Its first edition appeared from December 1905, and was closely tied to Nicolae Iorga's Sămănătorul, published in Bucharest; both magazines stood out as voices of traditionalism and Romanian nationalism, reacting against the more cosmopolitan currents in what was then the Kingdom of Romania.

Ramuri was closely preceded by N. Popescu-Gorgota's Noua Revistă Olteană, also appearing at Craiova, which had many of the same contributors and is described by scholar Florea Firan [ro] as a predecessor;[1] it also emerged as a regional satellite of the more influential Sămănătorul magazine—itself put out from Bucharest by Nicolae Iorga.

[3][6] Ramuri also cultivated a cordial rapport with other magazines put out by Iorga's disciples—in January 1906, it gave extremely positive coverage to A. C. Cuza's aesthetic guidelines, as published by Făt Frumos of Bârlad.

Poet and schoolteacher Mihail Cruceanu, who identified as both a Marxist and a Symbolist, notes that, by 1915, Farago was the central figure in Craiova's cultural life, with a salon that grouped himself, "nationalists such as those from Ramuri", and the Conservative Vasile Sandulian.

[13] Prose contributions were supplied by Ioan Slavici ("Amurg de viață", "Fragmente din jurnalul intim în formă epistolară"), Dimitrie Anghel ("Pelerinul pasionat", "Povestea celor necăjiți", "Tinereță"), Mihail Sadoveanu ("Biserica Jitarului"), and Liviu Rebreanu ("Ordonanța domnului colonel", "Mărturisire").

Ion Agârbiceanu was present almost from the beginning, with a large number of sketches and short stories ("Adormirea lui Moș Ioniță", "Râvna părintelui Man", "Lumea bătrânilor", "Legământul diavolului", "Baba Ilina se pregătește de drum", "Se-mpacă doi dușmani", "Pocăința neamului").

[16] Numerous translations also appeared, sampling works by Johann Wolfgang von Goethe, Friedrich Schiller, Dante Alighieri, Giovanni Boccaccio, Giacomo Leopardi, Rabindranath Tagore, Alexander Pushkin, Mikhail Lermontov, Ivan Krylov, Henryk Sienkiewicz, Anton Chekhov, Rainer Maria Rilke, Paul Valéry, and the verses of Charles Baudelaire, rendered by Ion Pillat and Al. T. Stamatiad.

"[18] This period saw Romania entry into World War I. Ramuri lost two members of its staff during the subsequent campaigns of September 1916: Volovici died in the Battle of Transylvania, and administrative director Tiberiu Constantinescu was killed at Turtucaia.

Various editorial constraints meant that these samples, though rhyming in the Romanian version, generally appeared in blank verse; exceptions included a fragment from John Masefield, seen by Crudu as outstandingly translated.

[23] In later years, this sector was represented by debuting authors, such as Cezar Petrescu ("Învierea căpitanului Lazăr", "Omul din vis"), Gib Mihăescu ("Scuarul"), and Victor Papilian [ro] ("P. N. V.", "Popa ăl bătrân").

[29] Ramuri engaged in polemics with Lovinescu, Mihail Dragomirescu, Ovid Densusianu and certain modernist factions (for instance: "Intelectualizarea", "Impertinență sau aiurea", by Tomescu), on the subject of promoting national characteristics in literature.

[3] Among the poets who were featured by Ramuri after 1920 were Arghezi ("Oraș medieval"), Lucian Blaga ("Lume"), Ion Pillat ("Elegie", "Recuerdo", "Cules"), Vasile Voiculescu ("Avariție", "Înaintea aurorei", "Apocalips"), and Zaharia Stancu.

He signed an article about the towns of Oltenia during the modernization phase of 1760–1830, with similar interests being expressed by Bănescu, Furtună, Lazăr Toma, Fortunescu, Sextil Pușcariu, Ioan Lupaș, M. Strajaru, and Constantin Cehan-Racoviță.

[3] More informally, at a literary meeting staged by Ramuri in 1929, Arghezi proceeded to explore his own roots (described by Tomescu as planted in "Oltenia's vigorous soil"), and gave some of his first impressions regarding the region's natural beauty.

[22] Contributors were also interested in documents and archives, unearthing important new information about writers such as Grigore Alexandrescu, Bogdan Petriceicu Hasdeu, Iosif Vulcan, Costache Caragiale, Ioan Maiorescu [ro], and Traian Demetrescu.

Noting that Ramuri had begun publishing a political column, Ioan advised it to renounce covering literature altogether (though he also mentioned the presence of a "vigorous young talent", Val Mugur).

He gave them approval, but later stated his disappointment, noting that Ramuri had taken "disagreeable" editorial decisions, such as putting out Istoria românilor în chipuri și icoane as a single, virtually unreadable, volume.

[52] Also then, the magazine hosted a series of literary meetings, attended by Bălcești, Farago, Iacobescu, and Nicolăescu-Plopșor, as well as by Virgil Carianopol, Mircea Damian, George Gregorian, Ion Minulescu, and chanteuse Maria Tănase.

The contributors were ridiculed in turn, but also listed for their ideological nonconformity: Al. Popescu Teiușan, for an essay which criticized "people's democracies" and rejected the indoctrination of children; Romulus Vulcănescu, for his association with nationalist doctrines; Ion Caraion, for his "inept" poems.

[60] Their institutional overseer was the Committee for Culture and the Arts in Craiova Region (later Dolj County), accounting for their pledge to uphold "the teachings of Marxism-Leninism";[60] the editorial offices were in the same building as the local daily, Înainte.

[65] This pedigree was highlighted in 1984 by museologist Tiberiu Alexa, who saw Ramuri, Familia, Viața Românească and Convorbiri Literare as the four Romanian cultural magazines to have preserved not just an interwar tradition, but also their city of residence.

[2][60] As one who reviewed aspiring authors, he was eventually allowed in April 1966[2][60] to publish Ramuri's literary supplement, Povestea Vorbei ("The Story of the Word"), which he turned from a provincial-level publication into a nationally-famous institution for debuting young writers.

[70] Around the same time, the magazine featured an "article series" by Țepeneag, wherein he sought to revive interest for writers of the first modernist generations—variously including Caraion, Mateiu Caragiale, Eusebiu Camilar, and Constant Tonegaru.

[74] At the beginning of the post-Paraschivescu decade, in February 1967, Ramuri was the center of a cultural circle involving Pandrea, Georgescu Paleolog, and Nicolăescu-Plopșor; their activities focused on recovering contributions by other old-regime figures, including Brâncuși and novelist Gib Mihăescu.

"[77] In April, as leader of the Communist-Party cell in Craiova, Ștefan Voitec both praised and chided Ramuri: the magazine had a "luminous tradition", but had allowed itself to publish promote a "distorted image of [Ionescu], glossing over his reactionary ideas.

[84] Literary criticism remained a leading focus of the magazine throughout the following decades, when Ramuri hosted articles by seniors such as Cioculescu, Dima, Marino, Ion Biberi, Ovid Crohmălniceanu, Mihai Novicov and Vladimir Streinu, but also new-generation critics of every background and orientation—Mircea Iorgulescu (who made his debut here), Vartan Arachelian, Dan Culcer, Dinu Flămând, Gheorghe Grigurcu, Nicolae Manolescu, Romul Munteanu, Eugen Negrici, Eugen Simion, Mihai Ungheanu, Cornel Ungureanu, and Dan Zamfirescu.

[60] With less regularity, Ramuri hosted contributions to art, film, theatrical and music criticism, with authors such as Săraru, Petru Comarnescu, Lucian Pintilie, Valentin Silvestru, Ion Dezideriu Sîrbu, and Anatol Vieru.

The latter published memoirs of the period, noting that much of their time, officially described as participation in literary colloquiums, was spent on erotic pursuits (with aspiring women poets from the provincial towns of Oltenia) and drunken escapades.

Chifu stayed on as editor-in-chief, but some of his attributions were supplanted by an "honorary editorial board", whose members were authors Dinescu, Ștefan Augustin Doinaș, Mircea Iorgulescu, Eugen Negrici, and Virgil Nemoianu.

The columnist also noted with satisfaction that the magazine was largely modeled on România Literară itself, to the point of copying the textual arrangement, and praised Marius Ghica as a translator of Lorand Gaspar, but also questioned some of the content choices (in particular the publication of a "rambling" diary by George Astaloș).