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LAUDATIO: Discourse on the occasion of public conferral of the title: Doctor Honoris Causa on His Holiness BARTOLOMEU VALERIU ANANIA (20 October 2008)

LAUDATIO DISCURS ROSTIT CU PRILEJUL DECERNĂRII TITLULUI DE DOCTOR HONORIS CAUSA AL UNIVERSITĂŢII „1 DECEMBRIE 1918” DIN ALBA IULIA ÎNALT PREA SFIN

Author(s): Ileana Ghemes / Language(s): Romanian / Issue: 1/2008

Many men of culture use to write constantly about the religious activity of Archbishop Bartolomeu, who has a deep authority in the hierarchy of Romanian Orthodox Church and a strong opinion in all the main important problems of nowadays society. In the literary word, Bartolomeu Valeriu Anania is well-known as a poet, dramatist, novelist, memories writer and translator, a huge personality, with a complete literary work, constantly analyzed by the critics in articles and books. Closely connected to all the men of culture from Alba Iulia, Archbishop Bartolomeu Valeriu Anania is constantly implied in research activity in theology, literature and arts, protecting the young generation and being a very elegant partner of dialogue for the personalities from different fields. As a sign of our appreciation, this laudatio presents the constant contribution of Archbishop Bartolomeu for promoting our national spirituality.

Frieda Edelstein, Carmen Fenechiu & Dana LaCourse Munteanu, Sintaxă latină. I. Sintaxa cazurilor, Presa Universitară Clujeană, Cluj-Napoca, 2012, 166 p.; II. Sintaxa modurilor, Presa Universitară Clujeană, Cluj-Napoca, 2014, 218 p.

Frieda Edelstein, Carmen Fenechiu & Dana LaCourse Munteanu, Sintaxă latină. I. Sintaxa cazurilor, Presa Universitară Clujeană, Cluj-Napoca, 2012, 166 p.; II. Sintaxa modurilor, Presa Universitară Clujeană, Cluj-Napoca, 2014, 218 p.

Author(s): Maria Aldea / Language(s): English / Issue: 3/2016

Mihaela Munteanu Siserman, Nume și simțuri: corespondențe semantice în configurații denominative, Editura Mega, Editura Argonaut, Cluj-Napoca, 2015, 260 p.

Mihaela Munteanu Siserman, Nume și simțuri: corespondențe semantice în configurații denominative, Editura Mega, Editura Argonaut, Cluj-Napoca, 2015, 260 p.

Author(s): Daiana Felecan / Language(s): Romanian / Issue: 8/2018

Mihaela Munteanu Siserman, Nume și simțuri: corespondențe semantice în configurații denominative, Editura Mega, Editura Argonaut, Cluj-Napoca, 2015, 260 p.

Mihaela Munteanu Siserman, Nume și simțuri: corespondențe semantice în configurații denominative, Editura Mega, Editura Argonaut, Cluj-Napoca, 2015, 260 p.

Author(s): Daiana Felecan / Language(s): English / Issue: 8/2018

New interpretations of sacred subjects and other themes in the creativity of the sculptor Valeriu Batca

Reinterpretarea subiectelor sacre şi alte teme în creaţia sculptorului Valeriu Bâtca

Author(s): Ana Marian / Language(s): Romanian / Issue: 1/2020

Keywords: sculpture; relief; notch; composition; plot; text

The representative modern sculptor Valeriu Batca was born in Chisinau in 1962 and began his career at the School-Studio of the Movie Theater Film Actor under the Moldova-Film in the capital city. His mentor, the Moldovan sculptor Dumitru Verdianu, helped him make his first steps in the world of art and supported him in his effort to revive the tradition of sculpting tombstones as a less standard approach in modern sculpture. The Pudostsky stone was the material from which these sculptures were created. It was mined from Valday to Lake Ladoga and used for construction in St. Petersburg. It is the characteristics of the Pudostsky stone, which determine the unique author’s style and his original ideas in the interpretation of the composition. Currently, Valeriu Batca’s relief compositions can be divided into three large cycles: Dialogues with God (1993-2008), Wine of Victory (1995- 2010), Yard Stories (2011). Along with the impressions that these stones produce, the author’s revelations in texts are of particular importance, as they reflect the sculptor’s ideas and feelings in relation to his works. In the vision of the sculptor Valeriu Batca, new interpretations of the techniques for creating medieval Moldavian tombstones are a new page of these achievements, an unpublished and significant one in its conceptual and artistic aspects.

THE LYRICAL DIMENSION OF THE WORKS OF METROPOLITANS VARLAAM, DOSOFTEI, BARTOLOMEU VALERIU ANANIA AND IOACHIM GIOSANU

THE LYRICAL DIMENSION OF THE WORKS OF METROPOLITANS VARLAAM, DOSOFTEI, BARTOLOMEU VALERIU ANANIA AND IOACHIM GIOSANU

Author(s): Ioana Anuței (Iordache) / Language(s): Romanian / Issue: 26/2021

Keywords: Metropolitans Varlaam; Dosoftei; Bartolomeu Valeriu Anania and Ioachim Giosanu; religious poetry; psalms; spirituality;

The present study aims at revealing another aspect of hierarchs and their cultural significance for the evolution of the Romanian literature. The beginning of our literature is in the seventeenth century on the sign of the biblical texts. Metropolitans Varlaam and Dosoftei are the first poets in our literature, who gave models and inspire other writers. The last century gave us the metropolitan Bartolomeu Valeriu Anania who put together the theolog and the writer in the same heart. Now the only metropolitan poet is Ioachim Giosanu who continues to be a poetic conscience.

LUCIAN BLAGA, VALERIU ANANIA, NICOLAE STEINHARDT - THE TRIAD OF FREE WRITERS, BEYOND CENSORSHIP

LUCIAN BLAGA, VALERIU ANANIA, NICOLAE STEINHARDT - THE TRIAD OF FREE WRITERS, BEYOND CENSORSHIP

Author(s): Diana Porumb (Popa) / Language(s): Romanian / Issue: 30/2022

Keywords: light; detention; word; mystery; silence; divine;

The communion with God has always been a source of religious poetry, building the meditation area whose product was the refined, deified word, through the grace of poets. Philological research has discovered a true theology of logos, giving it special importance from the very first pages of the biblical text. Lucian Blaga, Nicolae Steinhardt, and Valeriu Anania converge on the duality of the human being, as well as their endeavor to penetrate the way human consciousness manifests itself, the need for light, knowledge, and truth. This justifies the presence of the metaphor of light in Blagian and Ananian poetry, as well as in the memoirs of the monk from Rohia. Light is closely related to the divine logos and the ritual of utterance. Light opposes darkness, so it expresses the principle of good. The texts of the presented writers reflect both the turmoil of a generation and the creative grace, the need to testify about faith, hesychia, knowledge, life and death. Twinned by shared biographical aspects, the writers develop the same thematic predilection and vision. They continue the great interwar tradition, being aware of their messianic role, of the importance of the literary testament.

Valeriu Sîrbu, Dan Ștefan, Maria‑Magdalena Ștefan (eds.), Hidden Landscapes. The Lost Roads, Borders and Battlefields of the South‐Eastern Carpathians, Editura Cetatea de Scaun, Târgoviște, 2022,

Valeriu Sîrbu, Dan Ștefan, Maria‑Magdalena Ștefan (eds.), Hidden Landscapes. The Lost Roads, Borders and Battlefields of the South‐Eastern Carpathians, Editura Cetatea de Scaun, Târgoviște, 2022,

Author(s): Cristian-Eduard Ştefan / Language(s): Romanian / Issue: 19/2023

Keywords: Valeriu Sîrbu; Dan Ștefan; Maria-Magdalena Ștefan; Review;

Review of: Valeriu Sîrbu, Dan Ștefan, Maria-Magdalena Ștefan (eds.), Hidden Landscapes. The Lost Roads, Borders and Battlefields of the South‑Eastern Carpathians, Editura Cetatea de Scaun, Târgoviște, 2022, 429 de pagini, ISBN 978-606-537-583-3

CULTURE SHOCK – CASE STUDY: ȘTEFAN BACIU, MIRA SIMIAN AND VALERIU ANANIA

ȘOCUL CULTURAL – STUDIU DE CAZ: ȘTEFAN BACIU, MIRA SIMIAN ȘI VALERIU ANANIA

Author(s): Adrian Bărbieru / Language(s): Romanian / Issue: 4/2023

Keywords: Valeriu Anania; Ștefan Baciu; Mira Simian; culture shock;

Employing memorial and testimonial sources from a number of notable Romanian authors (Valeriu Anania, Ștefan Baciu and Mira Simian) who fled the totalitarian regime in Romania to different countries of the world, the present article aims to analyse the ways in which these authors experienced culture shocks in their adoptive countries. Our analysis is predicated on the conceptual stages of culture shock, as defined by anthropologist Kalervo Oberg.

OGPU/NKVD Residents in Romania of the 1930s. Case studies: Valeriu Bucicov, Ion Vidraşcu, Petre Goncearuc, Vasile Posteucă, and Serghie Nicolau, IV

Rezidenţii O.G.P.U./N.K.V.D. din România anilor 1930 Studii de caz: Valeriu Bucicov, Ion Vidraşcu, Petre Goncearuc, Vasile Posteucă, Serghie Nicolau, IV

Author(s): Mihai Burcea / Language(s): Romanian / Issue: 3-4/2023

Keywords: Soviet intelligence; Russian agents; espionage; Bessarabia communists; Romanian secret police;

Based on a thorough research in different Romanian archives, leading to the discovery of previously unknown documents, this study presents the personal and professional biographies of five communists from Bessarabia acting as illegal residents for the Soviet intelligence, revealing the depth of the Soviet espionage penetration into the Eastern Romanian territory, military and civilian structures.The study covers both the data-gathering activity of the five, before the war, and their spectacular trajectories, as leaders of the new regime, in the first years after the war. Their extraordinary political evolution – but also very similar among the chosen group – is a model story about the human resources the Communists relied on before and during WWII and the troubled relationship between the „old guard” of the „Moscovites” and the thirst for power of the ethnically Romanian new leaders.

Valeriu Anania, “Du-te vreme, vino vreme!” or the invocation for the “awakening” of the new fairy tale

Valeriu Anania, „Du-te vreme, vino vreme!” sau invocaţia întru „trezirea” basmului nou

Author(s): Geta MOROȘAN / Language(s): Romanian / Issue: 03/2024

Keywords: “Du-te vreme, vino vreme”; dramatic poem; dramaturgy; Valeriu Anania; man; time; Romanian fairy tale;

The dramatic poem “Du-te vreme, vino vreme” holds a special place in the literary creation of writer Valeriu Anania. Unlike other texts, this work underwent a process of elaboration that spanned approximately thirty years (1942-1971), according to biographical notes mentioned in reviews that accompanied the play’s publication. The author seemingly wanted to say everything about man and his condition in the world, by using the power over words and forcing them to dress his thoughts as accurately as possible. “Du-te vreme, vino vreme” is a play in verse. It is not his only literary creation of this kind, but contemporary audiences and critics were somewhat taken aback by the dramatist’s choice for this form, perceived as “outdated”. The main theme of the dramatic text is the relation-ship between Man and Time, a theme encountered in world literature throughout all times.

In memory of Valeriu Drăgan (11 May 1956 – 19 December 2022)

În amintirea lui Valeriu Drăgan (11 mai 1956 – 19 decembrie 2022)

Author(s): Ioana Maria Petrescu / Language(s): Romanian / Issue: 31/2023

Keywords: in memoriam; Valeriu Drăgan;

In memory of Valeriu Drăgan (11 May 1956 – 19 December 2022)

The portrayal of a Transylvanian village in the eyes of Protopope Aurel Munteanu at the beginning of the 20th century

Imaginea unui sat transilvan în ochii Protopopului Aurel Munteanu la începutul secolului al XX-lea

Author(s): Ionuţ Hens / Language(s): Romanian / Issue: 01/2021

Keywords: father Aurel Munteanu; the village Sebeșul Mare; transylvanian village; values of the transylvanian village;

Thee purpose of this study is to create the image of the Transylvanian village in the twentieth century through the eyes of Father Aurel Munteanu. he Transylvanian village to which we will refer and which was pastored by Fr. Aurel Munteanu is called Sebeșul Mare, the Drăgan Valley today. As methods that we will use in order to achieve the purpose we call the following: descriptive method and comparative method. he objectives set for this study are the following: to discover the values of the Transylvanian village in the twentieth century, to draw the personality of Father Aurel Munteanu and to present how they lived in this locality, during the time of Father Aurel Munteanu’s presence

The Identity of the Performances of the 1960s Directed by Valeriu Cupcea

Identitatea spectacolelor din anii 1960 în regia lui Valeriu Cupcea

Author(s): Elfrida Coroliova / Language(s): Romanian / Issue: 2/2021

Keywords: identity; play; director; Valeriu Cupcea;

The fruitful activity of Valeriu Cupcea in the 1960s was manifested in the identity of his plays. In the comedy Take, Yanke, and Kadar by I. Popa, this is a union of people overcoming national and religious prejudices. In the socio-psychological drama from the life of a collective farm village The Wheel of Time by A. Lupan, this is the drama of the era, manifested in life situations, in dramatic collisions of the characters in the play. In the philosophical drama about the life and death of A. Levada’s Faust and Death, this is a clash of human destinies, in the struggle of worldviews. The play I Don’t Want You To Do Good For Me Anymore by G. Malarciuc is a satire against favoritism and nepotism. In the play Two Lives and the Third by F. Vidrascu, this is psychological certainty in revealing the spiritual dramas of the heroes. In the play The Crane Feathers by J. Kinoshita this is a poetical and philosophical reading of an old Japanese legend. In the play Eminescu by M. Stefanescu, this is a highly artistic embodiment of the images of Eminescu, Creanga, Alecsandri. In the play Blanduzia’s Fountain by V. Alecsandri, this is the disclosure of the tragic life of a poet who selflessly strives to bring love and goodness to people and dooms himself to death. And others.

RELIGIOUS SYMBOLS IN THE WORK OF VALERIU ANANIA ”THE HEAVENS OF OLT"

SIMBOLURI RELIGIOASE ÎN OPERA LUI VALERIU ANANIA "CERURILE OLTULUI"

Author(s): Emanuel-Daniel Sărmășan / Language(s): Romanian / Issue: 1/2023

Keywords: Valeriu Anania; monasticism; poetry; ethnology; folklore; symbols; traditionalism; religious legacy;

The interference between theogony and mysticism is the very point of juncture between the literary and theological aspects of Valeriu (Bartolomeu) Anania's oeuvre. The theology surrounded by symbolism means experience, as symbols bring in a timeless space. The story of the monk Archbishop Bartolomeu (Valeriu Anania as a writer) is in line with the thoughts expressed by the philosopher and dogmatist Dumitru Stăniloae. Valeriu Anania, the writer, does not tend to minimize his artistic condition but accepts it bravely, regardless what the monk Bartolomeu, his religious being, might think. The writer is older than the monk. The writer is the the only provider and weaver of evocative themes and tools, where message and light seem to meet with the intertextual development and utterances. The two selves, the writer Valeriu Anania (Val), respectivey the Archbishop Bartolomeu (Bart) are in a playful dialogue throughout the book. The opposing narratives between the two instances do not overwhelm the reader, but on the contrary, they reinforce different inner explanations, shedding light on the limits of theology, national history, philology, ethnology and folklore. The symbols outlined by the author in the extensive work entitled ”Cerurile Oltului” fulfil the role of a national legacy.

George-Dan Hânceanu, Angela Simalcsik, Robert Daniel Simalcsik, Vasile Diaconu, Lucian Munteanu, Otilia Mircea, Viorica Vasilache, Arhiepiscopia Romanului și Bacăului...

George-Dan Hânceanu, Angela Simalcsik, Robert Daniel Simalcsik, Vasile Diaconu, Lucian Munteanu, Otilia Mircea, Viorica Vasilache, Arhiepiscopia Romanului și Bacăului...

Author(s): Ludmila Bacumenco-Pîrnău / Language(s): Romanian / Issue: 2/2021

Keywords: medieval cemetery; church; archaeology;

Review of: George-Dan Hânceanu, Angela Simalcsik, Robert Daniel Simalcsik, Vasile Diaconu, Lucian Munteanu, Otilia Mircea, Viorica Vasilache, Arhiepiscopia Romanului și Bacăului. Cimitirul medieval și complexele laice din perimetrul sud-vestic al incintei bisericești: rezultatele cercetării preventive din anul 2015, Brăila, Editura Istros a Muzeului Brăilei „Carol I”, Piatra Neamț, Editura „Constantin Matasă”, 2021, 786 p. ISBN: 978-606-654-434-4; ISBN: 978-973-7777-60-7

Father Professor Liviu Galaction Munteanu – Founder of Orthodox Theological Education in Cluj

Părintele Profesor Liviu Galaction Munteanu – Ctitor al Învăţământului Teologic Ortodox din Cluj

Author(s): Lucian Greabu / Language(s): Romanian / Issue: 02/2021

Keywords: Diocese; Orthodox Theological Institute; Father Liviu G. Munteanu; Bishop Nicolae Colan; catechesis; Vicar.

After the reestablishment of the Diocese of Vad, Feleac and Cluj, the foundation stone of the Orthodox Cathedral was laid by the efforts of Bishop Nicolae Ivan. Also through his zeal, the Orthodox Theological Institute was established in 1924, raised to the rank of Academy in 1927. Among the prestigious professors within this cultural institution is Dr. Liviu Galaction Munteanu, who worked here. He contributed to raising the prestige of the school through numerous writings in various publications: Renaissance, Illustrated Life etc., then as dean and rector. During the hortyst occupation, together whit Bishop Nicolae Colan, he carried out an important an missionary activity in Cluj, after the refuge of other colleagues in the unoccupied territories. After the arrival of the communist regime, together whit the mentioned hierarch, he fought whit all his might to maintain the existence of the Institute, which abolished in 1952. Also in this year, he was transferred to Bistriţa as a minister priest, and in 1958 he was appointed Vicar at Cluj, where he was commissioned to draw up a catechesis program at the conference whit the archpriests in August, the same year, for the religious education of children. This action was considered by the communists „a crime against the social order”, so he was arrested and thrown in jail. He died in great torment at the Aiud penitentiary, on March 8, 1961. Following the steps taken by Father Liviu G. Munteanu`s children, the sentence was annulated by the Romanian Court of Justice, as a moral reparation for the injustice to which he was subjected, together with Father Ioan Bunea, who wrote the catechesis program.

The relationship of Iași composers with the avant-garde: Anton Zeman, Vasile Spătărelu, Sabin Pautza, Viorel Munteanu, Cristian Misievici

The relationship of Iași composers with the avant-garde: Anton Zeman, Vasile Spătărelu, Sabin Pautza, Viorel Munteanu, Cristian Misievici

Author(s): Laura Otilia Vasiliu / Language(s): English / Issue: 29-30/2024

Keywords: avant-garde composition; modern techniques; texture; improvisation; the new semiography;

The European and Romanian musical avant-garde from the 1950s to the 1970s is being reconsidered from a theoretical and compositional point of view, a phenomenon, which determines me to propose a topic in this thematic area. It is well-known that the renewal of the sonorous art in Iași, a traditional Romanian cultural centre, was owed to a group of composers educated at the “Ciprian Porumbescu” Conservatoire in Bucharest, who became professors, creative artists in Iași – Anton Zeman (1937-1996), Vasile Spătărelu (1938-2006), Sabin Pautza (1943), to the same extent to the first graduates of the Iași composition class: Viorel Munteanu (1944) and Cristian Misievici (1953-2020). Maintaining a constant relationship with the central movement of national creation and directly with languages promoted by the European avant-garde composers, the Iași musicians capitalised individually on the new sonorous imagery, on the new types of writing: the serially or mathematically organised dodecaphony, textural stratification, the insertion of indeterminacy and of the sonorous effects associates with the new semiography. This study marks out various compositional behaviours in relation to the precepts of the avant-garde: the gradual assimilation of the new language and its development in ever more elaborate formats (Anton Zeman); preferential choices, censored by intuitive musicality (Vasile Spătărelu), an intense avant-gardist experiment left for creative visions with more appeal to the public (Sabin Pautza); an oasis of radical renewal at the centre of a modern synthetic creation (Viorel Munteanu); an authentic and consistent avant-gardist manifestation, perfect compatibility with the new compositional design (Cristian Misievici).

The relationship of Iași composers with the avant-garde: Anton Zeman, Vasile Spătărelu, Sabin Pautza, Viorel Munteanu, Cristian Misievici

Relația compozitorilor ieșeni cu avangarda: Anton Zeman, Vasile Spătărelu, Sabin Pautza, Viorel Munteanu, Cristian Misievici

Author(s): Laura Otilia Vasiliu / Language(s): Romanian / Issue: 29-30/2024

Keywords: compoziția de avangardă; tehnici moderne; textură; improvizație; noua semiografie;

Avangarda muzicală europeană și românească din anii ’50-’70 este într-un proces de reconsiderare, din punct de vedere teoretic și componistic, fenomen ce mă determină să propun un subiect în această arie tematică. Se cunoaște că înnoirea artei sonore din Iași, tradițional centru cultural românesc, s-a datorat unui grup de compozitori formați la Conservatorul „Ciprian Porumbescu” din București, deveniți profesori, artiști creatori ai Iașului – Anton Zeman (1937-1996), Vasile Spătărelu (1938- 2006), Sabin Pautza (1943), în aceeași măsură, primilor absolvenți ai clasei de compoziție ieșeană: Viorel Munteanu (1944) și Cristian Misievici (1953-2020). Menținând o relația constantă cu mișcarea centrală a creației naționale și, în mod direct, cu limbaje promovate de compozitorii europeni de avangardă, muzicienii ieșeni au valorificat prin modalități individualizate noua imagistică sonoră, noile scriituri: dodecafonia organizată serial sau matematic, stratificarea texturală, inserția aleatorismului și a efectelor sonore asociate cu noua semiografie. Studiul evidențiază diferite conduite componistice în relație cu preceptele avangardei: asimilarea treptată a noului limbaj și dezvoltarea sa în formate din ce în ce mai elaborate (Anton Zeman); alegeri preferențiale, cenzurate de o muzicalitate intuitivă (Vasile Spătărelu); experiment avangardist intens în etapa de tinerețe, părăsit pentru viziuni creatoare mai entuziasmante pentru public (Sabin Pautza); o oază de înnoire radicală în centrul unei creații moderne de sinteză (Viorel Munteanu); manifestare avangardistă autentică și consecventă, compatibilitate perfectă cu noul design componistic (Cristian Misievici).

STYLE, STRUCTURE AND MEANING IN SYMPHONY NO. 3 "OFRANDĂ LUI BRÂNCUȘI (QUASI UNA FANTASIA)" BY VIOREL MUNTEANU

STIL, STRUCTURĂ ȘI SEMNIFICAȚIE ÎN SIMFONIA NR. 3 „OFRANDĂ LUI BRÂNCUȘI (QUASI UNA FANTASIA)” DE VIOREL MUNTEANU

Author(s): Victoria Melnic,Iraida Iordan / Language(s): Romanian / Issue: 4/2024

Keywords: C. Brâncuși; V. Munteanu; symphony; musical genres synthesis;

Constantin Brâncuși is rightfully considered a pioneer of modern sculpture, an artist who succeeded in reconciling the old with the new, the ancient with the modern, naivety with wisdom, transcending cultural movements to establish himself through simplicity, perfection, and universality. His work, characterized by pure forms and archetypal symbols rooted in folk art, became a source of inspiration for many Romanian composers, directly influencing their approach to musical creation, encouraging them to abandon unnecessary complexity and seek the essence of sound and musical emotion. A significant work in this regard is Symphony No. 3 Ofrandă lui Brâncuși (Quasi una Fantasia) by Viorel Munteanu – one of the creators who, like Brâncuși, managed to concentrate a wide range of original ideas and innovative compositional techniques in his artistic portfolio without breaking away from national spiritual roots. Symphony Ofrandă lui Brâncuși is a mature opus, well-conceived and well-proportioned, masterfully written and orchestrated, full of both new and old ideas (as we recall Eminescu's "all that is old is new again") embodied in five movements linked by a unique concept, highlighting techniques used by the composer in other works, but in this special context, they are enhanced and combined to achieve an impressive sound effect that is both innovative and restorative. The symphony's music embraces the word with a tightly woven sonic fabric, releasing the profound meanings of Brâncuși's aphorisms, Blaga's poetic language, and sacred verses from the Bible. The symphony impresses with several elements: the control of pitch organization, rhythmic and dynamic diversity, the ingenuity of orchestral writing, the natural flow of its formal structure, meticulous notation, and an expression that is both universal and national, where modalism and atonality meet influences from folklore, church music, and the great European symphonic tradition.