Ion Sân-Giorgiu (also known as Sîn-Giorgiu, Sângiorgiu or
Sîngiorgiu; 1893â€"1950) was a Romanian modernist poet, dramatist,
essayist, literary and art critic, also known as a journalist,
academic, and fascist politician. He was notably the author of works
on the Sturm und Drang phenomenon and the influence of Johann Wolfgang
von Goethe. During his early years, he was influenced by Expressionism
and contributed to the literary magazine Gândirea; he progressively
moved towards support for the Iron Guard (the Legionary Movement),
edited the far right journal Chemarea Vremii, and spent his last years
as a member of Horia Sima's government in exile.Born in BotoÅŸani,
Sân-Giorgiu was educated in Germany.[1] He debuted as a
traditionalist poet, affiliated with the group originally formed
around Sămănătorul magazine.[2] According to literary historian
Eugen Lovinescu, he was, with Anastasie Mândru and George Vâlsan,
one of the best-known Sămănătorul poets in the Regat
regions.[3]With time, Sân-Giorgiu moved towards modernist literature.
In 1921, he contributed a serialized column on "Dramatic
Expressionism" to Adevărul Literar şi Artistic, later published as a
single volume.[4] Sân-Giorgiu's views on Expressionism and modernism,
like those of Gândirea itself, oscillated: in early 1923, he
commented negatively in regard to the tendencies of younger poets to
"discard metaphors", but later authored reviews and essays welcoming
the trend.[4] At the time, Sân-Giorgiu notably contributed essays on
the literature of Georg Kaiser and Walter Hasenclever to Gândirea.[5]
His 1922 play Masca ("The Mask"), which followed Expressionist
guidelines,[6] was among the series of avant-garde productions staged
by Victor Ion Popa during the interwar period.[7]During the early
1930s, he seconded Victor Eftimiu inside the Romanian PEN Club (of
which he was General Secretary).[8] A frequenter of Casa CapÅŸa
restaurant, Sân-Giorgiu was, according to the art collector Krikor
Zambaccian, involved in a dispute with poet N. Davidescu which
eventually turned violent.[9] By that time, he was again discarding
modernist approaches to literature, and returning to traditionalist
techniques and subjects.[10]
Sîngiorgiu; 1893â€"1950) was a Romanian modernist poet, dramatist,
essayist, literary and art critic, also known as a journalist,
academic, and fascist politician. He was notably the author of works
on the Sturm und Drang phenomenon and the influence of Johann Wolfgang
von Goethe. During his early years, he was influenced by Expressionism
and contributed to the literary magazine Gândirea; he progressively
moved towards support for the Iron Guard (the Legionary Movement),
edited the far right journal Chemarea Vremii, and spent his last years
as a member of Horia Sima's government in exile.Born in BotoÅŸani,
Sân-Giorgiu was educated in Germany.[1] He debuted as a
traditionalist poet, affiliated with the group originally formed
around Sămănătorul magazine.[2] According to literary historian
Eugen Lovinescu, he was, with Anastasie Mândru and George Vâlsan,
one of the best-known Sămănătorul poets in the Regat
regions.[3]With time, Sân-Giorgiu moved towards modernist literature.
In 1921, he contributed a serialized column on "Dramatic
Expressionism" to Adevărul Literar şi Artistic, later published as a
single volume.[4] Sân-Giorgiu's views on Expressionism and modernism,
like those of Gândirea itself, oscillated: in early 1923, he
commented negatively in regard to the tendencies of younger poets to
"discard metaphors", but later authored reviews and essays welcoming
the trend.[4] At the time, Sân-Giorgiu notably contributed essays on
the literature of Georg Kaiser and Walter Hasenclever to Gândirea.[5]
His 1922 play Masca ("The Mask"), which followed Expressionist
guidelines,[6] was among the series of avant-garde productions staged
by Victor Ion Popa during the interwar period.[7]During the early
1930s, he seconded Victor Eftimiu inside the Romanian PEN Club (of
which he was General Secretary).[8] A frequenter of Casa CapÅŸa
restaurant, Sân-Giorgiu was, according to the art collector Krikor
Zambaccian, involved in a dispute with poet N. Davidescu which
eventually turned violent.[9] By that time, he was again discarding
modernist approaches to literature, and returning to traditionalist
techniques and subjects.[10]
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