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1936 anglist si americanist; traducator a writer of critical essays on British & American literary topics; translator

studii introductive sau postfete si traduceri: Wayne C. Booth, Retorica romanului, I, 1976; Mircea Ivanescu, Other poems, other lines, 1983 • traduceri: Eric Protter, Pictori despre pictura, 1972; Henry James, Ce stia Maisie, 1977; Henry James, Varsta ingrata, 1978; Erwin Panofsky, Arta si semnificatie, 1980 • traducere (in colaborare cu Anton Moisescu): John Ormsbee Simmons, Arhitectura Peisajului, 1967 • traducere (in colaborare cu Constantin Abaluta): Dylan Thomas, Viziune si ruga, 1970 • traducere (in colaborare cu Thomas C. Carlson): Alexandru Cebuc, The National Gallery • studii introductive sau postfete si traduceri (in colaborare cu C. Abaluta): Wallace Stevens, Lumea ca meditatie, 1970; Theodore Roethke, Vorbe pentru vant, 1973; Edward Lear, Rime fara noima, 1973; Serge Fauchereau, Introducere in poezia americana moderna, 1974; W.S. Merwin, Poemele deceniului sapte, 1977; Frank O'Hara, Meditatii in imponderabil, 1980 • studii introductive sau postfete: Robert Browning, Versuri alese, 1972; Henry James, Ambasadorii, 1972 - noua prefata, 1999; T.S. Eliot, Eseuri, 1974; Arnold Bennett, Doua vieti, 1974; John Gardner, Lumina in octombrie, 1984; George Gissing, Thyrza, 1985; D.H. Lawrence, Curcubeul, 1985; Virginia Woolf, Noapte si zi, 1987; James Joyce, Ulise, 1996; William Faulkner, Zgomotul si furia, 1997; Flannery O'Connor, Judecata de apoi, 1997; Russell Banks, Deriva continentelor, 1998; Philip Roth, Operatiunea Shylock, 2000 forewords or afterwords and translations: Wayne C. Booth, The Rhetoric of Fiction, I, 1976; Mircea Ivanescu, Other poems, other lines, 1983 • translations: Eric Protter, Painters on Painting, 1972; Henry James, What Maisie Knew, 1977; Henry James, The Awkward Age, 1978; Erwin Panofsky, Meaning in the Visual Arts, 1980 • translations into Rumanian (co-authored with Anton Moisescu): John Ormsbee Simmons, Landscape Architecture, 1967 • translations into Rumanian (co-authored with Constantin Abaluta): Dylan Thomas, Vision and Prayer, 1970 • translation (co-authored with Thomas C. Carlson): Alexandru Cebuc, The National Gallery • forewords or afterwords and translations (jointly with C. Abaluta): Wallace Stevens, The World As Meditation, 1970; Theodore Roethke, Words for the Wind, 1973; Edward Lear, The Book of Nonsense, 1973; Serge Fauchereau, A Reading of American Poetry, 1974; W.S. Merwin, Poems of the 1960's, 1977; Frank O'Hara, Meditations in a State of Emergency, 1980 • forewords or afterwords: Robert Browning, Selected Poems, 1972; Henry James, The Ambassadors, 1972 - new critical essay, 1999; T.S. Eliot, Essays, 1974; Arnold Bennett, Old Wives' Tale, 1974; John Gardner, October Light, 1984; George Gissing, Thyrza, 1985; D.H. Lawrence, The Rainbow, 1985; Virginia Woolf, Night and Day, 1987; James Joyce, Ulysses, 1996; William Faulkner, The Sound and the Fury, 1997; Flannery O'Connor, The Complete Short Stories, 1997; Russell Banks, Continental Drift, 1998; Philip Roth, Operation Shylock, 2000

Studiile introductive sunt temeinice capitole de exegeza critica, fermecatoare prin eruditie si sensibilitate, scrise, in acelasi timp, cu detasare si cu o rara, intre contemporani, putere de esentializare. Stapan pe o vasta informatie culturala si familiarizat cu cele mai recente metodologii de cercetare, autorul are stiinta izolarii semnificativului si a sesizarii coeziunii interne a operei. Demersurile lui analitice, dincolo de adecvarea argumentelor si de eleganta persuasiv-stilistica a demonstratiei, resusciteaza in epoca modelul echilibrat, imaginativ si discret-empatetic al abordarii literaturii. (Aurel Sasu)

The introductory studies are solid chapters of critical exegesis. They are also fascinating on account of their author's learning and sensitivity, as well as of his having written them with detachment and a rare capacity, among his contemporaries, of getting at the heart of the matter. Controlling a wide range of cultural data, and resorting to state-of-the-art methodologies, the author is at his best when dealing with a work's inner cohesion and sense of significance. Over and beyond the pertinence of his argumentation and the persuasive stylistical elegance of his demonstrations, Stoenescu's analytical approaches bring back into use a balanced stance, which can afford being both imaginative and discreetly empathetic towards literature as a whole. (Aurel Sasu)