Read Ebook {PDF EPUB} Romanian Avant-Garde Anthology by Paul Dugneanu Romanian Avant-Garde: Anthology by Paul Dugneanu. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 660b2257ce424a56 • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Romanian avant-garde. The avant-garde (or radical modernism , as opposed to moderate modernism and traditionalism) is usually a term employed to describe the multitude of radical literary and artistic tendencies, small movements, trends, waves, literary groups and magazines that were active (in this case in Romania) in the historical period between WWI and 1947 (until socialist realism was imposed). Neo-avantgarde was sometimes used to describe the Surrealist and Albatros groups of the 1940's, but most often describes the various experimentalist waves from contemporary Romanian literature, beginning with aesthetic oneirism. Initially considered just an absurd, degenerate fashion imported from France, the avant-garde was half-accepted by a few modernist critics such as G. Călinescu (who acknowledged the importance of "exports" such as Urmuz and Tristan Tzara, while his impressionist method did not enable him to understand it; his History of Literature is notorious for mixing the ermeticists and several other non-avantgardists (such as the so-called "Bukovinian Surrealists") in the chapter dedicated to avant-garde, while Voronca, B. Fundoianu and Paul Sterian are confusingly associated with traditionalism). Later, when the avant-garde was not decried as "decadent" and outright banned or ignored (like in the 1950's), critics and historians activated prejudices such as the supposed "lack of masterpieces" or the supposed "excess of formalism" compared to Western avant- garde. Specialists such as Ion Pop and Marin Mincu were the first that, after Sașa Pană published the first anthology of the Romanian avant-garde, published competent studies and anthologies. Only in recent decades, therefore, was the catalitic influence of the avant-garde acknowledged. Romanian Literary Avant-garde (anthology by Marin Mincu, 2007 edition, painting by Victor Brauner on the cover) Taking up Guglielmi's distinction between avant-garde (the first historic phases, consisting of negation) and experimentalism (the later phases, of the neo/post avant-garde, consisting of "fertile interogations"), Marin Mincu identified the "National particularity" of the Romanian avant-garde as an "early experimentalism" and cited Urmuz as an ancestor of textualism rather than (as G. Calinescu considered) surrealism. In any case, what Mincu and Octavian Soviany call contemporary experimentalism (as an alternative to the slippery term postmodernism) constitutes the majority of sanctioned literary output since the 1980's generation. Due to the wide influence of the avant-garde on contemporary poetry, most poets since Nichita Stănescu and Adrian Păunescu met little popularity, but there are also other important factors (such as the decrease in popularity of literature since the early 1990's and the very late and shy introduction in school canon of avantgardists such as Urmuz and Gellu Naum, generally considered difficult to understand without proper theory or reader affinities). Anti-semitism has also been mentioned, as many of the avantgardists were of Jewish origin, which determined many traditionalists and not only to consider it "decadent propaganda" and, in some cases, non-Jewish avantgardists such as Geo Bogza and Paul Sterian were dismissed as Jewish, while journalists, for instance, have even claimed that the editors of Pulă are infiltrated Sionist agents. Nevertheless, avantgardists were closely followed by the secret agency Siguranța, whose infiltrated agent, Mihail Dan, managed to become a co-editor of unu in 1932. One of the paradoxes of the Romanian avant-garde is that, instead of rejecting previous literary history (not so much artistic history, as Grigorescu and Luchian were not appreciated), it most often targeted its contemporary traditionalist trends (only the Surrealist group would later reject everything else, including previous avantgardists). Moderate modernist Arghezi was appreciated by Ilarie Voronca and B. Fundoianu was among the clandestine editors of Agate negre, while Ion Barbu published in the pages of Contimporanul magazine variants of his poems that were slightly more radical than the ones in the definitive edition of Joc secund. Ilarie Voronca and even Geo Bogza praised Eminescu, while Minulescu was an explicit model for Tzara, Maniu and Vinea. Several books (by Ilarie Voronca, Sașa Pană, Virgil Teodorescu, C. Nisipeanu, Geo Bogza, Gellu Naum, G. Luca) Besides Urmuz (who was not directly involved in the movement), Tristan Tzara (active in Switzerland and France after 1915, though an ocassional contributor to Romanian avant-garde revues) and Ion Vinea (associated with the avant-garde, but rarely a proper avantgardist in his poems), there were three influential poets of the avant-garde: Ilarie Voronca (whose imagistic style was followed closely by Stephan Roll and his other friends from Integral and Unu groups, an influence later on poets such as Leonid Dimov, Mircea Cărtărescu or Ștefan Manasia), Geo Bogza (acclaimed for his reportage pieces during the Communist regime, but recently recovered as a very early yet striking precursor of the 1990's generation (sexualism) and 2000's generation (fracturism), though his early poems were also written under the influence of Voronca; he was accepted in Unu, but was particularly admired by the younger poets around the Alge magazine) and Gellu Naum (the most substantial and longest-standing surrealist, who has enjoyed in recent decades a strong interest from critics and readers; poets influenced by Naum include Sebastian Reichmann, Nora Iuga, Mircea Cărtărescu, Dan Coman, Iulian Tănase and others). Also cited as influential are Stephan Roll (as a more playful poet of the Voronca/Unu school), Gherasim Luca (for his anti-oedipian theory and for poems such as the famous Passionnément) and Virgil Teodorescu (cited as a precursor of oneirism, for having a greater degree of narativity and visuality in his surrealist poems than the other group members). Semi-obscure avantgardists that have enjoyed interest in recent decades include Victor Valeriu Martinescu, Grigure Cugler, Jacques G. Costin, Ionathan X. Uranus, Dan Faur and others. First edition of Întâmplări în irealitatea imediată (by Max Blecher) The prose writers sometimes grouped together as "Blecherianism" and the poets around Albatros are sometimes discussed together with the other avantgardists, other times seperately. Nevertheless, Max Blecher, Geo Dumitrescu, Constant Tonegaru, Ion Caraion etc. are also iconic and influential. Lettrism is not included in the Romanian avant-garde, though Isidore Isou claims to have elaborated his ideas before leaving Romania. Voronca's manifesto Aviograma (from 75 H.P., 1924) The most important revues of the Romanian avant-garde were: Simbolul (1912), Contimporanul (3 July 1922-January 1934), 75 H.P. (October 1924, one number), Punct (March 1924-April 1925), Integral (March 1925-July 1928), urmuz (January-July 1928), unu (1928-1932), and Alge (1930-1931; 1933). Militant, leftist revues marking the transition towards socialist realism include Viața imediată, Ostașii luminii, Cuvântul liber, Reporter, Tânăra generație, Era nouă, Fapta, Pinguinul and especially Orizont (1944-1947). Minor revues associated more or less loosely with the avant-garde include XX-literatură contimporană, Radical (the little magazine where Eugen Ionescu has debuted), Ulise (edited by Lucian Boz, known as the first critic who wrote about Urmuz), Zodiac, Vraja, Adam, Puntea de fildeș, Liceu (1932), Meridian. The editors of Alge were also behind two now-infamous joke revues, Muci (named after mucus) and Pulă (the informal name of the male sexual organ), for which they were called in justice by Nicolae Iorga and spent a brief time in prison (Geo Bogza and H. Bonciu also had problems with justice in the same period). It was rumored at some point that they had edited another hidden revue, Țâțe (Breasts), but it was unconfirmed, just like most of the stupendous bibliography of Victor Valeriu Martinescu. Several issues of avant-garde revues (75 HP, Integral, Alge, Urmuz, Unu, Pulă, Contimporanul, Punct, Muci, Puntea de fildeș) An almost complete catalogue "Rumanian Avant-garde 1916-1947: Books, Collage, Drawings, Graphic Design, Paintings, Periodicals, Photography, Posters" was published by Michael Ilk. Contents. Writers associated with the avant-garde [ edit | edit source ] Forerunners and proto-avangarde (1910's) [ edit | edit source ] The integralist wave (from Contimporanul and 75 H.P. to Integral and unu) (1922-1932) [ edit | edit source ] Many of them started as postsymbolists and matured under the influence of futurism, Dada, constructivism and, later, surrealism, without entirely fitting in any of these categories. They could be further grouped as: the "Voronca school", the expressionists of Contimporanul, the Vraja group etc. PANĂ, SAŞA. PANĂ, SAŞA (originally Alexander Binder ; 1902–1981), Romanian poet and author. Born in Bucharest, Pană qualified as a physician and, while serving as an army medical officer, achieved a reputation as a writer. Generally considered the most fanatical propagator of avant-garde literary trends, he was the guiding spirit of the literary review Unu (1928–32), Romania's most important avant-garde magazine. Pană's blunt manifesto begins with the words: "Reader, disinfect your brains." His poems are notable for their scorn of literary conformism. He wrote essays and, after World War ii, sketches and short stories inspired by army life mainly satirizing the behavior of officers. Pană also wrote some short plays and translations from Paul Eluard and Ilarie *Voronca. Between 1926 and 1968 he published some 30 volumes. In the collection of verse entitled Pentru libertate ("For Freedom," 1945) there is a poem about the transportation of Romanian Jews to Transnistria and the crimes committed by the ss. Another volume on the same theme, Poeme fǎ rǎ imaginaţie ("Poems without Imagination," 1948) was dedicated "to all the victims of the Nazi brutes… to Benjamin Fordane and Ilarie Voronca…" Pană edited Uliţa evreeascǎ ("The Jewish Street," 1946), a volume of reproductions of wood carvings by Aurel Mǎ rculescu, and an album by the same author (1967) depicting scenes from life in the Transnistrian camps to which the artists had been transported. In 1969 Pană published an anthology of Romania's avant-garde literature ( Anthologia literaturii românte de avangard ). bibliography: G. Calinescu, Istoria Literaturii Române … (1941), 803, 922; L. Cristescu, in: Contemporanul (July 2, 1965). Romanian Avant-Garde: Anthology by Paul Dugneanu. Presently considered as the most important translator of Romanian literature into English, Semilian has focused upon the Romanian-Jewish writers of the avant-garde, particularly that written between the two World Wars. Andrei Codrescu has this to say about Semilian's translations of Paul Celan: "Paul Celan, the Jewish, Romanian, German, French poet, has become the raw material of so much critical processing, it has become difficult to read him without hearing the voices of commentators. The continual buzzing of the interpretive chorus around Celan’s poetry has nearly added another layer of pain to work that is already written at the synapses of raw nerves. I say “nearly,” because happily there is Julian Semilian who translates the poetry as if there are only two entities in the room: Psyche and Echo. Celan wouldhave been proud to be thus refreshed." THE INVENTOR OF LOVE & OTHER WORKS, poems by Gherasim Luca, Black Widow Press, 2009, with Laura Semilian (upcoming) SPEAK TRUTH TO POWER , by Kerry Kennedy, translation into Romanian, Curtea Veche Press, 2009, with Diana Nicolae. ANDREI SERBAN , an illustrated retrospective of the life and art of the celebrated theatre director, Romanian Cultural Center, with Laura Semilian (upcoming) BORN IN UTOPIA: Anthology of Romanian Literature , Talisman, 2007. Selections of Romanian poetry relating to the avant-garde. NOSTALGIA , novel by Mircea Cartarescu, New Directions, 2005. DESPERATE CONQUESTS , poems by Carmen Firan, ICR, 2005. PAUL CELAN’S ROMANIAN POEMS , Green Integer, 2003. WORDS WITHOUT BORDERS: the On-Line Magazine for International Literature, October 2004: “ Nabokov in Brasov ,” short story, by Mircea Cartarescu. “ To Live in Sin ,” novel excerpt by Virgil Duda. “ A Friend of the Archangel ,” short story by Gabriela Melinescu. “ L’apparition ,” poem by Mariana Marin. “ Red and White ,” poem by Mariana Marin. “ Mynheer ,” poem by Mariana Marin. “Beretta,” poem by Mariana Marin. WORDS WITHOUT BORDERS , 2003. “The Roulette Player” by Mircea Cartarescu ( NOSTALGIA excerpt) CENTRAL EUROPEAN AVANT-GARDES: Exchange and Tranformation (1910-1930) , Los Angeles County Museum of Art, MIT Press, Exhibition Catalogue, 2002. Ioana Vlasiu, “Bucharest” BETWEEN WORLDS: A Sourcebook of Central European Avant-Gardes, 1910-1930 , Los Angeles County Museum of Art, MIT Press, Exhibition Compendium, 2002. Ioana Vlasiu, “Bucharest” Ion Minulescu, “’Fragment from “Light the Torches’” (1908) N.D. Cocea, “The Exhibit of Painting and Drawing: Derain, Forain, Galanis, Iser” (1909) Theodor Cornel, “Fragment from Tinerimea Artistica Exhibition Catalogue” (1910) Theodor Cornel, “New Guidelines in Art” (1910) Editors of Insula, “Statement” (1912) Ion Vinea, “Warning” (1912) Marcel Ianco, “Art Notes” (1924) Ilarie Voronca, “Victor Brauner,” (1924) Victor Brauner and Ilarie Voronca, “Pictopoetry” (1924) Ilarie Voronca, “Assesments” (1924) Scarlat Calimachi, “The Contimporanul Exhibition” (1924) Tudor Vianu, “The First Contimporanul International Exhibition” (1924) Ilarie Voronca, “Marcel Ianco” (1924) M.H. Maxy, “Visual Chrono-metering” 1924. Felix Aderca, “Conversations with Lucian Blaga” (1925) Ilarie Voronca, “Grammar” (1925) Ilarie Voronca, “Voices” (1925) Oscar Walter Cisek, “The International Exhibition Organized by the Magazine Contimporanul” (1925) Ilarie Voronca, “Surrealism and Integralism” (1925) Mihai Cosma, “From Futurism to Integralism” (1925) Corneliu Michailescu, “Black Art” (1925) Militsa Petrascu, “Note About Sculpture” (1925) G.C. Jacques, “Initiation in the Mysteries of an Exhibition: The Sensational” “Pronouncements of Militsa Petrascu and Marcel Ianco” (1926) Geo Bogza, “Urmuz”, 1928. Marcel Ianco, “Reflections on Cubism” (1928) Ionel Jianu, “Fragments from “A Contribution to Our History of Modernism: What A Young Painter Tells Us” (1928) Ilarie Voronca, “M.H. Maxy” (1930) Ilarie Voronca, “Victor Brauner” (1930) Ion Vinea and Marcel Ianco, “Marinetti” (1930) Ilarie Voronca, “F.T. Marinetti” (1930) PRIMARY DOCUMENTS: A Sourcebook for Eastern and Central European Art since the 1950s . The Museum of Modern Art, MIT Press, 2002: Geta Bratescu, “Sleep;” “Awakening;” “The Game” Coriolan Babeti, “The Bertalan Case: The Artistic Experiment as an Exercise and Neurotic Sublimation” Semilian has concentrated on translating poetry of the Romanian avant-garde. These include Paul Celan, Gellu Naum, Tristan Tzara, Benjamin Fondane, Stefan Augustin Doinas, Tudor Arghezi, Urmuz, Gherasim Luca, Ilarie Voronca, Geo Bogza, and Mircea Cartarescu. His translations have appeared in such magazines as: Exquisite Corpse, Suitcase, Arshile, World Letter, Mr. Knife & Miss Fork, Ribbot, Transcendental Friend , Syllogism, Callaloo, Sun & Moon Kenning Review, Trepan, Urvox, , Fascicle, MiPoesia , and Talisman . Saşa Pană PANĂ, SAŞA (originally Alexander Binder ; 1902–1981), Romanian poet and author. Born in Bucharest, Pană qualified as a physician and, while serving as an army medical officer, achieved a reputation as a writer. Generally considered the most fanatical propagator of avant-garde literary trends, he was the guiding spirit of the literary review Unu (1928–32), Romania's most important avant-garde magazine. Pană's blunt manifesto begins with the words: "Reader, disinfect your brains." His poems are notable for their scorn of literary conformism. He wrote essays and, after World War II , sketches and short stories inspired by army life mainly satirizing the behavior of officers. Pană also wrote some short plays and translations from Paul Eluard and Ilarie *Voronca . Between 1926 and 1968 he published some 30 volumes. In the collection of verse entitled Pentru libertate ("For Freedom," 1945) there is a poem about the transportation of Romanian Jews to Transnistria and the crimes committed by the SS . Another volume on the same theme, Poeme fǎ rǎ imaginaţie ("Poems without Imagination," 1948) was dedicated "to all the victims of the Nazi brutes… to Benjamin Fordane and Ilarie Voronca…" Pană edited Uliţa evreeascǎ ("The Jewish Street," 1946), a volume of reproductions of wood carvings by Aurel Mǎ rculescu, and an album by the same author (1967) depicting scenes from life in the Transnistrian camps to which the artists had been transported. In 1969 Pană published an anthology of Romania's avant-garde literature ( Anthologia literaturii românte de avangard ). BIBLIOGRAPHY: G. Calinescu, Istoria Literaturii Române … (1941), 803, 922; L. Cristescu, in: Contemporanul (July 2, 1965). Sources: Encyclopaedia Judaica . © 2008 The Gale Group. All Rights Reserved.