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Eugen Schileru

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Eugen Schileru
Schileru c. 1950
Schileruc.1950
BornEugen Schiller
(1916-09-13)September 13, 1916
Brăila,Kingdom of Romania
DiedAugust 10, 1968(1968-08-10)(aged 51)
Bucharest,Socialist Republic of Romania
OccupationCritic, academic, political activist, journalist, publisher, librarian, schoolteacher
Periodc. 1930–1968
GenreEssay,monograph,biography,screenplay
Literary movement

Eugen SchileruorSchilleru(pen name ofEugen Schiller;September 13, 1916 – August 10, 1968) was a Romanian art, film and literary critic, essayist and translator. Born inBrăila,he was of part-Jewishdescent, being often described (and, during World War II, persecuted) as a Jew. He entered literary life in the early 1930s, while enrolled atNicolae Bălcescu High School;he then attended theUniversity of Bucharest,specializing inaesthetics,but also taking degrees in law and pedagogy. As a student, Schilleru became involved with the outlawedRomanian Communist Partyand itsUnion of Communist Youth.He only got his break into the mainstream after theanti-fascist coup of August 1944,when he joined the new cultural establishment—he was initially involved with the generic democratic press, includingNational Liberal Party'sViitorul,and wrote on a variety of topics; with time, he was exclusively employed by communist papers, and had to embrace the core tenets ofSocialist Realism.

For a while after 1948, Romania's newcommunist regimepromoted Schileru, assigning him to a publishing company, to theRomanian Academy's library, and finally to theNicolae Grigorescu Fine Arts Institute.He was secretly opposed to Socialist Realism, and offered moral support to writers repressed under its cultural guidelines. He alternated this dissident stance with shows of obedience, and used the party's dogmas against more senior colleagues, includingGeorge CălinescuandPetru Comarnescu.This interval came to an end in 1952, when Schileru himself was repressed by an "anti-cosmopolitan campaign".Though not entirely banned by thecommunist censors,he was pushed outside the literary mainstream, and prevented from advancing professionally. His reputation among nonconformists was instead consolidated, and he took his teaching to informal settings, including taverns and bars.

As a corollary ofde-Stalinizationin the mid-to-late 1950s, Romania also began abandoning Socialist Realism, and Schileru was able to return as an approved author—initially, with film chronicles celebratingItalian neorealism.He was then primarily active as a lecturer and columnist on art and literary topics, drawing both praise, for his innovative approach, and criticism, for his lengthy digressions and lack of academic focus. He only published a few of his scholarly works, including a 1966 monograph onRembrandt,before his death from cancer at age 51. His main series of essays, revealing his core theories on art criticism, were published in installments over the next decade.

Biography

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Early life

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Schileru was born in Brăila on September 13, 1916, into what later sources describe as a "family of intellectuals."[1]His parents were Henri Schiller, anotorhinolaryngologist,and his wife Maria (néeDemetrescu); his father wasJewishand his mother ethnic Romanian.[2]In a more detailed report, poetGeorge Astaloș,who had met and befriended Schileru in his later years, recalls being told that Henri, a man ofGerman Jewishextraction, was also a medic and colonel in theRomanian Land Forces,while Maria had been born to a wealthy shepherd fromȚara Moților.Schileru took a critical view of destitute Jews, once telling Astaloș: "There's nothing sadder on this earth than an impoverished Jew of an alcoholic Jewess. [...] A Jew, once he turns to poverty, never comes out of it!"[3]According to fellow art historianPetru Comarnescu,he was himself a practicing Christian, with "somethingDostoevskyianin his nature ".[4]

Eugen was first educated locally, at the Schwartzman Jewish–Romanian School, whose other alumni includedMihail Sebastian,Ilarie Voronca,Oscar Lemnaru,andUry Benador.[5]He then attended Brăila'sNicolae Bălcescu High School(1930–1934), during which time he began writing for local publications such asColumna lui Traian(1931),Premergătorul(1932–1933), andTribuna(1934). He is tentatively identified as the pseudonymous editor of another magazine,Stiletul( "The Stiletto" ), which put out a few issues in 1933.[6]Also then, he collaborated on the literary reviewStart,put out byȘtefan BaciuofBrașov.[7]He was associating with Sebastian, who introduced him to the successful novelistMircea Eliade,who was conferencing in Brăila. He felt snubbed by Eliade, who interrupted their conversation to ask: "Where might one go for a goodchorbain this Brăila of yours? "The memory of the incident haunted Schileru, and prompted Eliade to apologize in his later diaries.[8]

Schileru went on to study at the literature and philosophy faculty of theUniversity of Bucharest(1934–1938), specializing in "philosophical aesthetics".[6]His younger friend, the art historianGeo Șerban,notes that he arrived inBucharestalongside another author,Dolfi Trost,and that both were fleeing the rapidly declining Brăila.[9]Both of them befriendedMiron Radu Paraschivescu,who supported the outlawedRomanian Communist Party(PCR or PCdR), and, through him, became friends with non-communist liberals such asMariana Șora.This period saw them opposing the rise of fascism, as embodied by theIron Guard;members of the latter took their revenge by once beating up Trost, who had to be hospitalized for his injuries.[10]Schileru was reportedly welcomed into the Democratic Students' Front, an anti-fascist group formed aroundGogu Rădulescu;[1]through this sort of affiliations, he was an adherent by proxy of the then-illegalUnion of Communist Youth(UTC).[6]The latter organization was a branch of the similarly outlawed PCR—in a 1972 writerNicolae Dan Fruntelatăincluded Schileru andVirgile Solomonidison a list of PCR/UTC men who, at some point before 1939, had formed a party cell within the university's Faculty of Letters.[11]Visual artist Mircia Dumitrescu, who was Schileru's student and friend later in life, also argues that his professor was a PCR member during the underground period.[12]

Schileru was additionally a contributor to left-wing reviews ranging fromViața RomîneascătoCuvântul LiberandReporter.[1]He became a "journalist of note with his 1930s contributions in the [communist] party's legal magazines".[13]Under the pen name Adrian Schileru, he published in theMarxistreviewEra Nouăin 1936.[2][6]He completed his mandatory service in the Land Forces alongside fellow students such asGellu Naum,Silvian Iosifescu,Mihnea Gheorghiu,Al. I. Ștefănescu,Miron Constantinescu,andAlexandru Balaci.As Balaci recalls, the unit they trained with did not provide them with uniforms; Schileru, as an "indigent boy", begged his commanding officer not to have him perform exercises that would have ruined his suit.[14]

Wartime persecution and communist rise

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At university, Schileru studied under various scholars, includingGeorge Oprescu,and graduated with a degree in aesthetics; his thesis dealt with art and pathological manifestations.[2]His advancement in this field was reportedly blocked by the cultural establishment, including the same Oprescu.[15]Schileru had enlisted at the Bucharest Faculty of Law in parallel to his cultural studies, and, in 1939, also received a law degree.[2][6]In 1938, he had received a vacation scholarship from the French Institute of Advanced Studies in Romania.[2]Also that year, he graduated from a pedagogical institute.[2][6]This allowed him to take up positions as a schoolteacher in Bucharest, moving fromMatei BasarabtoGheorghe Lazăr.[6]During World War II, he frequentedVeac,a literary circle formed around the anti-fascist poet Ovidiu Rîureanu.[16]UnderIon Antonescu,Romania was drawn into an alliance withNazi Germany,and adopted policies of racial exclusion against Jews. Listed as Jewish, and banned from publishing, Schileru was still able to find work atEcouldaily, through friends such as Paraschivescu andVirgil Ierunca.[17]

Schileru was welcomed into the literary and journalistic mainstream during the war's later stages (after theanti-fascist coup of August 1944). Immediately after this event, he was employed as culture editor for theNational Liberalmouthpiece,Viitorul,[18]which also hosted some of his own articles.[9]According to reports preserved by theSecuritate,Schileru was for a while included on the editorial staff for the PCR's leading daily,România Liberă.[19]He then collaborated as a columnist onAnton Dumitriu's daily,Democrația,as well as on the MarxistVeac Nou.[9]His lecture on Jewish writers and their contribution to theFrench Resistancewas arranged by theJewish Democratic Committeein December 1945.[20]In March 1946,Veac Nouhosted his overview ofSoviet cinema,which also presented itself as a guide for uninformed Romanians.[21]In May, he was inducted into theRomanian Writers' Society.[22]He was also a regular with film and art chroniclesRevista Fundațiilor Regaleand inGeorge Călinescu'sLumea,where he also produced translations of French works byBenjamin Fondane.[6]Future screenwriterRadu Cosașu,who grew up reading theLumeacolumns, argues that, over time, Schileru became especially respected and somewhat feared as a film chronicler.[23]

By 1946, Schileru was covering the crossover of cinema and writing, exploring the transformation ofAmerican novelsunder the impact of cinema conventions and aesthetics.[24]AtRevista Fundațiilor Regale,he published "remarkable contributions" onEugene O'Neill.[25]According to Șerban, he was carried by "internal impulses to intervene, on multiple levels, toward the edification of public opinion", and overall a "spiritual restlessness".[9]More controversially, Schileru joined up with Paraschivescu andNicolae Moraruin pushing for strict communist dogmas, against independent-minded columnists who spoke of the period as one of intellectual crisis—the latter category includedTudor Arghezi,Barbu Brănișteanu,Ion Caraion,Șerban Cioculescu,Alexandru A. Philippide,Vladimir Streinu,Alexandru Talex,Tudor Teodorescu-Braniște,andConstant Tonegaru.[26]

Around 1947, Schileru was working alongside Iosifescu andVera Călinfor the state publishing company,Editura de Stat,[27]which was managed by poetAlexandru Toma.[19]From 1948 to 1951,[2]under the newly establishedRomanian communist regime,he directed theRomanian Academy's library. Șerban, at the time a young researcher, recalls that he was "always ready to give guiding suggestions, to let others borrow from his vast baggage of readings. His eyes were glistening upon discovering new venues for his bookish roving."[9]A version ofLope de Vega'sDog in the Manger,done by Schileru from the Spanish original, was used by theBucharest Municipal Theaterfor a 1948 production, withBeate FredanovandIon Lucianin the main roles.[28]In 1949,[2]Schileru became a professor of aesthetics at Bucharest'sNicolae Grigorescu Fine Arts Institute.Around the time of his appointment, he openly derided Moraru, who was lecturing inMarxism-Leninism,by asking him to distinguish betweenNicolai HartmannandEduard von Hartmann;Moraru, who only had a high-school education, was unable to respond, and humiliated himself.[29]

As recounted by fellow art scholar Radu Bogdan, Schileru and Comarnescu were equally shocked to discover that the new regime was stifling independent art, including one of a leftist bent, and imposingSocialist Realismas the singular dogma.[30]Schileru himself undermined Moraru's influence at the Institute by making his students read the more classical works ofTudor Vianu.[12]The period witnessed other episodes in which he transgressed against the expected behavior. He maintained a friendship with the Christian esotericistMarcel Avramescu,who, upon his invitation, performed demonstrations of hypnosis in Călin's apartment.[27]NovelistConstantin Țoiu,who was being subjected to ideological "verification" (during which he denied the separate existence of aworking-class culture), reports that he was comforted by a group of "valuable Jews", including Schileru, Iosifescu, and Călin. He contrasts this group with Jews such asLeonte RăutuandIosif Chișinevschi,who had built their careers on a "fanatical" endorsement ofStalinism,and whom Schileru and the others secretly despised.[31]Journalist and editorVlaicu Bârnarecalls however that, in early 1950, Schileru used the "classics of Marxism" against his former employer Călinescu—advising state publishers to not feature Călinescu's new novel,Bietul Ioanide,since it was ideologically suspect. Bârna intervened to undercut Schileru's report, and managed to get the book approved bycommunist censors.[32]

Sidelining and return

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In 1951, Schileru himself was formally investigated by the governing Communist Party, now called Workers' Party (PMR), after accessing a scholarship for creative writing without delivering the required paper.[33]In May 1952, as the PMR purged itself ofAna Paukerand her supporters, the authorities also instigated their own version of the "anti-cosmopolitan campaign".Schileru was caught up in this backlash, and singled out at the Plenary of the Union of Plastic Artists (UAP) for acting in a"cosmopolitan"way.[34]That same month,Contemporanuljournal hosted a large article by Aurel Haiduc, which detailed the accusations brought up against Schileru, Bogdan, and other authors. According to Bogdan, the piece was very likely composed by the PMR'sagitpropdepartment.[35]Schileru was not prevented from publishing and, in 1954, was reportedly the unsigned contributor to Oprescu'sHistory of Romanian Sculpture—his chapter, covering the more modern contributions, was also the first communist-era work to praiseConstantin Brâncușias an "exceptional talent".[36]

Though Schileru was generally not granted permission to leave Romania during his entire subsequent career (and had to rely on traveling friends to obtain any foreign books),[37]he was able to conserve his position at Grigorescu Institute. Dumitrescu notes that he was constantly "sacked from the faculty" by the very communists he once believed in, but again reintegrated; into his fifties, he could not advance to a position other than lecturer.[12]His influence was nevertheless preserved: students he helped form intellectually includeAndrei Pleșu,Marin Tarangul,[38]andDan Hăulică.The latter recalls that Schileru always ignored the regime's commands and, during political-training sessions, preferred to transform these into friendly chats about the latest art books.[37]Some of his educational work was done entirely outside academia, reflecting hisbohemianism.His "Socratic dialogues"could be spontaneously generated in any environment—" in the coffeehouse, during street-walks, and even during evenings of agitated bacchanals in some random tavern ".[9]As the offbeat literary scene was formally repressed, he joined other writers in "sordid" dives, such as the Singapore Bar in Rosetti Square.[39]In a 2010s interview, poetMircea Ivănescurecounts that he was initiated into heavy drinking by Schileru.[40]

Schileruc.1960

After 1956,George Ivașcu,who was editor atContemporanul,sought to expand that magazine's coverage of all artistic areas, and offered Schileru a permanent column (he was recruited alongside Vianu,Ion Frunzetti,Ecaterina Oproiu,andD. I. Suchianu).[41]He wrote about film, until he had to renounce his column in favor of Emil Suter—a dogmatic Stalinist who was brothers with the official literary critic,Ion Vitner.[42]Schileru was vindicated during thede-Stalinization periodof the late 1950s, which also witnessed the phasing out of Socialist Realism. In early 1957, the UAP chief ideologue,M. H. Maxy,was formally exposed by the PMR's Răutu, who allowed other Union members to express criticism of Maxy's dogmatism. Schileru was hesitant to join in: his speech on the occasion was noticably ambiguous, a way of "running with the hare and hunting with the hounds".[43]In 1958, the regime allowed Romanian moviegoers a glimpse ofItalian neorealism,by encouraging the belated distribution ofRoberto Rossellini'sRome, Open City.In 1958,Cesare Zavattiniwas welcomed in Bucharest; this in turn prompted Schileru and his colleague Florian Potra to openly discuss the merits of neorealism, and to speak of it as a positive influence onRomania's own film school.[44]He himself continued to be formally attached to Socialist Realism, and, inContemporanul,spoke of it as the more superior form of modern art, since it could answer the valid questions posed byExistentialismandNeo-expressionism.In theWestern bloc,"even those works that are an indictment of the reality in which the author and his people live, are depressing with their hopelessness and increase the chaos of thoughts and emotions."[45]

In January 1961,Paul Barbăneagrăreleased a documentary film on Romania's decade of Socialist Realist art; Schileru provided the screenplay. The result was criticized by I. Toma ofContemporanul,for both its writing and itsmontage.[46]By then, Schileru had been employed as the film chronicler atGazeta Literară.His work there received mixed reviews from his literary peers:Sami Damianreferred to the column as "competent", though he chided his "overflow of information" and desire to "astound" his readers;Eugen Simionwas impressed by Schileru's ability to draw connections between cinema and other arts, but noted that he was "hesitant" in his verdicts, even when it came to panning films that were of dubious quality.[47]Cosașu praises Schileru as a film critic, noting that he was highly influential in bringing "nonconformist art" to Romanian screens.[23]He was mainly producing short and occasional works on fine arts (exhibition catalogues, aesthetic commentaries, notes aboutImpressionism,classical and contemporary painting).[2][48]Comarnescu, who was by then his rival, argues that some of his contributions showed Schileru's overconfidence in his abilities, in particular when he discussedstage designthough he "never went to the theater" —the result was an "embarrassingly uninformed" article.[49]They conferenced together aboutMichelangelo,with Schileru covering the pictorial contributions. According to Comarnescu, this was another embarrassment, since his colleague confronted the public with "sensationalistic" details, failing to give attendees a "substantial overview" of his subject matter.[50]

Final years

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During the liberalization episode that peaked around 1964, Schileru could be seen queuing up for Western magazines that had been vetted be censors, alongside figures such as Cosașu,Ovid S. Crohmălniceanu,Horia Deleanu,andNicolae Steinhardt.According to Cosașu, he was passionate aboutWest Germany,and instructing his peers that they should readDie Weltrather thanLe Monde.[23]The same friend notes that Schileru was never alone, but rather integrated within various groups, "from the kids who played in [Romania's] first-ever electric-guitar orchestras to the brilliant young artists, in whose youth he believed as if fascinated by some vital genius".[23]Seen by Comarnescu as outstandingly ugly with "rodent-like" jaws, his speech "monotonous", he was nevertheless always pursuing "beautiful women". Comarnescu believes that self-awareness, and a string of rejections, are what pushed Schileru deeper into alcoholism.[4]His jazz-man friend,Johnny Răducanu,contrarily reports that Schileru was always outstandingly successful in his romantic life.[37]

Comarnescu, who was allowed to visit foreign countries, prepared an in-depth study onRembrandt,publishing it in 1956. He claims that Schileru, being jealous of him, tried to prevent the book from publishing, and, when he could not succeed in this, made sure that it was ignored by other professionals.[4]Schileru eventually completed his own Rembrandt monograph, which came out atEditura Meridianein 1966. Comarnescu, who was the first to review the work for print, noted that it some portions were heavily reliant onOtto Benesch,to the point of plagiarism. He believes that this was because Schileru, who knew his subject well and had been reading "tens of authors", was too involved with drink and his "sentimental dramas" to function on an academic level.[51]Scholar Emil Moangă calls the book "penetrating and empathetic", noting that Schileru had placed his subject's style and psychology in their historical context, leading to a larger meditation on the development ofchiaroscurofrom its sources in theInternational Gothic.As Moangă notes, Schileru was himself aliterary Impressionist,though one who could always back his interpretations with the "absolute rigors" of scholarship.[52]

With Frunzetti and Hăulică, Schileru attended a congress of theInternational Association of Art Critics,held atPraguein September 1966.[53]AlongsideLiviu CiuleiandPaul Bortnovschi,he was commissioned by Meridiane to work on an album covering the history of Romanian stage design.[54]The art critic always remained in touch with literary life, prefacing translations fromAntoine de Saint-Exupéry,Thomas Mann,Herman Melville,Alberto MoraviaandCesare Pavese.[2]Schileru himself translated, alone or in collaboration, works bySinclair Lewis,Ernest Hemingway,James Hilton,Horace McCoy,Giovanni Germanetto,André Ribard,Claude Lévi-Strauss,Albert Maltz,Richard Sasuly andTirso de Molina.[2][55]As reported by Comarnescu, Schileru spent an inordinate amount of time researching local figures such as sculptor Victor Roman and the "mediocre painter" Ion Sima—the latter, only because Sima's wife had "lured" him in with food and drink. Comarnescu, who acknowledges that Schileru still had genuine worth as a historian, posthumously castigates him for not finishing his coverage of more worthy artists, such asHenri CatargiandPaul Klee.[4]

Grave atBellu cemetery

Astaloș believes that Schileru's health was ultimately compromised by the liquor he imbibed at Singapore Bar.[56]He continued to be active as a professional critic to at least June 1968, but was shortly after diagnosed with cancer. As noted by his colleague Comarnescu, the disease had an "amazingly fast" progression.[57]He died in Bucharest on August 10, 1968, just shortly after having taken over as chair of the Institute's Art History Department.[6]As reported by Șerban, Schileru's death at the age of 51 was completely unexpected, leaving many to realize his cultural importance only through his absence.[9]His body waslaid in stateat the UAP, before being taken for burial atBellu cemetery,on August 14.[1]The funeral oration was delivered by Comarnescu.[58]He later confessed that he genuinely missed Schileru, who would still have had time to fulfill his promises.[59]An obituary piece inScînteianoted: "Gifted with a rare charm, brilliant in his lectures and conferencing, attentive and loving when it came to cultivating young talents, he has had a far-reaching contribution toward shaping new generations of artists and art theorists, over two decades."[1]Schileru had left a large collection of books which were unusually hard to find under communism. Most of these were sold off.[37]

Legacy

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Shortly after, Schileru's unfinished introduction to the poetry ofDan Bottawas included in a definitive Botta collection. It impressed critics for its rejection of clichés, resisting Botta's depiction as a "poet of death", and therefore by recontextualizing his modern "Orphism".[55]Schileru's essays on Sima andIon Irimescuwere published in 1968 and 1969, followed by the monographImpresionismul(1969).[2]The latter was issued from raw text, and was as such incomplete; according to Moangă, it should be praised for its "stylistic clarity" in discussing obscure pictorial techniques, and with its analysis of Impressionism as an intellectual current and a mood (in outlining this thesis, Schileru proposed thatMarcel Proustwas a literary exponent).[60]

Scrisoarea de dragoste( "Love Letter" ), comprising eight of Schileru's essays on various topics,[48]appeared in 1971, also at Meridiane; they were arranged for print by his daughter, Mihaela (or Micaela) Schileru-Chiose, and carried a preface by sociologistMiron Constantinescu.[13]The anthologized pieces are noted for their unifying thread, which is a rejection of grand metaphors in favor of precise case-studies (though the title itself is a metaphor, likening artistic processes to a correspondence between lovers); Schileru citesAlain Robbe-GrilletandGottfried Bennas his direct precursors in the advocacy of stylistic concreteness.[48]Beyond this, he "advocates for sincerity and authenticity, censuring mimicry, mannerism and eclecticism."[13]With additional input from the works ofNorbert WienerandMax Dvořák,Scrisoarea de dragostetackledmodernist artas "entropy",and therefore as a function ofalienation under capitalism.[48]

Some of Schileru's essays appeared in Hebrew translation in 1972, as part of an anthology of Romanian Jewish authors. Marcel Marcian, who was himself included in that volume, found the criteria questionable, particularly since Schileru was among those who, despite being sampled, "had no connection whatsoever with Judaism, in their writings."[61]At home, Pleșu sought to revive interest in his teacher's work in 1975, when he anthologized his essays asPreludii critice( "Critical Preludes" ). It was accompanied by Pleșu's own "moving recollections".[9]As read by Moangă,Preludii criticeis the closest to a "system", in which criticism itself is shown as serving thepaideiaof modern citizens.[62]This posthumous period also witnessed the publication of Schileru's commentaries onRomanian Television,as well as samples of his translations from German poetry; many other interventions remained scattered and unpublished as of 2021.[6]For a few months in 2009, Bucharest's Dialog Art Gallery hosted an exhibit showcasing Schileru's life and surviving books, alongside portraits done byCorneliu BabaandHenri Mavrodin,and engravings by Mircia Dumitrescu.[37]His daughter, who had emigrated to Canada,[63]published a memoir of her father in 2016, the centenary of his birth.[38]

Notes

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  1. ^abcde"Criticul Eugen Schileru a încetat din viață", inScînteia,August 13, 1968, p. 4
  2. ^abcdefghijklAurel Sasu, "Schileru, Eugen", in Aurel Sasu (ed.),Dicționarul biografic al literaturii române,Vol. II, pp. 545–546. Pitești:Editura Paralela 45,2004.ISBN973-697-758-7
  3. ^"Noi. Etc... etc...", inMinimum,Vol. XXII, Issue 251, February 2008, p. 23
  4. ^abcdComarnescu, p. 28
  5. ^Mihai Iovănel,Evreul improbabil. Mihail Sebastian: o monografie ideologică,p. 148. Bucharest:Cartea Românească,2012.ISBN978-973-23-2966-5
  6. ^abcdefghijMoangă, p. 177
  7. ^Ștefan Baciu,"Despre... Ștefan Baciu", inTransilvania,Vol. XIX, Issue 2, February 1990, p. 22
  8. ^"Cronica lunară. Proză", inTransilvania,Vol. XIV, Issue 3, March 1985, p. 52
  9. ^abcdefghGeo Șerban,"Istorie literară. Ninel, darnicul", inObservator Cultural,Vol. X, Issue 247, December 2009, p. 17
  10. ^Cornel Ungureanu,Mariana Șora,"Literatura română, azi: Mariana Șora", inOrizont,Vol. II, Issue 29, July 1990, pp. 8–9
  11. ^Nicolae Dan Fruntelată,"UTC 50. Ștafeta celor cinci decenii. 'Celula de la Litere' sau deceniul al doilea al studenției uteciste", inViața Studențească,Vol. XVII, Issue 11, March 1972, pp. 8–9
  12. ^abc"Eveniment. PremiileContemporanul– 2011 (I). Toamna 130 ", inContemporanul,Vol. XXIII, Issue 1, January 2012, p. 25
  13. ^abcD. Olmazu, "Cartea de artă. Eugen Schileru,Scrisoare de dragoste",inScînteia,January 26, 1972, p. 4
  14. ^V. Firoiu,...și eu am fost recrut,p. 120. Bucharest:Editura Militară,1974
  15. ^Comarnescu, p. 28
  16. ^"Ovidiu Rîureanu", inRomânia Literară,Issue 36/1992, p. 15
  17. ^Dan C. Mihăilescu,"Virgil Ierunca, subiect de teză doctorală", inRevista 22,Vol. XXXII, Issue 24, December 2021, p. 11
  18. ^Geo Șerban,"Aniversare. De pe un pisc al confirmărilor", inObservator Cultural,Vol. VIII, Issue 129, August 2007, p. 13
  19. ^abMihai Pelin,"Dosar Ion Caraion", inRomânia Literară,Issues 13–14/1999, p. 25
  20. ^"Informații. Conferințe", inRomânia Liberă,December 3, 1945, p. 2
  21. ^"Cultura și arta. Carnet", inLupta Moldovei,March 26, 1946, p. 2
  22. ^"Dela Societatea Scriitorilor Români", inUltima Oră,May 3, 1946, p. 2
  23. ^abcdRadu Cosașu,"Din vieața [sic] unui extremist de centru. În vertijul acelei vremi ", inDilema Veche,Vol. I, Issue 28, July 2004, p. 16
  24. ^Iordan Chimet,"Lumea de azi. Filmul american", inRevista Fundațiilor Regale,Vol. XIV, Issue 1, January 1947, p. 175
  25. ^Constandina Brezu, "Revista Fundațiilor Regaleși ideologizarea culturii între anii 1944–1947 ", inAnalele Sighet,Vol. 5, 1997, p. 245
  26. ^Gheorghe Grigurcu,"Semn de carte. O recuperare de conștiință", inRomânia Literară,Issues 51–52/2002, pp. 14–15
  27. ^abGeo Șerban,"In memoriam. Reculegere în memoria Verei Călin", inObservator Cultural,Vol. XIV, Issue 447, January 2014, p. 14
  28. ^Ioan Massoff,Teatrul românesc: privire istorică. Vol. VIII: Teatrul românesc în perioada 1940—1950,pp. 522–523. Bucharest:Editura Minerva,1981
  29. ^Radu Bogdan, "Un martor al realismului socialist (XXVII)", inDilema,Vol. III, Issue 141, September 1995, p. 2
  30. ^Radu Bogdan, "Un martor al realismului socialist (III)", inDilema,Vol. III, Issue 115, March 1995, p. 2
  31. ^Constantin Țoiu,"Prepeleac. Note, contranote", inRomânia Literară,Issue 20/2000, p. 18
  32. ^Vlaicu Bârna,"Primul lector alBietului Ioanide",inAlmanahul Literar,1986, pp. 44–45
  33. ^Cristian Vasile,Literatura și artele în România comunistă. 1948–1953,pp. 105, 151. Bucharest:Humanitas,2010.ISBN978-973-50-2773-5
  34. ^Robert Levy,Ana Pauker: The Rise and Fall of a Jewish Communist.Berkeley & Los Angeles:University of California Press,2001.ISBN0-520-22395-0
  35. ^Radu Bogdan, "Un martor al realismului socialist (XXXVIII)", inDilema,Vol. III, Issue 155, December 1995–January 1996, p. 2
  36. ^Barbu Brezianu,Mariana Șenilă Vasiliu, "Arte. Ce s-a întîmplat cu moștenirea Brâncuși? Spre dezlegarea tainei (I)", inAteneu,Vol. 27, Issue 8, August 1990, p. 13
  37. ^abcdeCristina Spiridon, "Documentar. Bibliotecarul vremurilor", inZiua,February 23, 2009, p. 15
  38. ^abAndrei Pleșu,"Nici așa, nici altminteri. Un euforic riguros: Eugen Schileru", inDilema Veche,Vol. XIII, Issue 666, November 2016, p. 3
  39. ^Zigu Ornea,"Spațiu de petrecere și taifas", inDilema,Vol. III, Issue 106, January 1995, p. 10
  40. ^Bianca Burța-Cernat, "Memorialistică. Morala unui sceptic 'sub acoperire'", inObservator Cultural,Vol. XIII, Issue 368, May–June 2012, p. 9
  41. ^Călin Căliman, "Roger", inContemporanul,Vol. XI, Issue 6, February 2000, p. 2
  42. ^Eugenia Vodă, "Cinema. Istoria șanselor pierdute", inRomânia Literară,Issue 5/2000, p. 17
  43. ^Radu Bogdan, "Corneliu Baba, o conștiință în evul mediu întunecat", inRomânia Literară,Issue 4/1997, pp. 12–14
  44. ^Monica Joița, "Meridiane. Filmul românesc între neorealism și realism socialist", inRomânia Literară,Issue 2/2005, p. 28
  45. ^"Světovým tiskem zaKulturou.Contemporanul",inKultura. Týdeník pro Kulturu a Umění,Issue 8/1958, p. 6
  46. ^I. Toma, "Spectacolele săptămînii. Album de pictură romînească contemporană", inContemporanul,Issue 2/1961, p. 5
  47. ^Eugen Simion,Sami Damian,"Opinii. Despre critica cinematografică", inCinema,Vol. I, Issue 9, September 1963, p. 14
  48. ^abcdMoangă, p. 178
  49. ^Comarnescu, pp. 28–29
  50. ^Comarnescu, p. 29
  51. ^Comarnescu, pp. 29–30
  52. ^Moangă, pp. 177–178
  53. ^"Actualitatea externă. Praga", inDobrogea Nouă,October 4, 1966, p. 4
  54. ^Cornel Cristian, "Regizorii noștri. La repetiție cu Liviu Ciulei", inMagazin Estival Cinema,1981, p. 26
  55. ^abMoangă, p. 179
  56. ^George Astaloș,"Cercul de cretă al originilor", inLuceafărul,Issue 26/1990, p. 9
  57. ^Comarnescu, pp. 27–28
  58. ^Comarnescu, pp. 26, 28
  59. ^Comarnescu, pp. 29–30
  60. ^Moangă, pp. 177–178
  61. ^Marcel Marcian, "Câte ceva despre rezistența obedienților", inContemporanul,Vol. VII, Issue 5, January 1997, p. 9
  62. ^Moangă, pp. 178–179
  63. ^Ștefan Cazimir,"Actualitatea. 'Rinocerii' și liber-schimbismul", inRomânia Literară,Issue 15/2017, p. 4

References

[edit]
  • Petru Comarnescu,"Pagini de jurnal", inViața Românească,Vol. LXXXVI, Issue 3, March 1991, pp. 15–32.
  • Emil Moangă, "Schileru, Eugen", inDicționarul general al literaturii române. S/Ș,pp. 177–179. Bucharest: Editura Fundația Națională pentru Știință și Artă, 2021.ISBN978-606-555-307-1
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