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“Gîndirea”. Nationalism and Orthodoxism in Interwar Romania (I)
ETHNICITY AND DENOMINATION – ORTHODOXISM AND CATHOLICISM NICHIFOR CRAINIC AND “GÎNDIREA”. NATIONALISM AND ORTHODOXISM IN INTERWAR ROMANIA (I) IONUŢ BILIUŢĂ 1. Prolegomena After 1918, the struggle to define the Romanian ethnicity became bitterer than ever. A strong two-folded debate developed between the Westernizers and the traditionalists. People like Nichifor Crainic from “Gîndirea” started to publish extensively on the relation between Romanian culture, the Romanian specificity, the village and Orthodoxy to shape a traditionalist view regarding the character of a future Romanian culture. Continuing the 19th century project of the Junimists emphasizing an organic culture starting from the village, Nichifor Crainic framed a new nationalist project and that project was the birth of the Romanian culture in the category of Orthodox spirituality. The aim of this article is to lay out the way in which Orthodoxy is present in the nationalist discourse of Nichifor Crainic. I will point out that Orthodoxy played a major role in Nichifor Crainic’s conception of nationalism providing a spiritual background for any definition of the Romanian nation. Another aim is to determine that the Romanian traditionalist camp, represented by Nichifor Crainic, did not have a unitary discourse about the relation between Romanianness and Orthodoxy. The fact that Nichifor Crainic’s speech about the relation between Orthodoxy, the village and the nation changed dramatically during the interwar period is a proof that behind Nichifor Crainic’s nationalist Orthodoxism there were strong political sympathies. As Moeller van den Bruck in Germany1, Crainic began his political career from a neutral position, that of an intellectual uninterested in the political torments of his age, and he ended up as one of the first ideologues of the Romanian Fascist yoke. -
ART REVIEW AS REFLECTED by the ROMANIAN PRESS (1900-1914) - Abstract
ART REVIEW AS REFLECTED BY THE ROMANIAN PRESS (1900-1914) - Abstract - The doctoral thesis is structured according to five major units: Introduction, the six central chapters, Conclusions, References and Appendices. The paper has a total of 260 pages, of which 216 pages are the text itself, with 891 footnotes. In the Introduction I presented the reasons for choosing the subject of the paper, reminding the most important studies and research previously developed in the relevant historiography. Also, I mentioned the methods used and I listed the main cultural magazines analysed for the period between 1900 and 1914. The analysed Romanian press included both cultural magazines from the former kingdom (“Convorbiri literare”, “Noua Revistă Română”, “Sămănătorul”, “Viața Românească”, “Furnica”, “Flacăra”, etc.), as well as magazines from Transylvania (“Luceafărul”, “Transilvania”, “Țara Noastră”, “Telegraful Român”, etc.). On the other hand, I attempted a comparative analysis of the Romanian press and the western press in terms of art reviews. For this purpose I chose prestigious foreign art magazines of the time, consulted on the occasion of the mobility period spent in Italy, such as “Emporium”, “Vita d’arte”, “Il Giornale d’Italia”, “Il Marzocco”, “La Stampa”, etc. Also, I studied the funds of the International Exhibition in Rome in 1911, in which our country participated as well, the delegation of which was conducted by Al. Tzigara-Samurcaș, found in the central state archives in Rome. The second part of the thesis includes the actual research, where Chapters 1-6 are the original contribution of the author. In I. Social and Cultural Context in the Early Twentieth Century for the Romanian Elite I presented briefly the cultural and social framework in which the Romanian artists lived, were educated and created, as reflected in the press. -
ANUL III No. 11 a APĂRUT: a APĂRUT IONEL TEODOREANU ULIŢA COPILĂRIEI UN VOLUM Is4 PAGINI CARTONAT 30 LEI EDITURA CVLTVRA NAŢIONALĂ
ANUL III No. 11 A APĂRUT: A APĂRUT IONEL TEODOREANU ULIŢA COPILĂRIEI UN VOLUM iS4 PAGINI CARTONAT 30 LEI EDITURA CVLTVRA NAŢIONALĂ A APĂRUT: A APĂRUT: ION PILLAT PE ARGEŞ IN SUS UN VOLUM 118 PAGINI CARTONAT 33 LEI EDITURA CVLTVRA NAŢIONALĂ RIVISTA MENSILE DELTA RIVISTA MENSILE Redattori : Arturo Marpicati, Bruno Neri e Antonio Widmar Redazione e Amministrazione : Via Giosuè Carducci 11, Fiume Abonamento per l'estero : Un anno Lire 25.— GÂNDIREA STATUL CA ÎNDREPTAR DE TUDOR VIANU DUPĂ terminarea răsboiului european şi socotind drept soluţionate prin unirea pro vinciilor, împroprietărirea ţăranilor şi votul universal, suma problemelor care alimentase literatura română din ultimele două sau trei decenii, d-1 G. Ibrăileanu o decreta anulată în motivele ei: «întregirea neamului şi desrobirea ţărănimii, scrie d-sa., vor face să dispară din literatură acele accente de protestare, de revendicări, acel caracter de propagandă, care dădeau tonul unei părţi din operele noastre cele mai preţuite». Şi în altă parte: «Avem cre dinţa că cele două mari acte... care au înlăturat toate abstacolele desvoltării normale şi de pline ale întregului neam şi a tuturor forţelor lui vor da şi literaturii noastre, ca şi celorlalte manifestări ale energiei româneşti, un avânt nebănuit, care ne va aşeza definitiv în rândul popoarelor producătoare de cultură universală». (După Răsboiu, pg. io şi n). Literatura adusese contribuţia ei la rezolvirea marilor probleme ale naţiunei. Aceste probleme se gă seau acum soluţionate; producţiunii din ultimele decenii i se închidea orice viitor. Având de aci înainte să se adapteze condiţiunilor unui Stat în care elementul românesc primează printre minorităţi orgolioase de tradiţiunea lor şi în care importanţei noui îi corespund res ponsabilităţi incalculabile, scrisului romanesc în Statul românesc i se puneau alte probleme. -
Rez Eng Postescu
RETROVERSIUNE Emil Giurgiuca - Monografie Unquestionably, those who know the literary life from Transylvania, as little as possible, will not consider a futile effort to remove a writer from the undeserved shadow where the history placed him. Emil Giurca’s cultural activity, because about him we are talking about, is a significant “brick” from the wall which was created along with the vast process of clarifying the literary and spiritual Romanian literature and culture. Creator of literature, respected educator, he was in the same time an important fighter for national ideal but also a great entertainer, a cultural advisor to generations of writers from the interwar and postwar period. As many researchers of the aesthetic values observed, it seems that in any literature are important writers, widely recognized from the valuable point of view “as others who fall slightly below, but on different places in the hierarchy of values, enriching and diversifying artistic landscape from their period of time”1. Originally poet from his homeland, as Dumitru Micu noticed in “Romanian Literary History”, he became later the national poet of the whole national space, Emil Giurca cannot easily be integrated in any current or cannot be said that he belongs to any literary school and “if he installed in the classical formula, adopted by traditionalists (as Ion Barbu, a Paul Valery writer), he did it of course, because this formula and only it suited to his sensibility”2, Dumitru Micu said. Each poem in consistent with the requirements of the art is organize by an act of inner balance, a sense of the extent of composition; this is what we call Emil Giurca’s modernism. -
Presa Rom.Pdf
ă ă ă 0 ă ă ă BIBLIOTECA ŞTIINŢIFICĂ A UNIVERSITĂŢII DE STAT „ALECU RUSSO” DIN BĂLŢI Vestigia Semper Adora P Contributii bibliografice Fascicula 1 Bălţi, 2012 1 ă ă ă CZU 016: [070(498)+027.7(478-21)] P 91 Descrierea CIP a Camerei Naţionale a Cărţii în colecţiile bibliotecii Presa românească : ultimele decenii ale sec. XIX şi primele decenii ale sec. XX : Contribuţii bibliogr. Fasc. 1 / alcăt. E. Scurtu, A. Nagherneac, D. Cosu- mov ; red. resp. E. Harconiţa ; red. lit. G. Mostovic ; red. bibliogr. L. Mihaluţa ; design/ cop./machetare S. Ciobanu. – Bălţi, 2012. – 277 p. – (Vestigia semper adora) ISBN 978-9975-931-26-7 Alcătuitori Elena Scurtu Ana Nagherneac Dorina Cosumov Redactor responsabil Elena Harconiţa Redactor literar Galina Mostovic Redactor bibliografic Lina Mihaluţa Culegere, tehnoredactare computerizată Ana Nagherneac Elena Scurtu Dorina Cosumov Design/copertă/machetare Silvia Ciobanu © Biblioteca Ştiinţifică a Universităţii de Stat „A. Russo” din Bălţi, 2012 str. Puşkin, 38, Bălţi, MD 3121 Republica Moldova, tel/fax: (0231)5 24 45, e-mail: [email protected], Web: http://libruniv.usb.md, Blog: http://bsubalti.wordpress.com Open LIBRARY: http://openlibrary.org/people/librunivusb Calameo: http://ru.calameo.com/publish/books/ Issuu: http://issuu.com/bibliotecastiintificauniversitaraba ISBN 978-9975-931-26-7 2 ă ă ă „ ... Preţioase arhive ale regenerării vieţii neamului” Biblioteca Ştiinţifică a Universităţii de Stat „Alecu Russo” din Bălţi tezaurizează o impunătoare colecţie de Carte Rară, inclusiv carte românească, mărturii ale trecutului culturii româneşti de la sfîrşitul secolului al XIX-lea – începutul secolului XX, ce ilustrează munca laborioasă a bibliotecarilor de-a lungul timpului. Constituirea fondului de carte rară a început odata cu fondarea Institutului Învăţătoresc şi a Bibliotecii Ştiinţifice (1945) şi continuă pînă în prezent, colecţiile spe- ciale avînd rolul de a conserva şi păstra documentele de o deosebită valoare culturală. -
The Identity of the Romanian Pre-Avant-Garde
Études et articles THE IDENTITY OF THE ROMANIAN PRE-AVANT-GARDE Dr. Paul DUGNEANU “Ovidius” University of Constanţa [email protected] Rezumat: În evoluţia şi dialectica fenomenului literar de la sfârşitul secolului al XIX-lea şi începutul secolului al XX-lea, se observă o perioadă de declin artistic, de confirmare a curentelor şi a mişcărilor literare, perioadă care neagă tradiţia şi care, prin intermediul unor elemente importante, vine să anunţe avangarda istorică. Ne referim aici la o serie de curente literare şi artistice ce conţin un set de trăsături similare, cu un fetiş pentru noutatea care şochează şi un suport oferit valorilor generale şi în mod normal acceptate, fără să conţină forţa de penetrare, agresivitate, coerenţă sau împrăştiere a avangardei actuale: fauvism, cubism, futurism, imagism, vorticism şi altele. Cuvinte cheie: Pre-avangardă, anti-tradiţionalism, manifest poetic, post-simbolism, program- articol, arhitext Abstract: In the evolution and dialectics of the literary phenomenon at the end of the XIX century and the beginning of the XX century we can note a period of artistic fizzle, of confirming literary currents and movements, that vehemently deny the tradition and which, through some important elements, shall announce the historical avant-garde. We are referring to a series of artistic and literary currents, with a set of similar features, having a fetish for the shocking novelty and bracketing of the established and generally accepted values, without having the force of penetration, aggressiveness, coherence and spreading of the actual avant-garde: the fauvism, cubism, futurism, imagism, vorticism and others. Keywords: Pre-avantgarde, anti-traditionalism, poetic manifest, post-symbolist, programme- article, archi-text. -
Perpessicius-Mentiuni-Critice.Pdf
PERPESSICIUS MEN|IUNI CRITICE CUPRINS Not[ asupra edi\iei .....................................................................2 Tabel cronologic ..........................................................................3 MEN|IUNI DE ISTORIOGRAFIE LITERAR{ +I FOLCLOR LOCUL LUI DIMITRIE CANTEMIR }N LITERATURA ROM~N{ .... 11 LA CENTENARUL LUI ANTON PANN ......................................... 29 EMINESCIANA PROZA LITERAR{ A LUI EMINESCU ......................................... 64 EMINESCU +I TEATRUL .......................................................... 107 POSTUMELE LUI EMINESCU .................................................. 132 EMINESCU +I FOLCLORUL ..................................................... 140 ALECSANDRIANA POEZIA LUI VASILE ALECSANDRI ........................................... 170 ALECSANDRI +I LIMBA LITERAR{ .......................................... 191 VASILE ALECSANDRI, DUP{ 75 DE ANI .................................. 208 MEN|IUNI CRITICE BOGDAN PETRICEICU HASDEU .............................................. 215 CARAGIALE — }NTEMEIETORUL REALISMULUI NOSTRU CRITIC ..................................................................... 244 NOTE DESPRE ARTA PROZEI LA CARAGIALE .......................... 248 GEORGE CO+BUC .................................................................. 262 LIRISM +I NARA|IUNE }N OPERA LUI MIHAIL SADOVEANU 265 CARTEA POEMELOR NE-”OSTENITE” ..................................... 270 ACTUALITATEA LUI BACOVIA ................................................ 274 CAMIL PETRESCU +I -
From the Italian Futurism to the Romanian Integralism
I N T E R N A T I O NA L CO N F E R E N C E RCIC’17 Redefining Community in Intercultural Context Bari, 5-6 June 2017 MIGRATION OF IDEAS: FROM THE ITALIAN FUTURISM TO THE ROMANIAN INTEGRALISM Daniela NAGY Department of Fundamental Sciences and Management, “Henri Coandă” Air Force Academy, Brașov, Romania Abstract: The current paper aims to illustrate the manner in which the Romanian literature of the Avant-garde managed to find its place in the European literary landscape, after numerous fluctuations between synchronicity with similar European literary movements, marginalization, independent manifestations or architecture of the Art Nouveau. The influence that the Italian futurism had on the Romanian literature of the early twentieth century was not a direct one, but its ideas and spirit migrated toward this fertile literary space in continuous waves, leaving behind original creations and contributing to the birth of a purely Romanian literary movement – the integralism. This literary movement, atypical of Western Europe, represents the only Romanian avant-garde manifestation that managed to melt together futurist, Dadaist, constructivist or surrealist influences, in a creative Romanian synthesis, although it is not a homogenous, unitary movement that occurs artistically and literarily. Futurist reverberations were present in all Romanian publications of the literary avant-garde and they included the telegraphic style, alert pace, abundance of neologisms (especially inspired by technology), whereas futurist manifestos were published almost at the same time with the Italian ones. On this background of melted ideas, Western literary avant-garde movements, occurring before the Central ones, found in the Romanian cultural space both a place for possible convergences and one for discovering the old under the veil of the new. -
Felix Aderca – Mãrturiile Unui Mãrturisitor Al Unei Generaþii
www. revista-mozaicul.ro REVISTà DE CULTURà FONDATà LA CRAIOVA, ÎN 1838, DE CONSTANTIN LECCA • SERIE NOUà • ANUL XVI • NR. 1 (171) • 2013 • 24 PAGINI • 2 lei nnn CONSTANTIN M. POPA exclusivitate Într-acolo se moare ºi l-am trimis chiar în acea direcþie fãrã ezitãri fãrã vestiri de tâlcuri fãrã obsesia bibliotecii din Alexandria doar cu gândul la severa jubilaþie a sfârºitului Va fi frumos va fi îngrozitor cu sumbra mãreþie a prãbuºirilor interioare printre cuvinte explodând cu cenuºa lui Händel împrãºtiatã din urnele corurilor gospel cu vacarmul vastei claviaturi a lavelor eliberate din ogive în recea sclipire a focurilor de artificii Gheþari în flãcãri precum girafele lui Dali oraºele reptile sfârtecate de ochii asteroizilor cãrþi înecate în stranii valuri agonia regnului fãrã nume al diferenþelor dintre bolgii ºi ceruri neutralizate Acolo se moare în caligrafii rânjinde ºi propoziþii eliptice de-a lungul unor elaborãri vehemente în alba tristeþe a paginilor sacre nu puteam rata aceastã Apocalipsã Va avea ce povesti supravieþuitorilor. Felix Aderca – mãrturiile unui mãrturisitor al unei generaþii Confesiuni Sabin Pautza: „muzica este materie organizatã” Miºcarea ideilor: Felix Aderca, „un nostalgic al viitorului” Semneazã: George Popescu l Gabriel Nedelea l Maria Dinu l Ovidiu Ghidirmic l Cristinel Marco Lucchesi – Trandafir l Daniela Micu poeme l Petriºor Militaru l Viorel Pîrligras l Anca Rãdulescu Raffaello Sanzio da Urbino - Portretul lui Bindo Altoviti is hosting a spectacular retrospective of ooo the great 16th Century Renaissance pain- NNN 111 (171) • 2013 ter and artist Raphael. The exhibition spe- cifically portrays the latter years of the In this issue: ARTE artist when he was living in Rome; his tri- Mihaela VELEA: Klimt & Künstler- umphant popularity and the golden op- AVANTEXT kompagnie portunity he seized of working for two Constantin M. -
67. Fanel Teodorascu
European Integration - Realities and Perspectives 2010 The Newspaper Editorial Board, the Strength of the Journalistic Success (The Case of Curentul ) Fănel Teodora şcu Danubius University of Galati, Faculty of Communication Sciences, teodorascu.fanel@univ- danubius.ro Abstract: Curentul newspaper and Pamfil Seicaru, its owner and director, practically changed the interwar journalism. The editorial board was made up of well-known journalists, with extensive experience and a special polemic verve. Due to them, Curentul newspaper soon became a distinctive voice in the interwar media, its sources of information being among the most consistent and extensive. As a consequence, Seicaru’s newspaper held a primacy of information during that age, being a paper of wide circulation, moulding the public to like sensational and shocking news, those who read it accidentally. In one way or another, the journalistic method of the editorial staff is similar in many ways to that of a tabloid as it was conceived in the interwar years. At the same time, Curentul was a real newspaper of civic opinion and firm political attitude, despite some ideological and inherent derailments in the interwar years preceding the Second World War. Keywords: audience; editorial; ideology; journalism; blackmail Curentul newspaper is one of the most interesting journalistic achievements of interwar Romania. A few years after its establishment, the newspaper competed with Stelian Popescu’s Universe , “the most influential and wealthy press tycoon in interwar Romania” (Ciachir, 2008, p. 23). The journal founded by Pamfil Seicaru enjoyed a warm welcoming from readers even from its first issues and the success came as a result of the efforts made by the owner to hire experienced journalists and editors popular among the public. -
Images of Town Life in the Writings of Ion Călugăru, Isac Peltz and Ury Benador
Romanica Cracoviensia 12 / 2012 10.4467/20843917RC.12.020.0737 Gabriela Gavril-Antonesei Alexandru Ioan Cuza University Iaşi IMAGES OF TOWN LIFE IN THE WRITINGS OF ION CĂLUGĂRU, ISAC PELTZ AND URY BENADOR. ASPECTS OF THEIR RECEPTION1 CONTEXT Isac Peltz, Ion Călugăru, Ury Benador – and other important writers, particularly M. Sebastian, who will not be discussed in this paper, though – published their most representative work in the fourth decade of the last century. At the time, Romania faced a strong surge of nationalistic political movements, which led to multiplied and intensified anti-Semitic acts. More and more voices of the time2 – among them some public figures of a rather liberal line, and representatives of the church – were requesting the “cleansing” of Romania of its Jews and even the review and annulment of the citizenship granted to them in 1923. Under the party name of “Totul pentru Ţară” (“Everything for the Country”), the Garda de Fier (Iron Guard) obtained in the 1937 elections 16.5% of the votes of the electorate, thus becoming the third political power in the country. When the PNC (Goga-Cuza) government came to power in 1937, they imposed an anti-Semitic legislation that deprived more than 200 000 Jews of their civil rights.3 The media campaigns for a “Romanisation” of society – as pursued by Pamfil Şeicaru in Curentul, Nicolae Iorga in Cuget clar and Neamul Românesc – are proof that the anti-Semitic ideas and language were common in many circles.4 In December 1 A version of this paper was presented at the Conference “I Am a Romanian: the Bucharest – Tel Aviv Route”, organized by The Romanian Cultural Institute in Tel Aviv, in partnership with the “Ben Gurion” University in Beer Sheva, 29.03–1.04.2011. -
The First World War in the Memory of Romanian Poetry
IDEAS • BOOKS • SOCIETY • READINGS © Philobiblon. Transylvanian Journal of Multidisciplinary Research in Humanities THE FIRST WORLD WAR IN THE MEMORY OF ROMANIAN POETRY * CORINA CROITORU Abstract: Starting from the observation of the canonical periodisation of Romanian literature into antebellum, interbellum, and postbellum, this study aims for a critical recovery of the taboo segment, on bellum poetry, with a focus on Romanian poetry inspired by the First World War among war veteran writers. The goal is to prove that the careful analysis of Romanian war poetry can reveal not only the profile of a minor genre that is meant to record the seismic clash between man and history, but actually trace the path of a major search for language that is capable of expressing the magnitude of such a clash. Keywords: First World War, Romanian poetry, Memory, Combatants, Stances, Irony If the most traumatic events, as proven by research studies in Neurology, make for the most deep-seated memories, intensively stretching the human brain’s capacity to encode,1 then literature and by extension poetry, as the representation of the individual affective memory included in the patrimony of a people’s cultural memory, could never avoid the thematisation of the experience of World War I in the context of Romanian culture, as is the case for several cultural areas. It would have been nearly impossible for the Great War, as it has been known in Francophone and Anglo-Saxon areas, or the War for the Nation’s Reunion in the case of Romania, to irrigate with its unforeseen violence the imagination of poets who lived through it as combatants or civilians.