With the relative liberalization during the 1960s, which followed the rise of Nicolae Ceaușescu as communist leader, Caragiale's work enjoyed a more favorable reception. At that stage, nationalism and national communism became standards of official discourse, and intellectuals such as Edgar Papu were allowed to reinterpret Romanian culture on the basis of nationalist tenets: Papu's controversial theory, known as "Protochronism", claimed that Romanians as a group were at the source of any innovative movement in world culture. Papu thus believed that Caragiale, whom he described as superior to Flaubert, had foreshadowed Lampedusa's writing techniques. Independent of this approach, Mateiu Caragiale was being rediscovered by new generations of writers. In 1966, "Viața Românească" published Radu Albala's "În deal, pe Militari" ("On the Hill, in Militari"), which was a sequel and final chapter of "Sub pecetea tainei". Albala was significantly influenced by Caragiale throughout his work, as was his contemporary Alexandru George in his series of fiction writings. Other such authors are Fănuș Neagu, who was inspired by "Craii..." to write his 1976 book "The Handsome Lunatics of the Big Cities", and Virgiliu Stoenescu, whose poetry, according to Barbu Cioculescu, was influenced by "the charm of word appositions" in Caragiale's poems. Caragiale's name was also cited by the writer Geo Bogza, who, in his youth, was a major figure of the Romanian avant-garde movement. In one of his late prose pieces, titled "Ogarii", "The Borzois", Bogza, who praised the dog breed for its innate grace, wrote: "I do not know if Mateiu Caragiale, who thought himself so uncommon, ever owned borzois. But, if he did, I'm sure he gazed on them with melancholy and with secret envy."