text: pen name

text: interwar

text: modernist

text: avant-garde

text: Romanian literature

text: Symbolism

text: conservative

text: Junimea

text: aesthetic relativism

text: George Călinescu

text: national poet

text: Mihai Eminescu

text: World War I

text: intimist

text: Neoclassical

text: local branch of Symbolism

text: anti-fascism

text: nationalism

text: far right

text: fascist

text: National Renaissance Front

text: King

text: Carol II

text: left-wing

text: World War II

text: Romanian Communist Party

text: communist regime

text: Romanian Academy

text: Museum of Romanian Literature

text: Viața Românească

text: patronymic

text: Latin

text: Tudor Arghezi

text: Gala Galaction

text: Danube

text: Brăila

text: Bărăgan Plain

text: Nicolae Bălcescu

text: Baccalaureate

text: Ion Minulescu

text: Bucharest

text: city university

text: Romance studies

text: modern

text: Romance-language

text: Ovid Densusianu

text: Mihai Eminescu

text: Versuri și Proză

text: Iași

text: I. M. Rașcu

text: Alfred Hefter-Hidalgo

text: Parnassian

text: Artur Enășescu

text: Tudor Vianu

text: mental disorder

text: Romanian Academy

text: catalog

text: left-wing

text: Germanophile

text: Entente Powers

text: Ion Vinea

text: Demostene Botez

text: N. Porsenna

text: Romanian Army

text: Central Powers

text: Romania during World War I

text: Northern Dobruja

text: Turtucaia defeat

text: Bulgaria

text: Imperial German

text: Muratan

text: amputated

text: left-handed

text: handwriting

text: armistice with the Central Powers

text: Dragoș Protopopescu

text: Scarlat Struțeanu

text: November 1918 Armistice

text: Austro-Hungarian

text: Transylvania

text: united with Romania

text: Arad

text: Moise Nicoară High School

text: Târgu Mureș

text: Romanian

text: business education

text: Romanian theater

text: Benjamin Fondane

text: Armand Pascal

text: Sămănătorul

text: Ion Călugăru

text: Alexandru Vlahuță

text: George Coșbuc

text: Felix Aderca

text: Ideea Europeană

text: Mișcarea Literară

text: Cuget Românesc

text: Camil Petrescu

text: Romanian Orthodox

text: Arad Diocese

text: auction

text: Alexandru Bogdan-Pitești

text: avant-garde

text: Ilarie Voronca

text: Ion Pillat

text: Marcel Janco

text: Dada

text: Artur Enășescu

text: Romanian Writers' Society

text: self-immolation

text: Bellu cemetery

text: Contimporanul

text: Camil Baltazar

text: Claudia Millian

text: Alexandru Al. Philippide

text: Ion Sân-Giorgiu

text: intimist

text: Francis Jammes

text: Nae Ionescu

text: Cuvântul

text: fascist

text: Matei Basarab High School

text: Editura Fundațiilor Regale

text: national radio station

text: Adrian Maniu

text: Mateiu Caragiale

text: Poporanist

text: Garabet Ibrăileanu

text: French literature

text: Chateaubriand

text: Mallarmé

text: Albert Thibaudet

text: Editura Națională Ciornei

text: Alexandru Rosetti

text: nationalism

text: ethnocracy

text: heresy

text: Z. Ornea

text: Viața Românească

text: totalitarian

text: Iron Guard

text: antisemitism

text: emancipated

text: Romanian Jews

text: Romanian literature

text: Jewish quota

text: Ury Benador

text: I. Peltz

text: Mihail Sebastian

text: far right

text: Sfarmă-Piatră

text: Buna Vestire

text: Neamul Românesc

text: Nichifor Crainic

text: Mihail Manoilescu

text: Nicolae Iorga

text: Judeo-Bolshevik

text: Pompiliu Constantinescu

text: professional association

text: pornography

text: Șerban Cioculescu

text: Vladimir Streinu

text: Ion Biberi

text: Octav Șuluțiu

text: authoritarian

text: King

text: Carol II

text: corporatist

text: National Renaissance Front

text: Cezar Petrescu

text: propaganda

text: Revista Fundațiilor Regale

text: personality cult

text: Lucian Blaga

text: George Călinescu

text: Constantin Daicoviciu

text: Constantin Rădulescu-Motru

text: Mihail Sadoveanu

text: Ionel Teodoreanu

text: Nicolae Mărgineanu

text: Nicolae M. Condiescu

text: Zaharia Stancu

text: Felix Aderca

text: World War II

text: Soviet Union

text: Hungary

text: Soviet occupation of Bessarabia and Northern Bukovina

text: Second Vienna Award

text: Axis

text: National Legionary State

text: Conducător

text: Ion Antonescu

text: Romanian Radio

text: Ion Barbu

text: Adolf Hitler

text: D. Caracostea

text: Eugen Lovinescu

text: Bucharest Rebellion

text: Nazi German

text: invasion of the Soviet Union

text: Editura Vremea

text: Luceafărul

text: Doina

text: Kamadeva

text: August 23 Coup

text: Allies

text: Romanian Society for Friendship with the Soviet Union

text: Romanian Communist Party

text: Soviet occupation forces

text: Mihai Ralea

text: obituaries

text: Ștefan Augustin Doinaș

text: Familia

text: Gazeta Literară

text: Lumea

text: Tribuna

text: Universul

text: Jacques Byck

text: communist regime

text: Viața Românească

text: Gala Galaction

text: Romanian Academy

text: Alexandru Al. Philippide

text: Mihai Beniuc

text: Writers' Union of Romania

text: Însemnare a călătoriei mele

text: Dinicu Golescu

text: Editura Cartea Rusă

text: Russian and Soviet literature

text: Camil Petrescu

text: rapporteur

text: Lazăr Șăineanu

text: Scînteia

text: Marxist-Leninist

text: class struggle

text: reactionary

text: Titu Maiorescu

text: Mihail Dragomirescu

text: Gheorghe Bogdan-Duică

text: official censorship

text: Gheorghe Gheorghiu-Dej

text: De-Stalinization

text: totalitarianism

text: University of Bucharest

text: Securitate

text: political prisoner

text: sedition

text: Marxist

text: Hungarian Revolution of 1956

text: Bucharest student protest

text: rehabilitation

text: Romanian Socialist Realism

text: Museum of Romanian Literature

text: Romanian folklore

text: apocrypha

text: paremiology

text: Editura pentru literatură

text: Nicolae Ceaușescu

text: liberalization

text: Order of Cultural Merit

text: Șoseaua Kiseleff

text: Manuscriptum

text: Gazeta Literară

text: Bellu cemetery

text: Editura Dacia

text: Editura Minerva

text: interwar

text: George Călinescu

text: Șerban Cioculescu

text: Pompiliu Constantinescu

text: Eugen Lovinescu

text: Vladimir Streinu

text: Tudor Vianu

text: Junimea

text: Titu Maiorescu

text: rationalist

text: conservative

text: nationalism

text: Westernization

text: modernization

text: professionalization

text: didacticism

text: art for art's sake

text: Nicolae Manolescu

text: Z. Ornea

text: historicist

text: Ovid Densusianu

text: Dumitru Evolceanu

text: Ioan Bianu

text: Paul Cernat

text: eclectic

text: impressionist

text: ecumenism

text: sociological

text: positivist

text: Ștefan Cazimir

text: Ion Pillat

text: Albert Thibaudet

text: lyricism

text: novella

text: aesthetic relativism

text: Remy de Gourmont

text: Émile Faguet

text: Cuvântul

text: epic poetry

text: avant-garde

text: paraliterature

text: George Bacovia

text: Mihail Sadoveanu

text: Mihail Dragomirescu

text: Henric Sanielevici

text: Sburătorul

text: Mircea Iorgulescu

text: Sibiu Literary Circle

text: Șerban Cioculescu

text: German

text: French literature

text: Kurt Pinthus

text: Paul Fort

text: far left

text: Const. T. Emilian

text: nationalist

text: antisemitic

text: Jewish quota

text: Tudor Arghezi

text: Mihai Eminescu

text: Urmuz

text: absurdist

text: fairy tale

text: Norse

text: Greek mythology

text: puppet theater

text: Geo Bogza

text: Jacques G. Costin

text: Adrian Maniu

text: Tudor Mușatescu

text: Sașa Pană

text: Stephan Roll

text: Ion Vinea

text: parody

text: Don Quixote

text: Ion Călugăru

text: fantasy

text: Benjamin Fondane

text: patriarchy

text: Ion Minulescu

text: Mateiu Caragiale

text: Ilarie Voronca

text: subconscious

text: Dada

text: Surrealism

text: Decadent

text: neologism

text: barbarism

text: Romanian

text: Imagist

text: Ulysses

text: Novalis

text: Walt Whitman

text: Tristan Tzara

text: The Approximate Man

text: Romanian Writers' Society

text: prose poem

text: psychoanalyst

text: psychological novel

text: Felix Aderca

text: Gib Mihăescu

text: Hortensia Papadat-Bengescu

text: Marcel Janco

text: Constantin Brâncuși

text: Victor Brauner

text: primitivist

text: Mircea Eliade

text: Trăirism

text: Mihail Sebastian

text: De două mii de ani...

text: Petru Comarnescu

text: Camil Petrescu

text: Ultima noapte de dragoste, întâia noapte de război

text: national poet

text: monograph

text: Ministry of the Arts

text: Floare albastră

text: Nicolae Iorga

text: Pompiliu Constantinescu

text: Romanticism

text: epic

text: Romanian folklore

text: early Balkan myths

text: Norse mythology

text: Luceafărul

text: Luceafărul

text: Meșterul Manole

text: Eugen Goga

text: euphemism

text: Adevărul

text: Alexandru Al, Philippide

text: a priori

text: Eugen Simion

text: Constantin Dobrogeanu-Gherea

text: Garabet Ibrăileanu

text: political satire

text: Greater Romania

text: Symbolist poetry

text: Jules Laforgue

text: Arthur Rimbaud

text: firing squad

text: Bărăgan Plain

text: lyrical poetry

text: intimism

text: Emanoil Bucuța

text: Alexandru Claudian

text: Gavril Rotică

text: melancholic

text: Romanian humor

text: pathos

text: Alain Chartier

text: Neoclassicism

text: Latin literature

text: Catullus

text: Horace

text: Ovid

text: Sextus Propertius

text: elegy

text: neurosis

text: Mureș River

text: Styx

text: Ioana Pârvulescu

text: Don Quixote

text: Francis Jammes

text: Charles Baudelaire

text: Les Fleurs du mal

text: Museum of Romanian Literature

text: Eugen Simion

text: Romanian theater

text: Iorgu Caragiale

text: Mateiu Caragiale

text: Alexandru Rosetti

text: Brăila

text: Nicăpetre

text: Botoșani County

text: Romanian Revolution of 1989

text: Adevărul

text: informant

text: Eugen Florescu

text: Greater Romania Party

text: Senate

text: George Călinescu

text: Editura Minerva

text: Paul Cernat

text: Cartea Românească

text: Museum of Romanian Literature

text: Z. Ornea

text: Editura Fundației Culturale Române

text: Alexandru Al. Philippide

text: Viața Românească

text: Tudor Vianu

text: Dumitru Panaitescu Perpessicius

text: Museum of Romanian Literature

categories: 20th-century Romanian poets,Romanian literary critics,Romanian schoolteachers,Neoclassical writers,Recipients of the Order of the Star of the Romanian Socialist Republic,Romanian columnists,Titular members of the Romanian Academy,Romanian literary historians,Romanian essayists,Romanian folklorists,Romanian male novelists,Bibliographers,Symbolist novelists,University of Bucharest alumni,Bibliophiles,Romanian anthologists,Romanian military personnel of World War I,Symbolist poets,Censorship in Romania,Romanian radio personalities,1971 deaths,Burials at Bellu,Romanian male poets,Romanian magazine editors,20th-century Romanian novelists,Romanian biographers,Romanian museologists,Romanian textbook writers,20th-century biographers,Male biographers,People from Brăila,20th-century translators,20th-century essayists,Romanian translators,French–Romanian translators,Romanian civil servants,Romanian amputees,Romanian people of World War II,20th-century Romanian historians,1891 births,Romanian magazine founders,Romanian librarians,Romanian activists,Romanian art critics,Male essayists,Romanian World War I poets,Romanian book publishers (people)

paragraph: Perpessicius

paragraph: Perpessicius (; pen name of Dumitru S. Panaitescu, also known as Panait Șt. Dumitru, D. P. Perpessicius and Panaitescu-Perpessicius; October 22, 1891 – March 29, 1971) was a Romanian literary historian and critic, poet, essayist and fiction writer. One of the prominent literary chroniclers of the Romanian interwar, he stood apart in his generation for having thrown his support behind the modernist and avant-garde currents of Romanian literature. As a theorist, Perpessicius merged the tenets of Symbolism with the pragmatic conservative principles of the 19th century "Junimea" society, but was much-criticized over perceptions that, in the name of aesthetic relativism, he tolerated literary failure. Also known as an anthologist, biographer, museologist, folklorist and book publisher, he was, together with George Călinescu, one of his generation's best-known researchers to have focused on the work of "Junimist" author and since-acknowledged national poet Mihai Eminescu. Much of Perpessicius' career was dedicated to collecting, structuring and interpreting Eminescu's texts, resulting in an authoritative edition of Eminescu's writings, the 17-volume "Opere" ("Works").

paragraph: A veteran of World War I, where he lost use of his right arm, Perpessicius debuted in poetry while recovering in hospital, publishing the critically acclaimed volume "Scut și targă" ("Shield and Stretcher"). His subsequent "intimist" and Neoclassical tendencies made him part of a distinct current within the local branch of Symbolism. Like other mainstream modernists of his day, Perpessicius also espoused anti-fascism and criticized nationalism in general, attitudes which led him into conflict with the 1930s far right. In 1938-1940 however, Perpessicius controversially offered a degree of support to the fascist-inspired National Renaissance Front, and was promoted by its leader, King Carol II. Sympathetic to the left-wing trend after World War II, Perpessicius was drawn into cooperation with the Romanian Communist Party. Although subsequently endorsed and acclaimed by the communist regime, Perpessicius was reluctant to condone its policies and dedicated his final years almost exclusively to literature. A member of the Romanian Academy and founding director of the Museum of Romanian Literature, he was co-editor of "Viața Românească" magazine, and, in 1957, head of the Academy's Library.

paragraph: Section::::Name.

paragraph: Known initially as "Panait S. Dumitru" or "Panaiot Șt. Dumitru" (with an inverted name order and the middle initial standing for his patronymic), the author was given the name "Dumitru S. Panaitescu" (also "Dimitire Panaiot", "Panaitescu Șt. Dumitru"), while in primary school. To his friends, he was known as "Mitică" or "Mitiș", the pet forms of "Dumitru".

paragraph: Perpessicius' pseudonym, dating from ca. 1913-1918 is Latin for "he who suffers" or "he who was tested". Some commentators believe that the verb had special significance for Perpessicius, as either an ironic coincidence or a direct consequence of losing his writing arm. Others argue that it was merely imposed on him by his writer friends Tudor Arghezi and Gala Galaction.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early life and World War I.

paragraph: Born in the Danube port city of Brăila, in the Bărăgan Plain areas, Perpessicius was the son of middle-class parents Ștefan Panaiot (or Panaitescu) and Ecaterina (née Daraban), who owned a house on Cetății Street. Between 1898 and 1902, he attended the Nr. 4 Primary School, completing his gymnasium-level and secondary education at the Nicolae Bălcescu School (1902–1910).

paragraph: The future Perpessicius rallied with Symbolism while still an adolescent, and, at his Baccalaureate examination of 1910, gave a spoken presentation of innovative poet Ion Minulescu. He subsequently left for Bucharest, where he attended the city university's Faculty of Letters, specializing in Romance studies. He notably attended lectures on modern Romance-language literature given by Ovid Densusianu, patron of the Symbolist school, which he himself deemed a formative experience. Also during his university years, he first came into contact with the remaining manuscripts of Mihai Eminescu, on which his later exegesis would rely. He made his literary debut with poems sent to the "Versuri și Proză" magazine, edited in Iași by Densusianu's admirers I. M. Rașcu and Alfred Hefter-Hidalgo. One of them, titled "Reminiscență" ("Reminiscence"), was signed with the pen name "D. Pandara". At around that time, the young author met and befriended Parnassian poet Artur Enășescu, being, together with fellow critic Tudor Vianu, a witness to Enășescu's life before it was changed by mental disorder and material ruin.

paragraph: Perpessicius graduated in 1914, the same year when he married Alice Paleologu. In autumn 1915, at around the same time when Alice gave birth to a boy, he was appointed a clerk at the Romanian Academy Library, assigned to work on its new catalog. That year, other early selections of his writings saw print in "Cronica", a Symbolist and left-wing journal co-edited by Arghezi and Galaction. Perpessicus may have also shared "Cronica"s Germanophile agenda, which, at the time, implied criticism of the Entente Powers. He was by then working on a novel, titled "Veninul" ("The Venom"). A fragment of this work saw print in "Arena", a short-lived magazine edited by poets Ion Vinea and Demostene Botez in collaboration with Hefter-Hidalgo and N. Porsenna.

paragraph: Perpessicius joined the Romanian Army in 1916, as Romania rallied with the Entente against the Central Powers ("see Romania during World War I"). He was sent to Northern Dobruja in the wake of the Turtucaia defeat, when southern Romania was being invaded by Bulgarian and Imperial German forces. On October 6, 1916, during the skirmish of Muratan, his right elbow was hit by an enemy bullet, being partially amputated by surgeons in order to prevent a loss of the entire limb. His disabled arm was fastened with a black-colored sling, and Perpessicius taught himself to write left-handed (a change which reportedly made his handwriting instantly recognizable by his peers).

paragraph: By late 1918, as Romania signed an armistice with the Central Powers, Perpessicius returned to Bucharest. It was there that, together with two of Denusianu's disciples—Dragoș Protopopescu and Scarlat Struțeanu—he established the magazine "Letopiseți", which did not survive into the next year. After the November 1918 Armistice, which saw the end of the war to the Entente's benefit, and after the Austro-Hungarian-ruled region of Transylvania was united with Romania, Perpessicius was assigned to a teaching position in the newly gained city of Arad, at the Moise Nicoară High School (1919) and afterward at the Târgu Mureș Military High School. From autumn 1920 to summer 1921, he returned to Brăila, employed by the Normal School as a teacher of Romanian and French. Citing letters the young teacher had sent to his friends, Vianu reports that he missed working in the archives.

paragraph: Late in 1921, Perpessicius made his return to Bucharest, where, until 1929, he held teaching positions at various high schools and business education establishments. In 1922, he began his work in Romanian theater, collaborating with the Iași-based "Insula", a troupe founded by writer Benjamin Fondane and actor Armand Pascal. The company favored a characteristic blended of modernist theater and influences from defunct traditionalist currents such as "Sămănătorul". Just before it went bankrupt in early 1923, it was planning a "spoken anthology", during which notes compiled on several authors were supposed to be read for the public: Fondane's own comments on Arghezi, together with those of Perpessicius and Ion Călugăru on traditionalist poets—respectively, Alexandru Vlahuță and George Coșbuc.

paragraph: Also in 1923, he debuted as a literary chronicler and a regular on Felix Aderca's magazine "Spre Ziuă". By 1924, he had articles published in leading Romanian magazines: "Ideea Europeană", "Mișcarea Literară", "Cuget Românesc" and Camil Petrescu's "Săptămâna Muncii Intelectuale și Artistice". His debut volume of essays, "Repertoriu critic" ("Critical Repertoire"), was commissioned by the Romanian Orthodox Arad Diocese, saw print in 1925. Perpessicius was by then also noted as an advocate of public causes: his articles reacted against the decision to publicly auction the large art collection of Alexandru Bogdan-Pitești, a controversial politician and former convict who had bequeathed it to the state.

paragraph: Having established contacts with the emerging avant-garde during the war years, Perpessicius notably signaled the 1923 debut of its representative, poet Ilarie Voronca. He was, with poet Ion Pillat, editor of "Antologia poeților de azi" ("The Anthology of Present-Day Poets", 2 vols., 1925 and 1928), often considered a seminal text for the popularization of innovative literature, and featuring ink drawings by Marcel Janco, a co-founder of Dadaism. His critically acclaimed collection of war poems, "Scut și targă", was published in 1926. In 1927, the same year as Pillat and Artur Enășescu, he received the Award for Poetry granted by the Romanian Writers' Society. During those years, Perpessicius fell in love with Viorica "Yvoria" Secoșanu, a woman scholar who became his mistress. When she became aware that the critic was happily married, she committed self-immolation in Bellu cemetery, and died in hospital a short while after. The detail was omitted from Perpessicus' official biographies, and resurfaced only in 2009.

paragraph: Perpessicius was one of the moderate figures to sign contributions for the cosmopolitan avant-garde magazine "Contimporanul", published by his friends Vinea and Janco, part of a small group which also included, at the time, Minulescu, Pillat, Camil Baltazar, Claudia Millian, Alexandru Al. Philippide, Ion Sân-Giorgiu and some others. These texts included some of his "intimist" poems and translations from French poet Francis Jammes. "Contimporanul" also published his earlier notes on Vlahuță, recovered from the "Insula" manuscripts. In 1927, Perpessicius took over as chronicler for Nae Ionescu's "Cuvântul" (before it became a tribune for fascist causes), and, in 1929, became a teacher at the Matei Basarab High School in Bucharest (a position he held until 1951). The second volume of "Antologia..." was received with less enthusiasm, being even called "wasted energy" by Philippide.

paragraph: During the 1930s, he published his collected essays and chronicles in several volumes as "Mențiuni critice" ("Critical Mentions"), most of which were issued by the official publishing house Editura Fundațiilor Regale. In 1934, he signed a contract with the national radio station, entitling him to become its on-air literary chronicler, performing the job until 1938. Working under the direction of Adrian Maniu, a modernist writer and radio broadcaster, Perpessicus devoted special shows to recently deceased authors: the Symbolist-modernist Mateiu Caragiale and the former Poporanist doyen Garabet Ibrăileanu.

paragraph: He focused part of his subsequent research on Mateiu Caragiale, compiling and transcribing his unpublished notes and diaries. He published a definitive edition of Caragiale's collected works in 1936, and, in 1938, returned with an anthology of French literature, comprising texts which, he argued, blended fiction and theoretical viewpoints. Titled "De la Chateaubriand la Mallarmé" ("From Chateaubriand to Mallarmé"), it carried a dedication to the memory of French critic Albert Thibaudet. After 1933, he also began planning the definitive edition of Eminescu's "Opere", a project he discussed first with Editura Națională Ciornei, and later with Editura Fundațiilor Regale director Alexandru Rosetti; the first volume, grouping Eminescu's anthmously published poems, saw print with Rosetti's institution in 1939, being received with much critical acclaim. He published a second volume of his poetry, "Itinerar sentimental" ("Sentimental Itinerary", 1932).

paragraph: By the late 1920s, as nationalism became a radical force on the Romanian political stage, issuing calls for ethnocracy, Perpessicius joined intellectuals who called for moderation. In a 1931 piece for "Cuvântul", he reacted against nationalist arguments: "The fashion of good Romanians is making a rather furious comeback. You all know the heresy: one claims that native inhabitants are separated into good and bad, into plagued and pleasant-smelling, less so for their intentions or actions, but rather for the point of view adopted by the esteemed censors of our public and national life. [...] And how much longer do they plan to confront us with this self-sufficient nonsense? Will the mystification never cease? Will common sense never descend among the concrete walls of the office where they forge nationality certificates? No good Romanians but just humans, just humans, gentlemen, and it would suffice." Literary historian Z. Ornea, who likens this "lucid-democratic" text with one issued a year earlier by "Viața Românească" magazine, notes that both appeals failed to prevent the "totalitarian debauchery" of the subsequent decade, when the Iron Guard emerged as a force.

paragraph: Perpessicius integrated his condemnation of antisemitism in a radio broadcast of 1934. It reacted against objections that his "Antologia..." had made a point of adding newly-emancipated Romanian Jews among examples of Romanian literature, reaffirming an earlier rebuttal: "one cannot exclude a poet [...] based only on his nationality paper. The nationality of an artist is of less interest. In the eventuality, it is that of the people whose language he uses in his writing. But what is certain is that the work is the distinguishing sign of art." Alarmed by what he called "a Jewish quota in literature", he gave positive evaluations to newer works by Jewish authors Ury Benador, I. Peltz and his colleague Mihail Sebastian.

paragraph: During the same period, the modernists in general became targets of a campaign in the radical nationalist, far right and fascist press, including the journals "Sfarmă-Piatră", "Buna Vestire" and "Neamul Românesc". These journals, owned respectively by Nichifor Crainic, Mihail Manoilescu and Nicolae Iorga, produced various inflammatory allegations and insults, in particular claims of Judeo-Bolshevik plot and antisemitic slurs. In reaction to this, Perpessicius seconded his colleague Pompiliu Constantinescu in creating "Gruparea Criticilor Literari Români" (GCLR, the Group of Romanian Literary Critics), a professional association which aimed to protect its members' reputation and reacted in particular to accusations of modernist "pornography". The GCLR counted among its members Șerban Cioculescu and Vladimir Streinu, as well as Sebastian, Ion Biberi and Octav Șuluțiu. The members carried a polemic with Iorga's "Cuget Clar" magazine, defending Arghezi against accusations of obscenity repeatedly launched by Iorga and opinion journalist N. Georgescu-Cocoș. Perpessicius also tried his hand at mediating the parallel conflict between Streinu and Tudor Vianu, speaking out in writing and on the radio against Streinu's uncharacteristically harsh treatment of Vianu's contributions (1935).

paragraph: Section::::Biography.:King Carol's dictatorship and World War II.

paragraph: Perpessicius controversially remained active in the cultural mainstream after 1938, when authoritarian King Carol II banned political activities and created a corporatist and fascist-inspired regime around the National Renaissance Front, thus countering the threat posed by revolutionary fascism. In this context, he began collaborating on Cezar Petrescu's propaganda outlet for the regime, the newspaper "România". Also then, he published his collected articles of 1925-1933 as "Dictando divers" ("Various Writing Exercises"), and received the King Carol II Award for Literature and Art. The critic was a contributor to the state-owned "Revista Fundațiilor Regale" journal, where he played a part in imposing Carol's personality cult. Thus, as part of a 1940 homage to the ruler, he stated: "Fatherly love and love for the motherland have blended together and submerged into this enchanted river bed, where, together with the Prince's intellectual and spiritual education, was forged the very future of the Motherland." The text, together with similar pieces by cultural figures such as Arghezi, Camil Petrescu, Lucian Blaga, George Călinescu, Constantin Daicoviciu, Constantin Rădulescu-Motru, Mihail Sadoveanu and Ionel Teodoreanu, sparked a controversy in the political underground: one adversary of the monarch, psychologist Nicolae Mărgineanu, referred to the authors in question as "scoundrels". However, Perpessicius took a stand against the regime's adoption of antisemitism. He thus spoke out against the Romanian Writers' Society decision to eliminate its Jewish members, being, with Nicolae M. Condiescu and Rosetti, one of just three members to voice support for their Jewish colleague Mihail Sebastian. According to literary historian Ovidiu Morar, Perpessicius and novelist Zaharia Stancu were also the only literary men to speak out against the marginalization of Felix Aderca, who was also Jewish.

paragraph: These events were taking place in the first year of World War II, just months before Carol's regime lost credibility for the peaceful cession of Romanian territories to the Soviet Union and Hungary ("see Soviet occupation of Bessarabia and Northern Bukovina", "Second Vienna Award"). This was followed by the proclamation of a new Axis-aligned fascist regime, the National Legionary State, formed as an uneasy partnership between the Iron Guard and "Conducător" Ion Antonescu. Perpessicius left ironic notes on National Legionary propaganda, recording the Romanian Radio speakers' disjointed and unprofessional praise for the new government, the self-proclaimed purge of Romanian culture by the Guard's Legionary critics, or the rapid fascization of modernist poets such as Ion Barbu (who wrote a special poem for Adolf Hitler). The Iron Guard-appointed new head of "Revista Fundațiilor Regale", D. Caracostea, temporarily suspended the contributions of critics whom he considered supporters of Jewish writers: Perpessicius, Cioculescu and Streinu. At the time, the measure was commented upon by the anti-fascist and modernist literary historian Eugen Lovinescu, who deemed it "idiotic".

paragraph: Legionary government broke apart in early 1941, when the Iron Guard's Bucharest Rebellion caused Antonescu to reclaim all power, and later to join Romania into the Nazi German-led invasion of the Soviet Union. Perpessicius was isolated from political events. In 1942, with Cioculescu, Constantinescu, Streinu, and Vianu, he contributed essays dedicated to their mentor Lovinescu, celebrating his 60th birthday. They were collected in a single volume, published by Editura Vremea the following year—months before Lovinescu's death. In 1943, he published a second volume of Eminescu's "Opere", which included the alternative versions of lyrical works, including the "Luceafărul" poem. In 1944, he followed up with the essay volume "Jurnal de lector" ("A Reader's Diary"), which also included "Eminesciana", a collection of his "Revista Fundațiilor Regale" articles on the 19th-century poet. Also that year, he completed a third volume of Eminescu's "Opere", comprising anthumous variants of poems, from "Doina" to "Kamadeva".

paragraph: Soon after Antonescu was ousted during the August 23 Coup of 1944 and Romania began cooperating with the Allies, Perpessicius made his return to the public arena. For a while in 1944-1945, he joined the Romanian Writers' Society Board, replacing the resigned Zaharia Stancu. The major decision taken by the body was to exclude 28 of its members on grounds that they had actively supported fascist ideologies, which, literary historian Victor Durnea notes, was an arbitrary selection. This purge was followed by the integration of 20 authors known for their communist or left-wing convictions. In late 1944, Perpessicius also joined the Romanian Society for Friendship with the Soviet Union (ARLUS), set up by the newly legalized Romanian Communist Party in order to attract intellectuals and professionals to its cause, and supporting the Soviet occupation forces. He was, with Mihai Ralea, vice president of ARLUS' Literary Section (presided over by Mihail Sadoveanu). In May 1945, he represented ARLUS at the funeral of Mihail Sebastian, who had been killed in a road accident, and contributed one of Sebastian's obituaries in "Revista Fundațiilor Regale". Shortly after Lovinescu's death, Perpessicius also sat on the commission granting a memorial award, presented to aspiring authors such as Ștefan Augustin Doinaș. In 1945, he made the last of several sporadic visits to Brăila, where his mother still resided.

paragraph: He had by that stage resumed his activity as a chronicler, publishing articles in "Familia", "Gazeta Literară", "Lumea", "Tribuna", "Universul", as well as in "Steaua", "Jurnalul de Dimineață" and "Tânărul Scriitor". With Rosetti and Jacques Byck, Perpessicius authored a 1946 literature textbook for the 7th year of secondary education (final year of high school). The following year, he published the 5th volume of his "Mențiuni critice".

paragraph: Section::::Biography.:During communism.

paragraph: Perpessicius' career was affected in various ways by Romania's communist regime. In 1948, he joined the editing staff of "Viața Românească" magazine, and, upon the proposal of Gala Galaction, was made a corresponding member of the newly reshaped Romanian Academy. In 1949, again on Galaction's proposal, he was considered for full membership the Academy (at the same time as Stancu, Alexandru Al. Philippide and poet Mihai Beniuc), serving as head of section at its Institute of Literary History and Folklore until 1954. Also in 1949, Perpessicius joined the communist-endorsed Writers' Union of Romania, created on the Writers' Society structure. A new volume of Eminescu's "Opere" (the first to feature previously unpublished works) and an edition of "Însemnare a călătoriei mele" ("Account of My Travel") by the early 19th century author Dinicu Golescu were both published in 1952. Perpessicius was also contributing prefaces to books published by Editura Cartea Rusă, a newly created institution which exclusively published works of Russian and Soviet literature. He received the State Prize for 1954, in recognition for his work in editing Eminescu, and, on June 21, 1955, received full Academy membership, with Camil Petrescu as "rapporteur". At around the same time, Perpessicius focused some of his studies on the work of Lazăr Șăineanu, a linguist and folklorist whom specialized criticism of the time had come to ignore.

paragraph: Despite official endorsement, his relationship with the new authorities had its moments of tension. An unsigned 1953 article in the Communist Party's main daily, "Scînteia", accused the author of being indifferent to the Marxist-Leninist view of "class struggle", and noted that the "Opere" volume's introduction cited "reactionary" critics Titu Maiorescu, Mihail Dragomirescu and Gheorghe Bogdan-Duică without "assuming a critical stance". Some of his own earlier works, like those of the colleagues of his generation, were subjected to official censorship, and several were not given approval for publication. A relaxation of political pressures on the literary environment followed in the late 1950s, when communist leader Gheorghe Gheorghiu-Dej embarked on the path of controlled De-Stalinization, but totalitarianism still had direct consequences on the critic's life and career. Perpessicius' son Dumitru D. Panaitescu, a student at the University of Bucharest during the mid-1950s, was arrested by the Securitate secret police and implicated in the "Dardena trial", becoming a political prisoner of the communist regime. Panaitescu had been found guilty of sedition, for having joined Mihai Stere Dedena and others in organizing a dissident Marxist circle, which sympathized with the Hungarian Revolution of 1956 and stood behind the Bucharest student protest. The same year, at a Writers' Union congress consecrating the rehabilitation of formerly-censored Tudor Arghezi, Perpessicius made negative comments on the impact of Romanian Socialist Realism: "The Arghezi case is, without doubt, one of the most painful cases literature has known over the past ten years".

paragraph: Perpessicius was appointed head of the Academy Library in 1957, with a mission to create the Museum of Romanian Literature (MLR). Unable to provide adequate facilities for the Library, he presented the authorities with a series of proposals, but only received an increase in the funds allocated, and resigned. He did however succeed in creating the museum itself, and presided over it until his death. Also in 1957, he collected his various essays on literary history and Romanian folklore, as "Mențiuni de istoriografie literară și folclor" ("Mentions in Literary Historiography and Folklore"), followed by two more volumes in 1961 and 1964 respectively. Perpessicius returned with a new volume of "Opere" in 1958, by gathering the printed versions of Mihai Eminescu's original drafts and apocrypha. The 6th "Opere" volume of 1963 comprised the poet's folklore and paremiology collection, together with his works of direct folkloric inspiration. In 1964-1965, he edited Eminescu's selected works in an Editura pentru literatură edition, followed by a similar edition of Mateiu Caragiale's works.

paragraph: His 75th birthday of 1966 came at an interval when newly instated communist leader Nicolae Ceaușescu was effecting liberalization measures. It was celebrated nationally, and the authorities granted him the Order of Cultural Merit 1st class. He also began publishing his own "Opere", largely based on "Mențiuni critice", in four volumes (the last of which was posthumous). The following year, Perpessicius' Museum was faced with a crisis, having been evicted out of its original quarters and provisionally relocated to an apartment on Șoseaua Kiseleff. The matter was resolved when the director appealed to his friend Arghezi, by then a prominent cultural figure, and who managed to have the MLR relocated to a spacious location once occupied by the defunct Romanian-Russian Museum. One year before his death, Perpessicius also founded the MLR archive's press venue, "Manuscriptum". By 1968, he was also collaborating on the new edition of "Gazeta Literară", with the column "Lecturi intermitente" ("Intermittent Readings"), and collected his lifelong articles to be republished as a series of volumes.

paragraph: Having fallen ill and losing much of his eyesight, Perpessicius died on the morning of March 29, 1971, after prolonged and acute suffering. He was buried in Bellu cemetery. Two posthumous volumes were published as tribute during the same year: "Lecturi intermitente" with Editura Dacia, and "Eminesciana" with Editura Minerva (forwarded by his son, Dumitru D. Panaitescu).

paragraph: Section::::The critic and historian.

paragraph: Section::::The critic and historian.:Cultural context.

paragraph: Perpessicius is seen by various researchers as one of the most authoritative and recognizable figures among the Romanian critics of the interwar. Tudor Vianu thus described him as "one of the purest figures of writers who came to develop in the period between the two wars." The generic group also includes George Călinescu, Șerban Cioculescu, Pompiliu Constantinescu, Eugen Lovinescu, Vladimir Streinu, Tudor Vianu and others. This entire generation of critics stood for the legacy of "Junimea", a literary society influential in the second half of the 19th century. They followed in the footsteps of "Junimist" leader and philosopher Titu Maiorescu, who was known for his rationalist approach, his conservative suspicion of nationalism, his calls for pragmatic Westernization and controlled modernization, his advocacy of professionalization in science and literature, and, in particular, his critique of literary didacticism in favor of "art for art's sake". Lovinescu referred to himself and his colleagues as "the third post-Maiorescian generation", and, in the 1942 homage to Lovinescu, Perpessicius's essay, called "deepest and most convincing" by 21st century literary historian Nicolae Manolescu, focused primarily on Lovinescu's own study of Maiorescu. However, Z. Ornea notes, the analogy with "Junimea" only has limited application, given that the interwar critics all espoused "historicist" beliefs to varying degrees, and contextualized literary movements in a manner rejected by Maiorescu. Perpessicius' other mentors, Vianu notes, were critics and academics of diverse backgrounds: Ovid Densusianu, Dumitru Evolceanu and Ioan Bianu.

paragraph: Out of this environment, Perpessicius emerged with a personal style, characterized by literary historian Paul Cernat as both "eclectic" and "impressionist". Cernat also notes that Perpessicius parts with the "Junimist" tradition of combative, and ideally "masculine" criticism, establishing an ideological alternative: "The utopia of 'Perpessician' criticism is an aesthetic ecumenism purged of sociological, ethical and ethnic intrusions, and likewise of dogmatic, rationalist-positivist, prejudice." Contantinescu referred to his friend as "the only Romanian critic not to have practiced dogmatism" and "our most civilized critic, both spiritually and ethically".

paragraph: According to literary critic Ștefan Cazimir, Perpessicius and George Călinescu are "our only 'poets and critics' who honor both terms of the sequence", while, in Cernat's view, Perpessicius and his friend Ion Pillat stood out for having internalized "the collaboration between 'poet' and 'critic' ". This particularity resulted in the literary mix of "De la Chateaubriand la Mallarmé", partly inspired by the ideas of Albert Thibaudet: here, the critic blurs the lines between views expressed by writers and views expressed about the writers, using fragments of narratives to deduce critical thought. As a compliment to his stated preference for lyricism in prose, Perpessicius also believed that the modern novel and novella were interfering with each other to the point were distinction became "absolute gratuitousness" (a vision discussed in his "Mențiuni critice").

paragraph: This tendency toward aesthetic relativism owed inspiration to the theories of French Symbolist Remy de Gourmont, and brought Perpessicius into conflict with Lovinescu, whose more rigid version of Impressionism was based on the views of Émile Faguet. Initially, the elder critic had expressed approval of "Repertoriul critic", calling Perpessicius himself "a man of taste, a graceful stylist and an ornate spirit". A major point of contention between the two figures emerged in the late 1920s, when Lovinescu published his "Istoria literaturii române contemporane" ("The History of Contemporary Romanian Literature"). The work was received with reserve by Perpessicius, who, in his chronicle at "Cuvântul", objected to his senior's belief in the inferiority of lyricism over both narratives and epic poetry, and also to his dismissive treatment of avant-garde writers and of paraliterature. He declared himself disappointed by Lovinescu having disregarded the post-Symbolist poetry of George Bacovia, and criticized him for deriding the lyricized prose of traditionalist author Mihail Sadoveanu. He commented with irony on Lovinescu's primarily historicist perspective, arguing that it closely resembled what he himself criticized in the didacticism of Mihail Dragomirescu and Henric Sanielevici, and claiming that his rival's "Sburătorul" society aggravated "the dependence on literary schools". However, Perpessicius recognized Lovinescu's mentorship in his 1941-1942 essays, joining what literary historian Mircea Iorgulescu defines as "Lovinescu's first posterity" (also grouping, alongside the other authors of the 1942 volume, the younger-aged Sibiu Literary Circle).

paragraph: Section::::The critic and historian.:The modernist chronicler.

paragraph: Unlike many of his generation colleagues, Perpessicius welcomed the birth of an avant-garde movement in his native country, and offered encouragement to some of its members. According to Paul Cernat, his appreciation for the avant-garde was in general reciprocated, the more radical authors viewing Perpessicius with a degree of esteem they refused to all other leading interwar chroniclers. With "Antologia poeților de azi", Perpessicius and Pillat effected what Cernat calls "the critical assimilation of autochthonous Symbolism and modernism", and, citing Șerban Cioculescu, an expansion outside "the traditional realm of Romanian poetry, which had penetrated public consciousness through its cultural and didactic elements." The book was based on similar anthologies of German or French literature, as compiled by Kurt Pinthus and Paul Fort. As part of his dislike for historicist definitions, he most often refused to differentiate between the various "" within the current, referring to the avant-garde in general as the "far left" of modernism. This approach partly echoed the pronouncements of his fellow critics, among them Const. T. Emilian, author of the first study on Romania's cutting-edge modernism, a work noted for its ultra-conservative, nationalist and antisemitic conclusions. Perpessicius did not however share Emilian's viewpoint, and, in line with his pronouncements against a "Jewish quota", explicitly rejected the belief that avant-garde poetry was subversive, arguing instead that, at its best, the current displayed a modern "virtuosity". In his review of Emilian's polemical study of the avant-garde, Perpessicus spoke of the author's "rigid and timorous" approach to the subject.

paragraph: Perpessicius was especially sympathetic to poet Tudor Arghezi, a former Symbolist who had created a mixture of radical modernism and traditionalism, and who was hailed as a hero by the avant-garde circles. According to Cernat, the critic was the first-ever professional to declare Arghezi compatible with and comparable to Mihai Eminescu, thus cementing into mainstream verdict what had previously existed only as an isolated avant-garde claim. He was also interested in the work of another avant-garde champion, the suicidal clerk Urmuz, being one of the first to take Urmuz's work seriously, producing an essay which Nicolae Manolescu describes as "the most profound in our country's interwar criticism." Perpessicius stripped Urmuz's fragmentary and absurdist prose of its satirical elements, believing to have found profound cultural meanings, such as elements of fairy tales, echoes from Norse and Greek mythology, and allusions to the puppet theater, all of which created "new, daring and amazing, forms".

paragraph: His essays included ample comments on Urmuz's following, discussing his influence on diverse authors, avant-garde as well as mainstream: Arghezi, Geo Bogza, Jacques G. Costin, Adrian Maniu, Tudor Mușatescu, Sașa Pană, Stephan Roll and Ion Vinea. He focuses such pieces on Costin, whom he believed was an important author with "sharp traits" and "great subtlety", different from Urmuz in that he was "good-humored". He believed that Costin's parody of "Don Quixote" needed only "a mild process of purification" in order to join the "Romanian models" of its genre. Other avant-garde affiliates favorably reviewed by Perpessicius include: Ion Călugăru, whose fantasy writings and folk story parodies he considered suited for "the heaven of dreams"; Benjamin Fondane, a "reputable essayist" in whose poetic work, which reinterpreted the rural landscape, "patriarchy suffered and made itself seem outraged"; and the post-Symbolist Ion Minulescu, whose 1930 volume "Strofe pentru toată lumea" ("Stanzas for All") he deemed "fantasy poetry [...] transfiguring the every day and the trend [...], raising jokes to the level of poetic principle and conversing with God in a simpler, more citizen-like [...], more democratic [...] than [Minulescu] was conversing with himself some twenty years ago". Perpessicius also backed Fondane's verdict according to which Minulescu was "the first bell-ringer of Romania's lyrical revolt". His interest also covered Mateiu Caragiale, but his surviving renditions of the latter's texts have been criticized for being selective.

paragraph: Despite this interest in innovation, Perpessicius treated the work of various avant-garde authors with noted reserve, and attempted to correct tendencies he considered negative. This attitude surfaced in his reviews of Ilarie Voronca's poetry, when, although not averse to the subconscious explorations of Dadaism and Surrealism, Perpessicius voiced his concern that the resulting imagery was chaotic, and therefore hard to merge into the lyrical tradition. This reproach he combined with earlier objections: in his review of Voronca's 1923 collection of Decadent poems, "Restriști" ("Tribulations"), he first criticized the poet for introducing neologisms or barbarisms to literary Romanian. Referring to Voronca's later Imagist and Surrealist volume "Plante și animale", Perpessicius noted: "such poetry impresses, but does not charm. It strikes, but it does maintain. That's because it is fragmentary poetry." This kind of "prudent" conclusions, Cernat proposes, made the critic resemble all his colleagues of the moderate mainstream. Although discussing the shortcomings of Voronca's literature, Paul Cernat notes, Perpessicius was overall his most sympathetic of his more important early reviewers. Praise became the norm after 1928, when Voronca parted with radicalism and, through his "Ulise" (Romanian for "Ulysses"), elaborated a personal style at the junction of visionary tradition and introspective modernity. He believed this change had brought Voronca close to the types of poetry illustrated by classics such as Novalis, Walt Whitman and Eminescu, or by former Dadaist doyen Tristan Tzara in his "The Approximate Man", while protesting that the Romanian Writers' Society had failed to honor Voronca with a prize.

paragraph: Perpessicius was welcoming of other Surrealist productions, among which was a cryptic prose poem by Stephan Roll, "Moartea Eleonorei" ("Eleonora's Death"). He also enjoyed Ion Vinea's lyrical and marginally-Surrealist novel "Paradisul suspinelor" ("The Paradise of Sighs"), which he described as "a picturesque theater of reflexive puppets" emerging from the combined "virtuosity" of "poet, psychoanalyst and Surrealist aesthete". Other texts by Perpessicius focused on the impact of psychoanalysis on modernist and psychological novel authors such as Felix Aderca, Gib Mihăescu and Hortensia Papadat-Bengescu, or experimented in art criticism, with a review of Marcel Janco's vignette portraits for "Antologia...". Perpessicius viewed the latter drawings as "masks", "macerated by outer flames and drained of blood" and displaying "great vital force." He also took an interest in the illustrations contributed to Voronca and Pană by, respectively, Constantin Brâncuși and Victor Brauner, expressing admiration for their "primitivist" aesthetics. Sympathetic to Mircea Eliade, leader of the new radical modernism of the 1930s (a current emerging from "Trăirism"), he also offered positive reviews to other members of Eliade's generation, among them Mihail Sebastian (in particular for the controversial novel "De două mii de ani...") and Petru Comarnescu (for "Homo americanus", a group of essays on the United States). According to one assessment, he was also the only critic of his generation to defend Camil Petrescu's novel "Ultima noapte de dragoste, întâia noapte de război", criticized from early on for being sharply divided into two seemingly unrelated sections—in his assessment, this arrangement resonated with a profound message.

paragraph: Section::::The critic and historian.:Eminescu's exegete.

paragraph: Having reportedly developed a passion for Eminescu's poetry while still a student, Perpessicius was part of a generation poised on recovering and popularizing their predecessor. According to Perpessicius' own editor, Ileana Ene, "Our literary history has had the exceptional chance of finding in Perpessicius the ideal editor for a monumental edition of Eminescu's "Opere"." Early on, while closely following the various editions of collected works by various Romanian authors, the author voiced protests against what he believed was the political establishment's tendency to overlook a national poet: "we have no monograph on the poet, we have no critical edition [...] and we are even further from the prospect of a monument. We nonetheless have a Ministry of the Arts, and we carry on erecting, instead of statues [...], blocks of granite and beams of steel, more perishable than the paper stanzas of [Eminescu's] "Floare albastră"." By compiling his own edition, Perpessicius also sought to point out perceived flaws in previous selections, including that of his "Junimist" model Maiorescu—an approach revered by his political adversary, the post-"Junimist" historian and critic Nicolae Iorga. Both Iorga and Pompiliu Constantinescu offered special praise to Perpessicius' detailed study of Eminescu's biography on a strictly chronological basis (a chronology mirrored by the sorting of poem variants). Vianu saw the book as a major progress in understanding Eminescu's poetry. Noting that, in all, Perpessicius reviewed and transcribed some 15,000 pages of Eminescu's manuscripts, a prospect others had avoided, Vianu stated: "No one will ever be able to study Eminescu, the history and connections of each of his works, their genesis and echoes in literary historiography and criticism, without using Perpessicius' critical edition as their starting point."

paragraph: One major contribution made by Perpessicius to the field of Eminescu studies is his uncovering and publication of posthumous works. Vianu noted that, together with the bio-bibliographical writings of George Călinescu, Perpessicius' version of "Opere" initiated "the most significant transformation in posterity's image of the Romanians' greatest writer [Eminescu]." This helped highlight the successive periods in Eminescu's work, from his Romanticism of the 1860s to his epic interpretations of Romanian folklore, early Balkan myths and Norse mythology. An entire section of "Opere"s fifth volume sorted Eminescu's random and often unused drafts, collectively titled "Moloz" ("Debris"), thus allowing readers to differentiate between Eminescu's moments of inspiration and his routine poetic exercises. Perpessicius' research is also credited with having tracked down and compared the various drafts of "Luceafărul", a process which, according to Ene, might not have otherwise been attempted. The late article collection "Eminesciana", was criticized by some for being overall inferior to Perpessicius' other contributions, a conclusion which, Ene believes, is owed to some of the pieces having been prompted by public events. The author himself saw it as a diary and document of his studies, with "a certain kind of usefulness".

paragraph: Section::::The critic and historian.:Equidistant positioning and related controversy.

paragraph: A controversy surrounding Perpessicius' contributions as chronicler and theorist emerged during his lifetime, centered on perceptions that he was neither polemically engaged nor a proponent of hierarchies, but that he preferred to write equidistantly. Contrary to his contemporaries, Perpessicius believed the work of a critic to be not the imposition of a direction, but the "registry office" and panorama of naturally occurring trends, an idea notably present in the title of his article "În tinda unei registraturi" ("In the Parlor of a Registry Office"). The text spoke in favor of diversity and against "sectarianism": "I shall weed out [...] any sectarian prejudice and shall strive to comment on any work", because "the critic would do better not to consider novelty a scarecrow." Elsewhere, he cited Thibaudet for having inspired in him "great comprehension" and the ideal of "plurality in tastes". In a 1962 interview with "Luceafărul", Perpessicius stated: "young writers [...] should have the habit of reading the critics, but should not obey their assessments blindly. Just as there are writers who request any verdict, no matter how severe, as long as it is sincere, there are those pompous critics, who have never doubted the justness of their verdicts. Our experience from both sides of the barricade has taught us that both are wrong. Albeit mediocre, the middle way is the golden way."

paragraph: Reproaches on this perspective were notably voiced by his colleague and rival Lovinescu, who, in his "Istoria literaturii...", argued that critics were supposed to resemble the folk legend hero Meșterul Manole, who sacrificed his wife in the name of art, and claimed that, contrary to this ideal, Perpessicius had not waived "affective connections", particularly when discussing Arghezi. Lovinescu argued that his preference for modernism "embraces almost everything in contemporary literature, down to its minor products", an attitude which he equated with "abdication". George Călinescu discussed Perpessicius' reviews of "the most insignificant books", which, he claimed, consecrated his belonging to a "brilliant generation of secondary teachers" ill-adapted to the job of critics, lacking both "general ideas" and the ability of detecting "a work's hierarchic place" (in support of which he mentioned Perpessicius's claim that novelist Eugen Goga was one of Romania's best). Călinescu went on to argue that any negative comment made by his colleague could "seem like praise" by being "sweetened" from one phrase to the next, making reference to his use of euphemisms, "digressions" and "excessive delicacy". The same comemntator did however note that "Mențiuni critice" was "a precious bibliographic guide."

paragraph: Similar judgments were issued from various sides of the cultural spectrum. Although himself a collaborator of Perpessicius, Vladimir Streinu once referred to him as "the flower girl of our literature". While Tudor Vianu believed the "discreet" Perpessicius able of "biting irony", he also claimed: "The critic is at times too indulgent and, as a consequence, the contrasts in his appreciations are somewhat toned down. But how many young people did not absorb fortifying strengths from Perpessicius' benevolent verdicts?" Perpessicius' rejection of "sectarianism" was unfavorably reviewed by Cioculescu in a 1928 article for "Adevărul", which prompted a reply from Perpessicius. For Alexandru Al, Philippide, the second volume of "Antologia poeților de azi" was a sample of such leniency, to the point of becoming "embarrassingly instructive" by including talentless authors. He noted: "Seventy real poets in a quarter of a century is an "a priori" impossibility. [...] In such conditions, poetry presents itself as a real scourge, like some dangerous pestilence, almost like a social peril. And in such circumstances an anthology as horrifyingly complete as that of Mr. Pillat and Mr. Perpessicius appears to be disastrous. It is made to implant the belief that poets are to be found in a sum of individuals who, perhaps, had they been lacking such 'consecration', would be growing disillusioned and turn back into decent men, brave citizens and diligent clerks". The dispute touched on Perpessicius' own relationship with the avant-garde. In his account of Voronca's departure from the Surrealist group (part of a 1933 letter addressed to Fondane), Roll sarcastically downplayed his former colleague's success, alleging: "Only Perpessicius smothered [Voronca] in slobbery, grandmotherly, kisses; only Perpessicius showered with gifts, produced licks of the tongue, telephone calls and accolades."

paragraph: These themes of criticism were revisited by newer generation of critics. According to Eugen Simion, in following the Symbolist path of Remy de Gourmont, Perpessicius "gazes without discrimination over a Surrealist poem or a late Romantic work." Expanding on his take on the conflicting perspectives of Romanian criticism, Cernat observed: "Not at all lacking in critical spirit, Perpessicius most obviously belongs to the category of 'feminine', 'artistic' and 'poetic' critics [...]." Cernat also notes that, despite common perception, Perpessicius was "coherent with himself". Writing in 2002, literary historian Florin Mihăilescu argued that "directional criticism" as exemplified by Maiorescu, Constantin Dobrogeanu-Gherea, Garabet Ibrăileanu and Lovinescu, "will always be superior to the eternally well-disposed and always equable reviewer's office, à la Perpessicius".

paragraph: Section::::Poetry and fiction.

paragraph: Section::::Poetry and fiction.:War poet.

paragraph: Perpessicius' early war poems comprise the larger part of "Scut și targă" volume. Its other sections of the book were identified by Vianu as political satire directed at the regime changes in Greater Romania. Like its immediate successor "Itinerar sentimental", "Scut și targă" was seen by Vianu as among "the most delicate and spiritual inspirations of [their] epoch." From a stylistic perspective, "Scut și targă" fitted within the scope of Symbolist poetry and, as Perpessicius himself is said to have recounted, marked by the influence of Jules Laforgue. George Călinescu, who notes that their apparently "detached" tone allows glimpses of a "profound emotion", also stresses that the poems are indebted to the school of Arthur Rimbaud. He thus sees a connection between Rimbaud's "The Sleeper of the Vale" and scenes of "solar putrefaction" he associates with Perpessicius' lines for men killed by firing squads:

paragraph: For Călinescu, Perpessicius combined a Rimbaudesque appetite for "vagrancy" with a love for his native Bărăgan Plain, providing him with "a sense for the vigorous eternity of the fields, indifferent as they are to human waste". This, he argued, was made obvious by stanzas such as:

paragraph: Section::::Poetry and fiction.:Intimism.

paragraph: Perpessicius' lyrical poetry slowly evolved toward "intimism", which implies a focus on the immediate aspects of urban life and ample references to the interior world. George Călinescu includes him in this category around non-Symbolist poets such as Emanoil Bucuța, Alexandru Claudian and Gavril Rotică, noting that what separates him from the group is having "multiple layers, owed to his richer background." The individual approach, called by Călinescu "Symbolist and bookish", is present in pieces such as one dedicated to home ownership:

paragraph: In Cazimir's view, there is a close connection between Perpessicus' "bookish" poems and some verse works by George Călinescu, particularly as melancholic contributions to Romanian humor. Cazimir believes that Perpessicius' distinguishing notes are the "suspicion toward all sorts of pathos", "prosaic touches" and the recourse to "cultural references". As an example of this technique, he cites the poem "Toamnă" ("Autumn"):

paragraph: According to Călinescu himself, while the type of "intimism" had roots reaching as far back as medieval poet Alain Chartier, Perpessicius' other tendency was a form of Neoclassicism which directly referenced the major figures of Latin literature: Catullus, Horace, Ovid and Sextus Propertius. The latter influence, he argues, explained how Perpessicius return adoption of elegy as a form of poetic expression, in which "melancholy is without neurosis, but only slightly purple, like a funerary urn." In what Călinescu deems "such an excellent poem", Perpessicius depicts the Mureș River as his Styx:

paragraph: Perpessicius' work in fiction includes several unfinished novels. In addition to "Veninul", they include "Fatma sau focul de paie" ("Fatma or the Straw Fire") and "Amor academic" ("Academic Love Affair"), both of them mentioned in his profile for the 1925 "Antologia poeților de azi". According to literary historian Ioana Pârvulescu, who suspects that "Amor academic" was Perpessicius' intended homage to Yvoria Secoșanu, the author portrayed himself under the fictional names "Mototolea" (from "mototol", "wuss") and "Pentapolin" (the shepherd king in "Don Quixote").

paragraph: For the final half of his life, Perpessicius' Eminescu studies took precedence over his contributions to both poetry and fiction. Reflecting on this situation, Tudor Vianu noted: "We may at times experience regret that the poet, the literary historian, the prose writer [in Perpessicius] have consented to such a sacrifice. But we cannot prevent ourselves from saying that Perpessicius has thus fulfilled himself through the best part of his moral nature, through his modesty, generosity and dedication." In addition to this and his translations from Francis Jammes, he also rendered some of Charles Baudelaire's poetry, being noted by Tudor Vianu for his "beautiful" translation of "The Kind-hearted Servant of Whom You Were Jealous" (part of Baudelaire's "Les Fleurs du mal").

paragraph: Section::::Legacy.

paragraph: Perpessicius' contribution and biography were the subject of several later volumes of critical interpretations, beginning with the 1971 "Excurs sentimental Perpessicius" ("Perpessicius, a Sentimenal Excursion"), dedicated to his memory by the Museum of Romanian Literature. His work was itself anthologized, most notably in a 1971 edition by Eugen Simion. Several of his Eminescu transcripts, intended as the final volumes of "Opere", were still unpublished by the time of his death, leaving the MLR to group them into later editions. The posthumous series includes a 1977 volume of Eminescu's prose and exercises in drama, as well as records of his early participation in the development of Romanian theater with Iorgu Caragiale's troupe. His renditions of Mateiu Caragiale's texts, like the similar notebooks kept by Alexandru Rosetti, appear to have been lost forever under mysterious circumstances. Perpessicus' own private notebooks were only published in fragments, in various 1970s issues of "Manuscriptum"; the majority of these notes are kept away from the public eye, and, according to his express wish, can only be published at an unknown term in the future.

paragraph: His native home in Brăila was torn down in 1977, as the result of error, and rebuilt soon after with more modern materials. The new building became the Perpessicius Memorial House, hosting a permanent exhibit of his personal objects (including more than 7,000 of the books he owned). It also features a marble bust of the author, the work of Romanian-born Canadian sculptor Nicăpetre. A teacher training school in the city was named the "D. P. Perpessicius" in the critic's honor. The 17 volumes of his Mihai Eminescu edition form part of an Eminescu book collection at the Botoșani County Library, which in turn resulted from an exceptionally large donation made after the Romanian Revolution of 1989.

paragraph: In 2006, "Adevărul" journalist Christian Levant investigated the Dedena affair, concluding that Panaitescu Jr.'s arrest, like that of other members of his Marxist circle, was made possible by the actions of an informant. In Levant's view, that person was Eugen Florescu, who later made a career in the Communist Party and, after the Revolution, in the nationalist Greater Romania Party, having served in the Senate until 2004.

paragraph: Section::::References.

paragraph: BULLET::::- George Călinescu, "Istoria literaturii române de la origini pînă în prezent", Editura Minerva, Bucharest, 1986

paragraph: BULLET::::- Paul Cernat, "Avangarda românească și complexul periferiei: primul val", Cartea Românească, Bucharest, 2007.

paragraph: BULLET::::- Ileana Ene, preface and chronological study to Perpessicius, "Studii eminesciene", Museum of Romanian Literature, Bucharest, 2001, p. 5-20.

paragraph: BULLET::::- Z. Ornea,

paragraph: BULLET::::- "Anii treizeci. Extrema dreaptă românească", Editura Fundației Culturale Române, Bucharest, 1995.

paragraph: BULLET::::- "Junimea și junimismul", Vol. II, Editura Minerva, Bucharest, 1998.

paragraph: BULLET::::- Alexandru Al. Philippide, "Recenzii. Ion Pillat și Perpessicius, "Antologia poeților de azi", volumul II", in "Viața Românească", Nr. 1/1929, p. 132-134

paragraph: BULLET::::- Tudor Vianu, "Scriitori români", Vol. I-III, Editura Minerva, Bucharest, 1970-1971.

paragraph: Section::::External links.

paragraph: BULLET::::- Dumitru Panaitescu Perpessicius, Museum of Romanian Literature profile

description: Romanian writer

wikidata_label: Perpessicius

wikipedia_title: Perpessicius


text: German

text: Iffland-Ring

text: Elsa Bassermann

text: Mannheim

text: Max Reinhardt

text: Deutsches Theater Berlin

text: Othello

text: Faust

text: Friedrich Kayssler

text: The Merchant of Venice

text: August Strindberg

text: Max Mack

text: Der Andere

text: the play

text: Paul Lindau

text: Egmont (play)

text: Richard Oswald

text: Ernst Lubitsch

text: Leopold Jessner

text: Carl Zuckmayer

text: Katharina Knie

text: Verneuil

text: Alfred Hitchcock

text: Foreign Correspondent

text: Academy Award

text: The Red Shoes

text: Uta Hagen

text: The Master Builder

text: Ibsen

text: heart attack

text: Photographs of Albert Bassermann

categories: People from Mannheim,1952 deaths,German male silent film actors,German expatriate male actors in the United States,German male stage actors,German male film actors,1867 births,Iffland-Ring

paragraph: Albert Bassermann

paragraph: Albert Bassermann (7 September 1867 – 15 May 1952) was a German stage and screen actor. He was considered to be one of the greatest German-speaking actors of his generation and received the famous Iffland-Ring. He was married to Elsa Bassermann with whom he frequently performed.

paragraph: Section::::Life and career.

paragraph: Bassermann began his acting career in 1887 in Mannheim, his birthplace, after he began to study chemistry at the Technical University of Karlsruhe in 1884/85. He then moved to Berlin. From 1899, he worked for Otto Brahm. He began work at the Deutsches Theater from 1904, and in 1909 worked at the Lessing Theatre. From 1909 to 1915, Bassermann worked with Max Reinhardt at the Deutsches Theater Berlin. Roles included "Othello" in 1910, Faust Part II with Friedrich Kayssler in 1911, Shylock in "The Merchant of Venice" and August Strindberg's "The Storm" with in 1913.

paragraph: Bassermann was among the first German theatre actors who worked in film. In 1913, he played the main role of the lawyer in Max Mack's "Der Andere" ("The Other"), after the play by Paul Lindau. In 1915, he appeared in "Egmont (play)" with at the . He also worked with German silent film directors Richard Oswald, Ernst Lubitsch, Leopold Jessner and Lupu Pick. In 1928 he appeared in the first staging of Carl Zuckmayer's "Katharina Knie", and in November that year in "Herr Lambertier" by Verneuil

paragraph: In 1933, Bassermann left Germany and lived in the United States from 1938.

paragraph: Annija Simsone who played opposite Bassermann in the Neue Wiener Buehne Theater in the 1920s wrote the following in her autobiography: "During the Hitler era, Bassermann did not perform in Germany, though Adolf Hitler personally held him in high regard; Elsa was Jewish. Bassermann was told that if he wanted to continue to perform in Germany, he would have to get divorced. He did not get divorced, but Elsa and he went to Switzerland instead."

paragraph: Although his ability to speak English was very limited, he learned lines phonetically with assistance from his wife and found work as a character actor. For his performance as the Dutch statesman Van Meer in Alfred Hitchcock's "Foreign Correspondent", Bassermann was nominated for an Academy Award as Best Supporting Actor in 1940. He returned to Europe in 1946. His final film appearance was in "The Red Shoes".

paragraph: In her acting textbook "Respect for Acting", actress Uta Hagen said:

paragraph: "One of the finest lessons I ever learned was from the great German actor Albert Basserman. I worked with him as Hilde in "The Master Builder" by Ibsen. He was already past eighty but was as 'modern' in his conception of the role of Solness and in his techniques as anyone I've ever seen or played with. In rehearsals he felt his way with the new cast. (The role had been in his repertoire for almost forty years.) He watched us, listened to us, adjusted to us, meanwhile executing his actions with only a small part of his playing energy. At the first dress rehearsal, he started to play fully. There was such a vibrant reality to the rhythm of his speech and behavior that I was swept away by it. I kept waiting for him to come to an end with his intentions so that I could take my 'turn.' As a result, I either made a big hole in the dialogue or desperately cut in on him in order to avoid another hole. I was expecting the usual 'It's your turn; then it's my turn.' At the end of the first act I went to his dressing room and said, 'Mr. Basserman, I can't apologize enough, but I never know when you're through!' He looked at me in amazement and said, 'I'm never through! And neither should you be.'"

paragraph: Section::::Death.

paragraph: Bassermann died from a heart attack while on a flight from New York to Zurich. He is buried in Mannheim.

paragraph: Section::::See also.

paragraph: BULLET::::- List of German-speaking Academy Award winners and nominees

paragraph: Section::::External links.

paragraph: BULLET::::- Photographs of Albert Bassermann

description: German actor

wikidata_label: Albert Bassermann

wikipedia_title: Albert Bassermann


text:
Lohne
German
show jumping
1996 Summer Olympics
Atlanta
Franke Sloothaak
Lars Nieberg
Ludger Beerbaum

categories: Equestrians at the 2016 Summer Olympics,Medalists at the 1996 Summer Olympics,Equestrians at the 1996 Summer Olympics,Naturalized citizens of Ukraine,Olympic medalists in equestrian,1967 births,Olympic gold medalists for Germany,Ukrainian male equestrians,Olympic equestrians of Germany,Olympic equestrians of Ukraine,German male equestrians,German emigrants to Ukraine,Living people

paragraph: Ulrich Kirchhoff

paragraph: Ulrich Kirchhoff (born 9 August 1967 in Lohne) is a German (until 2013) and Ukrainian show jumping rider, Olympic champion from 1996.

paragraph: Section::::Olympic Record.

paragraph: Kirchhoff participated at the 1996 Summer Olympics in Atlanta, where he won a gold medal on the stallion "Jus De Pommes" in the Individual Jumping. At the same Olympics he also received a gold medal in Team jumping, together with Franke Sloothaak, Lars Nieberg and Ludger Beerbaum.

description: equestrian

wikidata_label: Ulrich Kirchhoff

wikipedia_title: Ulrich Kirchhoff


text:
Israeli
wheelchair tennis
disabled sports
Israel Sports Center for the Disabled
wheelchair basketball
wheelchair tennis
medicine
Tel Aviv University
2008 Paralympic Games
Shraga Weinberg
doubles tournament
singles event
Israel Sport Center for the Disabled
Boaz Kramer
Israel Sports Center for the Disabled

categories: 1978 births,Israeli male tennis players,Wheelchair tennis players at the 2008 Summer Paralympics,Wheelchair tennis players,Paralympic wheelchair tennis players of Israel,Living people,Paralympic silver medalists for Israel

paragraph: Boaz Kramer

paragraph: Boaz Kramer (born January 12, 1978) is an Israeli former professional wheelchair tennis player.

paragraph: Section::::Biography.

paragraph: Boaz Kramer was born partially paralyzed in his left arm and both legs. At the age of five he began practicing disabled sports at the Israel Sports Center for the Disabled. He was active in wheelchair basketball and wheelchair tennis, competing internationally in tennis. Kramer also studied medicine at Tel Aviv University.

paragraph: Kramer is married to Shirley Faitelson since 2008. He is a father of three children, Rommy (daughter), Suf (son) and Ofri (daughter).

paragraph: Section::::Sports career.

paragraph: In 2012, Kramer was ranked 9th in the world in wheelchair tennis.

paragraph: Towards the 2008 Paralympic Games, Kramer was chosen by the Israeli Paralympic Committee as Shraga Weinberg's partner in the wheelchair tennis doubles tournament. He competed in the singles event and was eliminated by World Number 3 Nicolas Taylor, In the doubles tournament he and Weinberg won silver.

paragraph: In 2012, Kramer together with Shraga Weinberg and Noam Gershony won the Wheelchair Tennis World Team Cup.

paragraph: In the London 2012 Paralympic Games Kramer reached 1/4 Final, where he lost to World Number 1 David Wagner.

paragraph: Since 2011 he has served as Executive Director of the Israel Sport Center for the Disabled, one of the largest Disabled Sport Facilities and programs in the world.

paragraph: In 2012, Kramer was elected by the Israeli Globes Magazine as one of the 40 most prominent young CEOs in the country.

paragraph: Section::::External links.

paragraph: BULLET::::- Boaz Kramer at the Israel Sports Center for the Disabled website

description: Israeli wheelchair tennis player

wikidata_label: Boaz Kramer

wikipedia_title: Boaz Kramer


text: House of Burke

text: Egidia de Lacy

text: Athassel Priory

text: Lord of Connacht

text: King

text: Livet

text: Gilbert de Lyvet

text: Lord Mayors of Dublin

text: Hugh de Lacy, 1st Earl of Ulster

text: Walter de Riddlesford

text: Earl of Ulster

text: Justiciar of Ireland

text: Aedh mac Felim Ua Conchobair

text: Ath an Chip

text: John FitzGeoffrey

text: Galway

text: James Stewart

text: Burgh Castle

text: John O'Donovan

text: Edward MacLysaght

text: University College Cork

text: University College Cork

text: Revised edition

text: Trinity College Dublin

categories: Anglo-Normans in Ireland,1271 deaths,Earls of Ulster (1264),People from County Galway,13th-century Irish people,1230 births,People from County Limerick

paragraph: Walter de Burgh, 1st Earl of Ulster

paragraph: Walter de Burgh, 1st Earl of Ulster, 2nd Lord of Connaught ( – 28 July 1271), also spelt Bourke or Burke, was an Irish peer from the House of Burke.

paragraph: Section::::Biography.

paragraph: De Burgh was the second son of Richard Mór de Burgh, 1st Lord of Connaught and Egidia de Lacy. He founded Athassel Priory.

paragraph: In 1243, he succeeded his father as Lord of Connacht. In a royal order from Westminster in September 1247, Sir John FitzGeoffrey was charged by the King with seizing the lands of Walter de Burgh's older brother Richard, who had died. The de Burgh lands in Connaught were being held by John de Livet, likely the son of Gilbert de Lyvet, one of the earliest Lord Mayors of Dublin and Marmaduke de Eschales (Scales).

paragraph: In 1264, he married a cousin Lady Maud de Lacy, only daughter and heiress of Hugh de Lacy, 1st Earl of Ulster (by his second wife, Emmeline de Riddlesford, the daughter of Walter de Riddlesford). That year De Burgh was created Earl of Ulster in her right. In 1270, he and Walter de Ufford, the Justiciar of Ireland, were defeated by Aedh mac Felim Ua Conchobair at Ath an Chip.

paragraph: He married secondly Aveline, daughter of Sir John FitzGeoffrey, Justiciar of Ireland, by his wife, Isabel Bigod.

paragraph: He died, aged about 40, in Galway, and was succeeded by his eldest son, Richard Óg de Burgh, 2nd Earl of Ulster (The Red Earl of Ulster). Other children were three sons, Theobald, William and Thomas, and daughter, Egidia, who married Sir James Stewart (1260–1309), High Steward of Scotland.

paragraph: Section::::Family tree.

paragraph: Walter de Burgh of Burgh Castle, Norfolk.

paragraph: Section::::References (family tree).

paragraph: BULLET::::- "A New History of Ireland", volume IX, Oxford, 1984;

paragraph: BULLET::::- "Earls of Ulster and Lords of Connacht, 1205–1460 (De Burgh, De Lacy and Mortimer)", p. 170;

paragraph: BULLET::::- "Mac William Burkes: Mac William Iochtar (de Burgh), Lords of Lower Connacht and Viscounts of Mayo, 1332–1649", p. 171;

paragraph: BULLET::::- "Burke of Clanricard: Mac William Uachtar (de Burgh), Lords of Upper Connacht and Earls of Clanricard, 1332–1722.

paragraph: Section::::References.

paragraph: BULLET::::- "Ancestral Roots of Certain American Colonists Who Came to America Before 1700" by Frederick Lewis Weis; Lines 73-30, 177B-8, 177B-9.

paragraph: BULLET::::- "The Tribes and customs of Hy-Many", John O'Donovan, 1843

paragraph: BULLET::::- "The Surnames of Ireland", Edward MacLysaght, Dublin, 1978.

paragraph: BULLET::::- "The Anglo-Normans in Co. Galway: the process of colonisation", Patrick Holland, "Journal of the Galway Archaeological and Historical Society, vol. 41,(1987–88)

paragraph: BULLET::::- "Excavation on the line of the medieval town defences of Loughrea, Co. Galway", J.G.A.& H.S., vol. 41, (1987–88)

paragraph: BULLET::::- "Anglo-Norman Galway; rectangular earthworks and moated sites", Patrick Holland, J.G.A. & H.S., vol. 46 (1993)

paragraph: BULLET::::- " Rindown Castle: a royal fortress in Co. Roscommon", Sheelagh Harbison", J.G.A. & H.S., vol. 47 (1995)

paragraph: BULLET::::- "The Anglo-Norman landscape in County Galway; land-holdings, castles and settlements", Patrick Holland, J.G.A.& H.S., vol. 49 (1997)

paragraph: BULLET::::- "Annals of Ulster" at CELT: Corpus of Electronic Texts at University College Cork

paragraph: BULLET::::- "Annals of Tigernach" at CELT: Corpus of Electronic Texts at University College Cork

paragraph: BULLET::::- Revised edition of McCarthy's synchronisms at Trinity College Dublin.

description: First Earl of Ulster

wikidata_label: Walter de Burgh, 1st Earl of Ulster

wikipedia_title: Walter de Burgh, 1st Earl of Ulster


text:
Dutch
racing driver
rally driver
Van Merksteijn Motorsport
2011 World Rally Championship season
Citroën DS3 WRC

categories: American Le Mans Series drivers,European Le Mans Series drivers,Dutch rally drivers,World Rally Championship drivers,1956 births,Dutch racing drivers,24 Hours of Le Mans drivers,People from Hengelo,Living people

paragraph: Peter van Merksteijn Sr.

paragraph: Peter van Merksteijn Sr. (born 10 June 1956) is a Dutch racing driver and rally driver who drove for the Van Merksteijn Motorsport team in the 2011 World Rally Championship season with Citroën DS3 WRC.

description: Dutch racing driver

wikidata_label: Peter van Merksteijn, Sr.

wikipedia_title: Peter van Merksteijn Sr.


text: Boston

text: architect

text: Bradlee, Winslow & Wetherell

text: Boston

text: townhouse

text: South End

text: Chestnut Hill Reservoir

text: Newton, Massachusetts

text: In 1876

text: Alvah Kittredge House

text: Greek Revival

text: Roxbury, Massachusetts

text: Altamonte Springs

text: Florida

text: Bradlee-McIntyre House

text: Victorian Cottage Style architecture

text: Central Florida

text: George Westinghouse

text: Bellows Falls

text: Vermont

text: Keene

text: New Hampshire

text: Boston Athenæum

text: Jordan Marsh

text: Downtown Crossing

text: Great Boston Fire of 1872

text: National Register of Historic Places

text: Boston, Massachusetts

text: Jordan Marsh

text: Boston, Massachusetts

text: Phillips School

text: Boston, Massachusetts

text: Cochituate standpipe

text: Mount Auburn Cemetery

text: Cambridge, Massachusetts

text: Cambridge, Massachusetts

text: Railway Station

text: North Conway, New Hampshire

text: Second Church, Boston

text: Danvers State Hospital

text: Danvers, Massachusetts

text: Boston Young Men's Christian Union

text: Boston, Massachusetts

text: Brunswick, Maine

text: Boston, Massachusetts

text: Nathaniel J Bradlee website

categories: People from Altamonte Springs, Florida,1829 births,People from Roxbury, Boston,Architects from Massachusetts,19th-century American people,1888 deaths

paragraph: Nathaniel Jeremiah Bradlee

paragraph: Nathaniel Jeremiah Bradlee (June 1, 1829 – December 17, 1888) was a Boston architect and a partner in the firm of Bradlee, Winslow & Wetherell.

paragraph: Section::::Life.

paragraph: Bradlee was born in Boston to Elizabeth Davis and Samuel Bradlee. He married Julia Rebecca Weld on April 17, 1855. Their children were Joseph Williams Bradlee, Caroline Lousia Bradlee, Elizabeth Lydia Bradlee, Eleanor Collamore Bradlee, and Hellen Curtis Bradlee.

paragraph: Bradlee designed many of the townhouses in Boston's South End, and was president of the Cochituate Water Board. The Bradlee Basin at the Chestnut Hill Reservoir, Newton, Massachusetts, completed in 1870, was named in his honor.

paragraph: In 1876 Bradlee ran unsuccessfully for mayor of Boston.

paragraph: From 1866 to 1896 his family lived in the Alvah Kittredge House, a Greek Revival mansion (built 1836) at 10 Linwood Street, Roxbury, Massachusetts. He vacationed in Altamonte Springs, Florida in what is now known as the Bradlee-McIntyre House (built 1885), probably the best example of Victorian Cottage Style architecture in Central Florida. In 1885, Henry Herman Westinghouse, younger brother of George Westinghouse, built a nearby house whose plan was a mirror image of the Bradlee-McIntyre House. Westinghouse also had Bradlee design homes of 12 to 15 rooms near Boston Avenue in town.

paragraph: Bradlee died unexpectedly in Bellows Falls, Vermont while on a train from Boston to Keene, New Hampshire. His papers are archived in the Boston Athenæum.

paragraph: Section::::Legacy.

paragraph: Bradlee's early 1860s Jordan Marsh department store, an ornate brownstone edifice with a landmark corner clock tower in what is now known as Boston's Downtown Crossing, sparked a major historic preservation movement in the city when it was torn down in 1975. Local architect Leslie Larson had founded a coalition called the City Conservation League to try to save the old building — one of the few survivors of the Great Boston Fire of 1872 — but it made way for a low modern brick structure that sits there today as Macy's. Some outraged customers cut up their credit cards in protest of the demolition. These protests and preservationist grassroots efforts led to the creation of the Boston Landmarks Commission. He built for Royal Robbins of Waltham Watch Co. A series of 8 freight stables in 1866,which serviced the adjoining Boston and Providence Railroad property, They are still standing on Stanhope Street Boston.

paragraph: Section::::Gallery.

paragraph: BULLET::::- 1853–1854 – First Church in Jamaica Plain, Unitarian-Universalist, a National Register of Historic Places (NRHP) site. At Centre and South Sts. Jamaica Plain, Massachusetts.

paragraph: BULLET::::- 1855 – William F. Schultz House, 53 Beacon Street, Boston, Massachusetts.

paragraph: BULLET::::- Early 1860s – Jordan Marsh department store, 450 Washington Street, Boston, Massachusetts (demolished in 1975)

paragraph: BULLET::::- 1861–1862, Phillips School, Boston, Massachusetts. A rare substantial surviving Italianate school building.

paragraph: BULLET::::- 1866 eight freight stables at 13-45 Stanhope Street, Boston to service B&P Railroad Co.

paragraph: BULLET::::- 1869, the Cochituate standpipe. Modernized Roxbury's water system.

paragraph: BULLET::::- 1870 – Mount Auburn Reception House, Mount Auburn Cemetery, Cambridge, Massachusetts. One of only two existing buildings in Cambridge, Massachusetts by Bradlee.

paragraph: BULLET::::- 1874, Railway Station, North Conway, New Hampshire.

paragraph: BULLET::::- 1874– Second Church, Boston, on Boylston Street, between Dartmouth and Clarendon

paragraph: BULLET::::- 1874–1878 – Danvers State Hospital, 450 Maple Street, Danvers, Massachusetts. A massive complex designed to care for the mentally ill.

paragraph: BULLET::::- 1875, commercial building (workshops), 6 East Springfield Street, South End, Boston

paragraph: BULLET::::- 1876 – Boston Young Men's Christian Union, 48 Boylston Street, Boston, Massachusetts. An outstanding example of the High Gothic style, another NRHP site.

paragraph: BULLET::::- 1878 – Unitarian Church, Brunswick, Maine.

paragraph: BULLET::::- 1879 – 542–550 Columbus Avenue, South End, Boston. Single family row houses.

paragraph: BULLET::::- Late 1870s – Palladio Hall, 60–62 Warren Street, Boston, Massachusetts. An Italian Renaissance-style commercial block designed and owned by Bradlee.

paragraph: Section::::Published works.

paragraph: BULLET::::- Nathaniel J. Bradlee, "History of the Introduction of Pure Water into the City of Boston, with a Description of Its Cochituate Water Works", Boston: Alfred Mudge & Son, 1868.

paragraph: Section::::External links.

paragraph: BULLET::::- Nathaniel J Bradlee website

paragraph: BULLET::::- Danvers State Insane Asylum — information and Nathaniel J Bradlee biography

description: American architect

wikidata_label: Nathaniel Jeremiah Bradlee

wikipedia_title: Nathaniel Jeremiah Bradlee


text: admiral

text: Regia Marina

text: Chambéry

text: Kingdom of Sardinia

text: Crimean war

text: Ancona

text: Siege of Gaeta

text: Battle of Lissa (1866)

text: San Giorgio

text: Austria

text: Marco Minghetti

text: Cagni-class submarine

text: Enciclopedia Italiana

text: online

text: Item

text: Item

text: Camera dei Deputati

categories: People from Chambéry,1828 births,1892 deaths,Italian admirals,People from Savoy,People of the Crimean War

paragraph: Simone Antonio Saint-Bon

paragraph: Simone Antonio Pacoret de Saint-Bon (March 20, 1828 – November 26, 1892) was an admiral of the Italian "Regia Marina" (Royal Navy).

paragraph: Saint-Bon was born at Chambéry, now in France, then part of the Kingdom of Sardinia.

paragraph: Leaving the Naval Academy in 1847, he attained the rank of commander in 1860, and that of vice-admiral in 1867. He took part in the Crimean war, distinguished himself in 1860 at the siege of Ancona, and was decorated for valor at the Siege of Gaeta. At the battle of Battle of Lissa (1866), his vessel, the , forced the entrance of the port of San Giorgio and silenced the Austrian batteries, for which exploit he received a gold medal. In 1873 he was elected deputy, and appointed by Marco Minghetti to be minister of marine, in which position he revolutionized the Italian navy. Insisting upon the need for large battleships with high powers of attack and defense, and capable of fighting as single units, he introduced the colossal types of which and were the earliest examples. Falling from power with the Right in 1876, he resumed active service, but in 1891 was again appointed minister of marine.

paragraph: He died at Rome on 26 November 1892, while still in office. He is remembered in Italy as the originator of the modern Italian fleet.

paragraph: Two Italian Navy ships were named after him

paragraph: BULLET::::- The Italian battleship Ammiraglio di Saint Bon, commissioned in 1901

paragraph: BULLET::::- The Italian submarine Ammiraglio Saint-Bon, a Cagni-class submarine commissioned in 1940

paragraph: Section::::References.

paragraph: BULLET::::- (Note the error "Arturo" instead of the correct "Antonio".)

paragraph: BULLET::::- Guido Almagià: "SAINT-BON, Simone Antonio Pacoret de". In Enciclopedia Italiana, vol. 30, Rome 1936 (online at "treccani.it")

paragraph: Section::::External links.

paragraph: BULLET::::- Item in the database "Senatori d'Italia" of the Italian Senate

paragraph: BULLET::::- Item in the Portale Storico of the Camera dei Deputati

description: Italian admiral

wikidata_label: Simone Antonio Pacoret de Saint-Bon

wikipedia_title: Simone Antonio Saint-Bon


text: Molina (Chile)

text: Santiago de Chile

text: literary critic

text: Pedro Nolasco Vergara Albano

text: Nicolas de la Cruz y Bahamonde

text: Anselmo de La Cruz y Bahamonde

text: Alberto Cruz Covarrubias

text: Eugenio Cruz Vargas

text: Fabio Cruz Prieto

text: Universidad de Chile

text: Carlos Walker Martínez

text: secretary of war

text: San Fernando

text: Google about Pedro Nolasco Cruz Vergara

categories: Chilean lawyers,1857 births,Dada,Chilean male writers,Chilean novelists,Chilean people of Basque descent,Chilean politicians,Vergara family,Cruz Family,People from Santiago,Chilean people of Spanish descent,Male novelists,19th-century Chilean lawyers,1939 deaths

paragraph: Pedro Nolasco Cruz Vergara

paragraph: Pedro Nolasco Cruz Vergara, Molina (Chile), April 18, 1857 – Santiago de Chile, November 11, 1939 was a literary critic, novelist, writer, and political chileno.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Family.

paragraph: He was son of Nicholas de la Cruz Donoso (1827–1860) and Elisa Martinez de Vergara and Loys, she was daughter Pedro Nolasco Vergara Albano and Mercedes Vergara-Loys. He had one sister, Elisa Cruz Vergara, whom he married in 1885 with Francisco Javier Sanchez Fresno. He was great-grandson of Vicente de la Cruz y Bahamonde nephew and grandson of Nicolas de la Cruz y Bahamonde and Anselmo de La Cruz y Bahamonde.

paragraph: He married his first cousin, Susana Correa Vergara (January 10, 1862 – January 31, 1953), she was a daughter of Vicente Correa Albano and Agustina Martínez de Vergara and Loys, who had 9 children. They were Fabio, Nicolas, Pedro Nolasco, Susana, Elisa, Mercedes, Julia, Eduardo and Manuel.

paragraph: Section::::Biography.:Well-known grandchildren.

paragraph: Pedro Nolasco Cruz Vergara had the following well-known grandchildren:

paragraph: BULLET::::- Alberto Cruz Covarrubias (1917–2013), architect and Chilean Premio Nacional de Artes Plásticas in 1975.

paragraph: BULLET::::- Eugenio Cruz Vargas (1923–2014), painter and poet.

paragraph: BULLET::::- Fabio Cruz Prieto (1927–2007), architect.

paragraph: Section::::Biography.:Studies.

paragraph: He did his primary education at the College of Parent Escolapios Santiago de Chile. His secondary studies conducted in the College of the Sacred Hearts of Santiago or College of the French Parents. Later, he was graduated as a lawyer in the Universidad de Chile in October 27, 1877.

paragraph: Section::::Literary critic and writer.

paragraph: He was a literary critic and writer, ascribing in the field of analysis, within the so-called cultural nationalism. He was the author of the novels "Fantasias Humoriscicas' '(1881)," Estaban" (1883), " The passage of Venus" (1884) and "Flor de Campo" (1886).

paragraph: Despite the success I obtained these works among his contemporaries, he is mainly remembered for his essays on Chilean literature. Within this work of analysis and literary criticism, highlighted by the publication of some literary works such as "Platicas Literarias" (1889), " Critical studies to don José Victorino Lastarrias" (1917)," Studies on Chilean literature " (1926–1940, 3 vols.),

paragraph: " "Desolation" by Gabriela Mistral and "Al vivir" by Francisco Concha and Castillo" (1929)," Biography" Carlos Walker Martínez (1904), "Tales" (1930) and the posthumous book entitled" Bilbao and Lastarrias" (1944).

paragraph: Section::::Literary critic and writer.:Professor and literary chronicler.

paragraph: He was critic literary of newspaper "El Independiente", "La Union" and "El Diario Ilustrado" until his death. In addition, he taught literature at the Universidad de Chile and College French brothers

paragraph: Section::::Public and private life.

paragraph: On the other hand, was secretary of war and navy in the period 1903–1913, Notary public of finance of Santiago between 1913 and 1939, and secretary general of the Conservative Party from 1901 to 1928.

paragraph: He was owner of the ranch the Molino (1877–1939) and the Viña Antivero (1897–1939), in the commune of Rome, in the department of San Fernando.

paragraph: Section::::External links.

paragraph: BULLET::::- "Anales de la Universidad de Chile, Número 44". Imprenta del Siglo, 1873, página 9

paragraph: BULLET::::- Google about Pedro Nolasco Cruz Vergara

alias:
Pedro N. Cruz
Pedro Cruz
Pedro Nolasco Cruz
Cruz Vergara, Pedro Nolasco

description: Chilean writer

wikidata_label: Pedro Nolasco Cruz Vergara

wikipedia_title: Pedro Nolasco Cruz Vergara


text:
Hamar
Gudbrand Bøhn
Leipzig
Paris
Brussels
Helsingfors
Bergen Filharmoniske Orkester
Oslo Kammermusikkforening
Bergen Conservatoire
Olaus Arvesen

categories: People from Hamar,20th-century Norwegian violinists,1869 births,Norwegian expatriates in Finland,Norwegian classical violinists

paragraph: Arve Arvesen

paragraph: Arve Arvesen (born 12 September 1869, died 16 January 1951) was a Norwegian violinist from Hamar, in his time, considered the best in the country. He studied under Gudbrand Bøhn, as well as in Leipzig, Marsick in Paris and Eugene Ysaye in Brussels.

paragraph: After this he was concert master in Helsingfors (1894–96), and with the Bergen Filharmoniske Orkester (1900–03). He also founded the Oslo Kammermusikkforening in 1915 and Arvesens kammertrio in 1921. He was also a teacher, and from 1928, worked with the Bergen Conservatoire. He was the father of Olaus Arvesen.

description: Norwegian musician

wikidata_label: Arve Arvesen

wikipedia_title: Arve Arvesen