Context
Around 1907, soon after the violent quelling of the peasants' revolt, left-wing authors such as Tudor Arghezi, Gala Galaction, Vasile Demetrius and N. D. Cocea began issuing a series of magazines which, in addition to following a radical political line, accommodated a modernist style. This approach contrasted with the more traditional approach favored by the Poporanist group and its Viaţa Românească journal. Another important factor in the evolution from Symbolism to radical modernism between 1895 and 1920 was the literary and artistic circle formed around controversial politician and author Alexandru Bogdan-Piteşti, which grouped together many of Simbolul 's contributors. Starting in 1910, artistic innovation had also manifested itself in art, with the activities of Tinerimea Artistică society and the art chronicles authored by Bogdan-Piteşti, Arghezi and Theodor Cornel. Janco, who was at the time Iser's pupil, exhibited his first drawings at the Tinerimea Artistică Youth Salon in April 1912.
The journal built on the legacy of other short-lived literary publications, in particular Revista Celor L'alţi and Insula, both of which had been founded by poet Ion Minulescu. A follower of French Symbolist critic Rémy de Gourmont, Minulescu had previously launched radical appeals to innovation, which some critics consider the first expressions of Romanian avant-gardism, and which established connections not just with Symbolism, but also with the Futurism of Italian writer Filippo Tommaso Marinetti. However, literary critic Paul Cernat notes, Ion Minulescu "did not have the virtues of an ideologue and a theorist." Thus, Simbolul was called by Cernat "a turning plate between the Symbolism of Insula contributors and pre-avant-gardist Post-symbolism."
Famous quotes containing the word context:
“Among the most valuable but least appreciated experiences parenthood can provide are the opportunities it offers for exploring, reliving, and resolving one’s own childhood problems in the context of one’s relation to one’s child.”
—Bruno Bettelheim (20th century)
“The hippie is the scion of surplus value. The dropout can only claim sanctity in a society which offers something to be dropped out of—career, ambition, conspicuous consumption. The effects of hippie sanctimony can only be felt in the context of others who plunder his lifestyle for what they find good or profitable, a process known as rip-off by the hippie, who will not see how savagely he has pillaged intricate and demanding civilizations for his own parodic lifestyle.”
—Germaine Greer (b. 1939)
“The hard truth is that what may be acceptable in elite culture may not be acceptable in mass culture, that tastes which pose only innocent ethical issues as the property of a minority become corrupting when they become more established. Taste is context, and the context has changed.”
—Susan Sontag (b. 1933)