Iorga's direct influence as a critic had largely faded by the 1920s, owing in part to his decision of concentrating his energy elsewhere. Nevertheless, he was still often involved at the forefront of cultural campaigns against the various manifestations of modernism, initiating polemics with all the circles representing Romania's new literary and artistic trends: the moderate "Sburătorul" review of literary theorist Eugen Lovinescu; the eclectic "Contimporanul" magazine; the Expressionist cell affiliated with the traditionalist magazine "Gândirea"; and ultimately the various local branches of Dada or Surrealism. In some of his essays, Iorga identified Expressionism with the danger of Germanization, a phenomenon he described as "intolerable" (although, unwittingly, he was also among the first Romanians to tackle Expressionism). In an analogy present in a 1922 article for "Gazeta Transilvaniei", Iorga suggested that the same "German" threat was agitating the avant-garde voices of Latin Europe, Futurists and Dadaist "energumens" alike. During the 1930s, as the cultural and political climate changed, Iorga's main accusation against Tudor Arghezi, Lucian Blaga, Mircea Eliade, Liviu Rebreanu, George Mihail Zamfirescu and other Romanian modernists was their supposed practice of literary "pornography".