Jump to content

Viața Basarabiei

Edit links
From Wikipedia, the free encyclopedia
(Redirected fromViaţa Basarabiei)
For an earlier publication of the same name, seeViaţa Basarabiei (1907).
Viaţa Basarabiei
Viaţa Basarabieion a 2007Moldovanstamp
EditorMihai Cimpoi
Categoriesliterary magazine,political magazine
First issueJanuary 1932
CompanyPrut Internaţional
CountryRomania,Moldova
LanguageRomanian

Viaţa Basarabiei(Romanianfor "Bessarabia's Life ",pronounced[ˈvjat͡sabasaˈrabi.ej]) is a Romanian-language periodical fromChişinău,Moldova.Originally aliteraryandpolitical magazine,published at a time when the Bessarabia region was part ofRomania,it was founded in 1932 by political activistPan Halippaand writerNicolai Costenco.At the time,Viaţa Basarabieiwas primarily noted for rejecting thecentralismofGreater Romaniangovernments, to which they opposed more or less vocal Bessarabianregionalistdemands and anativistethos.

Declaring itself to be a traditionalist venue, interested in preserving local specificity in the cultural field,Viaţa Basarabieiwas in effect a voice for cultural innovation and a host tomodernistwriters such asVladimir Cavarnali,Bogdan IstruorGeorge Meniuc.After theSoviet Union's1940 annexation of Bessarabia,the editorial board split, and Halippa revived the magazine at a new location inBucharest.It was published there for most ofWorld War II,and was eventually disestablished. Its editors were subject to persecution in both Soviet territory andCommunist Romania.The magazine was revived in 2002 byMihai Cimpoi,being printed under the auspices of both theRomanian Writers' Unionand theMoldovan Writers' Union.

History

[edit]

Creation

[edit]

Viaţa Basarabiei,founded as the literary voice of Bessarabian regionalism, was first printed in January 1932. Its first issue included a foreword by Halippa, in which the latter, previously a key figure in the1918 union with Romaniaand activist of theNational Moldavian Party,outlined and pledged to follow a set of political and cultural ideals.[1]The name adopted by Halippa's publication was homonymous with that of two other press organs: anewspaper published in 1907;and a daily of theNational Peasants' Party,published from 1930 to 1944.[2]The name was also equivalent in translation to those of non-Romanian Bessarabian papers: theRussian-languageBesarabskaya Zhizn'(published around 1917) and theYiddishDos Besaraber Lebn(1918-1940).[3]

The new magazine was, according to Romanian literary criticIon Simuţ,a "regional adaptation" of theMoldavian-based journalViaţa Românească.[4]According to Moldovan writer and researcherCălina Trifan,the connection between these two platforms was the theory of "national specificity" inRomanian culture,first elaborated byViaţa RomâneascăbeforeWorld War I,and resurrected into an "evidently regionalist" ideology by Halippa and Costenco (seePoporanism).[1]Himself a member of theViaţa Româneascăcircles, Romanian literary historianGeorge Călinescuspoke ofViaţa Basarabieiand other cultural platforms of the day as proofs that Bessarabia manifested "great interest in literature."[5]The popularization of literature in the 1930s, Călinescu noted, meant that "even the hospitalized people of thesanitariuminBugazhad their own [literary periodical] ".[5]

Regionalist agenda

[edit]

The localist point of view was a common feature of other Bessarabian periodicals during theinterwar period(Cuget Moldovenesc,Bugeacul,Poetul,Itinerar).[1][6][7]However,Viaţa Basarabiei's anti-centralist political bias, evident after Nicolai Costenco's arrival as managing editor (1934),[8]was described by various researchers as proof of extremism, bordering onMoldovenismandanti-Romanian sentiment.Simuţ writes: "During the '30s, N. Costenco was promoting an exclusive and aggressive, hardly imaginable form of regionalism [...]. [His was] the most dangerous political way of thinking for the Bessarabian 'nation', whose logic leads into euphoricisolationism,that is to say a form of enclavization, [...] an aberrant form of defense. "[4]According to scholarAlexandru Burlacu,Costenco was an "ideologist of nativism pushed to the point of absurdity".[9]Moldovan essayist and criticEugen Lungu,who suggested that such reactions may be traced back to a "parochial complex", also noted of Costenco: "He promoted [by means ofViaţa Basarabiei] a ferocious nativism, sometimes to the point of degenerating into anti-Romanianism. An animator and aesthete of cultural regionalism, convinced in hisromanticfrenzy of an ultraspecial genius of 'the populace', he exulted a rambunctiousmessianismofSlavicinspiration. "[8]By then, Costenco and some of his fellow contributors to the magazine also hadleftistsympathies, making them critics of theright-wingtrends in Greater Romanian politics.[10]

In his column pieces for the magazine, Costenco repeatedly stipulated the existence of aBessarabian ethnicity,displaying "spiritual superiority" when compared toRomanians,and suggested that all of Greater Romania'shistorical regionshad "particular, exclusive national consciousnesses".[4]Another one of his ideas, outlined in ideological articles such as the 1937 pieceNecesitatea regionalismului cultural( "The Need for a Cultural Regionalism" ), was that Romanian immigrants into Bessarabia, orvenetici( "newcomers" ), were to locals whatsparrowsare tonightingales.[4]Costenco also argued that the area's history as a part of theRussian Empire,and its consequent familiarity withRussian culture,were marks of both dissimilarity and excellence: "The culture of those who can speak Russian is overwhelmingly superior in its august silence, when compared with theold kingdom's culture, with its chatty and insolent representatives. [...] By combining [the] two cultures, the Slavic and... theLatinone, tomorrow's Bessarabia shall become, from a spiritual point of view, a chain of mountains, the tops of which will be glowing in full splendor over the times and borders. "[4]

Costenco's stance mirrored the attitudes of some otherViaţa Basarabieicontributors. The magazine published some of the last political texts by the oldanarchistZamfir Arbore,who stated his bitter rejection of Romanian society.[11]Although a lifelong supporter of unionism, theRomanian Orthodoxpriest and writerVasile Ţepordei,who was a regular contributor toViaţa Basarabieiand other regional reviews, spoke of Romania having treated Bessarabia as an "African colony",creating opportunities for" adventurers "and" nonentities "from the other historical regions.[12]Halippa's own pronouncements of the period expressed his disappointment with centralist policies, leading to accusations that he himself had become anti-Romanian.[13]

Various commentators have noted thatViaţa Basarabieipartly shaped the negative perception of Romanian authorities, as embraced by many locals.[4][14]Literary criticDan Mănucănotes that this cultural and political phenomenon, later exacerbated bySoviet historiography,was in fact also an answer to the Romanian government's assignment of incompetent officials at a local level.[4]However, Moldovan philologist Alina Ciobanu-Tofan notes, there was a separation between "the provocative statements" made byViaţa Basarabieieditors and actual interwar accomplishments: "cultural regionalism has stood as the fundamental prerequisite in maintaining the Bessarabian spiritual phenomenon afloat, it being the only way for accomplishing the actual unification of Romanian spirituality, the synthesis of all creative contributions".[1]The regionalist platform continued to tolerate contributions from Romanian men of letters who did not identify with such policies. One such case was that ofConstantin Ciopraga,a literary critic who made his debut in the magazine's pages, and who, according to Mănucă, was most likely interested in "supporting Romanianism in the land between thePrutand theDniester[that is, Bessarabia]. "[15]

Traditionalism and modernism

[edit]

Stylistically, Nicolai Costenco's review was generally committed to the traditionalist and anti-modernistside of theRomanian literary environment.In articles for the magazine, Costenco offered praise to the publications issued by thenationalistthinker and historianNicolae Iorga,from the defunctSămănătorul(the coagulant factor of Romanian traditionalism) to the neo-SămănătoristCuget Clar.[9]The Bessarabian journalist merged his rejection of Romanian modernism into his discourse on the regional issue, arguing: "We, as Bessarabians, are pleased that the Bessarabian folk is impervious to the poisoned heat radiating from present-day Romanian culture."[4]According to Burlacu, the use of traditionalist rhetoric is also observable in those articles which speak of Bessarabia's identity, in the magazine's critique of modernist poetTudor Arghezi,and in poetSergiu Matei Nica's Orthodox statements of devotion.[9]

In practice,Viaţa Basarabieiwas more open to modernism than its editorial policies dictated. The paradox was underlined by Burlacu, who noted that Costenco himself was beginning to incorporate poetic traits fromSymbolism,a literary form that Iorga had equated with sickness.[9]The magazine therefore played host toBogdan Istru,George Meniucand other writers who illustrated the final developments ofRomania's Symbolist movement,and whose work also adopted someavant-gardecharacteristics.[9]After 1935,Viaţa Basarabieiemployed as a member of the editorial staff the modernist poet andcommunistsympathizerAlexandru Robot,whose articles covered such political issues as the trial ofRomanian Communist PartymemberPetre Constantinescu-Iaşi.[10]

Writing for the magazine, Costenco himself offered much praise to the lyrical work ofVladimir Cavarnali,whose style was by then incorporating influences fromRussian Symbolism,ExpressionismorFuturismover a generic Symbolist framework.[16]One of Costenco's essays, published byViaţa Basarabieiin 1937, stated: "the poet is a hero, atitan—the multitudes should follow him, so that, once in communion with his songs, they may build themselves a future without any lies ".[16]The critic encouraged Cavarnali to pursue this tendency, in order to provide his readers with "the Great Poem of the native, Bessarabian, soul".[16]Costenco was also a promoter of Robot'sSomnul singurătăţii( "The Slumber of Solitude", 1936)—an avant-garde volume which he positively reviewed forViaţa Basarabiei.[10]

In 1939, George Meniuc usedViaţa Basarabieito express his thoughts about the similarity between the condition of a poet and that of ashipwreckvictim: "The creative soul, tormented in so many ways, finds itself in continuous disorientation. Creation is merely the [...] proof of one's search for support, search for certitudes".[16]He argued in favor of a poetry that based itself primarily on musicality, and, aligning himself with Symbolist and Expressionist principles, urged poets to seek inspiration in both "the starlit sky" and "the dumpster".[9]Also published inViaţa Basarabiei,Meniuc's review of Cavarnali's 1939 volumeRăsadul verde al inimii stelele de sus îl plouă( "The Heart's Green Seedbed Is Rained upon by the Stars Above" ) expressed an enthusiasm similar to Costenco's. Meniuc argued that Cavarnali had foreseen the arrival of a new age, "perhaps the newMiddle Ages",adding:" the arrival of this new epoch is seen by [Cavarnali] as ruin, devastation. The modern city [...] scares him. Everything that is not in touch with the primitive life of yesteryear is inscribed within the prosaic sign ofmechanicism.This new rumor casts darkness over his rest and his reverie ".[16]

Pre-1940 cultural impact

[edit]

Overall, the magazine was involved in promoting new voices on theBessarabian literary scene,and had in all 120 individual contributors.[17]Reportedly, there were 1,035 separate poems published by the journal between 1932 and 1944.[17]In addition to the poems of Cavarnali, Costenco, Meniuc and Nica, it included, as milestones in Bessarabian poetry,Olga Cruşevan's "blue poetry",Lotis Dolenga's nostalgic pieces, as well aspatriotic-themed works by Halippa andSergiu Grossu.[17]Other noted works hosted byViaţa Basarabieiwere the prose writings ofDubăsarinativeDominte Timonu.Having had his work reviewed by Sergiu Matei Nica in a 1937 issue, Timonu was featured with thenovellasFiica domnului primar,( "Mr. Mayor's Daughter" ),La comisariat( "At the Commissioner's Office" ),Lalea( "A Tulip" ),Albăstrele( "The Bullweed Flowers" ) andUn pictor de peisaje( "A Landscape Painter" ), printed in various issues between 1937 and 1942.[18]Other modernist or traditionalist poetry and prose authors who contributed to the Bessarabian review were:Ion Buzdugan,Radu Gyr,Teodor Nencev,Liuba Dumitriu,Sergiu Grossu,Nicolae Spătaru,Petru Ştefănucă,Vasile Luţcan,Octav Sargeţiu,Anton Luţcan,Iacov Slavov,Andrei Tibereanu,[17]Magda Isanos[19]andAlexandru Lungu.[20]

According to Alina Ciobanu-Tofan, "for 13 years, [Viaţa Basarabiei] has had a fruitful activity (without equivalent in its epoch) in the area of Romanian culture in Bessarabia, discovering talents, generating and propagating unprecedented values ".[1]She notes that the progresses registered by Halippa and Costenco's tribune, "the most prestigious publication in 1930s Bessarabia", were significant in a context were the "blood-stained prints" of 19th centuryRussificationwere still observable.[1]

Beyond its literary agenda,Viaţa Basarabieihad a role in circulating academic studies on various subjects. According to one author's assessment, it published, before 1944: "3,232 articles, sources, reviews, information pieces on the most recent problems ofRomanian languageand literature, thehistory of the Romanians,philosophy, psychology,Christian ethics,sociology, statecraft and law, economy, natural sciences, agriculture, education, arts etc. "[17]Among the noted social scientists who contributed toViaţa Basarabieiat the time were Halippa himself,Zamfir Arbore,Vasile Harea,Gheorghe V. MadanandLiviu Marian.[4]

In addition to chronicling Bessarabian and nationwide developments,Viaţa Basarabieiwas interested in the life of Romanian-speakers within the Soviet Union, particularly those in the neighboringMoldavian ASSR(Transnistria), where, due to permanent border tensions, cultural contacts had been much reduced. The journal's 1933 notice on the literary life of Transnistria, at a time when the region was being reshaped byMarxism-Leninism,interested Romanian novelist and journalistLiviu Rebreanu,who then published ample but partly erroneous deductions about the number of Romanian writers there.[21]

World War II, communism and disestablishment

[edit]

After Bessarabia'sannexation by the Sovietsin 1940,Viaţa Basarabieiceased its publication, only to resurface a year later inBucharest,the Romanian capital. It was published there throughout theIon Antonescuregime's participation in theAxis-ledwar on the Soviet Union(seeRomania during World War II).[4][22]The paper continued featuring articles endorsing Romania's participation in the war, and making negative assessments about the impact of Imperial Russian and Soviet rule. It notably featured articles by the senior Bessarabian politicianIon Pelivan,who argued: "The Russians have plundered, robbed, humiliated us [Bessarabian Romanians], defiled our spirit, destroyed our language, stole our land, colonized it with other plundering populations, and they have murdered our Romanian being".[23]Pelivan's essay reflected on the impact of Russification and its conflict with unionism, all the way back to theCrimean War.[23]

Before and after theAxis invasion,Viaţa Basarabiei's legacy in the newly createdMoldavian SSR(covering most of Bessarabia) was contested by local Soviet officials. Thesuccessive deportationsto theGulagaffected several former affiliates of the magazine, including Costenco (who had chosen to remain behind after the 1940 occupation)[4][8]andVasile Ţepordei.[12]Having stayed behind in Soviet territory after 1940,Alexandru Robotadopted the tenets ofSocialist Realismand mysteriously disappeared shortly after the Axis attack.[10][24]His praise of Soviet power, concentrated in lyrical pieces such asA înflorit Moldova( "Moldova Has Blossomed" ), is believed by researcherIurie Colesnicto have masked his secret disappointment with the Soviet regime.[10]In what has been described as a highly unusual occurrence, Robot had continued to publish articles inViaţa Basarabieibetween its relocation to Bucharest and the outbreak of war.[24]

Discussing the manner in which the Soviet takeover had effected both cultural separation and the promotion of Moldovenism, Ion Simuţ writes about the ensuing paradoxes: "N. Costenco would become a victim of this blockage, enduring 15 years of [Soviet] detention specifically because of his earlier 'nationalism'. His exclusive and rigid regionalism of the '30s was one thing, and MoldovanSovietismof theStalinistyears quite another. Still, they had many things in common, among which dogmatism, an anti-Romanian attitude and a cultural disaster were the most important. "[4]Lungu, who writes about Costenco's failed attempts at reaching a compromise with the Soviet authorities, finds that the Bessarabian author came to reconsider his stance on regionalism, during and after his time in Soviet camps.[8]Halippa had a special situation: apolitical prisonerof theRomanian communist regime,he was also handed out to the Soviets and sent to the Gulag, and then again held in Romanian custody.[13]A committed devotee to the cause of unionism, he refused proposals to resettle in the Moldavian SSR, and spent his final years in Romania.[13]

The identification of the regionalist venue with nationalism andfascism,centered on allegations about Halippa and Meniuc's wartime attitudes, was notably argued by communist poetEmilian Bucov.In a 1959 address to theCommunist Party of the Moldavian SSR,he suggested that Meniuc's renewed literary activity in Soviet territory posed a political threat: "Some of our writers, for example G. Meniuc, have begun to raise up, like some sort of banners, the shreds of somereactionarymagazines that used to be printed in Romania and Bessarabia up to 1940 and during the latest war,Viaţa BasarabieiorGândirea.Why should we now extend amnesty to these reactionary magazines [...]? After all, all Bessarabian people know thatViaţa Basarabieimagazine has been promoting a shameless campaign, riddled with lies and innuendo, against the Land of the Soviets, against the revolutionary communist movement in Bessarabia. "[25]Meniuc, who faced these and other political charges, was removed from his editorial offices upon the end of the investigation.[25]

2002 revival

[edit]

The status of Romanian literature in the Moldavian SSR was elevated during the late 1980s, whendemocratizationbecame official policy. The transition was signaled byNistru,the official literary magazine. It anthologized the work of classical Romanian authors, changed its name toBasarabiaand, shortly before theSoviet collapse,declared itself a successor ofViaţa Basarabiei.[26]

Viaţa Basarabieiwas revived under its own title a decade intoMoldovan independence.The new series entered print in 2002, under the direction of literary historian and politicianMihai Cimpoi,and placed under the patronage of both theRomanian Writers' Unionand theMoldovan Writers' Union.[27][28]This custody was also shared by the Moldovan Writers' Union with theRomanian Cultural Institute.[29]

Its creation followed a split within the editorial board ofBasarabiajournal: Cimpoi and part of the editorial staff voted in favor of the transformation, while poetNicolae Popacontested the decision and continued to publishBasarabiaas a separate periodical.[28]As of 2003,Prut Internaţionalpublishing company manages the publication process.[30]

The first issues listed as the editorial staff writers from Moldova (Alexandru Burlacu,Emilian Galaicu-Păun,Ion Hadârcă,Dumitru-Dan Maxim) and Romania (Ana Blandiana,Constantin Ciopraga,Victor Crăciun,Eugen Simion).[31]Other noted contributors were Romanian criticEugen Uricaru,Bessarabian-born novelistPaul Goma(who serialized here his narrative, also titledBasarabia),[31]and Moldovan authorAndrei Strâmbeanu.[27]The magazine was also noted for publishing posthumous works by authors from several cultures, among themMarin PredaandKonstantin Paustovsky.[27]

Popa'sBasarabiadid not survive as the market and culture changed.[32]The rival magazine also faced several problems, including irregular circulation. According to a December 2005 article by cultural journalist Larisa Ungureanu,Viaţa Basarabieionly put out eleven issues over three years, none of which had been published during that particular year.[29]She also notes that Cimpoi's paper, like all other Moldovan literary reviews, was largely inaccessible at newsstands in Chişinău and in public libraries all over the country.[33]

Ungureanu also opines that, among this section of the Moldovan media,Viaţa BasarabieiandLiteratura şi Artastand out for their conservative approach to publishing, as opposed to the more modernContrafort,Revista Sud-EstandSemn.[34]The same dichotomy was stated by writer Maria Şleahtiţchi, according to whom the Moldovan publishing industry is essentially divided between journals with an antiquated patriotic Romanian discourse and venues better adapted to the modern scene.[35]Writing forRevista Sud-Est,poet and novelistLeo Butnarucriticized Cimpoi andViaţa Basarabieifor not maintaining the same editorial standard asSemnorContrafort:"is it not symptomatic [...] that, even in the very first issue ofViaţa Basarabiei,presided upon by an obviously apt literary critic, Mihai Cimpoi, no room could be found for at the very least simple bibliographies, reviews oraxiologicalcommentary? "[36]

Notes

[edit]
  1. ^abcdef(in Romanian)Călina Trifan,"Variaţiuni pe o temă",inContrafort,Nr. 4-5 (90-91), April–May 2002
  2. ^Grossu & Palade, p.15, 19
  3. ^Grossu & Palade, p.17-18
  4. ^abcdefghijkl(in Romanian)Ion Simuţ,"Există o critică regională?",inRomânia Literară,Nr. 27/2005
  5. ^abGeorge Călinescu,Istoria literaturii române de la origini pînă în prezent,Editura Minerva,Bucharest, 1986, p.968
  6. ^(in Romanian)Alexandru Burlacu,"Despre fenomenul sincronizării în literatura basarabeană",inRevista Sud-Est,Nr. 2/2003
  7. ^Grossu & Palade, p.20
  8. ^abcd(in Romanian)Eugen Lungu,"O literatură fără jurnal?",inRevista Sud-Est,Nr. 4/2000
  9. ^abcdef(in Romanian)Alexandru Burlacu,"Poezia basarabeană: Arcadia în negativ (I)"Archived2011-09-27 at theWayback Machine,inConvorbiri Literare,March 2002
  10. ^abcde(in Romanian)Iurie Colesnic,"Alexandru Robot – poetul enigmelor (90 de ani de la naştere)"Archived2011-07-06 at theWayback Machine,in theNational Library of Moldova'sMagazin Bibliologic,Nr. 1/2006, p.72-73
  11. ^Maria Lidia, Martin Veith,"Memoirs of an Anarchist in Romania. Zamfir C. Arbure (Ralli)",inKSL: Bulletin of theKate Sharpley Library,No. 57, March 2009
  12. ^ab(in Romanian)Ioan Lăcustă,"Din lacrima Basarabiei...",inRomânia Literară,Nr. 35/2005
  13. ^abc(in Romanian)Leonid Cemortan,"Drama intelectualilor basarabeni de stînga"ArchivedJuly 21, 2011, at theWayback Machine,inRevista Sud-Est,Nr. 3/2003
  14. ^(in Romanian)Dan Mănucă,"Obsesii regionaliste",inConvorbiri Literare,January 2003
  15. ^(in Romanian)Dan Mănucă,"Cumpătarea umanismului",inConvorbiri Literare,May 2008
  16. ^abcde(in Romanian)Alexandru Burlacu,"Poezia basarabeană: Arcadia în negativ (II)",inConvorbiri Literare,April 2002
  17. ^abcde(in Romanian)Anton Moraru,"Contribuţii remarcabile la ştiinţa bibliografică",inLiteratura şi Arta,March 10, 2010
  18. ^(in Romanian)Ion Şpac,"O carte-surpriză cu mai multe enigme",inLiteratura şi Arta,April 29, 2010
  19. ^(in Romanian)Alexandru Burlacu,"Magda Isanos: insaţietate de viaţă şi elan transformator", in Pierre Morel (ed.),Parcours féminins. L'intellectuelle. En hommage à Elena Prus,Free International University of Moldova,Chişinău, 2009, p.74.ISBN978-9975-934-61-9
  20. ^(in Romanian)Gheorghe Grigurcu,"Un poet în oglinda dialogului",inRomânia Literară,Nr. 5/2006
  21. ^(in Romanian)Vladimir Beşleagă,"Destine trans(i)nistr(i)ene",inContrafort,Nr. 7-8 (105-106), July–August 2003
  22. ^Grossu & Palade, p.20-21, 23
  23. ^ab(in Romanian)Anton Moraru,"Unirea Moldovei cu Ţara Românească la 1859 şi problema Basarabiei (I)",inLiteratura şi Arta,April 8, 2010
  24. ^ab(in Romanian)Vladimir Prisăcaru,"De hramul oraşului. Două evocări, două 'vase comunicante'. Tîrgul basarabean al anilor '30 şi talentul literar al lui Al. Robot"Archived2011-07-16 at theWayback Machine,in theB. P. Hasdeu Library of Chişinău'sBiblio Polis,Nr. 3/2006
  25. ^ab(in Romanian)Vladimir Beşleagă,"Conştiinţa naţională sub regimul comunist totalitar (VI) - R.S.S.M. 1956-1963",inContrafort,Nr. 1 (135), January 2006
  26. ^Şleahtiţchi, p.92-94
  27. ^abc(in Romanian)Pressofag,"Din valurile presei",inConvorbiri Literare,October 2002
  28. ^ab(in Romanian)Vasile Gârneţ,Mihai Cimpoi,"Despre spirit critic în Basarabia, despre Eminescu şi Ion Druţă, despre poliţia politică, Uniunea Scriitorilor, postmodernism şi polemici literare",inContrafort,Nr. 9-10 (95-96), September–October 2002
  29. ^abUngureanu, p.37
  30. ^(in Romanian)Oleg Bodrug,"Când nu vom mai trece Prutul cu paşapoarte 'internaţionale', Editura Prut Internaţional se va numi simplu - PRUT",inContrafort,Nr. 5-6 (103-104), May–June 2003
  31. ^ab(in Romanian)Cronicar,"Viaţa Basarabiei,Nr. 2 ",inRevista Sud-Est,Nr. 3/2002
  32. ^Şleahtiţchi, p.94
  33. ^Ungureanu, p.36-37
  34. ^Ungureanu, p.39
  35. ^Şleahtiţchi, p.93-94
  36. ^(in Romanian)Leo Butnaru,"Un apparent sezon - post-mortem",inRevista Sud-Est,Nr. 3/2002

References

[edit]
[edit]
Retrieved from "https://en.wikipedia.org/w/index.php?title=Viața_Basarabiei&oldid=1243920883"