monk at 606:: on his maternal side, the writer descended from 486:and their common affiliation with the influential 7740:Dumitru Nicodim, "Podul de flori de la Prut", in 7712:, 1-2/2004, p. 63–64, 65, 66, 68, 69, 71, 72 6564: 6562: 5953:Braga, p. 210; Constantinescu, p. 66–67 4731: 4729: 4689: 4687: 4685: 4514: 4512: 3902:(from "Human Stupidity") and Gheorghe Hibovski's 3003:Ion Creangă, as depicted on a 1937 Romanian stamp 2552:, and reflects in part the literary canon set by 1765:" guidelines (as sporadically recommended by the 1408:(roughly, "small game") section, which comprised 8590: 7941:"Fata babei și fata 'moșului'-autor încă tânăr!" 7592:Bessarabia. Russia and Roumania on the Black Sea 5563:Vianu, Vol. I, p. 306; Vol. II, p. 221 5070:Vianu, Vol. I, p. 305; Vol. II, p. 210 4723:Vianu, Vol. I, p. 302; Vol. II, p. 209 1990:So that I may marvel at things having found me. 1440:first publish in October by the club's magazine 943:), where he first met the young cultural figure 756:, and became known by the occupational nickname 8340:, Editura Nereamia Napocae, Cluj-Napoca, 2002; 8295:Carmen-Maria Mecu, Nicolae Mecu, "Paradigms of 7594:: Chapter XXIX, "The Moldavian Soviet Republic" 6835:Studies on Ottoman Social and Political History 6769:, New York & Chichester, 2008, p. 55. 6208:Braga, p. 208; Vianu, Vol. II, p. 207 5231:"Ansamblul funerar al scriitorului Ion Creangă" 3764:, were consecrated by 1990 events such as the " 2689:Partly didactic in scope, several of Creangă's 1838: 749:mastered by his maternal grandmother Nastasia. 598:communities on both sides of the mountains, in 578:foothills, and included into what was then the 8435:, New York & Abingdon, p. 1127–1131. 7870: 7868: 7800:"Un tînar artist, cu un palmares impresionant" 7695:"Trei eseuri despre moștenirea lui Igor Vieru" 7441: 7439: 6559: 6294:Braga, p. 206–207; Călinescu, p. 485 6116: 6114: 5634: 5632: 5469:"The Stylistics of the Parts of the Speech in 4726: 4682: 4509: 3650:, formed part of the Soviet curriculum in the 3591:, a loose adaptation of "Harap Alb", starring 3581:story). In 1965, celebrated Romanian director 2060:, an early 19th-century representative of the 1975: 1944: 737:, before the proximity of goats resulted in a 30:"Creangă" redirects here. For other uses, see 8398:, Vol. II, Editura Minerva, Bucharest, 1998. 7185:"Nimeni nu poate sări peste umbra epocii lui" 6661: 6659: 6532: 6530: 6093: 6091: 6089: 5931: 5929: 5927: 5394:, Reaktion Books, London, 2001, p. 247. 4991: 4989: 4987: 4985: 4983: 4599: 4597: 4595: 4593: 4470: 4468: 4466: 4464: 4462: 4460: 4458: 4456: 4454: 4452: 4450: 4448: 4446: 4444: 4442: 4440: 4438: 4436: 3984:, etc. A quarter in northern Bucharest, near 1310:book in Creangă's collection. Creangă's 1878 951:, Creangă became an enthusiastic promoter of 8193:, Editura pentru Literatura, Bucharest, 1964 8158:, postface and bibliography to Ion Creangă, 7358: 7356: 7354: 6599: 6597: 6178: 6176: 5858:Dada East. The Romanians of Cabaret Voltaire 5787: 5785: 5223: 5221: 4973: 4971: 4561: 4559: 4557: 4555: 4553: 4551: 4549: 4547: 4545: 4535: 4533: 4502: 4500: 4434: 4432: 4430: 4428: 4426: 4424: 4422: 4420: 4418: 4416: 4306: 4304: 4302: 4300: 4298: 4296: 4294: 4235: 4164: 4076: 4074: 4072: 4070: 3220:. Likewise, while formally affiliating with 3212:, in particular by its literary chroniclers 3194:". Creangă was also a secondary presence in 1099:Cuza was toppled by a coup, and just before 7865: 7612: 7610: 7436: 7275: 7273: 6355: 6353: 6351: 6349: 6347: 6111: 6079: 6077: 5963: 5961: 5959: 5629: 4855: 4853: 4800: 4798: 4796: 4794: 4792: 4790: 4788: 4786: 4784: 4782: 4751: 4749: 4747: 4745: 4743: 4741: 4292: 4290: 4288: 4286: 4284: 4282: 4280: 4278: 4276: 4274: 4233: 4231: 4229: 4227: 4225: 4223: 4221: 4219: 4217: 4215: 4162: 4160: 4158: 4156: 4154: 4152: 4150: 4148: 4146: 4144: 3146:With the interwar period and the spread of 2540:(titled "Popa Duhu"), one of Creangă's two 2527:in manuscript form, introductory paragraphs 1959:It will laugh even harder for cabbage pie. 1516:in her name, paying his former landlord 40 1039:In February 1866, having briefly served at 855:between Moldavia and its southern neighbor 8552:edited and/or translated by D. L. Ashliman 8526:Roumanian Stories. Translated by Lucy Byng 8139:History and Myth in Romanian Consciousness 7724:, G.K. Hall, New York, 1978, p. 479. 7422:, Vol. XXVIII, Nr. 7-8, July–August 1983; 7315: 7313: 7311: 6697:"Nepotul lui Creangă a clădit Bucureștiul" 6656: 6527: 6466: 6464: 6462: 6460: 6102:"Enemies and Friends of Man II" (excerpts) 6086: 5924: 5297: 5295: 5193: 5191: 5189: 5187: 5185: 5057: 5055: 5053: 4980: 4851: 4849: 4847: 4845: 4843: 4841: 4839: 4837: 4835: 4833: 4710: 4708: 4590: 4406: 4404: 4402: 4400: 3894:'s take on "The Goat and Her Three Kids", 2917:, into a character of his satirical poems 2497:"), the Bald Man as a popular view of the 2388:dedicated by Stan to those who honor God, 2169:Part of Ion Creangă's contribution to the 1630:In 1887, the National Liberal Ministry of 974:, which saw print in 1868 under the title 461:, collectively known as his "corrosives". 8379:Anii treizeci. Extrema dreaptă românească 8225:, Clermont-Ferrand, 2005, p. 59–71. 7351: 7071:"Mihai Eminescu în iconografia românilor" 6594: 6390: 6388: 6173: 6166: 6164: 6162: 5981: 5979: 5977: 5975: 5973: 5782: 5739: 5737: 5646: 5644: 5571: 5569: 5218: 4968: 4542: 4530: 4497: 4413: 4390: 4388: 4386: 4067: 3886:'s variant of "Harap Alb" (with music by 3286:and sexually explicit literature through 1107:intervened to quell a separatist riot in 1049:Isaia Vicol Dioclias into the service of 808:that was consecrated by his biographers. 788:in 1854. After having been registered as 667:("Nică of Ștefan of Petru", occasionally 301: 8734:Free and Independent Faction politicians 8714:People from the Principality of Moldavia 8501:"The Mother with Three Daughters-in-Law" 7607: 7270: 6716:Limba română vorbită în Moldova istorică 6344: 6254: 6252: 6250: 6143: 6141: 6139: 6074: 6058: 6056: 6054: 5956: 5908: 5906: 5904: 5550: 5548: 5546: 5544: 5525: 5523: 5521: 5519: 5517: 5515: 5513: 5511: 5509: 5454: 5452: 5383: 5381: 5379: 5285: 5283: 5166: 5164: 5109: 5107: 5105: 5103: 4961: 4959: 4779: 4738: 4666: 4664: 4662: 4652: 4650: 4384: 4382: 4380: 4378: 4376: 4374: 4372: 4370: 4368: 4366: 4271: 4212: 4141: 4125: 4123: 4121: 4119: 4117: 4115: 3994:Ion Creangă Pedagogical State University 3811:, it featured a Postmodern reworking of 3739: 3527:, while "Harap Alb" became a project of 3341: 3266:on the Romanian writer, originally as a 2998: 2870:Estate, family and early cultural impact 2853:, a pornographic leaflet circulating in 2620:school would discourage any candidate." 2516: 2337: 1998: 1563: 1539: 1427: 1301: 1185: 1067: 904: 688:("The House in Humulești"), painting by 678: 651:, the boy was known to the community as 553: 8550:Folklore and Mythology Electronic Texts 7476:"Cu ochii copiilor, pentru bucuria lor" 7308: 7161:Membrii post-mortem al Academiei Române 6457: 5355:Ornea (1998), p. 124, 238–239, 252 5292: 5182: 5050: 5016: 5014: 4830: 4705: 4397: 4113: 4111: 4109: 4107: 4105: 4103: 4101: 4099: 4097: 4095: 4033: 4031: 4029: 4027: 4025: 4023: 4021: 3412:perspective was written by philosopher 3388:. The following year, at the height of 3115:published a specialized magazine named 3111:Creangă". During the 1910s, folklorist 2810:bordered on Creangă's contributions to 2164: 1712:issued a similar verdict, commenting: " 1283:, posthumously celebrated as Romania's 441:"). Widely seen as masterpieces of the 14: 8591: 8490:"Danillo Nonsuch" ("Dănilă Prepeleac") 8446: 6385: 6159: 5970: 5734: 5641: 5566: 5482:American, British and Canadian Studies 2995:Early 20th century and interwar echoes 2309:A similar perspective was favored by " 2253:The Mother with Three Daughters-in-Law 1434:The Mother with Three Daughters-in-Law 1043:Pantelimon Church, he was welcomed by 777:in the class of priest and theologian 717:off the street and conscripted by the 435:The Mother with Three Daughters-in-Law 8719:19th-century Eastern Orthodox priests 8535:DXARTS/CARTAH Electronic Text Archive 8071:"Relatare despre un București altfel" 7968:Fratele mai deștept al lui Kalașnikov 7621:"Copilăria: o recuperare postmodernă" 7602:DXARTS/CARTAH Electronic Text Archive 6247: 6136: 6051: 5901: 5817:Călinescu, p. 430, 479, 493, 449 5541: 5506: 5449: 5376: 5280: 5161: 5100: 4956: 4812:"Ion Creangă între natură și cultură" 4659: 4647: 4363: 3996:, founded on the basis of Chișinău's 3278:Creangă reader of 1938, published by 2942:, one of the writer's two grandsons, 2504: 2342:Depiction of Hell in an 18th-century 350: 8348:'s George Bariț Institute of History 8315:De la proletcultism la postmodernism 8261:Trecute vieți de fanți și de birlici 8223:Presses Universitaires Blaise Pascal 8124:, Swedenborg Press, New York, 2007. 7822:"Casa lui Creangă scoasă la vânzare" 6743:"The Museum of the Romanian Village" 5613:Cervantès conteur. Écrits et paroles 5593:Vianu, Vol. II, p. 216–221, 229 5253:"Mormântul scriitorului Ion Creangă" 5011: 4092: 4055:Călinescu, p. 477, 517, 974–975 4018: 3316:Creangă inspired a 1920 painting by 2623: 2358:Several of Creangă's characteristic 2334:Devil-themed stories and "Harap Alb" 2190:takes on the themes and purposes of 1969: 1938: 1535: 1532:("Rules of the Romanian Language"). 1294: 8285:, New York, 1984, p. 239–252. 6669:"Bojdeuca scriitorului Ion Creangă" 3874:'s Moldovan-Romanian co-production 3646:). Initially, his writings, titled 2406:Another account in this series is " 1743:in the face of criticism from more 1690: 24: 8609:Romanian collectors of fairy tales 8383:Editura Fundației Culturale Române 8183:, Editura Minerva, Bucharest, 1986 7722:Bibliographic Guide to Music, 1978 7681:database; retrieved August 3, 2009 7305:database; retrieved August 3, 2009 6684:database; retrieved August 3, 2009 5268:database; retrieved August 3, 2009 3801:Povestea poveștilor generației '80 3337: 3166:dramatized a section of Creangă's 3139:, whose didactic children's story 1259:who had earlier leased one of the 453:and an original contribution to a 25: 8770: 8654:Romanian male short story writers 8463: 8429:Encyclopedia of Erotic Literature 8143:Central European University Press 6857:Aurelian I. Popescu, postface to 6199:Constantinescu, p. 68–69, 71 5242:"Bustul scriitorului Ion Creangă" 3784:nominated Creangă 43rd among the 3634:(which, as the larger section of 2300:-like patrons of the wilderness ( 2214:argues, they also illustrate the 1988:Lord, give me that I did not own, 1103:was selected to replace him, the 537:. His direct descendants include 425:indebted to conventional forms (" 397:. Creangă's main contribution to 8634:19th-century Romanian memoirists 8581: 8082: 8057: 8035: 8003: 7981: 7952: 7927: 7894: 7840: 7811: 7789: 7749: 7734: 7715: 7684: 7665: 7652:Un hectar de umbră pentru Sahara 7639: 7580: 7558: 7526: 7501: 7465: 7456: 7385: 7376: 7342: 7261: 7252: 7243: 7234: 7212: 7203: 7171: 7150: 7121: 7104: 7082: 7060: 7051: 7034: 7018: 6986: 6977: 6974:Cernat, p. 76, 143, 200–201 6968: 6959: 6939: 6930: 6921: 6912: 6903: 6893:, Madison, 1998, p. 16sqq. 6881:, "The Vampire in Roumania", in 6872: 6859:Constantin S. Nicolăescu-Plopșor 6851: 6824: 6821:Călinescu, p. 635, 726, 930 6815: 6806: 6797: 6788: 6779: 6752: 6732: 6708: 6687: 6647: 6638: 6629: 6585: 6518: 6509: 6500: 6491: 6482: 6473: 6448: 6439: 6430: 6421: 6397: 6315: 6306: 6297: 6288: 6279: 6270: 6261: 6238: 6229: 6220: 6211: 6202: 6193: 6150: 6065: 6042: 6039:Braga, p. 209, 210, 212–213 6033: 6024: 6015: 6006: 5997: 5988: 5947: 5938: 5915: 5892: 5883: 5874: 5847: 5838: 5829: 5820: 5811: 5802: 5773: 5764: 5755: 5746: 5725: 5716: 5707: 5698: 5689: 5680: 5671: 5662: 5653: 5605: 5596: 5587: 5578: 5557: 5477:Lucian Blaga University of Sibiu 5310:Mecu & Mecu, p. 186–187 4759:"Muzeul Literaturii Române Iași" 3744:Creangă on a 2014 Romanian stamp 3105:Constantin S. Nicolăescu-Plopșor 632:, as well as Smaranda's father, 375:. A main figure in 19th-century 333: 304:⁠–⁠1873) 49: 8754:Burials at Eternitatea cemetery 8046:"Povestea și regizorul-păpușar" 7992:"Lectura—plăcere sau supliciu?" 7295:Complexul Muzeal Județean Neamț 7135:"Canonul literar proletcultist" 7015:, Vol. III, Nr. 110, March 2006 6803:Vianu, Vol. II, p. 213–214 6644:Vianu, Vol. II, p. 212–213 6506:Oișteanu, p. 189, 223, 349 6488:Călinescu, p. 486–487, 488 6021:Călinescu, p. 482–483, 484 5713:Vianu, Vol. I, p. 304, 306 5695:Călinescu, p. 487–488, 975 5619:, Madrid, 1989, p. 81–82. 5532: 5497: 5488: 5461: 5440: 5431: 5422: 5413: 5404: 5367: 5358: 5349: 5340: 5331: 5322: 5313: 5304: 5271: 5209: 5200: 5173: 5152: 5149:Vianu, Vol. II, p. 211–212 5143: 5134: 5125: 5116: 5091: 5082: 5073: 5064: 5041: 5032: 5023: 4947: 4938: 4929: 4920: 4911: 4902: 4893: 4884: 4875: 4770: 4717: 4696: 4673: 4638: 4581: 4521: 4354: 4345: 4336: 4318:"Nonconformisme celebre (1997)" 4262: 4203: 4194: 3849:"; a year later, his colleague 3754:dissolution of the Soviet Union 3660:Soviet occupation of Bessarabia 3642:, and later became independent 3573:as the grown-up narrator), and 3488:during 1984–1989. In 1965, the 3373:Censorship in Communist Romania 3135:. Another such author was poet 2946:, became one of the celebrated 675:Childhood, youth and ordination 297: 8684:Romanian educational theorists 8122:Paganism in Roumanian Folklore 7324:"Bijuteria de pe Valea Ozanei" 7143:, Nr. 27/2008 (republished by 6515:Ornea (1998), p. 237, 252 5835:Călinescu, p. 56, 487–488 4333:, Vol. V, Nr. 26, January 2008 4132: 4083: 4058: 4049: 4040: 4009: 3609:'s biographical film of 1989, 3543:(a celebrated contribution by 3490:Ion Creangă Children's Theater 3186:, who adapted, respectively, " 2963:evolution of standard Romanian 1889:", which contained "hilarious 1820:members Eminescu, Slavici and 1747:traditionalists. Nonetheless, 1611:magazine. This occurred after 1360:meeting of 1871, during which 859:, effected by the election of 725:portray as a drunk, died from 13: 1: 8739:Romanian political candidates 8565:Works by or about Ion Creangă 8520:"The Tale of Ionică the Fool" 8456:No. 2(38). pp. 520–525. 8111: 7283:"Muzeul Memorial Ion Creangă" 7093:"Grădina busturilor rătăcite" 6891:University of Wisconsin Press 6722:, Leipzig, 2002, p. 31. 6427:Ornea (1998), p. 242–243 6267:Ornea (1998), p. 235–236 6244:Constantinescu, p. 62–63 6083:Constantinescu, p. 70–71 6003:Constantinescu, p. 67–68 5967:Constantinescu, p. 66–67 5761:Ornea (1998), p. 240–244 5410:Ornea (1998), p. 239–241 5392:Romania: Borderland of Europe 4953:Ornea (1998), p. 232–233 4935:Ornea (1998), p. 230–232 4926:Ornea (1998), p. 230–231 4908:Ornea (1998), p. 234–236 4608:"Mărturii despre Ion Creangă" 4506:Ornea (1998), p. 233–234 4351:Ornea (1998), p. 233–236 3735: 3484:in the immediate vicinity of 3361:During Romania's restrictive 2362:are infused with themes from 1957:The mouth will laugh for pie, 1725:"diversity" and "tolerance". 1216:altogether and began wearing 1130:("Not even a needle from the 8659:Romanian short story writers 8360:University of Nebraska Press 6869:, Craiova, 1987, p. 145 6720:Leipziger Universitätsverlag 6541:"Erosul ca formă a revoltei" 6405:The Making of Eastern Europe 6312:Braga, p. 206, 208, 212 6012:Braga, p. 207, 210, 212 5038:Mecu & Mecu, p. 187 4917:Mecu & Mecu, p. 189 4176:"O monografie spectaculoasă" 3915:Ion Creangă National College 3819:, a leading theorist of the 3638:, had been part of interwar 2806:The narrative approaches of 2513:Childhood Memories (Creangă) 1977:Dă-mi, Doamne, ce n-am avut, 1864:in what became the standard 1839:Narrative style and language 1089:Free and Independent Faction 1006:, with a naïve piece titled 869:. Having been employed as a 819:on his colleagues, and even 779:Isaia "Popa Duhu" Teodorescu 548: 477:Free and Independent Faction 7: 8644:19th-century Romanian poets 8604:Romanian children's writers 8580:(public domain audiobooks) 8480:Romanian Cultural Institute 7786:; retrieved August 16, 2009 7706:National Library of Moldova 7604:; retrieved August 16, 2009 7493:September 11, 2011, at the 7481:September 11, 2011, at the 7348:Lamb, p. 243, 248, 249 7329:September 20, 2011, at the 6965:Călinescu, p. 801, 807 6611:"Dacă talent nu e ..." 6303:Călinescu, p. 317, 485 6217:Vianu, Vol. II, p. 220 6071:Vianu, Vol. II, p. 215 5779:Vianu, Vol. II, p. 214 5638:Călinescu, p. 480, 488 5437:Vianu, Vol. II, p. 217 5301:Vianu, Vol. II, p. 213 5197:Vianu, Vol. II, p. 212 5061:Vianu, Vol. II, p. 211 4864:"Poveștile cu poale-n brîu" 4714:Vianu, Vol. II, p. 209 4644:Vianu, Vol. II, p. 207 4527:Braga, p. 205–206, 215 4410:Vianu, Vol. II, p. 208 4200:Călinescu, p. 477, 479 4080:Călinescu, p. 477, 478 3652:Moldavian Autonomous Region 3236:communities from Moldavia. 3192:The Goat and Her Three Kids 3093:Nicolae Constantin Batzaria 2223:The Goat and Her Three Kids 1404:, as well as the so-called 1314:identify it as a gift from 839:, in Moldavia's capital of 665:Nică al lui Ștefan a Petrei 431:The Goat and Her Three Kids 379:, he is best known for his 357:Nică al lui Ștefan a Petrei 10: 8775: 8729:Clergy removed from office 8166:, 1987, p. 199–220. 8017:"Râzi tu, râzi, Harap-Alb" 7827:December 20, 2009, at the 7782:February 20, 2008, at the 7545:February 20, 2012, at the 7300:February 17, 2009, at the 6616:December 10, 2008, at the 6546:February 13, 2009, at the 6258:Constantinescu, p. 62 6156:Călinescu, p. 484–485 6147:Constantinescu, p. 70 6062:Constantinescu, p. 69 6030:Călinescu, p. 482–483 5994:Constantinescu, p. 68 5935:Călinescu, p. 483–484 5912:Constantinescu, p. 65 5889:Constantinescu, p. 64 5731:Călinescu, p. 974–975 5668:Vianu, Vol. I, p. 306 5659:Călinescu, p. 487–488 5494:Călinescu, p. 480–481 5428:Călinescu, p. 477–514 5158:Călinescu, p. 445–446 5020:Constantinescu, p. 61 4977:Călinescu, p. 479–480 4767:; retrieved August 3, 2009 4613:November 15, 2010, at the 4539:Călinescu, p. 478–479 4484:September 2, 2009, at the 3470:Johann Wolfgang von Goethe 3446:and his celebrated volume 3280:Editura Fundațiilor Regale 2913:, who transformed him, as 2825:Two stories with explicit 2697:, a representative to the 2510: 2313:". Here, the theme echoes 1796:" peasanthood. Similarly, 1576:By the 1880s, Creangă had 1140:Romanian Deputies' Chamber 849:church of the Forty Saints 781:, Creangă was sent to the 29: 8724:Romanian Orthodox priests 8664:Romanian textbook writers 7914:January 21, 2010, at the 7764:October 23, 2006, at the 7429:December 2, 2008, at the 7057:Ornea (1995), p. 443 6927:Ornea (1998), p. 238 6767:Columbia University Press 6445:Ornea (1998), p. 242 6276:Ornea (1998), p. 235 5826:Ornea (1998), p. 243 5770:Ornea (1998), p. 241 5704:Călinescu, p. 10, 24 5458:Ornea (1998), p. 244 5446:Ornea (1998), p. 229 5088:Ornea (1998), p. 234 4965:Ornea (1998), p. 236 4670:Ornea (1998), p. 231 4181:November 2, 2010, at the 3843:Relatare despre Harap Alb 3758:Moldova–Romania relations 3418:Creangă și Creanga de aur 3259:published the first-ever 3172:Catiheții de la Humulești 3141:Într-un cuib de rândunică 2864: 2608:as proof of the author's 1463:experimental psychologist 1253:Moldavian regional speech 1008:Păsărica în timpul iernii 669:Nic-a lui Ștefan a Petrei 332: 327: 311: 281: 258: 187: 179: 158: 148: 140: 123: 112: 88: 57: 48: 41: 8619:Romanian fantasy writers 8614:Romanian erotica writers 8546:University of Pittsburgh 8531:University of Washington 8054:, Nr. 103, February 2002 7598:University of Washington 7417:August 26, 2011, at the 7405:August 26, 2011, at the 7288:August 15, 2006, at the 4872:, Nr. 462, February 2009 4003: 3778:Patriarch of All Romania 3630:, and especially in the 3511:A new publishing house, 3349:'s bust of Ion Creangă ( 3087:dialect. Similarly, the 2708:, and the newly elected 2704:which voted in favor of 2682:community's instinctual 2410:", whose protagonist, a 1699:. Seeking to revitalize 1522:Geografia județului Iași 1085:Romanian liberal current 580:Principality of Moldavia 564:Principality of Moldavia 558:Ion Creangă was born in 75:Principality of Moldavia 8709:People from Târgu Neamț 8689:Romanian schoolteachers 8516:"The Tale of All Tales" 8512:"The Purse a' Tuppence" 7700:August 4, 2009, at the 7555:, Nr. 880, January 2007 7523:, Nr. 290, October 2005 7258:Boia (2001), p. 80 7249:Mihăilescu, p. 158 7190:August 4, 2012, at the 6983:Cernat, p. 76, 143 6887:The Vampire: A Casebook 6674:April 19, 2023, at the 6454:Braga, p. 208, 211 6285:Gârbea, p. 127–128 5485:, Vol. V, December 2004 5258:April 23, 2017, at the 5247:April 22, 2017, at the 5236:April 23, 2017, at the 3762:potential reunification 2348:Sfântul Elefterie Vechi 2225:", written mainly as a 2080:wisdom" and "energetic 2014:Pompiliu Constantinescu 1979:Să mă mir ce m-a găsit. 1948:De vărzare și mai tare. 1685: 1128:Nici un ac de la jidani 909:Ion Creangă as a deacon 765:Grigore Alexandru Ghica 352:[iˈonˈkre̯aŋɡə] 348:Romanian pronunciation: 8694:Christian creationists 8679:Realism (art movement) 8097:, de Ziua Păcălelilor" 8044:Eugenia Anca Rotescu, 8022:July 28, 2011, at the 7626:July 21, 2011, at the 7209:Braga, p. 199–200 7005:July 21, 2011, at the 6936:Călinescu, p. 785 6918:Călinescu, p. 705 6909:Călinescu, p. 714 6635:Voinescu, p. 1128 6479:Braga, p. 208–209 6470:Voinescu, p. 1127 6372:July 28, 2011, at the 6331:July 28, 2011, at the 6170:Călinescu, p. 485 6123:Ana-Maria Plămădeală, 6048:Călinescu, p. 483 5985:Călinescu, p. 484 5844:Braga, p. 207–213 5743:Călinescu, p. 975 5650:Călinescu, p. 486 5584:Călinescu, p. 667 5575:Călinescu, p. 482 5554:Călinescu, p. 488 5538:Călinescu, p. 631 5529:Călinescu, p. 481 5289:Călinescu, p. 397 5179:Călinescu, p. 546 5170:Călinescu, p. 545 5113:Călinescu, p. 480 5097:Călinescu, p. 445 4817:April 5, 2009, at the 4394:Călinescu, p. 479 4323:July 21, 2011, at the 4249:July 28, 2011, at the 4129:Călinescu, p. 478 4037:Călinescu, p. 477 3786:100 greatest Romanians 3745: 3682:, was assigned to the 3601:, which was based on " 3566:Amintiri din copilărie 3553:Romanian film industry 3358: 3071:Constantin Sandu-Aldea 3004: 2888:Făt-frumos, fiul iepei 2820:Moș Nichifor Coțcariul 2808:Moș Nichifor Coțcariul 2790:Moș Nichifor Coțcariul 2759:Moș Nichifor Coțcariul 2748:Moș Nichifor Coțcariul 2706:Moldo-Wallachian union 2528: 2366:, fictionalizing God, 2355: 2044:, and specifically to 2042:Renaissance literature 1986: 1976: 1973: 1955: 1946:De plăcinte râde gura, 1945: 1942: 1845:Moldavian regionalisms 1730:Ion Popovici-Bănățeanu 1652:Făt-frumos, fiul iepei 1605:group, rallied around 1573: 1561: 1530:Regulile limbei române 1319: 1212:. He relinquished his 1200: 1113:Moldavian Metropolitan 1076: 930:Trei Ierarhi Monastery 910: 692: 663:, or more formally as 627:Moldavian Metropolitan 594:and the links between 8744:Censorship in Romania 8396:Junimea și junimismul 8013:Marina Constantinescu 7883:de Creangă la export" 7367:"Ion Creangă Theater" 6539:Constantin Cubleșan, 6367:"Un soi de revizuiri" 5944:Beza, p. 104–105 5503:Călinescu, p. 10 5471:Memories of Childhood 4656:Oișteanu, p. 140 4606:Cornelia Ștefănescu, 4570:"Preoția lui Creangă" 3950:Drobeta-Turnu Severin 3743: 3345: 3107:a reputation as "the 3046:Ștefan Octavian Iosif 3002: 2971:Învățătoriul copiilor 2899:Gheorghe T. Kirileanu 2583:his grandfather and " 2578:players reenacting a 2546:first-person narrator 2520: 2341: 2179:children's literature 1999:Creangă's specificity 1621:Învățătoriul copiilor 1567: 1543: 1428:Literary consecration 1305: 1189: 1071: 1012:Învățătoriul copiilor 980:Romanian alphabetical 908: 682: 554:Background and family 403:children's literature 200:children's literature 8749:People with epilepsy 8624:Romanian folklorists 8574:Works by Ion Creangă 8556:Works by Ion Creangă 8478:translations in the 8160:Povești și povestiri 7946:Săptămâna Financiară 7710:Magazin Bibliografic 7536:Gabriela Adameșteanu 7474:György Györfi-Deák, 7396:"Cronica dramatică: 7042:"Loosening the Lace" 6705:, September 26, 2006 6409:Macmillan Publishers 6226:Djuvara, p. 226 5752:Djuvara, p. 227 5131:Nastasă, p. 110 3882:. Some of these are 3603:The Story of the Pig 3331:Rotunda Scriitorilor 3148:modernist literature 3091:activist and author 2967:Metodă nouă ... 2880:Grigore Alexandrescu 2736:Romantic nationalist 2265:The Story of the Pig 2165:Most prominent tales 2121:comparing it to the 2062:Transylvanian School 1925:subjective narration 1660:Eternitatea Cemetery 1570:Eternitatea Cemetery 1475:phonemic orthography 1459:Grigore Alexandrescu 996:Metodă nouă ... 895:ecclesiastical court 829:traditional costumes 770:Regulamentul Organic 523:. These include the 427:The Story of the Pig 117:Eternitatea Cemetery 18:Ion Creangă (writer) 8649:Romanian male poets 8639:Romanian memoirists 8447:Relevant literature 8385:, Bucharest, 1995. 8321:, Constanța, 2002. 8313:Florin Mihăilescu, 8267:, Bucharest, 2008. 8246:, Bucharest, 1995. 8219:Figures du vieillir 8207:, Bucharest, 2007. 8095:Povestea Poveștilor 8051:Observator Cultural 7891:, December 20, 2006 7881:Povestea Poveștilor 7862:, Nr. 20, July 2000 7859:Observator Cultural 7808:, September 3, 2009 7770:Romanian Television 7746:, May 9, 1990, p. 4 7587:Charles Upson Clark 7520:Observator Cultural 6863:Tivisoc și Tivismoc 6591:Gârbea, p. 130 6553:Convorbiri Literare 5277:Nastasă, p. 65 5008:, February 28, 2006 4869:Observator Cultural 4862:Șerban Anghelescu, 4575:Convorbiri Literare 4568:Constantin Coroiu, 4494:, December 20, 2005 3904:Povestea poveștilor 3855:Romanian curriculum 3813:Povestea poveștilor 3782:Romanian Television 3774:Metropolitan Daniel 3760:, and moves toward 3513:Editura Ion Creangă 3466:William Shakespeare 3272:University of Paris 2901:, was published by 2893:Convorbiri Literare 2890:, was published by 2799:Convorbiri Literare 2715:Alexandru Ioan Cuza 2521:The second part of 2364:Christian mythology 2294:liturgical calendar 2198:-type challenge, a 1784:An exception among 1701:Romanian literature 1619:publicly ridiculed 1568:Creangă's grave in 1544:Creangă (top) with 1448:Convorbiri Literare 1443:Convorbiri Literare 1178:Defrocking and the 965:corporal punishment 861:Alexandru Ioan Cuza 377:Romanian literature 8669:Romanian fabulists 8629:Romanian humorists 8506:Childhood Memories 8495:Childhood Memories 8488:(various issues): 8145:, Budapest, 2001. 7990:Cristina Lazurca, 7837:, January 21, 2009 7462:Braga, p. 216 7447:"All Those Images" 7394:Sanda Diaconescu, 7267:Braga, p. 199 7110:Narcis Dorin Ion, 7091:Constantin Ostap, 6812:Braga, p. 213 6794:Braga, p. 215 6403:Philip Longworth, 6394:Braga, p. 212 6324:Simona Vasilache, 5686:Braga, p. 214 5677:Braga, p. 200 5000:"Balurile Junimii" 4242:Gabriela Ursachi, 3746: 3718:Constantin Condrea 3701:Se caută un paznic 3612:Un bulgăre de humă 3607:Nicolae Mărgineanu 3598:Povestea dragostei 3588:De-aș fi Harap Alb 3571:Ștefan Ciubotărașu 3545:Hungarian-Romanian 3454:national communist 3392:, official critic 3359: 3132:Înșir'te mărgărite 3123:Symbolist movement 3101:Turkish literature 3034:Garabet Ibrăileanu 3032:, among which was 3005: 2679:capital punishment 2533:Childhood Memories 2529: 2524:Childhood Memories 2506:Childhood Memories 2472:("Drink-All") and 2420:Ukrainian folklore 2356: 2094:Danube flood plain 1921:Garabet Ibrăileanu 1858:Romanian phonology 1831:petite bourgeoisie 1822:Ion Luca Caragiale 1644:Nicolae Beldiceanu 1574: 1562: 1453:Childhood Memories 1398:Alexandru Lambrior 1362:Gheorghe Costaforu 1320: 1269:Conservative Party 1225:Education Minister 1201: 1077: 915:University of Iași 911: 719:Moldavian military 698:Childhood Memories 693: 685:Casa din Humulești 576:Eastern Carpathian 502:Ion Luca Caragiale 475:politics with the 382:Childhood Memories 323:December 19, 1860) 107:Kingdom of Romania 8560:Project Gutenberg 8368:978-0-8032-2098-0 8362:, Lincoln, 2009. 8273:978-973-23-1977-2 8265:Cartea Românească 8213:978-973-23-1911-6 8205:Cartea Românească 8102:Evenimentul Zilei 7879:"Liiceanu scoate 7693:Gheorghe Vrabie, 7445:Arina Stoenescu, 7382:Lamb, p. 248 7145:România Culturală 7069:Cornel Munteanu, 6775:978-0-231-13306-7 6702:Evenimentul Zilei 6572:Mircea Iorgulescu 6363:Gheorghe Grigurcu 5808:Lamb, p. 243 5791:Simona Brânzaru, 5617:Casa de Velázquez 4808:Gheorghe Grigurcu 4491:Jurnalul Național 3900:Prostia omenească 3867:Tusea și junghiul 3794:pre-emption right 3766:Bridge of Flowers 3684:Alley of Classics 3658:). Following the 3648:Moldavian Stories 3577:(focusing on the 3498:Zoe Anghel Stanca 3422:Nicolae Ceaușescu 3406:Nicolae Manolescu 3390:Soviet occupation 3367:socialist realism 3351:Alley of Classics 3176:Alfred Mendelsohn 3156:Șerban Cioculescu 2948:modern architects 2847:Mircea Iorgulescu 2812:erotic literature 2788:The reception of 2662:Gheorghe Grigurcu 2660:". His colleague 2642:Vasile Alecsandri 2624:Didactic writings 2572:opposed the loud 2428:Till Eulenspiegel 2344:Romanian Orthodox 2123:crucifixion scene 2058:Ion Budai-Deleanu 2046:François Rabelais 2026:Nicolae Manolescu 1996: 1995: 1965: 1964: 1866:literary language 1810:ethnic minorities 1672:Dumitru Evolceanu 1623:over its take on 1536:Illness and death 1498:Samson Bodnărescu 1390:Ioan Vântură-Țară 1308:Romanian Cyrillic 1214:clerical clothing 1083:group within the 988:Cyrillic spelling 883:Sofronie Miclescu 707:Cyrillic alphabet 490:literary society 469:Romanian Orthodox 459:erotic literature 451:folkloric sources 443:Romanian language 341: 340: 315:Constantin (born 259:Literary movement 205:erotic literature 133:Ioan Vântură-Țară 92:December 31, 1889 32:Creangă (surname) 16:(Redirected from 8766: 8585: 8584: 8569:Internet Archive 8415:Scriitori români 8346:Romanian Academy 8334:Lucian Nastasă, 8333: 8187:George Călinescu 8177:George Călinescu 8106: 8090: 8086: 8080: 8076:Ziarul Financiar 8065: 8061: 8055: 8043: 8039: 8033: 8029:România Literară 8011: 8007: 8001: 7989: 7985: 7979: 7975:Ziarul Financiar 7960: 7956: 7950: 7949:, April 24, 2009 7935: 7931: 7925: 7921:România Literară 7902: 7898: 7892: 7876: 7872: 7863: 7848: 7844: 7838: 7819: 7815: 7809: 7797: 7793: 7787: 7757: 7753: 7747: 7738: 7732: 7719: 7713: 7692: 7688: 7682: 7673: 7669: 7663: 7662:, Nr. 11-12/2005 7647: 7643: 7637: 7618: 7614: 7605: 7584: 7578: 7566: 7562: 7556: 7534: 7530: 7524: 7509: 7505: 7499: 7473: 7469: 7463: 7460: 7454: 7443: 7434: 7393: 7389: 7383: 7380: 7374: 7360: 7349: 7346: 7340: 7321: 7317: 7306: 7281: 7277: 7268: 7265: 7259: 7256: 7250: 7247: 7241: 7238: 7232: 7231:, Nr. 11-12/2006 7220: 7216: 7210: 7207: 7201: 7197:România Literară 7181:Ioana Pârvulescu 7179: 7175: 7169: 7166:Romanian Academy 7158: 7154: 7148: 7140:România Literară 7129: 7125: 7119: 7108: 7102: 7101:, August 5, 2008 7090: 7086: 7080: 7076:Foaia Românească 7068: 7064: 7058: 7055: 7049: 7040:Adrian Solomon, 7038: 7032: 7022: 7016: 6994: 6990: 6984: 6981: 6975: 6972: 6966: 6963: 6957: 6943: 6937: 6934: 6928: 6925: 6919: 6916: 6910: 6907: 6901: 6876: 6870: 6867:Scrisul Românesc 6855: 6849: 6839:Brill Publishers 6828: 6822: 6819: 6813: 6810: 6804: 6801: 6795: 6792: 6786: 6783: 6777: 6756: 6750: 6736: 6730: 6712: 6706: 6695: 6691: 6685: 6667: 6663: 6654: 6651: 6645: 6642: 6636: 6633: 6627: 6623:România Literară 6607:Alex. Ștefănescu 6605: 6601: 6592: 6589: 6583: 6570: 6566: 6557: 6538: 6534: 6525: 6522: 6516: 6513: 6507: 6504: 6498: 6495: 6489: 6486: 6480: 6477: 6471: 6468: 6455: 6452: 6446: 6443: 6437: 6434: 6428: 6425: 6419: 6401: 6395: 6392: 6383: 6379:România Literară 6361: 6357: 6342: 6338:România Literară 6326:"Drobul de sare" 6323: 6319: 6313: 6310: 6304: 6301: 6295: 6292: 6286: 6283: 6277: 6274: 6268: 6265: 6259: 6256: 6245: 6242: 6236: 6233: 6227: 6224: 6218: 6215: 6209: 6206: 6200: 6197: 6191: 6180: 6171: 6168: 6157: 6154: 6148: 6145: 6134: 6122: 6118: 6109: 6095: 6084: 6081: 6072: 6069: 6063: 6060: 6049: 6046: 6040: 6037: 6031: 6028: 6022: 6019: 6013: 6010: 6004: 6001: 5995: 5992: 5986: 5983: 5968: 5965: 5954: 5951: 5945: 5942: 5936: 5933: 5922: 5919: 5913: 5910: 5899: 5896: 5890: 5887: 5881: 5878: 5872: 5851: 5845: 5842: 5836: 5833: 5827: 5824: 5818: 5815: 5809: 5806: 5800: 5789: 5780: 5777: 5771: 5768: 5762: 5759: 5753: 5750: 5744: 5741: 5732: 5729: 5723: 5720: 5714: 5711: 5705: 5702: 5696: 5693: 5687: 5684: 5678: 5675: 5669: 5666: 5660: 5657: 5651: 5648: 5639: 5636: 5627: 5609: 5603: 5600: 5594: 5591: 5585: 5582: 5576: 5573: 5564: 5561: 5555: 5552: 5539: 5536: 5530: 5527: 5504: 5501: 5495: 5492: 5486: 5465: 5459: 5456: 5447: 5444: 5438: 5435: 5429: 5426: 5420: 5417: 5411: 5408: 5402: 5385: 5374: 5371: 5365: 5362: 5356: 5353: 5347: 5344: 5338: 5335: 5329: 5326: 5320: 5317: 5311: 5308: 5302: 5299: 5290: 5287: 5278: 5275: 5269: 5229: 5225: 5216: 5213: 5207: 5204: 5198: 5195: 5180: 5177: 5171: 5168: 5159: 5156: 5150: 5147: 5141: 5138: 5132: 5129: 5123: 5120: 5114: 5111: 5098: 5095: 5089: 5086: 5080: 5077: 5071: 5068: 5062: 5059: 5048: 5045: 5039: 5036: 5030: 5027: 5021: 5018: 5009: 4997: 4993: 4978: 4975: 4966: 4963: 4954: 4951: 4945: 4942: 4936: 4933: 4927: 4924: 4918: 4915: 4909: 4906: 4900: 4897: 4891: 4888: 4882: 4879: 4873: 4861: 4857: 4828: 4824:România Literară 4806: 4802: 4777: 4774: 4768: 4757: 4753: 4736: 4733: 4724: 4721: 4715: 4712: 4703: 4700: 4694: 4691: 4680: 4677: 4671: 4668: 4657: 4654: 4645: 4642: 4636: 4633: 4624: 4620:România Literară 4605: 4601: 4588: 4585: 4579: 4567: 4563: 4540: 4537: 4528: 4525: 4519: 4516: 4507: 4504: 4495: 4476: 4472: 4411: 4408: 4395: 4392: 4361: 4358: 4352: 4349: 4343: 4340: 4334: 4312: 4308: 4269: 4266: 4260: 4256:România Literară 4241: 4237: 4210: 4207: 4201: 4198: 4192: 4188:România Literară 4170: 4166: 4139: 4136: 4130: 4127: 4090: 4087: 4081: 4078: 4065: 4062: 4056: 4053: 4047: 4044: 4038: 4035: 4016: 4013: 3988:, is also named 3876:Dănilă Prepeleac 3670:prose pieces by 3619:) and Eminescu ( 3583:Ion Popescu-Gopo 3557:Elisabeta Bostan 3535:, earning him a 3414:Vasile Lovinescu 3398:Russian folklore 3386:Romanian Academy 3363:communist period 3326:Cișmigiu Gardens 3284:obscene language 3239:In stages after 3218:Benjamin Fondane 3160:Romanian theater 3152:Vladimir Streinu 2843:Geoffrey Chaucer 2839:Alex. Ștefănescu 2785:sold "poisons". 2750:and "corrosives" 2724:social criticism 2602:Romanian grammar 2538:Isaia Teodorescu 2424:German tradition 2376:Dănilă Prepeleac 2285:Cupid and Psyche 2018:Benjamin Fondane 1981: 1970: 1950: 1939: 1916:Viața Românească 1908:The recourse to 1891:double entendres 1879:Mihail Sadoveanu 1806:Romanian culture 1802:ethnonationalist 1691:Cultural context 1632:Dimitrie Sturdza 1526:Romanian grammar 1490:National Liberal 1378:Vladimir Streinu 1168:George Călinescu 1116:Calinic Miclescu 1111:, instigated by 1026:("A Story") and 957:education reform 949:education system 837:Socola Monastery 813:drinking culture 762:Moldavian Prince 612:George Călinescu 570:city, the on of 519:and neighboring 455:literary realism 415:Dănilă Prepeleac 354: 349: 337: 322: 320: 305: 303: 299: 96:(aged 52) ( 95: 84: 67: 65: 53: 39: 38: 21: 8774: 8773: 8769: 8768: 8767: 8765: 8764: 8763: 8589: 8588: 8582: 8485:Plural Magazine 8466: 8449: 8352:Andrei Oișteanu 8344:version at the 8331: 8319:Editura Pontica 8164:Editura Minerva 8114: 8109: 8105:, April 1, 2009 8091:Oana Botezatu, 8088: 8087: 8083: 8079:, June 20, 2008 8063: 8062: 8058: 8041: 8040: 8036: 8024:Wayback Machine 8009: 8008: 8004: 8000:, March 7, 2009 7997:Glasul Aradului 7987: 7986: 7982: 7958: 7957: 7953: 7933: 7932: 7928: 7916:Wayback Machine 7903:Tudorel Urian, 7900: 7899: 7895: 7877:Gabriela Lupu, 7874: 7873: 7866: 7846: 7845: 7841: 7829:Wayback Machine 7817: 7816: 7812: 7795: 7794: 7790: 7784:Wayback Machine 7766:Wayback Machine 7755: 7754: 7750: 7739: 7735: 7720: 7716: 7702:Wayback Machine 7690: 7689: 7685: 7671: 7670: 7666: 7645: 7644: 7640: 7633:Revista Sud-Est 7628:Wayback Machine 7616: 7615: 7608: 7585: 7581: 7567:Gabriela Lupu, 7564: 7563: 7559: 7547:Wayback Machine 7532: 7531: 7527: 7511:Michael Hăulică 7507: 7506: 7502: 7495:Wayback Machine 7483:Wayback Machine 7471: 7470: 7466: 7461: 7457: 7451:Plural Magazine 7444: 7437: 7431:Wayback Machine 7419:Wayback Machine 7407:Wayback Machine 7391: 7390: 7386: 7381: 7377: 7371:Plural Magazine 7361: 7352: 7347: 7343: 7331:Wayback Machine 7319: 7318: 7309: 7302:Wayback Machine 7290:Wayback Machine 7279: 7278: 7271: 7266: 7262: 7257: 7253: 7248: 7244: 7239: 7235: 7221:Iulian Băicuș, 7218: 7217: 7213: 7208: 7204: 7192:Wayback Machine 7177: 7176: 7172: 7156: 7155: 7151: 7127: 7126: 7122: 7116:Plural Magazine 7109: 7105: 7088: 7087: 7083: 7079:, February 2006 7066: 7065: 7061: 7056: 7052: 7046:Plural Magazine 7039: 7035: 7029:Plural Magazine 7023: 7019: 7007:Wayback Machine 6992: 6991: 6987: 6982: 6978: 6973: 6969: 6964: 6960: 6954:Plural Magazine 6944: 6940: 6935: 6931: 6926: 6922: 6917: 6913: 6908: 6904: 6877: 6873: 6856: 6852: 6831:Kemal H. Karpat 6829: 6825: 6820: 6816: 6811: 6807: 6802: 6798: 6793: 6789: 6784: 6780: 6757: 6753: 6747:Plural Magazine 6737: 6733: 6713: 6709: 6693: 6692: 6688: 6676:Wayback Machine 6665: 6664: 6657: 6652: 6648: 6643: 6639: 6634: 6630: 6618:Wayback Machine 6603: 6602: 6595: 6590: 6586: 6568: 6567: 6560: 6556:, December 2008 6548:Wayback Machine 6536: 6535: 6528: 6523: 6519: 6514: 6510: 6505: 6501: 6496: 6492: 6487: 6483: 6478: 6474: 6469: 6458: 6453: 6449: 6444: 6440: 6435: 6431: 6426: 6422: 6402: 6398: 6393: 6386: 6374:Wayback Machine 6359: 6358: 6345: 6333:Wayback Machine 6321: 6320: 6316: 6311: 6307: 6302: 6298: 6293: 6289: 6284: 6280: 6275: 6271: 6266: 6262: 6257: 6248: 6243: 6239: 6235:Beza, p. 9 6234: 6230: 6225: 6221: 6216: 6212: 6207: 6203: 6198: 6194: 6188:Plural Magazine 6182:Adrian Majuru, 6181: 6174: 6169: 6160: 6155: 6151: 6146: 6137: 6130:Revista Sud-Est 6120: 6119: 6112: 6106:Plural Magazine 6096: 6087: 6082: 6075: 6070: 6066: 6061: 6052: 6047: 6043: 6038: 6034: 6029: 6025: 6020: 6016: 6011: 6007: 6002: 5998: 5993: 5989: 5984: 5971: 5966: 5957: 5952: 5948: 5943: 5939: 5934: 5925: 5920: 5916: 5911: 5902: 5897: 5893: 5888: 5884: 5879: 5875: 5852: 5848: 5843: 5839: 5834: 5830: 5825: 5821: 5816: 5812: 5807: 5803: 5797:Plural Magazine 5790: 5783: 5778: 5774: 5769: 5765: 5760: 5756: 5751: 5747: 5742: 5735: 5730: 5726: 5721: 5717: 5712: 5708: 5703: 5699: 5694: 5690: 5685: 5681: 5676: 5672: 5667: 5663: 5658: 5654: 5649: 5642: 5637: 5630: 5610: 5606: 5601: 5597: 5592: 5588: 5583: 5579: 5574: 5567: 5562: 5558: 5553: 5542: 5537: 5533: 5528: 5507: 5502: 5498: 5493: 5489: 5466: 5462: 5457: 5450: 5445: 5441: 5436: 5432: 5427: 5423: 5418: 5414: 5409: 5405: 5386: 5377: 5372: 5368: 5363: 5359: 5354: 5350: 5345: 5341: 5336: 5332: 5327: 5323: 5318: 5314: 5309: 5305: 5300: 5293: 5288: 5281: 5276: 5272: 5260:Wayback Machine 5249:Wayback Machine 5238:Wayback Machine 5227: 5226: 5219: 5214: 5210: 5205: 5201: 5196: 5183: 5178: 5174: 5169: 5162: 5157: 5153: 5148: 5144: 5139: 5135: 5130: 5126: 5121: 5117: 5112: 5101: 5096: 5092: 5087: 5083: 5078: 5074: 5069: 5065: 5060: 5051: 5046: 5042: 5037: 5033: 5028: 5024: 5019: 5012: 4995: 4994: 4981: 4976: 4969: 4964: 4957: 4952: 4948: 4943: 4939: 4934: 4930: 4925: 4921: 4916: 4912: 4907: 4903: 4898: 4894: 4889: 4885: 4880: 4876: 4859: 4858: 4831: 4819:Wayback Machine 4804: 4803: 4780: 4775: 4771: 4755: 4754: 4739: 4734: 4727: 4722: 4718: 4713: 4706: 4701: 4697: 4692: 4683: 4678: 4674: 4669: 4660: 4655: 4648: 4643: 4639: 4634: 4627: 4615:Wayback Machine 4603: 4602: 4591: 4586: 4582: 4578:, December 2007 4565: 4564: 4543: 4538: 4531: 4526: 4522: 4517: 4510: 4505: 4498: 4486:Wayback Machine 4474: 4473: 4414: 4409: 4398: 4393: 4364: 4359: 4355: 4350: 4346: 4341: 4337: 4325:Wayback Machine 4310: 4309: 4272: 4267: 4263: 4251:Wayback Machine 4239: 4238: 4213: 4208: 4204: 4199: 4195: 4183:Wayback Machine 4168: 4167: 4142: 4137: 4133: 4128: 4093: 4088: 4084: 4079: 4068: 4063: 4059: 4054: 4050: 4045: 4041: 4036: 4019: 4014: 4010: 4006: 3896:Mihai Mălaimare 3892:Cristian Pepino 3862:Mircea Daneliuc 3817:Mircea Nedelciu 3750:1989 Revolution 3738: 3706:Moldovan cinema 3640:Greater Romania 3394:Barbu Lăzăreanu 3340: 3338:Under communism 3270:thesis for the 3261:French-language 3234:Jewish Romanian 3204:Eugen Lovinescu 3184:musical theater 3180:Alexandru Zirra 3164:I. I. Mironescu 2997: 2952:interwar period 2903:Editura Minerva 2872: 2867: 2752: 2626: 2610:anticlericalism 2548:in the form of 2515: 2509: 2336: 2275:Prince Charming 2196:rite of passage 2188:anthropological 2167: 2054:Petre Ispirescu 2001: 1992: 1989: 1983: 1978: 1961: 1958: 1952: 1947: 1910:oral literature 1841: 1693: 1688: 1591:mental disorder 1538: 1430: 1300: 1273:Lascăr Catargiu 1184: 1074:Golia Monastery 1051:Golia Monastery 903: 817:practical jokes 796:. According to 790:Ioan Ștefănescu 767:as part of the 677: 640:Neamț Monastery 596:ethnic Romanian 556: 551: 543:interwar period 421:"), as well as 393:, and his many 361:Ioan Ștefănescu 347: 318: 316: 307: 295: 291: 288: 287:Ileana Grigoriu 277: 254: 175: 136: 119:, Iași, Romania 101: 93: 78: 77: 69: 63: 61: 44: 35: 28: 23: 22: 15: 12: 11: 5: 8772: 8762: 8761: 8756: 8751: 8746: 8741: 8736: 8731: 8726: 8721: 8716: 8711: 8706: 8701: 8696: 8691: 8686: 8681: 8676: 8671: 8666: 8661: 8656: 8651: 8646: 8641: 8636: 8631: 8626: 8621: 8616: 8611: 8606: 8601: 8587: 8586: 8571: 8562: 8553: 8537: 8522: 8476: 8465: 8464:External links 8462: 8461: 8460: 8448: 8445: 8444: 8443: 8425: 8408: 8407: 8406: 8393: 8370: 8349: 8329: 8311: 8293: 8275: 8254: 8233: 8215: 8194: 8184: 8174: 8153: 8132: 8113: 8110: 8108: 8107: 8081: 8067:Stelian Țurlea 8056: 8034: 8002: 7980: 7978:, May 20, 2010 7951: 7926: 7893: 7864: 7839: 7834:România Liberă 7810: 7788: 7748: 7733: 7714: 7683: 7664: 7648:Aliona Grati, 7638: 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6854: 6848: 6847:90-04-12101-3 6844: 6840: 6836: 6832: 6827: 6818: 6809: 6800: 6791: 6782: 6776: 6772: 6768: 6764: 6760: 6755: 6749:, Nr. 24/2004 6748: 6744: 6740: 6739:Mircea Eliade 6735: 6729: 6728:3-936522-08-1 6725: 6721: 6717: 6711: 6704: 6703: 6698: 6694:(in Romanian) 6690: 6683: 6682: 6677: 6673: 6670: 6666:(in Romanian) 6662: 6660: 6650: 6641: 6632: 6626:, Nr. 40/2008 6625: 6624: 6619: 6615: 6612: 6608: 6604:(in Romanian) 6600: 6598: 6588: 6581: 6577: 6576:"Mărunțișuri" 6573: 6569:(in Romanian) 6565: 6563: 6555: 6554: 6549: 6545: 6542: 6537:(in Romanian) 6533: 6531: 6521: 6512: 6503: 6494: 6485: 6476: 6467: 6465: 6463: 6461: 6451: 6442: 6433: 6424: 6418: 6417:0-333-66804-9 6414: 6410: 6406: 6400: 6391: 6389: 6382:, Nr. 23/2003 6381: 6380: 6375: 6371: 6368: 6364: 6360:(in Romanian) 6356: 6354: 6352: 6350: 6348: 6341:, Nr. 44/2007 6340: 6339: 6334: 6330: 6327: 6322:(in Romanian) 6318: 6309: 6300: 6291: 6282: 6273: 6264: 6255: 6253: 6251: 6241: 6232: 6223: 6214: 6205: 6196: 6190:, 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5343: 5334: 5325: 5316: 5307: 5298: 5296: 5286: 5284: 5274: 5267: 5266: 5262:, entries in 5261: 5257: 5254: 5250: 5246: 5243: 5239: 5235: 5232: 5228:(in Romanian) 5224: 5222: 5212: 5203: 5194: 5192: 5190: 5188: 5186: 5176: 5167: 5165: 5155: 5146: 5137: 5128: 5119: 5110: 5108: 5106: 5104: 5094: 5085: 5076: 5067: 5058: 5056: 5054: 5044: 5035: 5026: 5017: 5015: 5007: 5006: 5001: 4996:(in Romanian) 4992: 4990: 4988: 4986: 4984: 4974: 4972: 4962: 4960: 4950: 4941: 4932: 4923: 4914: 4905: 4896: 4887: 4878: 4871: 4870: 4865: 4860:(in Romanian) 4856: 4854: 4852: 4850: 4848: 4846: 4844: 4842: 4840: 4838: 4836: 4834: 4827:, Nr. 44/2004 4826: 4825: 4820: 4816: 4813: 4809: 4805:(in Romanian) 4801: 4799: 4797: 4795: 4793: 4791: 4789: 4787: 4785: 4783: 4773: 4766: 4765: 4760: 4756:(in Romanian) 4752: 4750: 4748: 4746: 4744: 4742: 4732: 4730: 4720: 4711: 4709: 4699: 4690: 4688: 4686: 4676: 4667: 4665: 4663: 4653: 4651: 4641: 4632: 4630: 4623:, Nr. 15/2003 4622: 4621: 4616: 4612: 4609: 4604:(in Romanian) 4600: 4598: 4596: 4594: 4584: 4577: 4576: 4571: 4566:(in Romanian) 4562: 4560: 4558: 4556: 4554: 4552: 4550: 4548: 4546: 4536: 4534: 4524: 4515: 4513: 4503: 4501: 4493: 4492: 4487: 4483: 4480: 4475:(in Romanian) 4471: 4469: 4467: 4465: 4463: 4461: 4459: 4457: 4455: 4453: 4451: 4449: 4447: 4445: 4443: 4441: 4439: 4437: 4435: 4433: 4431: 4429: 4427: 4425: 4423: 4421: 4419: 4417: 4407: 4405: 4403: 4401: 4391: 4389: 4387: 4385: 4383: 4381: 4379: 4377: 4375: 4373: 4371: 4369: 4367: 4357: 4348: 4339: 4332: 4331: 4326: 4322: 4319: 4315: 4311:(in Romanian) 4307: 4305: 4303: 4301: 4299: 4297: 4295: 4293: 4291: 4289: 4287: 4285: 4283: 4281: 4279: 4277: 4275: 4265: 4259:, Nr. 50/2004 4258: 4257: 4252: 4248: 4245: 4240:(in Romanian) 4236: 4234: 4232: 4230: 4228: 4226: 4224: 4222: 4220: 4218: 4216: 4206: 4197: 4191:, Nr. 21/2000 4190: 4189: 4184: 4180: 4177: 4173: 4169:(in Romanian) 4165: 4163: 4161: 4159: 4157: 4155: 4153: 4151: 4149: 4147: 4145: 4135: 4126: 4124: 4122: 4120: 4118: 4116: 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D. Xenopol 2862: 2860: 2856: 2852: 2848: 2844: 2840: 2836: 2835:vulgar speech 2832: 2828: 2823: 2821: 2817: 2813: 2809: 2804: 2801: 2800: 2795: 2791: 2786: 2784: 2780: 2776: 2775:superstitions 2772: 2768: 2764: 2760: 2757: 2749: 2744: 2741: 2737: 2733: 2729: 2726:professed by 2725: 2720: 2716: 2713: 2712: 2707: 2703: 2701: 2696: 2692: 2687: 2685: 2680: 2676: 2672: 2668: 2663: 2659: 2653: 2651: 2647: 2643: 2639: 2635: 2631: 2621: 2619: 2615: 2611: 2607: 2603: 2597: 2595: 2591: 2586: 2581: 2577: 2576: 2571: 2565: 2563: 2559: 2555: 2554:frame stories 2551: 2547: 2543: 2539: 2535: 2534: 2526: 2525: 2519: 2514: 2507: 2502: 2500: 2496: 2492: 2488: 2483: 2477: 2475: 2471: 2467: 2463: 2462: 2457: 2453: 2449: 2444: 2443:coming of age 2440: 2435: 2433: 2429: 2425: 2421: 2417: 2413: 2409: 2408:Ivan Turbincă 2404: 2402: 2401: 2396: 2391: 2387: 2386: 2381: 2377: 2373: 2369: 2365: 2361: 2353: 2349: 2345: 2340: 2331: 2328: 2324: 2323: 2318: 2317: 2312: 2307: 2305: 2304: 2299: 2295: 2291: 2287: 2286: 2281: 2276: 2272: 2271: 2266: 2261: 2258: 2254: 2249: 2245: 2240: 2236: 2232: 2228: 2224: 2219: 2217: 2213: 2212:Tom Sandqvist 2209: 2205: 2201: 2197: 2193: 2189: 2185: 2180: 2176: 2172: 2162: 2160: 2156: 2155:Nasreddinisms 2152: 2147: 2142: 2140: 2139:Eduard Gruber 2136: 2132: 2128: 2124: 2119: 2115: 2111: 2106: 2104: 2099: 2095: 2091: 2090:Neagu Djuvara 2087: 2083: 2079: 2075: 2071: 2065: 2063: 2059: 2055: 2051: 2047: 2043: 2039: 2034: 2031: 2027: 2023: 2019: 2015: 2011: 2007: 1991: 1985: 1982: 1980: 1972: 1971: 1968: 1960: 1954: 1951: 1949: 1941: 1940: 1937: 1935: 1931: 1926: 1922: 1918: 1917: 1911: 1906: 1904: 1900: 1896: 1893:and indecent 1892: 1888: 1884: 1880: 1875: 1871: 1870:Wallachianism 1867: 1863: 1859: 1854: 1853:glossological 1850: 1846: 1836: 1833: 1832: 1825: 1823: 1819: 1815: 1811: 1807: 1803: 1799: 1795: 1791: 1787: 1782: 1780: 1779:Byzantine art 1776: 1770: 1768: 1764: 1760: 1755: 1750: 1746: 1742: 1739: 1735: 1731: 1726: 1724: 1719: 1715: 1711: 1707: 1702: 1698: 1683: 1682:among them). 1681: 1677: 1676:Nicolae Iorga 1673: 1669: 1665: 1661: 1657: 1653: 1649: 1645: 1641: 1637: 1633: 1628: 1626: 1622: 1618: 1614: 1613:Contemporanul 1610: 1609: 1608:Contemporanul 1604: 1600: 1596: 1592: 1586: 1584: 1579: 1571: 1566: 1559: 1555: 1554:balneotherapy 1551: 1547: 1542: 1533: 1531: 1527: 1523: 1519: 1515: 1511: 1507: 1503: 1499: 1495: 1491: 1486: 1484: 1480: 1476: 1472: 1467: 1466:Eduard Gruber 1464: 1460: 1455: 1454: 1449: 1445: 1444: 1439: 1435: 1425: 1423: 1422:Petre P. Carp 1419: 1415: 1411: 1407: 1403: 1399: 1395: 1391: 1386: 1381: 1379: 1375: 1374:A. D. Xenopol 1371: 1367: 1363: 1359: 1354: 1352: 1348: 1343: 1339: 1335: 1331: 1327: 1326: 1317: 1313: 1309: 1304: 1297: 1292: 1290: 1286: 1285:national poet 1282: 1278: 1274: 1270: 1265: 1262: 1258: 1254: 1251:, both being 1250: 1246: 1245: 1239: 1237: 1233: 1229: 1226: 1221: 1219: 1215: 1211: 1206: 1199: 1195: 1194: 1188: 1181: 1175: 1173: 1169: 1165: 1160: 1156: 1151: 1149: 1148:1871 suffrage 1145: 1141: 1137: 1133: 1129: 1125: 1121: 1117: 1114: 1110: 1106: 1105:Romanian Army 1102: 1098: 1094: 1093:Popa Smântână 1090: 1086: 1082: 1075: 1070: 1066: 1064: 1060: 1056: 1052: 1048: 1047: 1042: 1037: 1035: 1034: 1029: 1025: 1021: 1017: 1013: 1009: 1005: 1001: 997: 993: 989: 985: 981: 977: 973: 968: 966: 962: 961:modernization 958: 954: 950: 946: 942: 938: 934: 933:normal school 931: 928: 924: 920: 919:Bărboi Church 916: 907: 898: 896: 892: 888: 884: 878: 876: 872: 868: 867: 862: 858: 854: 850: 846: 842: 838: 834: 830: 826: 822: 818: 814: 809: 807: 803: 799: 795: 791: 787: 784: 780: 776: 772: 771: 766: 763: 759: 755: 754:wool-spinning 750: 748: 744: 740: 736: 732: 728: 724: 720: 716: 712: 711:peer tutoring 708: 704: 700: 699: 691: 687: 686: 681: 672: 670: 666: 662: 658: 654: 650: 645: 641: 637: 636: 631: 630:Iacob Stamati 628: 624: 619: 617: 613: 609: 605: 601: 597: 593: 589: 585: 581: 577: 573: 569: 565: 561: 546: 544: 540: 539:Horia Creangă 536: 532: 528: 527: 522: 518: 513: 511: 507: 503: 499: 495: 494: 489: 485: 482: 481:national poet 478: 474: 470: 467: 462: 460: 456: 452: 448: 444: 440: 436: 432: 428: 424: 420: 416: 412: 411:Ivan Turbincă 408: 404: 400: 396: 392: 391:short stories 388: 384: 383: 378: 374: 373:schoolteacher 370: 366: 362: 358: 353: 345: 336: 331: 326: 314: 310: 284: 280: 274: 273: 269: 267: 264: 263: 261: 257: 251: 248: 246: 243: 241: 238: 236: 233: 231: 228: 226: 223: 221: 218: 216: 213: 211: 208: 206: 203: 201: 198: 196: 193: 192: 190: 186: 182: 178: 172: 169: 167: 164: 163: 161: 157: 154: 151: 147: 143: 139: 132: 130:Popa Smântână 129: 128: 126: 122: 118: 115: 113:Resting place 111: 108: 104: 99: 91: 87: 82: 79:(now part of 76: 72: 68:March 1, 1837 60: 56: 52: 47: 40: 37: 33: 19: 8540: 8525: 8505: 8494: 8483: 8453: 8428: 8414: 8395: 8378: 8355: 8336: 8314: 8300: 8296: 8278: 8260: 8257:Horia Gârbea 8239: 8218: 8200: 8190: 8180: 8159: 8156:Mircea Braga 8138: 8121: 8100: 8094: 8084: 8074: 8059: 8049: 8037: 8032:, Nr.27/2005 8027: 8005: 7995: 7983: 7973: 7967: 7954: 7944: 7937:Horia Gârbea 7929: 7919: 7906: 7896: 7886: 7880: 7857: 7842: 7832: 7813: 7803: 7791: 7774: 7751: 7741: 7736: 7721: 7717: 7709: 7686: 7678: 7667: 7657: 7651: 7641: 7636:, Nr. 2/2009 7631: 7591: 7582: 7572: 7560: 7550: 7528: 7518: 7503: 7486: 7467: 7458: 7450: 7410: 7397: 7387: 7378: 7370: 7363:Cornel Todea 7344: 7334: 7293: 7263: 7254: 7245: 7236: 7226: 7214: 7205: 7195: 7173: 7160: 7152: 7144: 7138: 7123: 7115: 7106: 7096: 7084: 7074: 7062: 7053: 7045: 7036: 7028: 7025:"Marcu Beza" 7020: 7012:Dilema Veche 7010: 6996:Marius Chivu 6988: 6979: 6970: 6961: 6953: 6946:Viorel Cosma 6941: 6932: 6923: 6914: 6905: 6886: 6874: 6862: 6853: 6834: 6826: 6817: 6808: 6799: 6790: 6781: 6762: 6759:Harold Segel 6754: 6746: 6734: 6715: 6710: 6700: 6689: 6680: 6649: 6640: 6631: 6621: 6587: 6582:, Nr. 8/2006 6579: 6551: 6520: 6511: 6502: 6493: 6484: 6475: 6450: 6441: 6432: 6423: 6404: 6399: 6377: 6336: 6317: 6308: 6299: 6290: 6281: 6272: 6263: 6240: 6231: 6222: 6213: 6204: 6195: 6187: 6152: 6133:, April 2002 6128: 6105: 6067: 6044: 6035: 6026: 6017: 6008: 5999: 5990: 5949: 5940: 5917: 5894: 5885: 5876: 5857: 5849: 5840: 5831: 5822: 5813: 5804: 5796: 5775: 5766: 5757: 5748: 5727: 5718: 5709: 5700: 5691: 5682: 5673: 5664: 5655: 5612: 5607: 5598: 5589: 5580: 5559: 5534: 5499: 5490: 5481: 5470: 5463: 5442: 5433: 5424: 5415: 5406: 5391: 5369: 5360: 5351: 5342: 5333: 5324: 5315: 5306: 5273: 5264: 5211: 5202: 5175: 5154: 5145: 5136: 5127: 5118: 5093: 5084: 5075: 5066: 5043: 5034: 5025: 5003: 4949: 4940: 4931: 4922: 4913: 4904: 4895: 4886: 4877: 4867: 4822: 4772: 4762: 4761:, hosted by 4719: 4698: 4675: 4640: 4618: 4583: 4573: 4523: 4489: 4356: 4347: 4338: 4330:Dilema Veche 4328: 4264: 4254: 4205: 4196: 4186: 4134: 4085: 4060: 4051: 4042: 4011: 3989: 3926:Neamț County 3912: 3903: 3899: 3884:Cornel Todea 3875: 3872:Tudor Tătaru 3865: 3859: 3851:Horia Gârbea 3842: 3820: 3812: 3805:Dan Petrescu 3800: 3798: 3776:(the future 3769: 3747: 3699: 3680:Lev Averbruh 3664:experimental 3656:Transnistria 3647: 3628:Soviet Union 3625: 3610: 3596: 3586: 3574: 3564: 3560: 3533:Sandu Florea 3510: 3485: 3482: 3478:Iorgu Iordan 3447: 3417: 3402: 3377: 3370: 3360: 3347:Lev Averbruh 3329: 3315: 3308: 3300:Tit Simedrea 3276: 3252: 3238: 3230:Ion Călugăru 3207: 3199: 3195: 3171: 3167: 3145: 3140: 3137:Elena Farago 3130: 3116: 3078: 3067:I. Dragoslav 3063: 3057: 3054:Sămănătorist 3053: 3050:social class 3038:Sămănătorist 3037: 3016: 3009: 3006: 2985:Harold Segel 2970: 2966: 2960: 2929: 2927: 2918: 2914: 2906: 2891: 2887: 2873: 2850: 2830: 2827:pornographic 2824: 2819: 2815: 2807: 2805: 2797: 2793: 2789: 2787: 2783:apothecaries 2779:anticlerical 2758: 2753: 2747: 2739: 2727: 2709: 2699: 2688: 2671:bread crumbs 2654: 2649: 2645: 2637: 2634:metalworking 2627: 2613: 2606:Horia Gârbea 2598: 2573: 2566: 2557: 2531: 2530: 2522: 2505: 2478: 2473: 2469: 2459: 2436: 2431: 2405: 2398: 2394: 2383: 2380:Stan Pățitul 2357: 2327:happy ending 2320: 2314: 2308: 2301: 2283: 2268: 2262: 2235:Big Bad Wolf 2220: 2200:happy ending 2184:ethnological 2168: 2150: 2143: 2131:Epicureanism 2117: 2109: 2107: 2066: 2035: 2030:Mircea Braga 2009: 2002: 1987: 1974: 1966: 1956: 1943: 1933: 1914: 1907: 1903:poetic meter 1895:onomatopoeia 1842: 1829: 1826: 1817: 1813: 1794:metaphysical 1785: 1783: 1771: 1766: 1758: 1748: 1737: 1734:Ioan Slavici 1727: 1722: 1717: 1713: 1705: 1696: 1694: 1680:Artur Stavri 1664:Vasile Burlă 1651: 1647: 1639: 1629: 1620: 1617:Ioan Nădejde 1612: 1606: 1594: 1587: 1583:Burduhănosul 1582: 1575: 1550:N. A. 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In 1983, 3444:Umberto Eco 3441:semiotician 3249:Paul Bailey 3241:World War I 3226:avant-garde 3118:Ion Creangă 3077:, whom the 3075:Ion Iovescu 3058:Sămănătorul 3030:Poporanists 3018:Sămănătorul 2767:Târgu Neamț 2686:reaction". 2650:Cinci pâini 2570:Saint Basil 2550:soliloquies 2466:allegorical 2400:Kir Ianulea 2368:Saint Peter 2227:picturesque 2210:researcher 2192:fairy tales 2171:short story 2078:stereotyped 2050:Ion Neculce 1885:" type of " 1862:Wallachians 1790:Lucian Boia 1710:Tudor Vianu 1625:creationism 1477:favored by 1471:methodology 1438:short story 1394:Moș Creangă 1330:upper class 1289:Iași County 1271:cabinet of 1232:tobacconist 1205:modernizing 1087:, known as 1081:nationalist 992:Maiorescu's 953:Maiorescu's 821:shoplifting 747:folk remedy 745:extract, a 690:Aurel Băeșu 649:patronymics 584:shepherding 568:Târgu Neamț 473:nationalist 447:local humor 423:fairy tales 344:Ion Creangă 245:short story 159:Nationality 81:Târgu Neamț 43:Ion Creangă 8593:Categories 8118:Marcu Beza 8112:References 7888:Cotidianul 7659:Contrafort 7574:Cotidianul 7552:Revista 22 7228:Contrafort 6718:, Vol. I, 3831:Ioan Iacob 3822:Optzeciști 3756:. 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