A new chapter of the clash between modernists and "Sămănătorists" was played out in the post-National Legionary era, following the Guard's clash with its nominal partner, "Conducător" Ion Antonescu, who set up a new authoritarian and Axis-aligned regime ("see Legionnaires' rebellion and Bucharest pogrom"). Braving the censorship imposed on modernism by Antonescu's rule, and holding Lovinescu as their example, the Sibiu Literary Circle publicized its own critique of "Sămănătorist" ideals. Formulated as part of a manifesto drafted by young essayist Ion Negoițescu, it popularized the disparaging term "pășunism" (from "pășune", "pasture") to define neo-"Sămănătorist" literature, and alleged that its exponents were demagogues who glorified peasant values without themselves leaving "the comfortable armchairs of the city". Shortly after the Royal Coup of 1944, which brought Romania under Allied supervision, voices condemning "Sămănătorism" again made themselves heard publicly. Writing for the National Peasants' Party "Dreptatea" newspaper, literary critic Vladimir Streinu paid homage to Lovinescu, Densusianu and Dragomirescu for their previous role in bringing up for discussion the negative aspects of the current, and noted that their objections only had to be slightly adapted when reviewing "Orthodoxism" or other local nationalist currents. The use of the term "Sămănătorist" as a pejorative for the far right's aesthetics was also present in the discourse of Romanian-born modernist essayist and dramatist Eugène Ionesco, better known as a founding figure for the Theatre of the Absurd. Ionesco discussed interwar and wartime "Sămănătorism" and other traditionalist trends as symptoms of "a deep-seated intellectual affliction: the refusal of culture."