In the unusual warp of dreams and reality which You have enriched the world of Romanian and European theatre with, one can see, even from Your early stage productions, the constancy of a guiding thought expressed many years ago in a commentary upon Camil Petrescu’a aesthetic – as, when writing about Camil, the newly-graduate of Bucharest Institute of Theatre and Film, David Esrig, was also writing about himself, in lines proving his confraternity in the inclination towards absolute itself.
More...Keywords: Valeria Grosu;
Review of Valeria Grosu: Heretical Honey, poetry, Editura cartier, Chişinău, 2002.
More...Keywords: Bacau county; emigration; unemployment; Vaslui county; labour
The article analyses the relations between unemployment and emigration in Bacau and Vaslui counties, in a comparative outlook. The article starts with an analysis on Romania situation concerning the two phenomena. The second part brings forward the two counties, Bacau and Vaslui, trying to provide a clear view over the reality these two are confronting with. A mapping method was further used to cartography the statistical data provided by the National Institute of Statistics in order to provide a visual outlook over the reality concerning unemployment and emigration.
More...Keywords: restoration; khanjar; jade; chemical treatment; History Museum of Galaţi
The article describes the restoration process of a khanjar dating from the 18th – 19th centuries belonging to the patrimony of the History Museum of Galați. The preserving and restoring operations applied to the object are highlighted. The paper was awarded at the National Restoration Saloon in Craiova, September 27-29, 2012.
More...Keywords: didactics; discourse; grammar; pragmatics; tribute.
The paper presents a volume published in 2015: Discours en présence. Hommage à Liana Pop. The communications were sustained at an international conference organized as a tribute to Liana Pop, professor emeritus at Babeş-Bolyai University.
More...Keywords: Migration;
More...În amplul program managerial al Universității „Babeș-Bolyai” unul dintre obiective înscrie acțiunile de reabilitare și valorificare a patrimoniului cultural-artistic clujean cu efecte pozitive asupra resuscitării memoriei locului încărcat aici de o importantă valoare educativă prin deschiderea oficială (aprilie 1581) a primului Colegiu de rang academic universitar și apoi a Seminarului proiectat de florentinul Massimo Milanesi, tradiție transmisă până în prezent prin exemple evocatoare între care am putea enumera Colegiul Academic cu Galeria Paul Sima, Muzeul Universității, Parcul Memoriei Universitare, o Arkadenhof a Universității vieneze, cu busturile rectorilor și profesorilor Almeii Mater Napocensis, Galeria portretelor rectorilor Universității, figuri de un pregnant realism însuflețit de iluminări spirituale, Colecțiile de artă modernă, cu inestimabila donație a lui Virgil Cioflec, astăzi la Muzeul de Artă al orașului și Complexul sportiv, Parcul Universității/Prof. Iuliu Hațieganu. Pe acest traseu cultural-artistic devenit tradițional, asistăm la împlinirea unui nou punct al programului menționat prin generoasa donație a sculptorului Petru Stoicu, plecat prea de timpuriu dintre noi fiindcă „timpul (său) nu a mai avut răbdare”.
More...Keywords: peintures murales; iconographie de la Mort; Lamech; Fils prodigue; ancienne littérature religieuse roumaine
Après avoir présenté les différentes interprétations du décor peint d’une petite église datée aux environs de 1400, à Leșnic, en Transylvanie, l’Auteur juge les exagérations des interprétations sociopolitiques, en accentuant l’intérêt particulier de ces peintures pour l’histoire culturelle des Roumains en Transylvanie. Tout d’abord, pour être en mesure de poursuivre son raisonnement, l’Auteur analyse les documents médiévaux mentionnant le village de Leșnic et prouve que le commanditaire des peintures n’était pas nécessairement Dobre, un knèze local. À partir de cette découverte, l’article se concentre sur l’interprétation de deux scènes peintes sur le registre inferieur de la paroi Sud, où ce prétendu donateur aurait été représenté selon les anciennes interprétations. La première scène dépeint deux personnages : l’un portant sur son épaule un homme tué par une flèche, l’autre un bovin. La scène suivante, celle d’au-dessous, présente un personnage aux cheveux roux, imberbe et les bras ouverts, tenant une hache et une autre arme, partiellement effacée, dont on observe possiblement la garde et le pommeau. L’Auteur compare la première scène avec trois autres peintures similaires et contemporaines (deux en Slovaquie ; une dernière à Mugeni, en T ransylvanie). Les personnages portant des morts sur leurs épaules seraient des tueurs, mais la conclusion qui s’impose est que la scène de Leșnic sem blerait une tardive évolution margi-nale du thème. Les variations pourraient être dues au passage d’un motif initialement catholique vers un milieu orthodoxe. Pour arriver à expliquer les particularités de la scène de Leșnic (la présence d’une flèche et d’un bovin), l’Auteur examine les textes sacrés, en proposant l’identi-fication du premier porteur avec Lamech, le premier pénitent de l’Ancien Testament. Dans la scène, il porterait le corps inanimé de son aïeul Caïn. Le contexte iconographique renforce le sens de sa pénitence et Lamech renvoie par conséquent au poème-plainte qu’il prononce devant ses femmes (Gn. 4:18-24). Quant à la flèche, arme du crime, il s’agirait là d’un renvoi à la tradition des textes didactiques et apocryphes qui développent l’histoire de Lamech. L’Auteur part ainsi à la recherche du message général et étudie la figure de Lamech dans la tradition des Palaia, dans le Grand Canon pénitentiel de Saint André le Crétois et dans les homélies de Saint Jean Chry-sostome. Les interprétations proposées par ces sources exégétiques permettent d’envisager que le deuxième personnage de la scène peinte à Leșnic, celui portant sur ses épaules un bovin, ne serait autre que le Fils prodigue. La paire Lamech-Fils prodigue exprimerait donc la quintessence de l’idée de pénitence, une image qui trouverait sa place à la droite du trône de l’Étimasie, dans le voisinage du Sein d’Abraham et de la Résurrection des morts. Pour ce qui est de la deuxième scène peinte à Leșnic, le guerrier aux cheveux roux, l’Auteur convient que son message devrait compléter la scène précédente et l’identifie avec l’Ange de la Mort. D’autres Morts armées sont peintes dans les églises roumaines, quoique datant de l’époque moderne. Il s’agit d’une série iconographique répandue dans les Carpates, dont le premier témoin est une icône de Mshanets (Ukraine), datée du XVe siècle. Malgré le fait que les peintures de Leșnic soient précoces, d’autres preuves sont avancées en faveur de cette interprétation. Parmi les plus importantes, se détache une série de textes roumains des XVIe-XVIIe siècles. Ces derniers incluent des descriptions fidèles de la Mort armée. À cela s’ajoute l’inscription fragmentaire ..ОР.. qui accompagne le personnage. Quoique les scènes peintes à Leșnic ne comportent que des inscriptions en slavon, l’Auteur propose de reconnaître le mot roumain morte ([М]ОР [ТЕ]). L’argument principal est la présence d’un vocatif roumain dans l’une des inscriptions transcrites sur la paroi Nord de la même église. L’Auteur suit à ce propos une hypothèse plus ancienne, qui avait déjà so uligné les rapports d’autres scènes peintes à Leșnic avec les premiers textes de la littérature roumaine. La fin de la démonstration s’interroge sur les sources d’inspiration des scènes peintes (des textes sans doute slavons, traduits en roumain quelques siècles plus tard) et considère que l’église de Leșnic et les textes des XVIe-XVIIe siècles découleraient d’une tradition locale, d’inspiration sud-slave, dont le mûrissement a probablement duré plusieurs siècles. Si les hypothèses de travail des roumainistes, qui envisagent une éclosion monastique de cette tradition vernaculaire, sont exactes, il ne sera pas impossible de chercher ses débuts dans les monastères roumains des XIVe-XVe siècles. Le village de Leșnic se trouve au milieu d’un réseau formé par ces monastères. Quant aux premiers textes roumains, ils présentent des traits dialectaux évoquant la même aire géographique.
More...Keywords: legal deposit; digital; online; publications;
This paper analyses the legal deposit and the way this institution is treated and functions in the digital era, especially for the online versions of the newspapers and periodicals. First, it describes the evolution and the transformation in time of the content of the legal deposit. It looks at the elements composing a legal deposit scheme, the historical functions it played and the legal forms it took. A second part is dedicated to the challenges of the transition of the legal deposis institution from publications in print or on other material support to the more inefable digital realm. It focuses on three main features: comprehensitivity, obligativity and access and usage. A third part discusses, via a series of interviews, how the digital legal deposit is seen and dealt with in Romania.
More...Keywords: the Romanian Ethnographic Atlas; maps; photographs; system of representation;
The fifth volume of A. E. R. (=„Atlasul Etnografic Român”, „The Romanian Ethnographic Atlas”) puts an end to the work of three generation of ethnographers, from the late Romulus Vuia, Romulus Vulcănescu, Paul Petrescu, Ion Vlăduţiu to the youngest researchers of the Institute of Ethnography and Folklore „Constantin Brăiloiu” of the Romanian Academy (e. g. dr. Emil Ţârcomnicu, dr. Lucian Aurelian David, dr. Ionuţ Semuc, Cătălin Alexa, drd. Laura Ioana Negulescu, dr. Adelina Dogaru, Cristina Mihală Douglas) who, alongside their older colleagues (e.g. Alina Ioana Ciobănel, Cornelia Belcin Pleşca, Paul Drogeanu, Ofelia Văduva et al.), directed by dr. Ion Ghinoiu, finished one of the most important work instruments of the Romanian ethnology – the Atlas. A masterpiece of scientific work, the AER deserves all our admiration and consideration.
More...Keywords: Dina Cocea; Romanian theater; acting; Gheorghe Dinică; Marin Moraru; Brediceanu family house
This article evokes the great Romanian actor Dina Cocea’s personality. She starred as Elisabeta in Schiller’s Mary Stuart or as Kabanova in Ostrovsky’s Storm, or as Hélène in Eduard Bourdet’s The Difficult Times as her debut in 1934 at the Michodière Theater in Paris, but she was simply formidable as the Mother in Luigi Pirandello’s Life that I gave you. In her attitudes, Dina Cocea had, a certain almost undistinguishable genuine maternal spirit, which she had discreetly and deliberately camouflaged in favor of her career, but which she had fully cultivated towards her young apprentices. When two of her disciples, Gheorghe Dinică and Marin Moraru, two huge “sacred monsters” of the Romanian theater, were caming to her birthday, everybody could see from afar their overflowing love and joy of being close to the one who had guided their first steps into a cruel profession, in which they had richly succeeded. She had lived through an era. An era when history had begun to turn upside down and her family had played an active role in this carousel. She enjoyed the scent of a Parisian classy childhood and adolescence – spent in the shadow of her aunt, the actress Alice Cocea in vogue at the time – as well as prestigious theater studies; a street was named after her grandfather since the communist era, a street where the Little Theatre is located, respectively Constantin Mille – “the terrible child of the Contemporary” as George Călinescu once called him, but also the director of the newspaper Adevărul between 1898 and 1920 – and from her father, N.D. Cocea, she had inherited her leftism.
More...Keywords: electrical engineering–1D electrical; environmental factors; geoelectrical resistivity imaging;
The resistivity method is an electrical method used in the field of geophysics. It is used in the study of horizontal and vertical discontinuities of soil layers, which have different electrical properties, as well as in the detection of three-dimensional bodies with unusual electrical conductivities. The method is currently used in the field of engineering and hydrogeology for shallow and deep geological investigations.
More...Keywords: Părinţii Bisericii între teologie şi cultură; Restituiri; Cătălin Pălimaru; Editura Renaşterea; Cluj-Napoca
Review of ***, Părinţii Bisericii între teologie şi cultură, col. Restituiri, 3, ed. Pr. Cătălin Pălimaru, Editura Renaşterea, Cluj-Napoca, 2014.
More...Keywords: NATO; EUROPEAN UNION; SMART DEFENCE; POOLING AND SHARING;
THE GLOBAL ECONOMIC AND FINANCIAL CRISIS WAS THE MAIN STIMULUS THAT DETERMINED THE BREADTH AND SUCCCESS OF THE INTELLIGENT DEFENCE IDEA OF COURSE, THIS IDEA OF SHARING RESOURCES AND USING THEM TOGETHER BY NATO OR EU MEMBER STATES IS NOT A NEW IDEA. THESE ORGANIZATIONS ARE AT THE BORDER OF IMPLEMENTING NEW CONCEPTS OF DEFENSE PLANNING. IF WE HAVE THE CONCEPT OF ,,POOLING AND SHARING” AT EU LEVEL, THE CONCEPT OF ,,SMART DEFENCE” IS BEING CIRCULATED AT NATO LEVEL, WITH IMPLICATIONS GOING BEYOND DEFENSE PLANNING, THE SIGNIFICANCES BEING MORE COMPLEX, STRATEGIC, GEOPOLITICAL OR RELATIONSHIPRELATED INTERNATIONAL. ,,SMART DEFENCE” AND ,,POOLING AND SHARING” HAVE GAINED A RESOUNDING SUCCESS IN THE SECURITY AND DEFENSE ENVIRONMENTS IN THE UNIQUE INTERNATIONAL DEFENSE INVESTMENT-ENVIORONMENT. EURO-ATLANTIC COMMUNITY MEMBERS CAN ACHIEVE AN INCREASE IN SECURITY UNDER THE AUSTERITY OF NATIONAL DEFENSE BUDGETS GENERATED BY THE ECONOMIC AND FINANCIAL CRISIS, A CRISIS THAT PLAYS A CRUCIAL ROLE IN CREATING A FAVOURABLE CONTEXT FOR THE DEVELOPMENT OF THE TWO CONCEPTS.
More...Keywords: adolescent;decision making;attention;memory;cognition;
The adolescent goes through a period of psychological, psychophysical and cognitive transformations that allow him to become consciously involved in the decision-making process. This article aims to review three constructs in these categories (attention, memory and cognition) and to analyze how they are involved in decision-making. The study offers openness to research in order to achieve the profile of the decision-making student, which includes psychological, psychophysical and cognitive constructs.
More...Keywords: electrical engineering – 1D and 3D inversion; environmental factors-geoelectrical resistivity; probabilistic models; Conrad Schlumberger; Sabba S. Ştefănescu;
The identification and evaluation of environmental pollution is a study based on methods designed and developed by Conrad Schlumberger and Sabba S. Ștefănescu, two geniuses of Geophysics. The former is the founder of the resistivity method, which determines the processes underlying electrical measurements, and the latter is the one who develops the method and takes it to the level of geoelectrical tomography. This helps specialists in research and exploration to monitor the anthropogenic activities which occur at ground level and even to anticipate the anthropic evolution. The processing of signals of a diagram, in particular – the electrical resistivity, describes the variations of randomly recorded data that determine the depth of a layer.
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