802:
28:
789:
in showing the "inner workings of human nature"; he finds less psychological grounding for the final pages, in which a frustrated Gânj destroys himself and his mill (though he notes that this relative failure is compensated by their "great and solemn beauty"). Durnea commends
Bratoloveanu for his good rendering of the "peasant psyche" and for his veering into "subtle comedy", identifying him as a predecessor of
668:("People on the Prowl"), seen by Raicu as an "interesting fresco of the era". He claimed to have been writing it out of boredom, and to have only allowed friends to read portions of it. They were reportedly enthusiastic, and confiscated chapters that they would then present to publishing houses, hoping to persuade them to take up the whole book. Announced with an unusually persistent publicity in
578:, "a unitary poem, structured as the diary of a travel down the river, and, at the same time, into one's own memory." The author himself acknowledged that the book was "toned down" when it came to political messaging, but also that this was due to its publication "under a full-on fascist regime", when "one could not call out things as they were."
249:, an area that remained central to his fiction. During a troubled childhood which eventually saw him abandoning school, he debuted with contributions in children's magazine. During his twenties, he became a full-time journalist, publishing his first volume of poetry in 1935. Bratoloveanu was by then adapting to the stylistic requirements of
276:. This contribution received mixed reviews, some of which prompted him to do a rewrite; however, even in the original version, critics noted his talent for grasping the motivations of real-life peasants—as a trait which elevated the work's politicized content. Just months after this milestone in Bratoloveanu's career, a
1136:). As recalled by Zalis, the entire literary community knew that the aging author was beset by money trouble, but he himself never discussed this issue. He died in Bucharest on 13 July 1983, "after long and debilitating suffering"; according to Martinescu's detailed account, he was exhausted by surgeries and by
606:, which noted that "few plays in young dramatic literature, of those written these last years, have reached its level of quality." They also reported that Bratoloveanu could not find a theater willing to take it into production—but that this was because of the promotional system having been corrupted.
942:("A Man of Two Souls"). Durnea pans such contributions as riddled with the "cliches of an era", in particular for showing the interwar communists as heroic. He also notes that such negative traits are "sometimes toned down by humor, stylistic accuracy, truthful framing, and free-flowing dialogues."
929:
on literary topics (and, in
Bratoloveanu's case, reminiscing about Sahia). He and Tita became good friends, though Bratoloveanu could not recall exactly at what moment in their lives; until Tita's death in 1978, they periodically had "interminable discussions about drama, prose poetry". Bratoloveanu
788:
in damages. Perpessicius preferred reading the protagonists as types: seeing Armașu as a version of
Rebreanu's conflicted anti-hero, Ion al Glanetașului, he also found similarities between Gânj and the main antagonist in Tudoran's novel. He was impressed by the novel as a "documentary" item, accurate
1164:
for her late husband. In addition to the unpublished novels, he had left three plays (including one for children) as manuscripts. Writing an obituary note, Raicu highlighted
Bratoloveanu's "desire to be of use to the writers' guild", urging others to carry on his work as a promoter. In a 1987 piece,
901:
as a "simple and modest drama", "more of an introduction into the so very complex historical tragedy that was Grivița". He described the lead role of
Gheorghe Marin (an apolitical railwayman, driven to militant communism by the injustices and squalor of his life), and suggested that his portrayal on
426:
and was pursuing its own path in interwar politics. According to this source, Bratoloveanu's poems illustrated a phenomenon whereby the
Romanian youth had renounced the "chaos" of fascism and was heading toward "the most righteous point of convergence of various trends: the far-left." This message
1075:. During the final decade of his life, he also remained in touch with the CFR. In February 1976, he was a featured speaker at the commemorative meeting honoring the Grivița strikers, as organized by the railwaymen's literary society in Bucharest. He finally released a fragment of his 1940s novel
1152:
chapel; in announcing this, the USR described
Bratoloveanu's entire work as one of "commitment to the new Romanian humanism." Upon visiting his tomb on the "Writers' Allotment", Martinescu was poorly impressed, since the accumulation of celebrities gave the area "the look of a mass grave". As
688:
in 1913 to the post-1944 communization. Overall, Bratoloveanu's novel presented as a moral conflict opposing the unscrupulous miller, Onufrie Gânj, to the more idealistic Simeon Armașu; a narrative twist ("insufficiently motivated", according to Durnea) transforms Armașu into an exploiter, or
387:. In addition to this signature, he was using a variety of pseudonyms, among them: Lică, Vasia Bratilov, Vasigebra, Vasile Turbatu, Vasile Mălureanu, Vasile Prundeanu, Causticus, Ironicus, Coca Demetrescu, Mircea T. Damaschin, Mircea Cantemir, Ioniță Piron, Ady Corolenko, and Ady Stolnicu.
458:, who had established the original anti-fascist club and was being tried for his links with the PCR, be released from prison. In June 1936, Bratoloveanu was one of the "intellectual and workers of Turnu Severin" who signed a letter of solidarity with the leftists at
257:(which he would only join upon its legalization, in 1945). A succession of fascist regimes silenced this aspect of his contributions, though he was still allowed to work in cultural journalism—finding permanent employment as a clerk and cultural promoter in the
746:. These epics are rated by Zalis as evidencing "the will to consolidate critical realism and even to advance, by way of realism, into a new direction". Elsewhere, Zalis explained that he still regarded the volume as aesthetically "perishable", though its "
888:: while he commended Bratoloveanu for "authentically render the general atmosphere", and for his ability to write in "mass scenes", Solomon complained that the main character, a neutralist-turned-militant, was "predictable". Similar views were held by
1039:
as "schematic", with "linear protagonists", "amassing together, in a rather undiscerning way, authentic facts of life in an antiquated technique." In 2019, scholar Cosmin Borza rated it as an anachronistic contribution in the realm of "classical"
849:(USR), with Bratoloveanu serving on its inaugural executive bureau. Around 1950, he had fallen afoul of the PCR's central command, finding himself marginalized in literary life; his writings were retrospectively panned by communist critics, with
402:; it thus mirrored Bratoloveanu's prose works of the period, which were generally "analytical". In retrospect, Bratoloveanu accepted his work being labeled as proletarian literature, explaining that he had a "romantic conviction" in denying the "
621:, put out in Bucharest by Damian, later describing his boss as "something of a 'moderate' anarchist who punched both right and left". In 1945, he finally joined the PCR, was co-opted by the CFR's general directorate, and took over as editor of
307:. The reception remained mixed: he continued to be praised for his authentic streak, but generally dismissed as "schematic" or conventionally communist in the bulk of his contributions. With some of these works, he prolonged the echoes of
783:
The unfavorable treatment of many characters caused a backlash in
Mehedinți, with peasants who "recognized themselves" in the narrative reportedly filed a class-action lawsuit against Bratoloveanu, asking for 10 billion
975:, and rejected what he considered to be the excessive praise of other colleagues. The book was welcomed by Zalis, who consequently received visits from Bratoloveanu. The two men befriended one another: Zalis, a man of
593:
noted that this was one of his "so very rare" public contributions, since the author was "hard at work, shunning everyday agitation." Caraion also reported that
Bratoloveanu was preparing a collection of novellas,
331:, which was also were Gheorghe lived in his toddler years, down to World War I. Gheorghe faced financial distress a while after, and separated from Vasile's mother Zoe. She and Vasile lived for a while in
1056:(though one "infected by ideology", with its central conflict being that of communist versus fascists); its fundamental merit is as a "commendable milestone in realistic, rural-inspired prose."
339:'s capital city; this interrupted Vasile's studies at Turnu Severin's commercial school, though he returned in 1927. Also in 1927, he debuted with short prose in the children's supplement of
2064:
1886:
261:. During World War II, Bratoloveanu was mostly withdrawn, working intensely on a series of novels and stories that were only published much much later, or not published at all.
676:
finally appeared at
Europolis publishers in April 1947. It was the first part of a planned trilogy (later re-planned as a four-volume cycle), all of it centered on his native
504:
Bratoloveau moved back to Bucharest, having found permanent employment at the CFR—on whose magazines he also contributed regularly. Around 1943, he was a cultural promoter at
2044:
516:, and where he also brought in new talent (including critic Al. Raicu). During the late interwar and World War II, his work was also taken up in the central dailies
769:
1721:
Cosmin Borza, "How to Populate a Country. A Quantitative Analysis of the Rural Novel from Romania (1900–2000)", in Ștefan Baghiu, Vlad Pojoga, Maria Sass (eds.),
777:
268:, which inaugurated a leftward shift in Romanian society, also witnessed Bratoloveanu's reemergence as a communist author. He finally completed the large novel
876:, who had been excluded from the USR "due to his past", and whom Bratoloveanu wanted to see reinstated. In 1958, the Workers' Theater premiered his own play,
1672:
907:
829:
1820:
1540:
2009:
657:; Bratoloveanu's contribution to that theme was about the turmoil of a small-time trader, Costică Balaure, who becomes aware of his pending arrest for
642:
1621:
873:
773:
715:
1153:
reported by the same witness, the affair was officially irreligious and "communist", meaning that Lilly had to ignore the Orthodox custom of giving
488:
newspapers. He was courting the fellow leftist Lilly Gogan, whom he eventually married. In 1936–1937, he was again leading his own magazine, called
394:("Manifesto"), and appeared in Turnu Severin in 1935. As noted by literary scholar Victor Durnea, it was largely a work of "social" and "objective"
2109:
447:
1158:
967:, "The Miller") in 1971, having also heavily edited the original text. As he explained, he took in constructive suggestions from critics such as
1120:, who witnessed their financial struggles—all their income was consumed on Liviu's ambition to make Buftea into a literary retreat, modeled on
496:("The Man Who Sold His Soul") was performed by workers of the national railways carrier (CFR), and later by a regular troupe in Turnu Severin.
1399:
341:
2094:
2084:
1558:
1535:
914:
as an exemplary historical play, "dramatically tracing the thorny path trailed by the communists, down to the unforgettable August of 1944".
707:
323:; his exact birth date is 8 August 1912. His father, Gheorghe Bratoloveanu, was a merchant and one-time municipal councilor, originally from
801:
1974:
930:
became a clerk at the Bucharest Cinema Studios, and in 1967 was finally allowed to return to publishing—with a short-story volume called
2104:
2014:
1027:. Raicu notes that all these works were about "our transforming society". Durnea rates them as fully indebted to the communist "bias" (
949:. Comprising a vineyard used by Liviu for drawing his own wine, this location was immediately outside the film studios—on land used by
2114:
2099:
2019:
522:
2034:
2039:
1035:, the moral decline (and eventual redemption) of an engineer, Andrei Moga. Among the critics of the day, Nicolae Oprea described
299:, where he also lived. He was allowed to return to publishing with short stories, and later with one of three planned sequels to
2024:
1984:
414:, he also acknowledged that, in the 1930s, he already felt predisposed toward the then-illegal Communist Party (PCR or PCdR).
1989:
1894:
1734:
311:
well into the 1970s. He died of a disease shortly before turning 71, and was largely forgotten by readers after that moment.
1979:
945:
By 1970, Liviu and Lilly Bratoloveanu, alongside their son George (a trained engineer) had settled at a country estate in
764:
and Rebreanu. He also highlighted a more personal note, which was related to the geographical and ethnographic setting of
2004:
1999:
355:, the grownup humor magazine. He quit school soon after, to focus on his writing; a regular contributor to the magazine
2124:
2069:
2029:
1994:
241:(8 August 1912 – 13 July 1983), was a Romanian poet, novelist, playwright, and communist militant. He was a native of
1921:
474:, was depicted by them as a libeler and an exploiter. The young poet was for a while employed by the Bucharest daily
406:" produced during the Romanian Kingdom. He also noted that this impulse closely preceded his established belief in "
703:
mechanism promoted by Armașu—which is more productive, but (as the peasants are quick to note) also less reliable.
450:
established in Turnu Severin an "anti-fascist committee". They thus supported an initiative heralded nationally by
1003:"). Focusing on Armașu's interwar maturity (and supremacy over Jidoștița), it depicted electoral campaigns by the
410:", and in literature as a "weapon of the revolutionary proletariat". A personal friend of the left-leaning author
2074:
1068:
684:. Each individual portion was over 1,400 pages long, and together covered the social history of Romania from the
446:—though the latter also chided him for being "too left-wing", or "too sectarian". Late in 1935, Bratoloveanu and
610:
265:
2079:
1140:, but mostly morally destroyed by the USR establishment having ignored him and his ambitions. He was buried at
976:
814:
550:, an article suggesting that railway workers be required to take regular baths. He began working on a novel,
277:
82:
1947:
2119:
1041:
846:
308:
281:
223:
455:
2059:
1004:
1044:, at a time when that current had been relegated to a minor position in local culture. As Durnea notes,
284:. However, Bratoloveanu was eventually marginalized for most of the 1950s, and sent to do work for the
1105:
appeared as the final Bratoloveanu novel in 1982. Also that year, in order to mark his 70th birthday,
280:
was proclaimed. In its initial phase, it promoted him, and featured him as a leading organizer of the
866:
291:
When Bratoloveanu returned to favor in 1958, it was a dramatist, with a commemorative play about the
285:
968:
881:
292:
2089:
1149:
739:
539:
513:
258:
254:
168:
1708:
1608:
27:
1380:"Locuitorii din Turnu Severin și Caracal cer stingerea procesului prof. Constantinescu-Iași", in
747:
403:
1563:
1165:
Cristoiu observed that, although gifted, Bratoloveanu had become "entirely unknown these days."
841:
750:" remained a relevant topic into posterity. A contrasting reading was provided by the columnist
2054:
1726:
700:
614:
419:
250:
218:
1825:
1747:
1690:
1421:
1085:
574:
in 1940, or, per Bratoloveanu's own recollection, in 1942. Durnea reads it as more intensely
193:
1538:, "Argument pentru o istorie a literaturii române contemporane. Ipoteză de periodizare", in
817:
in late 1947, Bratoloveanu was a regular in some of the communist publications: Călinescu's
598:("Grandmother Is Studying Law"). In early 1944, he had additionally completed another play,
492:("Reportage"). He made his debut as a playwright at some point during that period, when his
2049:
1969:
1964:
926:
922:
8:
1659:
1189:
1031:), showing Armașu's complete transformation into an "unapologetic thruster", as well, in
1015:("The Reptile"). He had also finished, but not yet published, the remaining books of the
1011:'s mystical revivalism. Also that year, Bratoloveanu published a standalone novel called
890:
768:(of which Mehedinți is a component), suggesting thematic links with regionalist works by
617:, Bratoloveanu went public with his leftist convictions. He was for a while an editor at
1024:
756:
677:
439:
1909:
1117:
383:", 1933). Reportedly, he had changed his given name as an homage to a senior novelist,
62:
1917:
1890:
1730:
1603:
1098:
1053:
850:
685:
158:
1899:
1762:
646:
428:
754:, who upheld the volume as a continuation of "rustic" literature, in line with the
336:
319:
Vasile Gheorghe Bratoloveanu, the future "Liviu", was born at Turnu Severin on the
188:
148:
128:
1060:
681:
328:
1637:
1145:
885:
872:
Bratoloveanu was again frequented in early 1957, when he gave good references to
654:
471:
451:
411:
183:
1141:
1137:
972:
731:
407:
384:
273:
213:
918:
903:
399:
295:. In the final part of his career, he clerked at the national film studios in
1958:
1284:
1064:
1049:
1008:
980:
955:
658:
638:
634:
531:
509:
443:
242:
153:
58:
950:
556:
367:), he tried his hand as a magazine editor, with three short-lived attempts:
1926:
1859:
785:
761:
751:
723:
714:
was one of the most salvageable Romanian novels of the mid-1940s—alongside
650:
630:
575:
143:
123:
1606:, "Din experiența a 15 ani de literatură nouă. Măiestrie și meșteșug", in
995:
Bratoloveanu followed up in 1975 with one more installment of his series,
1472:
1125:
1121:
984:
790:
590:
138:
835:
1072:
862:
543:
423:
395:
133:
1133:
823:
935:
858:
696:
480:, but returned to his hometown as a member of the editorial teams of
347:
332:
198:
173:
78:
581:
In mid-1943, Bratoloveanu attracted attention with a peasant-themed
1000:
1023:(by then a fully fledged novel), for which he had a contract with
861:. Bratoloveanu's source of income throughout that period was as a
324:
1129:
1093:("The Briefcase"), it was described by the literary reviewers at
765:
582:
571:
345:
daily, and, almost simultaneously, in a similar paper put out by
246:
163:
1052:(with its protagonists "kept apart by an ethnic barrier") and a
1477:
1239:
946:
695:. Their clash is also one of technologies, between Gânj's safe
566:
380:
320:
296:
1019:
cycle (whom prospective publishers considered too large), and
906:
was "absolutely memorable". Eight years later, theater critic
351:. Young Bratoloveanu then followed up with verse and prose in
272:(1947), in which he elaborated on the established formulas of
1745:"Viața literară. În spiritul înțelegerii și colaborării", in
1706:
Nicolae Oprea, "Cărți—Oameni—Fapte. Simplu și schematic", in
691:
664:
Bratoloveanu's political convictions also informed his novel
476:
418:
also received positive coverage from a literary paper of the
178:
760:
school of traditionalists—but also with selective novels by
653:
on topics provided to them by the PCR, such as the issue of
602:("The Domestic Woman"). It was praised by his colleagues at
1154:
431:, who wrote that the Crusade was "confusing the extremes".
1434:
Liviu Bratoloveanu, "Ceferiști. Băi pentru muncitori", in
1237:
Matei Alexandrescu, "Un dialog cu Liviu Bratoloveanu", in
253:, and, in terms of politics, moved closer to the outlawed
2065:
Proletarian literature writers in the Kingdom of Romania
1675:, "Trecutul și prezentul dramei istorice românești", in
390:
Bratoloveanu's first book of published verse was called
1951:, Vol. XIV, Issue 12, December 1947, pp. 73–84.
1869:, Vol. XXII, Issue 2, February 1987, pp. 11–12.
1657:
de Liviu Bratoloveanu. Teatrul C.F.R.–Giulești", in
1109:
hosted samples of another one of his novels, called
438:
being well received by two senior literary figures,
1872:"Ipoteze de lucru. Publicitatea în literatură", in
934:("The Sun in the Window"); he had also completed a
884:. It received a mixed review from fellow dramatist
1876:, Vol. XXII, Issue 4, April 1987, pp. 10, 15.
1688:Liviu Bratoloveanu, "In memoriam Ștefan Tita", in
1282:Marcel Marcian, "Panoptikon. A plecat. De ce", in
1157:. She compensated in August, when she organized a
1067:, was sent by the USR on an official visit to the
897:s theatrical columnist, Radu Popescu, when rating
1116:In old age, the Bratoloveanus befriended diarist
2045:20th-century Romanian dramatists and playwrights
1956:
1788:"Cronica lunară. Revista revistelor. Proză", in
1775:"Cronica lunară. Revista revistelor. Proză", in
1397:. Protestul muncitorilor din Turnu-Severin", in
921:went on a state-approved tour of the schools in
327:. As reported by his son, he had passed through
1345:
1343:
1883:Dicționarul general al literaturii române. A/B
1760:Viorica Nania, "Cenacluri. 'G. Călinescu'" in
1702:
1700:
1628:, Vol. VII, Issues 5–6, May–June 2003, p. viii
1624:, "Strada Lebedei No 8. Pagini de jurnal", in
633:as a nucleus of prose writers—also comprising
1567:, Vol. LVI, Issues 470–471, April 2016, p. 23
1233:
1231:
1229:
1227:
1225:
1223:
1221:
1219:
1071:, attending bilateral meetings of writers in
427:was in turn covered as an oddity by essayist
398:, with stylistic patterns that borrowed from
1712:, Vol. XXIV, Issue 8, August 1976, pp. 52–53
1415:
1413:
1411:
1409:
1340:
1217:
1215:
1213:
1211:
1209:
1207:
1205:
1203:
1201:
1199:
560:literary society. His second book of poems,
1865:"Ipoteze de lucru. O grupare de proză", in
1697:
1644:, Vol. III, Issue 8, August 1958, pp. 26–27
1554:
1552:
1550:
959:. Bratoloveanu reissued the first part of
26:
2010:20th-century Romanian short story writers
1881:Victor Durnea, "Bratoloveanu, Liviu", in
1406:
1333:
1331:
1329:
1327:
1325:
1323:
1269:
1196:
979:origins, was impressed by Bratoloveanu's
880:("February Days"), which centered on the
1823:, "Semn de carte. Condei acid (II)", in
1544:, Vol. XVI, Issue 8, February 1978, p. 3
1446:
1444:
1353:, Vol. XV, Issue 46, November 1964, p. 8
1321:
1319:
1317:
1315:
1313:
1311:
1309:
1307:
1305:
1303:
1267:
1265:
1263:
1261:
1259:
1257:
1255:
1253:
1251:
1249:
1183:
1181:
1179:
1177:
813:Before and after the establishment of a
800:
2110:Members of the Romanian Orthodox Church
1547:
1297:Durnea, pp. 1036, 1037; Ionesco, p. 183
1243:, Vol. VII, Issue 8, August 1970, p. 15
538:. In December 1940, under the fascist "
508:magazine, which had contributions from
1957:
1906:, Issues 5–6–7/2009, pp. 177–184.
1612:, Vol. XII, Issue 7, July 1959, p. 143
1059:In late 1975, Bratoloveanu, alongside
422:, which had broken out of the fascist
1679:, Vol. XI, Issue 8, August 1966, p. 7
1441:
1300:
1246:
1174:
1048:is a more complex work, layered as a
796:
2095:20th-century Romanian civil servants
2085:Romanian Communist Party politicians
1561:, "Răscolind tolba cu amintiri", in
1419:Al. Raicu, "Liviu Bratoloveanu", in
1101:" piece with a "ready-made ending".
845:. In 1949, the regime established a
629:, later seen by cultural journalist
564:("Me and the Danube"), saw print at
1128:'s villas (respectively located in
13:
1975:20th-century Romanian male writers
1723:Ruralism and Literature in Romania
1450:N. P., "Viața artistică. Da!", in
434:Bratoloveanu himself was proud of
14:
2136:
2105:People from Drobeta-Turnu Severin
2015:Romanian male short story writers
1885:, pp. 1036–1037. Bucharest:
1653:Radu Popescu, "Cronica teatrală.
1640:, "Drama cu temă patriotică", in
809:, in the original staging of 1958
613:, which brought Romania into the
454:, and specifically demanded that
1766:, Issue 376, February 1978, p. 4
983:, which was directly modeled on
585:, published in Damian's journal
2115:Romanian people of World War II
2020:20th-century Romanian novelists
1841:
1832:
1813:
1804:
1795:
1782:
1769:
1754:
1739:
1715:
1682:
1666:
1647:
1631:
1615:
1597:
1588:
1579:
1570:
1529:
1520:
1511:
1508:Cristoiu, "Publicitatea", p. 10
1502:
1499:Cristoiu, "Publicitatea", p. 15
1493:
1484:
1466:
1457:
1428:
1387:
1374:
1069:Czechoslovak Socialist Republic
917:In late 1964, Bratoloveanu and
672:newspaper from September 1945,
499:
2040:20th-century Romanian diarists
1916:. Constanța: Ex Ponto, 2001.
1365:
1356:
1291:
1276:
990:
680:—specifically, the village of
625:journal. His work appeared in
554:, and read fragments of it at
494:Omul care și-a vândut sufletul
371:("Stained Glass", 1932–1933),
359:and an editorial secretary on
1:
2025:Romanian historical novelists
1985:Romanian activist journalists
1887:Museum of Romanian Literature
1853:
1819:Martinescu, p. 357. See also
987:'s critique of "chauvinism".
314:
83:Socialist Republic of Romania
33:
1990:Romanian Marxist journalists
1935:Sfârșit de veac in București
1847:Cristoiu, "O grupare", p. 12
1490:Cristoiu, "O grupare", p. 11
239:Vasile Gheorghe Bratoloveanu
47:Vasile Gheorghe Bratoloveanu
7:
2035:Romanian children's writers
1980:20th-century Romanian poets
526:, in the cultural magazine
470:, whose right-wing editor,
10:
2141:
2100:Căile Ferate Române people
2005:Romanian newspaper editors
2000:Romanian magazine founders
1948:Revista Fundațiilor Regale
1725:, pp. 31–34. Berlin etc.:
1475:, "Catalog. O nuvelă", in
649:. All these authors wrote
375:("Yield", 1932–1933), and
2125:Burials at Bellu Cemetery
2070:Socialist realism writers
2030:Detective fiction writers
1995:Romanian magazine editors
1902:, "Texte recuperate", in
867:Giulești Workers' Theater
847:Writers' Union of Romania
815:Romanian communist regime
456:Petre Constantinescu-Iași
363:newspaper (later renamed
286:Giulești Workers' Theater
278:Romanian communist regime
206:
117:
109:
88:
68:
43:
25:
18:
1810:Martinescu, pp. 356, 362
1801:Martinescu, pp. 264, 356
1384:, 12 November 1935, p. 4
1168:
1113:("The Sunken Island").
1005:National Peasants' Party
740:George Mihail Zamfirescu
540:National Legionary State
514:Alexandru Al. Philippide
1933:; Ion Marin Sadoveanu:
1626:Origini. Romanian Roots
1594:Perpessicius, pp. 80–82
1585:Perpessicius, pp. 79–80
1576:Perpessicius, pp. 78–80
1454:, 8 February 1944, p. 2
1438:, 6 December 1940, p. 6
1103:Bunica studiază dreptul
1089:of August 1978. Called
1021:Bunica studiază dreptul
1007:, and also caricatured
596:Bunica studiază dreptul
546:'s official newspaper,
542:", he published in the
303:and the separate novel
2075:Romanian propagandists
1937:; Liviu Bratoloveanu:
1829:, Issue 42/2005, p. 15
1792:, Issue 10/1982, p. 52
1463:Durnea, pp. 1036, 1037
1425:, Issue 29/1983, p. 11
1083:) in the USR magazine
969:Ovid S. Crohmălniceanu
882:Grivița strike of 1933
810:
420:Crusade of Romanianism
293:Grivița strike of 1933
251:proletarian literature
219:Proletarian literature
2080:Censorship in Romania
1929:, "Mențiuni Critice (
1779:, Issue 9/1978, p. 54
1751:, Issue 49/1975, p. 2
1694:, Issue 30/1978, p. 8
1288:, Issue 36/1992, p. 8
932:Soarele din fereastră
804:
259:state railway carrier
169:children's literature
1663:, 9 April 1958, p. 2
1564:Realitatea Evreiască
1403:, 21 June 1936, p. 8
1371:Ionesco, pp. 183–184
1351:Scînteia Pionierului
1193:, 15 July 1983, p. 5
1144:on 15 July, after a
963:(also identified as
940:Omul cu două suflete
842:Scînteia Tineretului
770:Ruxandra Oteteleșanu
486:Curentul Mehedințean
2120:Romanian winemakers
1526:Perpessicius, p. 81
1517:Perpessicius, p. 79
1481:, 4 July 1943, p. 2
706:Literary historian
2060:Romanian satirists
1914:Jurnal intermitent
1910:Pericle Martinescu
1838:Martinescu, p. 362
1673:Valentin Silvestru
1393:"Alte falsuri ale
1118:Pericle Martinescu
923:30 Decembrie Raion
908:Valentin Silvestru
811:
797:Communist takeover
778:Ion Popescu-Puțuri
235:Liviu Bratoloveanu
194:children's theater
63:Kingdom of Romania
20:Liviu Bratoloveanu
1931:Cronica Romanelor
1895:978-973-167-381-3
1821:Gheorghe Grigurcu
1735:978-3-631-80792-7
1655:Zile de februarie
1604:Silvian Iosifescu
1150:Romanian Orthodox
1111:Insula scufundată
1054:police procedural
1042:socialist realism
912:Zile de februarie
899:Zile de februarie
878:Zile de februarie
857:as a regrettable
851:Silvian Iosifescu
807:Zile de februarie
736:Adăpostul Sobolia
686:Second Balkan War
309:socialist realism
232:
231:
224:Socialist realism
207:Literary movement
159:police procedural
2132:
1941:; C. Manolache:
1848:
1845:
1839:
1836:
1830:
1826:România Literară
1817:
1811:
1808:
1802:
1799:
1793:
1786:
1780:
1773:
1767:
1758:
1752:
1748:România Literară
1743:
1737:
1719:
1713:
1709:Viața Românească
1704:
1695:
1691:România Literară
1686:
1680:
1670:
1664:
1651:
1645:
1635:
1629:
1619:
1613:
1609:Viața Romînească
1601:
1595:
1592:
1586:
1583:
1577:
1574:
1568:
1556:
1545:
1533:
1527:
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1497:
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1488:
1482:
1470:
1464:
1461:
1455:
1448:
1439:
1432:
1426:
1422:România Literară
1417:
1404:
1391:
1385:
1378:
1372:
1369:
1363:
1360:
1354:
1347:
1338:
1335:
1298:
1295:
1289:
1280:
1274:
1271:
1244:
1235:
1194:
1185:
1107:România Literară
1086:România Literară
1025:Editura Militară
896:
678:Mehedinți County
627:Revista Literară
611:August 1944 coup
600:Femeia domestică
589:. Fellow writer
440:George Călinescu
337:Romanian Kingdom
266:August 1944 coup
189:historical drama
149:historical novel
129:political poetry
75:
55:
53:
38:
35:
30:
16:
15:
2140:
2139:
2135:
2134:
2133:
2131:
2130:
2129:
2090:Communist poets
1955:
1954:
1943:Poezia trupului
1939:Oameni la pândă
1856:
1851:
1846:
1842:
1837:
1833:
1818:
1814:
1809:
1805:
1800:
1796:
1787:
1783:
1774:
1770:
1759:
1755:
1744:
1740:
1720:
1716:
1705:
1698:
1687:
1683:
1671:
1667:
1652:
1648:
1638:Dumitru Solomon
1636:
1632:
1622:Traian Chelariu
1620:
1616:
1602:
1598:
1593:
1589:
1584:
1580:
1575:
1571:
1557:
1548:
1534:
1530:
1525:
1521:
1516:
1512:
1507:
1503:
1498:
1494:
1489:
1485:
1471:
1467:
1462:
1458:
1449:
1442:
1433:
1429:
1418:
1407:
1392:
1388:
1379:
1375:
1370:
1366:
1362:Ionesco, p. 184
1361:
1357:
1348:
1341:
1337:Durnea, p. 1037
1336:
1301:
1296:
1292:
1281:
1277:
1273:Durnea, p. 1036
1272:
1247:
1236:
1197:
1186:
1175:
1171:
1017:Oameni la pândă
993:
961:Oameni la pândă
953:in filming his
894:
886:Dumitru Solomon
874:Traian Chelariu
855:Oameni la pândă
830:Gazeta Literară
805:Final scene of
799:
774:Victor Papilian
716:Eusebiu Camilar
712:Oameni la pândă
674:Oameni la pândă
666:Oameni la pândă
655:monetary reform
502:
472:Stelian Popescu
452:Dem I. Dobrescu
412:Alexandru Sahia
357:Cuvântul Nostru
317:
301:Oameni la pândă
270:Oameni la pândă
255:Communist Party
245:in westernmost
228:
184:political drama
77:
73:
57:
51:
49:
48:
39:
36:
21:
12:
11:
5:
2138:
2128:
2127:
2122:
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2107:
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2097:
2092:
2087:
2082:
2077:
2072:
2067:
2062:
2057:
2052:
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2042:
2037:
2032:
2027:
2022:
2017:
2012:
2007:
2002:
1997:
1992:
1987:
1982:
1977:
1972:
1967:
1953:
1952:
1924:
1907:
1904:Caiete Critice
1900:Eugène Ionesco
1897:
1879:
1878:
1877:
1870:
1855:
1852:
1850:
1849:
1840:
1831:
1812:
1803:
1794:
1781:
1768:
1753:
1738:
1714:
1696:
1681:
1665:
1660:Romînia Liberă
1646:
1630:
1614:
1596:
1587:
1578:
1569:
1546:
1528:
1519:
1510:
1501:
1492:
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1465:
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1427:
1405:
1386:
1373:
1364:
1355:
1339:
1299:
1290:
1275:
1245:
1195:
1190:România Liberă
1172:
1170:
1167:
1142:Bellu cemetery
1138:overmedication
1134:Poiana Țapului
992:
989:
973:Alexandru Piru
927:Young Pioneers
891:Romînia Liberă
798:
795:
732:Cezar Petrescu
651:sketch stories
647:Haralamb Zincă
609:Following the
528:Dacia Rediviva
501:
498:
448:Mihail Macavei
429:Eugène Ionesco
408:social justice
404:superstructure
385:Liviu Rebreanu
316:
313:
282:Writers' Union
274:social realism
237:, pen name of
230:
229:
227:
226:
221:
216:
214:Social realism
210:
208:
204:
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202:
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196:
191:
186:
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126:
119:
115:
114:
111:
107:
106:
105:
104:
101:
98:
95:
90:
86:
85:
76:(aged 70)
70:
66:
65:
45:
41:
40:
31:
23:
22:
19:
9:
6:
4:
3:
2:
2137:
2126:
2123:
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2118:
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2108:
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2101:
2098:
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2083:
2081:
2078:
2076:
2073:
2071:
2068:
2066:
2063:
2061:
2058:
2056:
2055:Radio writers
2053:
2051:
2048:
2046:
2043:
2041:
2038:
2036:
2033:
2031:
2028:
2026:
2023:
2021:
2018:
2016:
2013:
2011:
2008:
2006:
2003:
2001:
1998:
1996:
1993:
1991:
1988:
1986:
1983:
1981:
1978:
1976:
1973:
1971:
1968:
1966:
1963:
1962:
1960:
1950:
1949:
1944:
1940:
1936:
1932:
1928:
1925:
1923:
1922:973-8227-21-6
1919:
1915:
1911:
1908:
1905:
1901:
1898:
1896:
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1591:
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1573:
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1537:
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1523:
1514:
1505:
1496:
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1460:
1453:
1447:
1445:
1437:
1431:
1424:
1423:
1416:
1414:
1412:
1410:
1402:
1401:
1396:
1390:
1383:
1377:
1368:
1359:
1352:
1349:"Carnet", in
1346:
1344:
1334:
1332:
1330:
1328:
1326:
1324:
1322:
1320:
1318:
1316:
1314:
1312:
1310:
1308:
1306:
1304:
1294:
1287:
1286:
1285:Contemporanul
1279:
1270:
1268:
1266:
1264:
1262:
1260:
1258:
1256:
1254:
1252:
1250:
1242:
1241:
1234:
1232:
1230:
1228:
1226:
1224:
1222:
1220:
1218:
1216:
1214:
1212:
1210:
1208:
1206:
1204:
1202:
1200:
1192:
1191:
1187:"Decese", in
1184:
1182:
1180:
1178:
1173:
1166:
1163:
1161:
1156:
1151:
1147:
1143:
1139:
1135:
1131:
1127:
1123:
1119:
1114:
1112:
1108:
1104:
1100:
1096:
1092:
1088:
1087:
1082:
1078:
1074:
1070:
1066:
1065:Dorin Tudoran
1062:
1061:Florența Albu
1057:
1055:
1051:
1050:romance novel
1047:
1043:
1038:
1034:
1030:
1029:tendenționism
1026:
1022:
1018:
1014:
1010:
1009:Petrache Lupu
1006:
1002:
998:
988:
986:
982:
981:philosemitism
978:
974:
970:
966:
962:
958:
957:
952:
948:
943:
941:
937:
933:
928:
924:
920:
915:
913:
909:
905:
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893:
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879:
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868:
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848:
844:
843:
838:
837:
832:
831:
826:
825:
820:
816:
808:
803:
794:
792:
787:
781:
779:
775:
771:
767:
763:
759:
758:
753:
749:
745:
741:
737:
733:
729:
725:
721:
717:
713:
709:
704:
702:
698:
694:
693:
687:
683:
679:
675:
671:
667:
662:
660:
659:price gouging
656:
652:
648:
644:
643:Petru Vintilă
640:
639:Alexandru Jar
636:
635:Aurel Baranga
632:
628:
624:
620:
616:
612:
607:
605:
601:
597:
592:
588:
584:
579:
577:
573:
569:
568:
563:
562:Eu și Dunărea
559:
558:
553:
549:
545:
541:
537:
533:
532:Mihu Dragomir
529:
525:
524:
519:
515:
511:
510:Tudor Arghezi
507:
506:Săptămâna CFR
497:
495:
491:
487:
483:
479:
478:
473:
469:
466:—and against
465:
461:
457:
453:
449:
445:
444:Mircea Damian
441:
437:
432:
430:
425:
421:
417:
413:
409:
405:
401:
397:
393:
388:
386:
382:
378:
374:
370:
366:
362:
361:Mehedințeanul
358:
354:
350:
349:
344:
343:
338:
334:
330:
329:Baia de Aramă
326:
322:
312:
310:
306:
302:
298:
294:
289:
287:
283:
279:
275:
271:
267:
262:
260:
256:
252:
248:
244:
243:Turnu Severin
240:
236:
225:
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212:
211:
209:
205:
200:
197:
195:
192:
190:
187:
185:
182:
180:
177:
175:
172:
170:
167:
165:
162:
160:
157:
155:
154:romance novel
152:
150:
147:
145:
142:
140:
137:
135:
132:
130:
127:
125:
122:
121:
120:
116:
112:
108:
102:
100:civil servant
99:
96:
93:
92:
91:
87:
84:
80:
71:
67:
64:
60:
59:Turnu Severin
56:8 August 1912
46:
42:
32:Bratoloveanu
29:
24:
17:
1946:
1942:
1938:
1934:
1930:
1927:Perpessicius
1913:
1903:
1882:
1873:
1866:
1860:Ion Cristoiu
1843:
1834:
1824:
1815:
1806:
1797:
1790:Transilvania
1789:
1784:
1777:Transilvania
1776:
1771:
1761:
1756:
1746:
1741:
1722:
1717:
1707:
1689:
1684:
1676:
1668:
1658:
1654:
1649:
1641:
1633:
1625:
1617:
1607:
1599:
1590:
1581:
1572:
1562:
1539:
1531:
1522:
1513:
1504:
1495:
1486:
1476:
1468:
1459:
1451:
1435:
1430:
1420:
1398:
1394:
1389:
1381:
1376:
1367:
1358:
1350:
1293:
1283:
1278:
1238:
1188:
1159:
1115:
1110:
1106:
1102:
1099:Dostoevskian
1095:Transilvania
1094:
1090:
1084:
1080:
1079:(now styled
1076:
1058:
1045:
1036:
1032:
1028:
1020:
1016:
1012:
996:
994:
964:
960:
954:
944:
939:
931:
925:, lecturing
916:
911:
910:recommended
898:
889:
877:
871:
854:
840:
834:
828:
822:
818:
812:
806:
782:
762:Ioan Slavici
755:
752:Perpessicius
743:
735:
727:
724:Radu Tudoran
719:
711:
710:argued that
705:
690:
673:
669:
665:
663:
631:Ion Cristoiu
626:
622:
618:
608:
603:
599:
595:
586:
580:
565:
561:
555:
551:
547:
535:
527:
521:
517:
505:
503:
500:World War II
493:
489:
485:
481:
475:
467:
463:
459:
435:
433:
415:
391:
389:
376:
372:
368:
364:
360:
356:
352:
346:
340:
318:
304:
300:
290:
269:
263:
238:
234:
233:
144:sketch story
124:Lyric poetry
74:(1983-07-13)
72:13 July 1983
2050:Dramaturges
1970:1983 deaths
1965:1912 births
1559:Henri Zalis
1536:Henri Zalis
1473:Ion Caraion
1395:Universului
1126:Eugen Barbu
1122:Paul Everac
991:Final years
985:Mihai Ralea
919:Ștefan Tita
904:Colea Răutu
853:describing
791:Marin Preda
757:Sămănătorul
708:Henri Zalis
615:Allied camp
591:Ion Caraion
400:Aron Cotruș
139:short story
37: 1960
1959:Categories
1854:References
1727:Peter Lang
1073:Bratislava
951:René Clair
863:dramaturge
748:naturalism
557:Sburătorul
544:Iron Guard
424:Iron Guard
396:free verse
315:Early life
134:free verse
103:dramaturge
94:Journalist
89:Occupation
52:1912-08-08
1889:, 2016.
1763:Săptămîna
1400:Dimineața
956:Lace Wars
936:radioplay
902:stage by
859:melodrama
697:watermill
682:Jidoștița
623:Munca CFR
530:, and in
482:Țara Nouă
468:Universul
460:Dimineața
348:Universul
342:Dimineața
333:Bucharest
199:radioplay
174:reportage
113:1927–1982
79:Bucharest
1729:, 2019.
1160:parastas
1091:Servieta
1001:Pellagra
836:Scînteia
670:Drapelul
490:Reportaj
464:Adevărul
436:Manifest
416:Manifest
392:Manifest
377:Mahalaua
369:Vitraliu
365:Nădejdea
97:activist
1945:)", in
1677:Teatrul
1642:Teatrul
1541:Tribuna
1162:service
1148:in the
1130:Fundata
1046:Reptila
1037:Pelagră
1033:Reptila
1013:Reptila
997:Pelagră
965:Morarul
824:Flacăra
766:Oltenia
744:Bariera
728:Flăcări
720:Turmele
701:rolling
692:chiabur
583:novella
576:lyrical
572:Craiova
536:Prepoem
518:România
353:Veselia
305:Reptila
247:Oltenia
164:novella
1920:
1893:
1733:
1478:Timpul
1382:Zorile
1240:Ramuri
1097:as a "
977:Jewish
947:Buftea
839:, and
776:, and
738:, and
699:and a
645:, and
567:Ramuri
523:Vremea
381:Mahala
379:("The
335:, the
321:Danube
297:Buftea
110:Period
1874:Argeș
1867:Argeș
1452:Viața
1169:Notes
895:'
819:Lumea
619:Fapta
604:Viața
587:Fapta
477:Facla
325:Padeș
179:diary
118:Genre
1918:ISBN
1891:ISBN
1731:ISBN
1155:alms
1146:wake
1132:and
1124:and
1081:Ugly
1077:Ugli
1063:and
971:and
865:for
552:Ugli
520:and
512:and
484:and
462:and
442:and
264:The
69:Died
44:Born
1436:Axa
869:.
786:lei
780:.
742:'s
734:'s
726:'s
718:'s
570:of
548:Axa
534:'s
373:Rod
288:.
1961::
1912:,
1862:,
1699:^
1549:^
1443:^
1408:^
1342:^
1302:^
1248:^
1198:^
1176:^
999:("
938:,
833:,
827:,
821:,
793:.
772:,
730:,
722:,
661:.
641:,
637:,
81:,
61:,
34:c.
54:)
50:(
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