[4] He also published articles in literary magazines where he exposed not only the writers which he considered as being "reactionary" but also communist critics who were insufficiently pugnacious.
An example is his study on Lucian Blaga published in Viața Românească in which he wrote: "Now when justice is under way for sentencing big and small criminals, it is our duty to denounce, to dispel all confusion, to tear off masks however well they might be composed, to through light into the darkness where fascism swarmed.
Those are the reasons for which we opened the "Blaga case", to enable all those who dreamed of an "aeonic" future, that the hour of reckoning has come and that nothing and nobody can escape from the crushing judgement of history.
A typical article of this period is a criticism of Anatol E. Baconsky, editor in chief of the magazine "Steaua" published by the Cluj section of the Writers' Union of Romania.
This time Nestor Ignat disagrees with Baconsky's study of Mateiu Caragiale, accusing him of moving away from Marxism and from the "Leninist methods of revaluation of cultural heritage", of ignoring socialist realism and militant literature.
[6][7] Ignat was one of the most zealous supporters of socialist realism; he was part of the first team of professors at the Faculty of Philosophy of the University of Bucharest, one of the most ideologized institutions of higher education in Romania at the time.
Together with Sorin Toma [ro], Ofelia Manole, Mihail Roller, Ștefan Voicu, Traian Șelmaru, Nicolae Moraru, Paul Niculescu-Mizil, he was part of the group of zealots in the immediate entourage of Leonte Răutu, then head of the Propaganda and Culture Department.
[9] Ignat started writing poems while he was still in university, one of his first being "Magic" (Magie) published in 1939 in the "Jurnalul literar":Ignat started writing poems while he was still in university, one of his first being "Magic" (Magie) published in 1939 in the "Jurnalul literar": Coloane negre cresc în jur solemne Și rotitoarea boltă stă pe loc, Apele fug în cercuri mari de foc, E noaptea plină de ciudate semne....
Around me black columns are solemnly growing And the rotating vault stays motionless Waters are carried away in giant rings of fire The night is full of strange occurrences...
"The Byzantinist mystic, the wild chauvinism, the glorification of the fascist "superman" and the exhortation of blind submission to the will of fascist leaders, the myth of blood and the worship of death, the idealization of patriarchal retardment and of the return to the Middle Ages – spread by traitors such as Nichifor Crainic, Radu Gyr, Aron Cotruș, Mircea Eliade and other representatives of hooliganism in literature – had precise and outspoken class related goals; their school raised the gangs of murderers of the Iron Guard.
[10]While Ignat indicates the critical way in which Communist Party considered national cultural heritage, his book acidly characterizes various Romanian writers, without presenting an analysis or a justification of those views.
In 1999 he published a Romanian translation of the originally in French written doctoral thesis of Alice Voinescu on neo-Kantianism and the Marburg school (Paris 1912).
[12] Other drawings were also selected as illustrations for a bibliophile reprint of Geo Bogza's "Offensive Poem"[13] In 2004, at age 86, Ignat had his first exhibition as a graphic artist at the "I.C.
Even after the relative thaw after the fall of Stalinism or after the collapse of the communist regimes in Eastern Europe, Ignat was unapologetic, never denying the opinions expressed in his writings, and never attempting to justify or to explain them.