Legacy Urmuz

1 legacy

1.1 contimporanul circle
1.2 unu , 1930s literati
1.3 drake s head
1.4 communist ban , diaspora recovery
1.5 onirism optzeciști
1.6 postmodern urmuzianism

legacy
contimporanul circle

paul cernat notes ciriviș s posthumous destiny , leading unexpected glorification, urmuzian affair. cernat cautions image of urmuz absolute predecessor of romanian modernism erroneous , since experiments of jarry, charles cros, jules laforgue, edward lear , others important in formative process. concludes avant-garde apologetes projecting own expectations bizarre pages, in read antithesis of high romanticism , , writer, became romanian version of poète maudit. ion pop suggests: in [urmuz s] human destiny, , in writing too, [the avant-garde writers] find issues trouble them in prefiguring own destinies. satisfies pride of carry on uncertain , anxious existence, endlessly in conflict world... according andru: enthusiastic, ingenious, skeptical, rhetorical, or indecent words have been uttered [the bizarre pages]. people used terms having literary revolutions of 20th century [...]. in pages people found themes present in innovating actions gained momentum since 1922–1924 .

cernat describes growth of urmuz s myth similar christianity: ciprian prophet , arghezi baptist , modernist aficionados apostles , converts . on time, various exegetes have noted modernist aspects of arghezi s prose, written after 1923, show debt urmuz s absurdism , nonsense humor. arghezi s bilete de papagal review promotional instrument bizarre pages: in 1928, continuing cuget românesc project, circulated algazy & grummer .

while role pre-dadaist debate, urmuz thought many have been considerable influence on romanian founder of dada, tristan tzara. during first years, romanian avant-garde not mention urmuz outside arghezi s circle, surge in popularity came in stages after european-wide impact of dadaism, , after tzara alienated of romanian partners. case of poet ion vinea , painter marcel janco, founded modernist art magazine called contimporanul. late in 1924, contimporanul teamed ciprian, gave public reading urmuz during contimporanul international art exhibit.

the following year, ciprian s eponymous text hurmuz , published in contimporanul, listed main claims urmuz s pioneering role. then, futurist journal punct, close ally of vinea , janco, gave exposure various unknown urmuzian pages. in december 1926, contimporanul editorial signed vinea announced world urmuz discreet revolutionist responsible reshaping of europe s literary landscape: urmuz-dada-surrealism, these 3 words create bridge, decipher parentage, clarify origins of world s literary revolution in year 1918. in coverage of international scene, journal continued suggest suicidal author had anticipated literary fronde, instance calling michel seuphor writer à la urmuz . in addition republishing of bizarre pages in own issues, took initiative in making urmuz known international audience: berlin-based magazine der sturm included samples urmuz in special issue romania (august–september 1930), reflecting contimporanul s list. @ around same time, poet jenő dsida completed integral translation of bizarre pages hungarian.

in contimporanul stage, janco drew notorious ink portrait of urmuz. in old age, same artist completed several cycle of engravings , paintings alluded bizarre pages. vinea s own prose of 1920s borrowing urmuz s style, merged newer techniques avant-garde groups of europe. followed urmuz s deceptive novel genre of funnel , stamate , became characteristic of works other contimporanul writers: felix aderca, f. brunea-fox, filip corsa, sergiu dan , romulus dianu. in addition, jacques g. costin, moved between contimporanul , international dada scene, long thought imitator of urmuz s style. several critics have nevertheless revised verdict, noting costin s work builds on distinct sources, urmuz being one.

unu , 1930s literati

another stream of urmuzianism bled surrealist magazine unu. main contributors, including pană, geo bogza, ilarie voronca, ion călugăru, moldov , stephan roll, urmuz enthusiasts far left. in 1930, pană collected , published volume complete works of urmuz: titled algazy & grummer, notably included fuchsiad . pană , bogza visited unpublished archive, gave them chance acknowledge, silence, more conventional , antisemitic urmuz revealed through aphorisms. these manuscripts kept in possession pană family, , exhibited in 2009.

bogza editor of short-lived magazine named urmuz, published in câmpina support poet alexandru tudor-miu, , keeping contact other urmuzian circles: saluted arghezi , published drawing portrait of urmuz (probably marcel janco s). bogza s first editorial piece proclaimed: urmuz lives. presence among whips lash our consciousness. later, in unu s inaugural art manifesto, bogza described suicidal mentor forerunner . others in group incorporated urmuzian metamorphoses technique and, @ stage, bizarre pages imitated in style pană s sister, magdalena madda holda binder, influencing stories pană s young follower sesto pals , novels isolated surrealist h. bonciu. in mid-1930s, unu illustrator jules perahim drew own version of urmuz s portrait.

after contimporanul group split , young generation reassimilated modernism spiritualistic framework (trăirism), critic lucian boz first professional find no fault bizarre pages, , made urmuz interesting mainstream , elitist criticism. between unu surrealists , boz s version of modernism figures such ion biberi (who popularized urmuz in france) , marcel avramescu. avramescu (better known ionathan x. uranus) notably inspired urmuz s pre-dadaist prose, imitated. other authors in succession grigore apunake cugler, credited 1930s urmuz, , constantin fântâneru. 1930s brought publication of several new works of memoirs mentioning demetrescu-buzău, including texts cruceanu , vasile voiculescu—the latter first mention urmuz on romanian radio (january 1932); such radio homage later authored pană.

the channels of communication once opened, urmuz came discussed unexpected sympathy perpessicius, călinescu , other noted cultural critics, consolidating reputation writer. călinescu s attitude particularly relevant: condescending popularizing portrayal of urmuz, became part of călinescu s 1941 companion romanian literature (urmuz s earliest mention in such synthesis), first sketched in literary magazine capricorn (december 1930) , 1938 university lectures. although confessed inability view demetrescu-buzău real writer, călinescu preferred him on traditionalism, and, critics note, allowed bizarre pages influence own work novelist. meanwhile, blunt negation of urmuz s contribution restated academic figure pompiliu constantinescu, nevertheless commented favorably on writer s ingeniousness . eugen lovinescu, mainstream literary theorist, angered avant-garde ignoring urmuz, made note of ciprian s readings hurmuz s repertoire @ sburătorul literary sessions.

urmuz may have acted direct or indirect influence of mainstream authors of fiction, 1 case being of satirist tudor mușatescu. similar observations made regarding work of modern novelists anișoara odeanu or anton holban.

the drake s head

by late 1930s, ciprian had established himself leading modernist dramatist , director, plays such man , mule. although work in field described product of 1920s expressionist theater, branded plagiarist of dead friend s writings. claim traced arghezi, , publicity stunt meant increase urmuz s exposure, taken seriousness opinion maker, journalist constantin beldie. ensuing scandal amplified young dadaists , surrealists, took rumor true: avramescu-uranus, himself accused of plagiarizing urmuz, made ironic reference fact in 1929 contribution bilete de papagal. unwittingly, arghezi s allegations cast shadow of doubt on ciprian s overall work stage.

the drake s head ciprian s personal homage pahuci: shows grown-up ciriviș, main protagonist, returning trip abroad , reuniting cronies during overnight party. drake s head brotherhood spends small hours of morning bullying passers-by, chasing them birds of prey , pestering them absurd proposals. quite jaded , interested in wrecking pillars of logic , ciriviș convinces friends follow him on more daring stunt: trespassing private property, take on apple tree , treat new home. claiming land ownership covers actual horizontal plane, strike out agreement stupefied owner. nevertheless, pompous , indignant bearded gentleman takes cause of propriety , incites romanian police intervene. play premiered in 1940. original cast included nicolae băltățeanu ciriviș , ion finteșteanu macferlan, additional appearances ion manu, eugenia popovici, chiril economu.

cernat sees drake s head sample of urmuzian mythology: ciriviș [...] shown quasi-mythological figure, boss of parodic-subversive fellowship seeks rehabilitate poetic, innocent, apparently absurd freedom . according cernat, remains ciprian s nonconformist play, particularly since indebted absurd urmuzian comedy . have identified bearded gentleman nicolae iorga, traditionalist culture critic—the claim later dismissed mere innuendo ciprian, explained creation stood demagogue politicians of day.

communist ban , diaspora recovery

upon end of world war ii, romania came under communist rule, , purge of interwar modernist values followed: urmuz s works among many denied imprimatur 1950s. before communist censorship became complete, urmuz still found disciples in last wave of avant-garde. cited examples include geo dumitrescu, dimitrie stelaru , constant tonegaru. @ time, writer dinu pillat donated batch of urmuz s manuscripts romanian academy library.

the anti-urmuzian current, part of larger anti-modernist campaign, found unexpected backer in george călinescu, became fellow traveler of communism. in new interpretation, bizarre pages depicted farcical , entirely worthless. while, bizarre pages cultivated romanian diaspora. having discovered book in interwar romania, dramatist , culture critic eugène ionesco made mission highlight connections between urmuz , european modernism. ionesco s work stage, major contribution international theater of absurd movement, consciously drew upon various sources, including romanians ion luca caragiale , urmuz. contextual importance of such influences, remain relatively unknown ionesco s international audience, has been assessed differently various exegetes, ionesco himself once stated: nothing in romanian literature has ever influenced me. ionesco s intervention, urmuz s works saw print in les lettres nouvelles journal. allegedly, attempt publish urmuz s work Éditions gallimard sabotaged tristan tzara, may have feared previous claims absolute originality come under revision. upon translating urmuz s writings, ionesco drafted essay urmuz ou l anarchiste ( urmuz or anarchist , ca. 1950), new drawing of urmuz dimitrie vârbănescu (guy lévis mano collection).

the entirety of urmuz s work republished in english writer miron grindea , wife carola, in adam review (1967, same year when new german translations published in munich s akzente journal). new home in hawaii, romanian writer Ștefan baciu, own poetry borrows urmuz, further popularized bizarre pages boz s assistance. figure of anti-communist diaspora, monica lovinescu, adopted urmuzian aesthetics in of satirical essays. diaspora community later joined andrei codrescu, became neo-dadaist , wrote stories calls à la urmuz .

from onirism optzeciști

in 1950s , 1960s, literary underground, reacting against communist worldview, began emerge @ various locations in romania. tried reconnect modernism, , in process rediscovered urmuz. inside meta- , autofictional group known târgoviște school, urmuz s style perpetuated mircea horia simionescu. bizarre pages inspired other writers in same group: radu petrescu, costache olăreanu , bessarabian-born tudor Țopa. elsewhere, urmuz s work rekindled romania s new poetry , prose, influencing of onirist , post-surrealist writers—from leonid dimov, vintilă ivănceanu , dumitru Țepeneag iordan chimet , emil brumaru. icon of neo-modernist poetry nichita stănescu, contributions include tributes urmuz , pastiches of writings, hosted manuscriptum in 1983. between 1960 , 1980, bizarre pages stimulated work of isolated modernist authors, such marin sorescu, marius tupan, mihai ursachi and, especially, Șerban foarță.

although ban on urmuz still in place, george ciprian made daring (and possibly subversive) gesture publishing affectionate memoirs in 1958. few years later, episodic relaxation of communist censorship allowed republication of bizarre pages, mistakenly included in complete edition of ciprian s literary works (1965). such events heralded revival of scholarly interest in proto-dadaism, beginning 1970 monograph on urmuz, sibiu literary circle member nicolae balotă. then, pană free circulate new revised edition of interwar anthology, reissued in collaboration editura minerva. later completed urmuz corpus, notably hosted scattered diaries, recovered critic gheorghe glodeanu. in 1972, iordan chimet included chroniclers in nonconformist anthology of youth literature. in years, bizarre pages inspired critically acclaimed illustrations nestor ignat , ion mincu, , multimedia event cumpănă ( watershed ) composer anatol vieru.

with 1960s, national-communist ideology officially established in romania, , encouraged rise of protochronism cultural phenomenon. protochronists exaggerated past romanian achievements, , magnified previous claims folkloric roots of urmuz s literature. protochronists described positive, jocular, village idiot urmuz, more presentable europe s misanthropic avant-garde. leading representative of trend literary theorist edgar papu, exaggerated vinea , ionesco s homage urmuz , caragiale argue romania actual origin of europe s avant-garde movements. idea proved popular beyond protochronism, , arguably found in essays nichita stănescu , marin mincu. many europeanist intellectuals rejected protochronism, but, in bid of making urmuz palatable cultural officials, interpreted him strictly through grid of marxist humanism (as used balotă, matei călinescu or nicolae manolescu). third camp, comprising more or less vehement opponents of urmuz, joined literary debates after 1970; includes alexandru george, gelu ionescu, alexandru piru , marin nițescu.

some years later, romania witnessed birth of optzeciști generation, interest in recovering caragiale, urmuz , 1930s avant-garde models follow, , reactivated corrosive humor way of fighting oppression. among individual optzeciști took special inspiration bizarre pages mircea cărtărescu, nichita danilov, florin iaru, ion stratan , sentimental urmuz florin toma. dissident poet mircea dinescu paid homage urmuz, imitating style in 1 of addresses communist censors.

with that, influence of urmuz again radiated outside romanian-speaking circles: while poet oskar pastior translated bizarre pages german, herta müller, german romanian novelist , dissident, thought have been influenced of urmuz s writing techniques. marin mincu , marco cugno introduced urmuz s literature italophone public, 1980 collection. in romania, part of centennial celebrations, scattered translations old , new issued minerva hexalingual album, noted contributions ionesco, voronca, mincu, cugno, leopold kosch, andrei bantaș etc. other translations urmuz pioneered in english stavros deligiorgis (standard bilingual edition, 1985) , later julian semilian. same effort undertaken in dutch jan willem bos , in swedish dan shafran.

postmodern urmuzianism

a noted rise in interest urmuzian literature followed in wake of 1989 revolution. in 2011, poll among romanian literati, organized observator cultural review, listed funnel , stamate 22nd-best romanian novel; rekindled polemics whether work should considered novel. appearance of new alternative schoolbooks during 1990s, urmuz earned more exposure optional addition standard curriculum. new editions of various works published @ fast rate, in both romania , neighboring moldova: in 2 years (2008–2009), there 3 separate print versions of collected texts, academic paperback, , 2 audiobooks. these texts provided visual inspiration dan perjovschi, tribute pictograms included in 2009 editura cartier reprint of bizarre pages. in march 2006, curtea de argeș city honored writer series of special events , displays.

the literary currents of postmodernism appropriated urmuz guide. tendency illustrated writings of new figures in romanian literature: minimalists , neo-naturalists (sorin gherguț, andrei mocuța, călin torsan), neo-surrealists (cristian popescu, iulia militaru, cosmin perța, iulian tănase, stelian tănase), feminists (catrinel popa, iaromira popovici), political satirists (dumitru augustin doman, pavel Șușară) , electronic literature writers (cătălin lazurcă).

there loose stage or multimedia adaptations of bizarre pages, including ones mona chirilă (2000), gábor tompa (2002), radu macrinici (2005), pro contemporania ensemble (2006), christian fex , ramona dumitrean (both 2007); urmuz s work has been cited influence romanian-born dramaturge david esrig, has used in workshops. theatrical company urmuz s name existed while in casimcea, home of zilele urmuz festival. in 2011, 2 separate operatic renditions of urmuz s work showcased bucharest s simn festival.