The system's nationalist traits grew and progressively blended with North Korean "Juche" and Chinese Maoist ideals. In 1971, the Party, which had already been completely purged of internal opposition (with the possible exception of Gheorghe Gaston Marin), approved the "July Theses", expressing Ceaușescu's disdain of Western models as a whole, and the reevaluation of the recent liberalisation as "bourgeois". The 1974 XIth Party Congress tightened the Party's grip on Romanian culture, guiding it towards Ceaușescu's nationalist principles. Notably, it demanded that Romanian historians refer to Dacians as having "an unorganised State", part of a political continuum that culminated in the Socialist Republic. The government continued its cultural dialogue with ancient forms, with Ceaușescu connecting his cult of personality to figures such as Mircea cel Bătrân (lit. "Mircea the Elder", whom he styled "Mircea the Great") and Mihai Viteazul (Michael the Brave). It also started adding Dacian or Roman versions to the names of cities and towns ("Drobeta" to Turnu Severin, "Napoca" to Cluj). Although Ceaușescu maintained an independent, "national Communist" course, his absolute control over the country, as well as the intensity of the personality cult surrounding him, led many non-Romanian observers to describe his rule as one of the closest things to an old-style Stalinist regime. The last edition of the Country Study on Romania, for instance, referred to the PCR's "Stalinist repression of individual liberties." A new generation of committed supporters on the outside confirmed the administration's character. Ceaușescu probably never emphasized that his policies constituted a paradigm for theorists of National Bolshevism such as Jean-François Thiriart, but there was a publicised connection between him and Iosif Constantin Drăgan, an Iron Guardist Romanian-Italian émigré millionaire (Drăgan was already committed to a Dacian Protochronism that largely echoed the official cultural policy).