Ion Sân-Giorgiu (also known as Sîn-Giorgiu, Sângiorgiu or Sîngiorgiu; 1893–1950) was a Romanian modernist poet, dramatist, essayist, literary and art critic, also known as a journalist, academic, and fascist politician.
[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.
[8] A frequenter of Casa Capşa restaurant, Sân-Giorgiu was, according to the art collector Krikor Zambaccian, involved in a dispute with poet N. Davidescu which eventually turned violent.
By 1938, Sân-Giorgiu expressed his support for Nazism and reportedly made a habit of wearing a Nazi-inspired swastika on his clothes, while maintaining close contacts with the authoritarian King Carol II.
[12] According to the marginalized Romanian Jewish author Mihail Sebastian, rumor had it that, in 1936, Sân-Giorgiu sought endorsement from Nazi Germany and competed for its attention with Nae Ionescu, a far right philosopher who had broken with Carol and supported the Iron Guard.
The same account has it that Sân-Giorgiu and his journalist ally Pamfil Şeicaru managed to undermine Ionescu's standing, by presenting Nazi officials with proof that the philosopher had dealings with the prominent Jewish banker Aristide Blank.
[13] Sân-Giorgiu was a member of the fascist and antisemitic National Christian Party (PNC), which took power when Carol appointed its leader Octavian Goga as Premier.
[15] Sebastian, who conversed with him right after, mentions him being "unrecognizable", and records his claims that the PNC was responsible for a series of mistakes, and notes that Sân-Giorgiu took no apparent displeasure in talking to a Jew, being "friendly and communicative".
"[10] In the 1925 drama Femeia cu două suflete ("The Woman with Two Souls"), Expressionism is toned down, but still present, particularly in the author's refusal to specify the setting and the characters' background—in reference to this aspect, Lovinescu writes: "Nothing [in it] is [...] seen, individualized, localized; everything is reduced to a possible subject.
"[10] The plot deals with a forceful ménage à trois situation: the female singer Mona, obsessively loved by the sculptor Dionis, accepts the advances of Fink, a theater manager, and, overwhelmed by shame, decides to kill herself.