lefter sentence in Hindi
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- In addition to this element, Crciun lists the recurring themes of Nedelciu's fiction as " archeology ", " meteorology " and " the mechanisms through which nature and the surrounding life exercise pressure on the individual ", adding : " Each of these three elements [ . . . ] is liable to provoke the distortion of reality, the emergence of strange phenomenons, abrupt changes of life and destiny, the passage from the immediate space into other spaces, at the very least atypical if not fantastical ones . " A similar listing of Mircea Nedelciu's main preoccupation was also provided by Lefter.
- Reflecting back on his childhood attendance of " Cenaclul ", writer-politician Varujan Vosganian noted a similar issue : " I liked Marcela Saftiuc, [ . . . ] Mircea Florian, Doru Stnculescu and many others, I did not like it when we were made to stand up clapping and chanting . " As asserted by literary critic Ion Bogdan Lefter, " Few authentic artists of the [ folk ] genre could prevent its rapid absorption into the melodious, lyricaloid and often jingoistic kitsch promoted by the propagandistic " Cenaclul Flacra " . " Florian's account mentions the " controlled diversions " of such ventures, adding that the " real folk " of the 1970s was lost to indoctrination and commercialization.
- Adina Dinicoiu calls attention to the book's " unsettling biographical genre [ . . . ] intensely vibrating the chord of a writing style completely lacking in formalism . " She ties it to a final development in Nedelciu's literary attitudes, that in which " profundity " was added to his branch of " microrealism ", producing " an ethical and even Cousteauesque design, my mind encrypts the adversities ( the chill, the frost ) of this entire world I'm living in, this symbolic coldness of Romania's communist society in the year 1989, and the body naturally refuses this exile'up North'. " According to Lefter, Nedelciu was actually reworking his notion of layered meanings into the diving metaphor, adapting an earlier interest in the techniques of art restoration ( in turned provoked by his discussions with muralist Viorel Grimalschi ).
- Noting the role played by party purges in this process, Cioroianu stresses : " Tismneanu was the first to ever suggest that between the communists of the'30s and those of the'60s one could hardly determine a correspondence, even if the names of some the lucky ones ! crop up from one period and into the other . " Ion Bogdan Lefter notes that it is " paradoxical in that it is the first American book that Vladimir Tismneanu dedicated to the subject he was most familiar with . " Lefter writes that the idea of " perpetual Romanian Stalinism " is backed by " a weighty demonstration ", but is reserved toward the statements according to which Ceauescu's early " small liberalization " of the 1960s was inconsequential, arguing that, even though " Re-Stalinization " occurred with the " April Theses " of 1971, " [ the regime ] could never overturn [ the phenomenon ] altogether, some of its effects being preserved at least in part until 1989 . " Lefter proposes a more in-depth analysis of this situation, based on the methodology of historiography introduced by the Annales School, which, he argues, would allow more room for " small personal histories ".
- Noting the role played by party purges in this process, Cioroianu stresses : " Tismneanu was the first to ever suggest that between the communists of the'30s and those of the'60s one could hardly determine a correspondence, even if the names of some the lucky ones ! crop up from one period and into the other . " Ion Bogdan Lefter notes that it is " paradoxical in that it is the first American book that Vladimir Tismneanu dedicated to the subject he was most familiar with . " Lefter writes that the idea of " perpetual Romanian Stalinism " is backed by " a weighty demonstration ", but is reserved toward the statements according to which Ceauescu's early " small liberalization " of the 1960s was inconsequential, arguing that, even though " Re-Stalinization " occurred with the " April Theses " of 1971, " [ the regime ] could never overturn [ the phenomenon ] altogether, some of its effects being preserved at least in part until 1989 . " Lefter proposes a more in-depth analysis of this situation, based on the methodology of historiography introduced by the Annales School, which, he argues, would allow more room for " small personal histories ".
- Noting the role played by party purges in this process, Cioroianu stresses : " Tismneanu was the first to ever suggest that between the communists of the'30s and those of the'60s one could hardly determine a correspondence, even if the names of some the lucky ones ! crop up from one period and into the other . " Ion Bogdan Lefter notes that it is " paradoxical in that it is the first American book that Vladimir Tismneanu dedicated to the subject he was most familiar with . " Lefter writes that the idea of " perpetual Romanian Stalinism " is backed by " a weighty demonstration ", but is reserved toward the statements according to which Ceauescu's early " small liberalization " of the 1960s was inconsequential, arguing that, even though " Re-Stalinization " occurred with the " April Theses " of 1971, " [ the regime ] could never overturn [ the phenomenon ] altogether, some of its effects being preserved at least in part until 1989 . " Lefter proposes a more in-depth analysis of this situation, based on the methodology of historiography introduced by the Annales School, which, he argues, would allow more room for " small personal histories ".
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