Back to Homepage Annuario 2002
p. 222
Alexandru Marcu and "Studii Italiene"
University
of Bucharest
The strictly political relationship between Romania and Italy during the inter-war
period is an adversity one. The events that marked it affected the two states'
diplomacies, but not the cultural area. Under the circumstances that the
obsession of the self-definition and of the insertion in the world was to
present new shapes, the inter-war cultural generation identified Italy as a
starting point.
Among the vectors to propagate the Italian culture in the Romanian space
there are the cultural settlements established by Vasile Pârvan and Nicolae
Iorga, respectively the Romanian School in Rome (1922)[1]
and Casa Romena in Venice (1930)[2],
the Italian Cultural Institute in Romania (1924)[3],
the Institute of Studies of Eastern Europe in Rome[4],
the departments of Italian language in the Romanian universities[5],
different cultural associations and publications[6].
Inside of the typology of the publications that proposed to promote the
Romanian-Italian contacts, there is also Roma[7],
the revue of Italian culture directed by Professor Ramiro Ortiz[8].
His disciple, Alexandru Marco, followed this endeavor. Consequently, beginning
with 1934, Roma revue would appear in
a New Series, under the main title of Studii
Italiene[9].
Here is a brief enterprise inside of the
activity of this revue's director.
Educated at the Professor Ramiro Ortiz's
school, Al. Marcu graduated the Faculty of Letters in Bucharest (1919)[10]
and Ph.D. in Letters, the title being conferred by Reale Istituto
p. 223
di Studi Superiori e di Perfezionamento in Florence (1922)[11].
The title of member of the Romanian School in Rome would extent his stay in
Italy by 1924[12].
Returned in his homeland, Al. Marcu
promoted a real program of cultural policy. He contributed to the foundation
and activity of some cultural societies*
and collaborated to different Romanian and Italian publications[13].
The radio represented an important channel that popularized the Italian culture
in Romania[14]. He also
had the same intentions when he delivered conferences and speeches, many times
organized under the care of the Italian Culture Institute. The translations
also represented another mean to promote the Italian creation[15].
In 1933, under the circumstances of the
Professor's Ramiro Ortiz's departure to Padua[16],
Al. Marcu becomes the titular of the Italian Language and Literature department
at the Bucharest University[17].
His merits were demonstrated also by the
gaining of the San Remo prize[18],
the election as correspondent member of the Romanian Academy[19]
and the designation as dean of the Letters and Philosophy Faculty in Bucharest.
Al. Marcu had a series of functions in
the Romanian government, culminating with his nomination as Undersecretary of
the Ministery of Propaganda (1941-1944)[20].
Still, the moment of August 23, 1944 represented the final point of his career.
Condemned on political reasons, he is finally imprisoned in 1955.
Our intention is to invoke the revue of
"Studii Italiene", "the dearest among his academic
efforts", as he himself considered[21].
First and foremost, it is an evocation full of appreciation towards this high
personality of the studies about Italy.
Thus, "Studii Italiene" is the
continuation of "Roma". It belongs to a tradition. Its novelty
consists in the fact that it did not propose to be a popularization revue, as
it had been "Roma" "at its beginnings".
The first number of the revue commences
with an introduction[22],
actually an article-program signed by
Al. Marcu, which includes the publication's general conception and program of
activity. It is stipulated as a strictly academic revue, "exclusively
devoted to the scientific preoccupations" - an announcement that was to be
respected during its decade of publishing. Thus, "Studii Italiene"
was an apolitical revue, refusing the enrollment, the belonging to a particular
ideology. Its purpose was to reveal affinities, exchange of
p. 224
letters,
similarities between Romania and Italy. It had the tendency to become a revue
of its scholars, which "deserved to be appreciated through editing".
Its destination was well explained. The revue had a particular public to
address to, a public intentionally limited, philo-Italian, knowing the Italian
language and civilization.
Among the authors, there are Italian professors and researchers (Lilio
Cialdea[23],
Giandomenico Serra[24],
Umberto Cianciolo[25],
Giorgio Alessio[26], Giovanni
Villa[27]),
Romanian philologists and literary critics (D. Bodin, D. Caracostea, Pimen
Constantinescu), former members of the Romanian School in Rome (Titu
Pârvulescu, Al. Busuioceanu, D. Găzdaru, Al. Cioranescu, Fr. Pall, N. Façon,
Al. Mititelu), collaborators from the Italian language department of the
Faculty of Letters in Bucharest (A. Belciugățeanu, Leon Diculescu, Bruno
Manzone), disciples who would become well knoen Italianists (C. H. Niculescu,
Al. Balaci, M. E. Coandă, R. Silvestru, C. Stănescu, S. D. Crudu etc.).
Structurally,
the revue had five sessions (excepting the first number): Studii, Miscellanea, Recenzii, Însemnări bibliografice, Cultura
italiană în România.
The themes
were various. The studies of comparative literature prevailed, followed by the
studies of philology and literary history, studies dedicated to the unpublished
translations and contributions. There were analyses, investigations, critical
researches (published in Romanian, but also in Italian and French) that had
something in common, that is the finding of the spiritual genealogy. All these
are followed by a Riassunto - an
analytical abstract in Italian.
Savants, translators, scholars or
pilgrims, humanists, illuminists or romantics follow a spiritual itinerary in
the preisland created by a genial architect, and are influenced by the Italian
ground, watching its vestiges as an undeniable testimony for their own past.
This is the studies leitmotiv. The
searching for identity unavoidably directs us to the symbol of latinity here
is the Studii Italiene revues idea.
The working technic is clearly learned. The well conceived critical apparatus
denotes scientific exactity. Never dry and abrupt, the information has a
prelude a history of the matter in discussion. There are presented viewpoints
previously debated, discussed and accomplished with arguments and documents.
Method and equilibre there are the terms that characterize the revues
content.
The reactional style is figurative, without rhetoricals, connotative, at the
border betwwn lyrics and reflection.
Formally,
there are the papers and pictures superior quality to be remarked.
STUDIES
AND MISCELLANEA
Italy, raiul cel pământesc / the earthly heaven as Dinicu Golescu named
it[28],
was the destination for many Romanian men of letters, historians and artists. La terra promessa
p. 225
exerted
seduction and charm upon them, offered documents for the historians, metaphor
for the poets, color for the painters. The Italian adventure coincided with
their cultural-artistic accomplishment. Vibration, exaltation, mixture of
centuries, connection to declined worlds all of them are provoked by the
arts, history and nature of Italy. All of them were to say, together with
Duiliu Zamfirescu, vreau să văd tot, să
înțeleg tot, să nu uit nimic[29].
The revue mentions the Romanian presence in Italy.
Among them, there is the painture
Tattarescu, scholar at Accademia San Lucca in Rome (1843-1850), known in Italy
by his alegorical painting Renașterea
României / The Renaissance of Romania, to whom Al. Marcu had dedicated a
monography[30]. Emil
Vârtosu made an attempt to detect the Italian influence upon his paintings[31].
Relying upon the documents in the
archives, the same E. Vârtosu indicated that the same aspiration was cherished
by Nicolae Grigorescu[32].
This latter required a scholarship at Rome to the Prince Știrbey and then to
the caimacam Al. D. Ghica, being
convinced that the colors misteries are to be detected only there.
Alexandru Odobescu was traveler through
some Italian cities, in a moment when Rome re-becomes the metropolitan of
Italianism (1870)[33].
Another Romanian in the Italian space is
Barbu Delavrancea, in whose work could be detected Italian reflections[34].
An available representative for the
Romanian-Italian cultural relationship is Alexandru Vlahuță[35].
Dora dIstria[36]
is considered by Al. Marcu as ambassador of the Romanian spirit.
As diplomat, Duiliu Zamfirescu* lives in Italy more than 15 years. The
gate towards this dreaming land is Venice, the city built on the sea that he
denominates as mormânt și rai totdeodată
/ grave and heaven at the same time[37].
His correspondence is relevant for what Italy meant for his being, for the way
in which it marked him and the way he perceived this influence[38].
p. 226
The image of the Romanian space takes
shape by the travel accounts. These
accounts are important not only for the historical information, but especially
for the way in which this spaces realities are reflected in the Westerners
imagery.
Giovanni Battista de Burgo (c.
1681-1686) and Francesco Pizzagalli (1789) make considerations regarding the
political-diplomatic and economic situation, but also to respects of the social
life. Their information are studied by P. P. Panaitescu[39].
Al. Marcu mentions the passing of the
humanist Paracelsus through the Carpathian area[40].
Among those that lingered about this
space is also mentioned Antonio Cosimelli[41]
filo-Romanian and Italian officer in Transylvania to the end of the 18th
century, important for the Romanian-Italian relationships history, as author
of the literary composition Poemation (published in the original shape),
where he praised the heroism of the sons of Mars on the Rodna Valley.
The Venetian Giovanni Schiavoni[42]
is profesorul de zugrăvitură / the
teacher of painting at the Academia Mihăileană (1837-1838; 1841-1843).
Preziosi[43]
is the traveller artist, unknown to the Italian history of painting, present in
the Romanian principalities in the first years of ruling of Charles I
(1868-1869). His sketches demonstrates a special documentary interest, since
they portrait different respects in the 19th century Bucharest life.
Al. Busuioceanu* accomplished the
complete list of the pictures at the Royal Collection.
There are numerous studies that have in
a first instance personalities connected to the beginnings of the Italian learning in Romania[44]:
Abbeatici[45] who
publishes different handbooks, signalled by Al. Marcu; Orazio Spinazzola[46]
from Naples, passed through Greece and Constantinople to become professor at
Bucharest[47] who
created the
p. 227
first
thought in connection to the foundation of a universitary department of Italian
in Bucharest and of a Romanian one in Turin; Gian Luigi Frollo[48]
the author of the first grammar of Italian language in Romanian (1868),
teacher to a high-school in Brăila (1863-1869), then to Matei Basarab
high-school in Bucharest, and after 1878 at the department of History of the
Neo-Latin Literatures at the Faculty of Letters in Bucharest.
Professor Bruno Amante[49],
following the traces of Ovide in the ancient Tomis (1884), published in 1888
the book La Romania. At the end of
the study, it is published a letter attesting his friendship with the Romanian
historian Gr. Tocilescu).
The famous Edoardo Scarfoglio[50]
publishes his travel diary (1890), under the title of In Levante a atraverso i Balkani, dedicating a chapter I Latini del Danubio to the Romanians.
Roberto Fava, filo-Romanian of the end
of the 19th century, published in 1894 Riccordi rumeni. Note di un viaggio di Transilvania e Romania,
accompanied by a series of translations[51].
The man of letters Diego Angeli[52]
is distinguished by the King Charles with the Steaua României medal, according to the study of G. Ansaldi.
An important chapter of the Italian
studies is the one dedicated to the topical
coincidences. There are two distinct ways in which the same topic was
reflected, represented by two poets, different by origin and chronology. Al.
Marcu signals a series of topical coincidences between Gerusaleme liberata of Tasso and Glossa of Eminescu[53]
or Țiganiada / The Gipsy Story of
Budai-Deleanu[54]. He also
identifies a series of similarities between Aminta of the same Tasso and the Coșbucs poem La oglindă / In front of the mirror[55],
between Vasile Alcsandri and a Renaissance lyric poet, that is Lawrence of
Medici, il Magnifico[56].
The same theory is exemplified by studies in order to emphasize similarities
between Dante and Eminescu[57];
St. Francis and Eminescu[58];
N. Fortegueri, Donici and Alexandrescu[59].
The matter of the topical coincidences is retaken in a comparative analysis of
the poems Le sette giornate
(Tasso), La semaine (Du Bartas) and
Poemul creatiunii / The Poem of the
Creation (the Italienist Heliade)[60].
A series of studies has as purpose to
present the fate of Dante Alighieri (1265-1321)[61],
the Humanist Torquato Tasso (1544-1595)[62],
the playwriter Pietro Metastasio (1698-1782)[63],
the
p. 228
poets
Ugo Foscolo (1778-1827)[64],
Giosu Carducci (1833-1907) [65]
and Giacomo Leopardi (1798-1837)[66]
or the hero and man of letters Silvio Pellico[67]
in the Romanian literature.
The matter of the cultural influences is vastly promoted in
the Studii Italiene revue. Nina Façon
analyzes the influence of the Benedetto Croces theses in the Romanian culture[68].
Edgard Papu detects parallel thoughts between Vico[69]
and Bălcescu[70]. There
could be found echoes from the Renaissance Italian lyrics in the verses of
Iulia Hasdeu[71]. Asachi[72],
the Moldavian promoter of the Italienist movement, being in Italia, is in
accordance with the periods spirit and improvises a sonnet on the occasion of
Mme Blanchards aerostatic flying[73].
In his Romanian grammar, Ienăchiță Văcărescu, utilized Italian patterns[74].
Petru Maiors Preaches is influenced by the Jesuit monk Paolo Segneri[75].
There are ample studies reserved to the
translations. The access to the Italian culture was initially indirect, through
Greece, through the agency of the translations[76]
(the most famous translations of Goldoni 1812-1818 were done by the Prince of
Wallachia, Ioan Caragea, who lived in Pisa for 11 years), and then through
France that had been under a powerful Italian influence[77].
Al. Marcu is the one that first signals
the first entire Romanian translation of Gerusalemme
liberato, due to A. Pâcleanu[78].
In a pertinent study, C. N. Stănescu describes Duiliu Zamfirescu as translator
of the romantic Leopardi and Carducci[79],
this
p. 229
latters
poetry being intensely influences by the two[80].
The interest for the Manzonis ode, Cinque
maggio is attested by the five versions in Romanian published between 1885
and 1928[81]. Al.
Mititelu deals with the Romanian translations of Leopardi[82].
We find out that there is an unpublished
and incomplete Romanian version of Orlando
furioso by Lodovico Ariosto, attributed to Cezar Bolliac[83].
I. Naghiu presents the translations of a religious anthem of the Roman-Catholic
Church, attributed to Iacopone da Todi[84],
and also the transations of St. Francis[85].
The study of Carlo Tagliavini deals with Romanian translations of the "Stabat Mater anthem[86].
The lyrics of Leopardi determined a
distinctive interest[87].
Some notes written by Al. Marcu for the
Miscellanea rubric describes the Italians attraction for the exotical
background of the ancient Dacia[88]
and about the Emperor Trajans representations in the Renaissance iconography[89].
Not only the literature, but also the Italian music was well received
in the Romanian Principalities. The creator of the Romanian novel, Nicolae
Filimon, is also the first who deal with the musical and theatre critic. His
serials, published in Naționalul,
have the representations of the Italian Opera in Bucharest as topic[90].
Relying on some unpublished documents at the State Archives in Bucharest, Horia
Rădulescu sketches a brief history of it[91].
Historical episodes. The year 1848 is evoked by the studies
referring to Felice Orsini[92]
the Mazzinian revolutionary; Vittorio Alfieri and the impact of the Saul
tragedy on the 48 generation[93];
Tommaseo and his revolutionary project[94];
the poet Regaldi and his account concerning the Romanian revolutionaries et
Brussa[95].
New contributions. The members of the Romanian School in
Rome had begun to explore methodically the Italian archives and libraries in
order to discover unpublished manuscripts referring to Romanian political and
cultural history. D. Găzdaru published three notes, written on the basis of
some documents gathered in the Archive of the De
p. 230
Propaganda Fide
Congregation in Rome[96].
The documents presented and analysed by Fr. Pall have the same origin[97].
Al. Marcu published an unknown
correspondence discovered at the Al. Saint-Georges Museum of the Cultural Royal
Foundation in Bucharest, between the Prince Cuza, the King of Piedmont and the
Count Cavour[98]. A. Sacerdoțeanu
created the minutes of the Counsil of Ministers in 1860 regarding the
relationship between the United Principalities and Italy[99].
E. Vârtosu published for the first time the entire text of the Folet Novel from 1693, a calendar
comprising political forecasts, astrological and meteorological foresights,
composed in Wallachia between 1693 and 1703, relying upon Italian sources. It
was a document of the period of Constantine Brâncoveanu, specifying another
respect of the Italian cultural influence[100].
Then there were the bibliographical studies. Al.
Ciorănescu promoted the classification and the numbering of the Italian
manuscripts at the Romanian Academy Library[101],
while I. Naghiu drew out the catalogue of the manusripts in Blaj[102].
An Italian-Romanian manuscript preserved in the Archive of the University of
Göttingen is presented by Șt. Pasca[103].
C. H. Niculescu brings an important bibliographical contribution to the history
of the education in Italian language in Romania[104].
It is to be mentioned also the Simion Bărnuțius pleading for an Italian
department in the Romanian schools[105].
There is nothing from the tumultuous
historical events around, from the fever of the political milieu that is
trnasposed in these Italian studies. The only referal to Mussolini has into
consideration the way in which the Italian dictator had reviewed a study of the
Prof. A. D. Xenopol, published in Rivista
italiana di Sociologia on 1909[106].
However, the March against Rome had
influences the young scholar in Florence. The same with il ventennio fascista. His pro-fascist attitude would not remain
without consequences.
The foreword of the revues last number[107]
is considered as epilogue of the first decade and prologue of the subsequent
one. It is well known that it was not like that. It is also known which
political reasons obstacled the subsequent publishing of the review. From this
faiths testimony, it is to be mentioned the definition given to the revue,
as the dearest among the universitary efforts. Al. Marcu underlines the
essence of the confession
p. 231
as
follows: I did not deviate from the program established once [in 1934],
because it was not an improvisation or a place for the universitary slogans,
but a conviction of both academic pedagogy and Romanian culture. On an elegy
and messianic tone, Al. Marcu expressed a desire that would become a testimony,
without his will: As a reward for this ten years, I wish [...] that a group of
the youngest contributors and former pupils [...] to promote farther the
Italian studies.
C. H. Niculescu composes a retrospect of
the decade[108],
underlining the reviews merit: Through the director, our professor, Alexandru
Marcu, The Italian Studies succeeded to create a school of Italianists, and
this a very rare thing.
REVIEWS
By definition, the reviews are concise
presentations of books, mentioning the main contained ideas and critical
considerations. Even today, the reviews published in Studii Italiene could represent a model. The reviewers fully
present apologies, while their euphemisms have a specific savor. The purpose of
their endeavor is obviously to bring into light some books which content is
inscribed in the matter of the Romanian-Italian cultural relationship. There is
an important percent of reviewed edited in Italian.
There are signalled colections of
documents[109],
bibliographical works[110],
monographs about Romania[111],
travel books on the Italian background[112],
books about the Italian influence on the Romanian law[113],
about the economic[114]
and cultural[115]
relationship between the two countries.
BIBLIOGRAPHICAL
NOTES
The Bibliographical Notes rubric
signals the most recent publishings in Italy and Romania, in connection with
the revues field of interest. Thus, it is a useful tool for the ones
interested in the Romanian-Italian inter-war relationship.
It is especially about bibliographies[116],
referals of the Italian travellers in the Romanian Principalities[117],
journey diaries of some Romanian artists and officials in Italy[118],
historical papers elaborated and published in Italy by Romanians[119],
instruments for the study of the Italian language (grammars, dictionaries and
conversation guidebooks)[120],
translations from the modern Italian literature[121].
The periods political-ideological
background is observed in papers dealing with matters such as the Versailles
Conference[122], the
fascist docrine[123]
and the regimes institutions[124],
the Musoolinis political thought[125],
his foreign policy[126],
the Italion expansion in the Balkans[127].
p. 232
THE
ITALIAN CULTURE IN ROMANIA
The Italian Culture in Romania is an
element belonging to the information movement on the bilateral relationship.
This rubric is a yearly information bulletin, a kind of seismograph of the
cultural life. It is dividdd in some sections, that is Education; Books;
Tranlsations; Conferences; Theatre and Literary Debates; The Italian Hour on
the Radio; Varia.
The Education section presents the
activity of the Italian Language and Literature departments at the Romanian
universities. Al. Marcus collaborators at the department in Bucharest are
professors Anita Belciugățeanu and Bruno Manzone, the lecturer Umberto
Cinaciolo, the assistent professors Leon Diculescu, C. H. Niculescu and
Mariella Coandă. Al. Balaci and George Lăzărescu are mentioned as custodians of
the Seminars Library[128].
The titular of the department in Cluj is professor G. D. Serra; at Iași
lecturer E. Lambertenghi and then G. Petronio; at Cernăuți lecturer Giorgi
Alberti, and after 1940 professor Giovanni Alessio.
The selection of the Italian language
and literature courses schedule at the Faculty of Letters and Philosophy in
Bucharest demonstrates Al. Marcus interest for the Italian middle ages[129],
for Dante and Petrarch[130],
for the Renaissance[131].
The importance of the direct apprehension of the Dantes work in the future
Italianists formation is proved by the weekly hour under the title of lectura Dantis[132].
The seminar of Italian language inside
of the Letters Faculty in Bucharest was visited by personalities of the Italian
culture, such as the novelist Orio Vergani; professor Silvio dAmico[133];
Giulio Bertoni, the chairman of the Romanic Philology Institute in Rome (who
also constitutes a scholarship under his name)[134];
Roberto Paribeni[135]
etc.
This rubric informs about the existence
of a school sustained by the
Italian government and also of the scholarships offered by the same[136].
Ugo Sola, the Italian minister in Bucharest offers prizes to the best students[137].
p. 233
Directed by professor Bruno Manzone, The Italian Institute of Culture proposed
to augment the spiritual and cultural links between Romania and Italy. For this
purpose, it organized a series of conferences, concertos and theatral
manifestations, courses of Italian language and culture and conferred
scholarships for Italy[138].
The Books and Translations sections
represent an evidence of the yearly editorial events. Thought its agency, we
are able to detect what and how much was published.
The Conferences and Concertos section
attests the existence of a permanent dialogue between Romanian and Italian men
of culture. The Italian racism, the corporative state, the fascist school, the
fascism and the woman there are just some of the topics of these conferences.
The Italian Hour on the Radio presents
different Italian contemporary respects (the demographic policy, the fascist
press, the Italian autarchy, etc.), the Italian music, biographies of different
Italian writers.
The Theatre and Literary Debates
section promotes the theatral manifestations, the activities of the Leonardo
Society, the courses at the People University Nicolae Iorga at Vălenii de
Munte[139].
The Varia section announces different
commemorations and offers information regarding the activity of some cultural
societies (Dante Aligheri, Leonardo, The Academic Association Vasile
Pârvan, The Universal Association of the Friends of the Italian Arts, Science
and Literature, The Romanian Committee for Action for the Romes
Universality, The Italian-Romanian Friendship Association, The Italian-Romanian
Center of Corporatist Studies, The Center of Studies on the Renaissance,
The Romanias friends in Rome Association).
There are also to be detected the
participation of some students at the courses at the University for Foreigners
in Perugia and their housing and their passing through Venice, at Casa Romena, under the professor
Nicolae Iorgas care[140].
Anchored in reality, this rubric
unavoidably becomes an echo of the epochs events. Thus, Studii Italiene notices also political events: the aniversary of
the birth of the King Victor Emmanuel III[141];
the constitution of a feminine fascist universitary group at Brașov[142];
the introduction of the obligation of the Italian language in the theoretical,
commercial high school and in the normal school[143];
the visit of different Italian ministers[144];
the constitution of Dopolavoro Italiano
Organisation in Bucharest[145].
This exhaustive presentation made an
attempt to emphasize the frequency, intensity and dinamic of the
Romanian-Italian cultural and scientific contacts. The revue that we had into
consideration, that is Studii Italiene represents a starting point for these
contacts. Moreover, it denotes a pattern of proffesional abbnegation for the
idea of a cultural generation, as Mircea Eliade named his generation, and of
Alexandru Marcu, the soul of the inter-war Romanian Italianistics.
For this material, permission is granted
for electronic copying, distribution in print form for educational purposes and
personal use.
Whether you intend to utilize it in
scientific purposes, indicate the source: either this web address or the Annuario.
Istituto Romeno di cultura e ricerca umanistica 4 (2002), edited by Șerban
Marin, Rudolf Dinu and Ion Bulei, Venice, 2002
No permission is granted for commercial
use.
© Șerban Marin, August 2002, Bucharest,
Romania
Back to
Homepage Annuario 2002
[1] George Lăzărescu, Școala Română din Roma, Bucharest: Editura Enciclopedică, 1996.
[2] Ion Bulei, " « La casa
Romena » di Venezia", Annuario
dell'Istituto Romeno di Cultura e Ricerca Umanistica di Venezia 1 (1999):
11-19.
[3] Ramiro Ortiz, "Institutul Italian de
Cultură", Roma 7 (1927), 1:
42-45.
[4] The press organ: L'Europa Orientale, Rome, 1-22
(1921-1942); the Romanian section revue: Studi
Romeni, Roma, 1-4 (1927-1930). Carlo Tagliavini,
the director of this review, wrote a history of the Italian culture in Romania,
In Rumania, Rome: Società
Nazionale Dante Alighieri, 1940.
[5] See SI [hereafter, SI], the "Cultura Italiană în România [The Italian Culture in
Romania]" rubric, the "Învățământ [Education]" section.
[6] Veronica Turcuș, Bibliografia istorică româno-italiană (Bibliografie selectivă).
Evoluția publicațiilor istorice româno-italiene până în 1996. Bibliografia
storica romena-italiana, 2 vols., Cluj-Napoca: Presa Universitară Clujeană.
[7] I. Hangiu, Dicționar al presei literare românești (1790-1982), Bucharest:
Editura Științifică și Enciclopedică, 1987: 291. Roma was published in Bucharest, monthly (January, 1921-December,
1928), then three times a year (January, 1929-December, 1931). Director Ramiro
Ortiz. Redactor Al. Marcu. Publication of the Circle of Italian Studies of the
Faculty of Letters and Philosophy in Bucharest. See the presentation of the
revue's goal and content in Claudio Isopescu,
La stampa periodica romeno-italiana in
Romania e in Italia, Rome: Istituto per l'Europa Orientale, 1937: 51-66
(Piccola Biblioteca Romena).
[8] Ortiz, Per la storia della cultura italiana in Rumania, Bucharest: C.
Sfetea, 1916 (as a starting point for the study of the Romanian-Italian
relationship).
[9] SI, Bucharest, 1-10 (1934-1943).
[10] Turcuș, Alexandru Marcu (1894-1955) și cultura italiană în România interbelică
(Profil Bio-bibliografic), Cluj-Napoca: Presa Universitară Clujeană, 1999:
23.
[11] Ibidem: 28.
[12] Ibidem: 42.
* Asociația Academică "Vasile
Pârvan" a Foștilor Membri ai Școlii Române din Roma (1928); Societatea culturală
"Italo-Romena", presided by the diplomat Al. E. Lahovary (1929); Societatea "Leonardo" (1934); Cercul de Studii al Studenților Seminarului
de Literatură Italiană de la Facultatea de Litere din București; Asociația Universală a Prietenilor Artei,
Științei și Literaturii Italiene (1935); Comitetul Român de Acțiune pentru Universalitatea Romei (1936).
[13] See the Index of
the revues to whici Alexandru Marcu collaborated, in Turcuș, op. cit.:
392-395.
[14] There are
inaugurated Radio Diaries transmissions in Italian language and Ora românească pentru Italia, see SI 6 (1939): 207, 208; 7 (1940): 254.
[15] See "Traduceri
[Translations]" (in and from Italian), in Turcuș, op. cit.:
306-323.
[16] See Roma 13 (1933), 3.
[17] Ortiz, "Despărțire", Roma 13 (1933), 3: 3-4.
[18] SI 7 (1940): 241; Turcuș, op. cit.: 206.
[19] Turcuș, op. cit.: 210.
[20] SI 9 (1942): 221.
[21] Al. Marcu, "Acum zece ani", SI 10 (1943): 5-6.
[22] Idem, "Prefață", SI 1 (1934): V-VII.
[23] Lilio Cialdea, "Italia e Romania nella
neutralità", SI 1
(1934) : 91-110.
[24] G. D. Serra, "Da Altino alle Antille.
Appunti sulla fortuna e sul mita del nome «Altilla», «Attilia»,
«Antilia»", SI 2 (1935): 25-99.
[25] U. Cianciolo, "Le correzioni a «I
promessi sposi» del Manzoni poeta", SI
5 (1938): 19-31; "Appunti per la storia di «Ruga» «Strada» in
italiano", SI 9 (1942): 9-29;
"Leggenda verseggiata de S. Margherita in dialetto romanesco del secolo
XV": 21-48.
[26] G. Alessio, "Sul rotacismo
romeno-italiano", SI 8 (1941):
17-31.
[27] G. Villa, "Vico, critico
d'arte", SI 9 (1942): 101-115.
[28] Dinicu Golescu, Însemnare a călătoriei mele, Bucharest : Tineretului,
1963 : 132.
[29] Duiliu Zamfirescu, « Leon Tolstoi »,
Convorbiri Literare 26 (1892) :
436, cf. Mariana Rarincescu,
« Duiliu Zamfirescu și Italia », SI
1 (1934) : 42.
[30] Al. Marcu, Tatarescu, Craiova : Ramuri, 1931.
[31] Emil Vârtosu, « Pictorul Tattarescu și
Italia », SI 5 (1938) :
129-144.
[32] Idem, « Nicolae Grigorescu și
Roma », SI 3 (1936) :
173-176.
[33] Ecaterina Carp, « Italia în opera lui
Alexandru Odobescu » (BA thesis), SI
8 (1941) : 129-159.
[34] Olimpia Ilie, « Reflexe italiene în opera
lui Barbu Delavrancea » (BA thesis), SI
8 (1941) : 161-171.
[35] Constantin Stănescu, « Alexandru Vlahuță și
Italia », SI 10 (1943) :
229-245.
[36] Al. Marcu, « Dora d"Istria
reprezentantă a intelectualității românești », SI 5 (1938) : 157-160. Nicolae Iorga, « Despre Dora d"Istria », Revista Istorică 21 (1935), 4-6 :
103-104 refers to the work of the Venetian historian Bartolomeo Ceccheti, Bibliografia della principesa Elena Ghika,
Dora dIstria, published in 1868 ; see also the review, in SI 9 (1943) : 206 ff., of the work
of A. Vasculescu, Dora dIstria, Bucharest : Cartea
Românească, [1941]. Al. Marcus article is also referred by Cristia Maksutovici, Un nume pe nedrept uitat : Dora dIstria, Bucharest,
1997 : 86-88.
* Duiliu Zamfirescu is secretary of legation in Rome, 1888-1906, with an
interruption between 1892 and 1894, when he is transferred to the legations in
Athen and then Brussels.
[37] Rarincescu, « Duiliu Zamfirescu și
Italia », SI 1 (1934) :
37-77.
[38] Idem, « Italia în corespondența
lui Duiliu Zamfirescu cu Titu Maiorescu », SI 3 (1936) : 193-197.
[39] P. P. Panaitescu, « Doi călători
italieni necunoscuți, în țarile noastre », SI 1 (1934) : 1-10.
[40] Al. Marcu, « Medicul umanist
Paracelsus în părțile noastre (sec. XVI) », SI 8 (1941) : 189 ff.
[41] Iosif E. Nagiu, « Antonio Cosimelli »,
SI 4 (1937) : 129-143. See Julin
Moisil, « Biografia
căpitanului Anton Cosimelli și opera sa Poemation de Secunda Legione Valachica.
Poema Regimentului al II-lea Grăniceresc Năsăudean. Tipărită pentru întăiași
dată în limba latină în anul 1768 sub pseudonimul Comes Silvius Tannoli.
Traducerea în limba română (în 1925) de Vasile Bichigean, fost director al
liceului « G. Coșbuc » din Năsăud », excerpt from Arhiva Someșană 25 (1939), signalled in SI 7 (1940) : 233, in the « Însemnări
Bibliografice » rubric.
[42] H. Blazian, « Giovanni
Schiavoni », SI 5 (1938) :
117-128, 12 pictures. See also the reviews in SI 5 (1938) : 174-177 and 8 (1941) : 191 ff. To the works
issued by Gh. Oprescu, Pictura românească în secolul al XIX-lea,
Bucharest : Fundația pentru Literatură și Artă « Regele Carol
II », 1937 and Blazian, Giovanni Schiavoni, Bucharest :
Imprimeria Națională, 1939.
[43] Alexandru Busuioceanu, « Acuarelele lui
Preziosi », SI 1 (1934) :
11-19, 16 pictures ; Idem, Preziosi, Bucharest : Marvan, 1935
mentioned in SI 2 (1935) : 238
in the « Însemnări Bibliografice » rubric. See also Preziosi, Bucureștii în 1869, Bucharest : Luceafărul, 1936, in SI 2 (1935) : 244.
* Al. Busuioceanu taught the course of Italian Art History at the Faculty
of Letters and Philosophy in Bucharest, in the academic year 1939-1940,
according to SI 7 (1940) : 242.
[44] Alice Marcu, « Pentru istoricul catedrei
de italiană de la Universitatea din București », SI 4 (1937) : 145-146.
[45] Al. Marcu, « Profesul G. Al. Abbeatici
la București (1848-1862) », SI 3
(1936) : 177-180 ; Idem,
« Un manual de conversație italiană din 1846 », SI 6 (1939) : 165-168.
[46] Alice Marcu, « Tratatul lui L. B.
Alberti prelucrat de O. Spinazzola », SI
5 (1938) ; D. Bodin,
« Știri despre Orazio Spinazzola », SI 5 (1938) : 43-46 ; Al. Marcu, « Întregiri despre Spinazzola », SI 7 (1940) : 201 ff.
[47] Iorga, « Cronica revistei
« SI » », Revista Istorică
26 (January-March 1940), 1-3 : 87.
[48] C. H. Niculescu, « Gian Luigi Frollo
(1832-1899), SI 4 (1937) :
93-120.
[49] Ioan Pătrașcu, « Doi prienteni :
Bruno amante și Gr. Tocilescu (cu o scrisoare inedită) », SI 9 (1942) : 169-174.
[50] Al. Marcu, « Edoardo Scarfoglio la
București (1890) », SI 7
(1940) : 193-195.
[51] Deacon Iosif E. Naghiu, « Roberto Faca traducător
de poezii româneti », SI 8
(1941) : 185 ff.
[52] G. R. Ansaldi, « Diego Angeli. Un grande
amante di Roma », SI 5
(1938) : 103-115.
[53] Al. Marcu, « De la Torquato Tasso la
Eminescu. Coincidențe tematice », SI
4 (1937) : 5-14.
[54] Idem, « Un motiv din Tasso în
Țiganiada lui Budai Deleanu », SI
5 (1938) : 5-18.
[55] Idem, « O temă comună lui Tasso și
Coșbuc », SI 8 (1941) :
5-8.
[56] Idem, « O chiara stella și steluța », SI 7 (1940) : 185-187.
[57] Idem, « Confruntarea muritorului
cu divinitatea la Dante și Eminescu », SI
7 (1940) : 177 ff.
[58] Idem, « Întregiri tematice la
Eminescu », SI 8 (1941) :
187 ff.
[59] Idem, « De la Niccolo Fortegueri
la Donici și Alexandrescu », SI
7 (1940) : 179-183.
[60] Idem, « Du Bartas, T. Tasso
și Heliade », SI 9 (1942) :
193.
[61] Titu Pârvulescu, « Sulle orme di Dante
nel Cinquecento », SI 1
(1934) : 111-122 and the bibliographical note of Al. Marcu ; C. H. Niculescu, « Contributo dell"
« Ottimo commento » alla moderna esegesi dantesca », SI 7 (1940) : 109-137 ; Idem, « Nuovi contributi allo
studio dell" « Ottimo commento » », SI 8 (1941) : 81-112. See also Naghiu, « Pentru cultul lui Dante în România », SI 9 (1942) : 194.
[62] Al. Marcu, « Torquato Tasso în
Romantica românească », SI 3
(1936) : 5-94.
[63] Al. Ciorănescu, « Teatrul lui
Metastasio în România », SI 1
(1934) : 123-145.
[64] Al. Marcu, « Antecedente tematice
pentru « I Sepolcri » », SI
6 (1939) : 171-172 ; the Reviews rubric presents Ugo Foscolo, Cântecul mormintelor (I Sepolcri) (transl. by Ion Schintee), Craiova : Ramuri, in SI 9 (1943) : 203-205.
[65] Alice Marcu, « Contribuție bibliografică
la soarta lui Carducci în România », SI
1 (1934) : 147-158, study utilized by Maria dellIsola in Carducci
nella Letteratura Europea, Paris : Les Presses Françaises, 1936, reviewed
in SI 4 (1937) : 166-171.
[66] Alexandrina Mititelu, « Leopardi în critica și
literatura română », SI 7
(1940) : 37-72 ; Jeana Gheorghiu,
« Motive și teme în lirica erotică leopardiană », SI 6 (1939) : 99-129.
[67] Aristia Benche, « Despre soarta lui Silvio
Pellico în România », SI 6
(1939) : 131-158.
[68] N. Façon, « Benedetto Croce în
cultura română », SI 6
(1939) : 71-97.
[69] Giovanni Villa, « Unità del pensiero
vichiano », SI 6 (1939) :
59-76.
[70] Edgard Papu, « Vico în cultura
românească », SI 2 (1935) :
161-184.
[71] Corina Ionescu, « Iulia Hasdeu și câțiva
poeți italieni » (BA thesis), SI
5 (1938) : 149-156.
[72] Al. Marcu, « Pentru un amănunt din
biografia lui Gh. Asachi », SI 6
(1939) : 169.
[73] Idem, « Madame Blanchard și Gh.
Asachi la Roma », SI 5
(1938) : 167-170. See also « Pentru un amănunt din biografia lui Gh.
Asachi », cit.
[74] Nestor Camariano, « Modelele gramaticii
lui Văcărescu », SI 3
(1936) : 185-191.
[75] Ioan Georgescu, « Un izvor literar al
lui Petru Maior : Paolo Segneri, « Quaresimale » », SI 7 (1940) : 11-24.
[76] Dan Simonescu, « A slujit limba
grecească la cunoașterea operei lui Goldoni în Principatele Române », SI 3 (1936) : 181-184 ; Idem, « Ioan Vodă Caragea și
traducerile lui din Goldoni », SI
2 (1935) : 101-118.
[77] N. N. Condeescu, « Sistemul lui Galileo
Galilei și opinia publică franceză din secolul XVII », SI 8 (1941) : 33-79 ; Idem, « Contributions à
l"étude de la fortune du chevalier Marin en France », SI 9 (1942) : 81-99 ; Tatiana Slama, « Între Petrarca și
Ronsard », SI 8 (1941) :
177-180 ; Ciorănescu,
« Machiavel et la Saint-Barthèlemy », SI 9 (1942) : 117-145.
[78] Al. Marcu, « « Gerusalemme
Liberata » în traducerea lui A. Pâcleanu (1852) », SI 2 (1935) : 5-23 and 4 pictures.
[79] Stănescu, « Duiliu Zamfirescu,
traducător din italienește », SI
2 (1935) : 187-206.
[80] Mititelu, « Influența lui Leopardi
și Carducci în poezia lui Duiliu Zamfirescu », SI 4 (1937) : 62-75.
[81] Cornelia Dumitrescu, « « Cinque
maggio » în românește », SI
3 (1936) : 137-149.
[82] Mititelu, « Traduceri românești
din Leopardi », SI 3
(1936) : 151-172.
[83] Simonescu, « Cezar Bolliac,
traducător din Ariosto », SI 7
(1940) : 25-35.
[84] Naghiu, « Traducerile din
« Stabat Mater » », SI
9 (1942) : 147-152.
[85] Idem, « Traducerile românești din
Sf. Francisc din Assisi », SI 9
(1942) : 195.
[86] Tagliavini, « Le traduzioni rumene
dello « Stabat Mater » e di altri inni religiosi de Jacopone da
Todi », SI 10 (1943) :
49-57.
[87] Anita Belciugățeanu, « E" il
Leopardi petrarchista ? », SI
1 (1934) : 21-36 ; Ecaterina Tenea,
« Peisajul marin în opera poetică a lui Giacomo Leopardi » (fragment
from a BA thesis), SI 7 (1940) :
169-176.
[88] Al. Marcu, « Traian în Dacia, într-un
libret de operă din 1807 », SI 2
(1935) : 207-211.
[89] Idem, « Împăratul Traian în
iconografia Renașterii », SI 7
(1940) : 205.
[90] George Baiculescu, « Nicolae Filimon.
Critic muzical și dramatic », SI
7 (1940) : 73-108.
[91] I. H. Rădulescu, « Contribuții la
istoricul operei italiene din București », SI 4 (1937) : 35-59.
[92] S. Crudu, « Opinia publică românească
și cazul Felice Orsini », SI 4
(1937) : 121-127 ; Al. Marcu,
« Arestarea lui Felice Orsini la Sibiu (1854) », SI 4 (1937) : 157-160 ; Idem,
« Noi indicații despre Felice Orsini la sibiu și opinia publică românească
(1854-1858) », SI 6
(1939) : 5-28.
[93] Al. Marcu, « V. Alfieri și revoluționarii
noștri de la 1848 », SI 5
(1938) : 163 ff.
[94] Idem, « Iarăși Tommaseo și
noi », SI 7 (1940) :
197-199.
[95] Tistu Georgescu, « Poetul Giuseppe
Regaldi în legătură cu românii », SI
5 (1938) : 85-101.
[96] D. Găzdaru, « Informații italiene
despre câteva texte românești scrise de misionari catolici », SI 1 (1934) : 79-89 and the
Bibliographical note by Al. Marcu.
[97] Fr. Pall, « Date inedite privitoare la
legăturile culturale italo-române din mijlocul veacului al XVII-lea », SI 6 (1939) : 45-69.
[98] Al. Marcu, « Trei scrisori
inedite », SI 5 (1938) :
189-192.
[99] Al. Sacerdoțeanu, « Câteva documente
din 1860 privind legăturile noastre cu Italia », SI 7 (1940) : 161-167.
[100] Vârtosu, « « Foletul
Novel », calendarul lui Constantin Vodă Brâncoveanu », SI 5 (1938) : 47-83.
[101] Ciorănescu, « Manuscrisele
italiene ale Academiei Române », SI
1 (1934) : 159-174.
[102] Naghiu,
« Catalogul manuscriselor de la Blaj », SI 10 (1943) : 265 ff.
[103] Ștefan Pasca, « Manuscrisul
italian-romând de la Göttingen », SI
2 (1935) : 119-136 and one picture.
[104] C. H. Niculescu, « Câteva gramatici ale
limbii italiene în românește », SI
10 (1943) : 149-217.
[105] Al. Marcu, « Simion Bărnuțiu despre
nevoia învățământului italian în școlile românești (1854) », SI 4 (1937) : 161 ff.
[106] Idem, « Xenopol discutat de
Mussolini », SI 8 (1941) :
5-10.
[107] Idem, « Acum zece ani », SI 10 (1943) : 5-6.
[108] Niculescu, « « Studiile
Italiene » intră în al zecelea an », SI 10 (1943) : 7-8.
[109] SI 2 (1935) : 213-215 and
216-220.
[110] SI 3 (1936) : 225-227
[111] SI 6 (1939) : 179.
[112] SI 6 (1939) : 179 ; 8
(1941) : 195-198 and 200-201.
[113] SI 8 (1941) : 198-200.
[114] SI 8 (1941) : 202-203.
[115] SI 4 (1937) : 176-177 ; 7
(1940) : 219-220 ; 221-224.
[116] SI 4 (1937) : 187.
[117] SI 8 (1941) : 213.
[118] SI 3 (1936) : 234 ; 4
(1937) : 184 ; 5 (1938) : 185, 186, 188 ; 7 (1940) :
230, 234, 238.
[119] SI 7 (1940) : 232 and 238 ; 8
(1941) : 214.
[120] SI 3 (1936) : 234 ; 6
(1939) : 185 and 187 ; 7 (1940) : 235 ; 8 (1941) : 212
and 215 ; 9 (1942) : 216 ; 10 (1943) : 286 and 297.
[121] SI 9 (1942) : 214 and 215 ; 10
(1943) : 287.
[122] SI 4 (1937) : 181.
[123] SI 8 (1941) : 220 ; 7
(1940) : 229.
[124] SI 7 (1940) : 234.
[125] SI 9 (1942) : 214 ; 8
(1941) : 214 ; 7 (1940) : 233.
[126] SI 6 (1939) : 189.
[127] SI 7 (1940) : 229 ; 5
(1938) : 191 ; 4 (1937) : 182.
[128] SI 7 (1940) : 241 ; 9
(1942) : 221.
[129] SI 2 (1935) : 247 ; 8
(1941) : 221.
[130] SI 3 (1936) : 238.
[131] « Figuri din
Renaștere », SI 4 (1937) :
191 ; « Epica Renașterii », SI
5 (1938) : 193 ; « Viața la curte în Renaștere », SI 6 (1939) : 200 ; « Ugo
Foscolo și Renașterea la Ferrara », SI
7 (1940) : 239 ; « Valoarea artei în Renaștere », SI 9 (1942) : 219.
[132] SI 1 (1934) : 177 ; 2
(1935) : 247 ; 3 (1936) : 238 ; 4 (1937) : 191 ;
5 (1938) : 193, and so on.
[133] Ibidem.
[134] SI 5 (1938) : 193.
[135] SI 2 (1935) : 249.
[136] SI 1 (1934) : 189.
[137] SI 1 (1934) : 179 ; 2
(1935) : 249.
[138] SI 3 (1936) : 242 ; 5
(1938) : 198.
[139] SI 3 (1936) : 252 ; 4
(1937) : 205 ; 5 (1938) : 209 ; 6 (1939) : 207.
[140] SI 1 (1934) : 189.
[141] SI 2 (1935) : 260.
[142] SI 5 (1938) : 209.
[143] SI 7 (1940) : 258.
[144] SI 8 (1941) : 238 ; 9
(1942) : 239.
[145] SI 4 (1937) : 203.