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Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As Jürgen Habermas suggested, „the spirit and discipline of aesthetic modernity," which defined „various avant-garde movements... finally reached its climax in the Cabaret Voltaire of the dadaists and in surrealism." The surrealists' documents, declarations, actions, and manifestoes of the 1920s and 1930s point out to the apparently tireless crusade against public misinterpretations of their intent. On the other hand, there is little doubt that a political situation can exercise a given influence on avant-garde art in particular. While using primary and secondary sources, I look into the case of Gellu Naum just to illustrate the tensions between art and politics in the interwar Romania. [ABSTRACT FROM AUTHOR]

Still poorly known and only sporadically approached in the intellectual history of the period, Marcel Avramescu is the key figure of Romanian interwar esotericism. He founded Memra (1934), the only interwar Romanian esoteric periodical, and played the role of bizarre sage and magic trickster, the main protagonist of the so-called "esoteric" generation, which included, amongst others, the historian of religions Mircea Eliade. Playfully hiding behind many made-up and eccentric names and signatures (Ionathan X. Uranus, Mark Abrams, The Astro-Magus a.s.o.), Marcel Avramescu went through an avant-garde period, then an openly esoteric one, indebted to René Guénon, and finished by becoming an Orthodox priest. The present study analyzes Marcel Avramescu's activity as the editor of Memra, his relationship with René Guénon, as reflected in several esoteric theoretical texts he authored, and the socio-cultural profile of Romanian interwar cultural life, as a specific mixture of modern and traditionalist ideologies. [ABSTRACT FROM AUTHOR]

Still poorly known and sporadically treated in the intellectual history of the period, Marcel Avramescu is the key figure of Romanian interwar esotericism (1919-1938). He founded Memra (1934), the only interwar Romanian esoteric periodical, and played the role of a bizarre sage and magic trickster, the main protagonist of the so-called "esoteric" generation, which included, amongst others, the historian of religions Mircea Eliade. Playfully hiding behind many forged and eccentric names and signatures (Ionathan X. Uranus, Mark Abrams, the Astro-Magus a.s.o), Marcel Avramescu went through an avant-garde period, then an openly esoteric one, indebted to René Guénon, and finished by becoming an Orthodox priest. The following text analyses Avramescu's spiritual evolution as mirrored by several controversial texts he had written, and the socio-cultural profile of the Romanian interwar cultural life, as a specific mixture of modern and traditionalist ideologies. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studii şi Cercetări de Onomastică şi Lexicologie is the property of University of Craiova, Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article begins with a short introduction to the life and work of the Romanian writer Geo Dumitrescu (1920-2004), who is considered to be a path-breaking poet of the post-war generation, and to the discourse about the ideological impact of the communist party on his lyrics. Furthermore, it treats the perception of the writer in nowerdays Romania, outlining the debates between literary critics about his positioning in the Romanian history of literature, his meaning for the following generations of writers and the character of his work: poetry versus anti-poetry, mysticism versus realism, irony versus lack of humour and dogmatism. In addition, this contribution contains comparative observations about the perception of Dumitrescu's lyrics in the German-speaking world and searches for reasons for the fact that he's largely unknown in this context. The included analysis of three exemplary poems contains, at first, a short interpretation with regards to style, form and content, as well as a critical examination of the translations of the selected lyrics by reputable translators. These are opposed to commented new translations by the author of this contribution, aiming to correspond to the specifics of Dumitrescu' s language to the greatest possible extent. Hereby, the outlined character of his lyrics is illustrated in more detail. [ABSTRACT FROM AUTHOR]

The modernist experiments of the early twentieth century developed apace in central and eastern Europe with the emergence of new and radical artistic visions. Before the First World War the germ of the international avantgardism of the future influenced all media, though it was not until after 1914 that a genuine movement started to come together. Dadaism is very closely connected to the modernist phenomena of Romania. Artists such as Tristan Tzara, Marcel Iancu and Arthur Segall all hailed from the Romanian art scene, the centre of which was Bucharest. The country's capital was a metropolis influenced by the most diverse cultures and inhabited by a broad variety of ethnic groups, and it was here that Tzara engaged in his first artistic activities. Journals such as Simbolul and Chemarea played a hugely important role in modernism's development towards radical avantgardism. In 1915 Tzara and the Iancu brothers met Hugo Ball in Zurich and the following February they opened the Cabaret Voltaire: a nightclub that hosted inflammatory artistic gatherings and was the founding place of Dada. The tireless Tzara was a central figure of the movement from its very origins. And though Zurich Dada would dissolve at the end of the Great War, Dadaism lived on, with Tzara moving to Paris to continue his ceaseless work. [ABSTRACT FROM AUTHOR]