Though prolific, and employed to write teleplays for the state television network, he was widely criticized for his extreme didacticism; he was additionally mocked for his rhyming anecdotes in the humor magazine Urzica, which reviewers found to be excessively bland, and also censured for his attempts at reviving the farce and sex comedy genres.

[8] Tita enrolled at the University of Bucharest department of law, and in the meantime began working in the political press—from Aurora and Adevărul to Viața Romînească; he was also a contributor to Libertatea, put out by the Social Democratic Party (PSDR).

"[14] This partly contradicts the description published in Timpul daily, which calls Avantajul a retrospective of interwar articles for left-wing newspaper and magazines (recommending them as "social sceneries described with humor and irony").

[16] In a 1974 memoir mentioning his encounters with the senior contributor Gala Galaction, he acknowledged that the organization and its eponymous publication had a "semi-official character", but also argued that "the presence of a group of left-wing writers among the editors and collaborators impressed a profoundly democratic orientation on [the magazine].

[8] Tita was still featured in the official magazine, Revista Fundațiilor Regale, with translations from French literary classics (Stéphane Mallarmé, Paul Valéry, François Villon) which saw print in September 1941.

[8] On 9 September, the newspaper hosted a debate on the "literature of tomorrow", accompanied by Tita's article condemning writers who had isolated themselves in an "ivory tower", urging them to a political commitment.

[28] In mid-1946, the Labor Ministry magazine, now called Revista Muncii, featured his reportage about the lives of workers for the state railway company, illustrated with photos by Hedi Löffler and Eugen Iarovici.

"[30] This book was followed in 1947 by a sketch-story volume, Mai multă omenie ("More Humanity"), recommended by the Ploughmen's Front for its tackling of "everyday life problems" with input from both science and culture.

[32] He had also spent some time in Bulgaria, invited by the Fatherland Front to witness first-hand the legislative elections of October 1946; he was part of a journalists' delegation, with Aurel Baranga, Paul Georgescu, Costin Murgescu, and Gheorghe Zaharia.

[43] Though Tita enthusiastically supported the PSDR's absorption by the PCR (as the unified "Workers' Party"), he was still not trusted by the more senior communists, who feared that he and Pas were using their positions as cultural managers to infuse revisionist Marxism into official agitprop (as a result, the Arts' Ministry was gradually superseded by a PCR-controlled Information Department).

Alongside Jebeleanu, Maria Banuș, Geo Bogza, Ben Corlaciu, Silvian Iosifescu, Eugen Schileru and Ieronim Șerbu, he was sent over to live among the employees of Malaxa Workshops.

The claims, seen by historian Cristian Vasile as probably false, were aired by communist loyalists such as Dumitrescu, Horia Liman, and Zaharia Stancu; Ury Benador was asked to join into the "denunciation campaign", but only stated other, less serious accusations.

[52] Two years later, composer Ion Vasilescu praised Tita and his writing partner, Elly Roman, for their "song for the masses", Teoria cocoșului ("Rooster Theory"), which had popularized the tenets of socialist feminism while ridiculing machismo.

"[54] Theatrical scholar Simon Alterescu made similar comments, arguing that Tita and Țăranu had introduced an "inauthentic" central protagonist (contrasting their contribution to Baranga's "masterful" comedies, produced in the same context).

[58] In partnership with Liviu Floda, who was recovering from a ban by the communist censors and had expertise in the history of Romanian healthcare,[59] Tita wrote Flacăra vie ("The Living Flame"), with barely disguised elements from the "tumultuous" career of neurologist Gheorghe Marinescu.

"[61] Similar issues were raised by Manase Radnev in Contemporanul: he found it strange that Tita and Floda, "two men who know a thing or two about the secrets of dramatic composition", had together come up with "a play that falls quite short of convincing people, and fails to even move them."

[60] In 1958, Tita alone wrote the "dramatic episode" Într-o seară de toamnă ("One Autumn's Evening"), displaying the fraternization between a female communist, who is assigned to be murdered by old-regime soldiers, and one of her intended executioners, whom she helps with uncovering his own passion for social justice.

He co-wrote a pop hymn in honor of the Soviet space program (disliked by critics for including an ungrammatical line); he and Elly Roman also wrote a song about Ada Kaleh (which became the topic of a controversy after being panned by writer Eugen Barbu).

[2] The first of these reworked a fairy-tale format into lessons about modern life—one story reified Saint Tibb (Sfântul Așteaptă) into a patron of lassitude, who recruited his followers among procrastinating children.

[66] Povestiri cu prichindei collected mainly comedic pieces about the lives of children in the 1960s, though with only some vague allusions to their social setting (including notes of life on collectivized land);[67] Minunatul zbor, on which Tita worked alongside illustrator Matty Aslan, was a fictionalized account of animals in space.

[71] As a sex comedy, it generated polemics; in a June 1963 review for the communist journal Lupta de Clasă, Valentin Silvestru questioned whether the play, which he described as an updated version of the boulevard theater, should have been produced at all.

[73] From the mid-1960s, Tita returned with more children's books: Schițe vesele ("Joyous Sketches", 1965), Pozne și întîmplări ("Mischief and Happenings", 1965), Peștera ("The Cave", 1966), Pirpiric ("Tiny Boy", 1967), Fluturele de ivoriu ("The Ivory Butterfly", 1967), Oglinda mincinoasă ("The Lying Mirror", 1967), Însemnările lui Pandele ("Pandele's Writings", 1967), Gagaga și alți cîțiva ("Gagaga and a Few Others", 1969), Fluturele beat ("The Drunken Butterfly", 1969), Aventurile tapirului ("Adventures of the Tapir", 1969), Robotul sentimental ("The Sentimental Robot", 1972), Noapte bună, copii... ("Good Night, Children...", 1975).

These were enjoyed by critic Cornel Ungureanu, since, though belonging to a peripheral genre in literature ("essentially journalism"), they matched the quality of previous works by Ion Minulescu and George Topîrceanu.

[76] With Claudiu Negulescu, he wrote the "patriotic and revolutionary song" Cînd tu, drag partid, ne chemi ("When Thou, Beloved Party, Call on Us"), winning them third prize at a national competition hosted by the Union of Communist Youth (UTC).

[77] In tandem, the UTC magazine Viața Studențească gave a poor review to his renewed contributions in Urzica, a series of "arabesques": "We don't set out to deny that Ștefan Tita [...] has any humor, but at least in this case it does not stand out, it is not felt, it is not sensed, it is just not...

[80] Tita followed-up with Culorile nemuririi ("Colors of Life Eternal"), a dramatic poem about the Jewish painter Constantin Daniel Rosenthal, who had played a role in the Wallachian Revolution of 1848.

As noted in 2003 by literary critic Ion Manolescu, the story was a "hysterical" sample of socialist ecology, and gave young students impractical advice in matters of arboriculture (Tita claimed that one could cure damaged bark with bandages of dirt).

[83] Tita was also acting as a dramaturge for the Romanian broadcasting company, adapting Leonid Andreyev's Rape of the Sabines into a radioplay (it was recorded in 1974, with a cast that included Coca Andronescu, Radu Beligan, Marin Moraru, and Dem Rădulescu).

[90] He was buried at the Jewish Sephardic section of Bellu cemetery, with a tombstone carved with some of his own lyrics, a short distance away from poet Veronica Porumbacu and cartoonist Iosif Ross.

[91] In an obituary piece for România Literară, his colleague N. Sterea described Tita as "discreet, modest, always ready to assist with his words and his deeds", as well as "one of the our prestigious democratic journalists of the interwar period".