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The 20th century meant for the Romanian folklore the beginning of a process which led it towards the collapse that other cultures (the Italian, French, English, German ones, etc.) had experienced two or three centuries ago: the process of its disappearance through integration into the general musical wave meant for consumption and entertainment, and partially through being used by composers in genres of the erudite music. This process started with the appearance of the Romanian Radio Broadcasting Society (December 22, 1927). Broadcasting folklore by radio generated the new phenomenon of folklore consumption. This aspect triggered a shift of the accent from the daily folkloric performance within the process of developing diverse (household, agricultural, shepherding, etc.) activities by the peasants, which automatically involved the permanent functioning of the anonymous creative spirit that offered a profound individual satisfaction, onto (comfortable and passive) audition meant for (individual and collective) pleasure and enjoyment.
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From the sensorially faithful imitation representations of plant forms and of the dynamic (increase), metaphorical behaviour of nature, an artist’s path is motivated by the scientific and technical discoveries of the social and historical context in which he performs, and which gradually changes its orientation more and more towards an artistic conceptual development and to attitude art in contemporaneity.
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An identification of the genres covered by the works of Sigismund Toduţă is illustrative in order to prove its area: from vocal, choral, vocal-symphonic and theatrical works, up to the symphonic and chamber areas. Nevertheless, one of the most widely spread genres of the time, the string quartet, seems not to represent the thinking of the composer from Cluj.
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History of European thought is constantly crossed by the presence of the symbol in all its diversity of existential and spiritual manifestations. By extension, the visual arts have to do with a key binomial, namely imagined reality versus symbolic reality. The “old” Heraclitian “materials”: water, air, fire and earth, become from the second half of the twentieth century work materials used by artists in their creation.
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Scientific argumentation of the permanent reversion into the synthesizing tendency, to purification and simplification of the plastic – sculptural form, along the history of the art. The privilege of the form to periodically gain its freedom by the creative imagination of the artist, by the need to give always a new plastic sense to the “line of the absolute return”, either on own account, or in the name of a new aesthetics, crossing over parallel worlds in the eagerness to become elementary and simple.
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Not surprisingly, the Madrid Codex is part of the endless number of studies done during his life by Leonardo da Vinci, standing alongside Codex Leicester, Codex Atlanticus, Codex Trivulzianus , Codex Arundel, Codex Forster or its Flights of Birds Codex, the Painting Treaty or Manuscripts in Paris. However, surprisingly, is that after 500 years, Joseph Beuys interpreted in his own way this document, in which the idea plays crucial role, by bringing together images, notes or charts.
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The Romanian Constitution, adopted through a referendum on December 8th, 1991, had the goal of balancing the powers of a head of state elected directly by the people and a strong Parliament. However, the living Constitution twisted normative intentions into a different political reality. In order to deal with this issue two almost parallel and quite opposite processes for the revision of the Romanian constitution have been undertaken recently, one is favourable to hyperpresidentialism, while the other calls for a rebalancing of the Romanian political system rather towards parliamentarism. This confrontation at the level of Romanian institutional and normative practices raises once again the ontological and conceptual ambiguities of the said semi‐presidential political system, and poses even more sharply the theoretical question of its appropriateness to the context of countries in democratic transition.
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This article explores parliamentary oversight under semi‐presidential systems, and chooses the new phenomena of “atypical foreign affairs” as the object of its examination. It takes countries all of which are semi‐presidential, France, Romania and Taiwan, in its case comparison. The “atypical foreign affairs” refers here to France and Romania’s dealing with EU legislative affairs, as well as Taiwan’s handling of Cross‐Strait affairs. We take the perspective of historical institutionalism in comparing the countries and apply its theoretical elements, such as the historical path, the rational choices of key actors and situations factors (role, time, and precedent), and we divide the stages of parliamentary oversight into “ex‐ante,” “mid‐action,” and “ex‐post” in making deductions and providing logic concerning how institutional design comes about as a result of many situational factors in parliamentary oversight. In addition, this research provides further deductions concerning the oversight results arising from various institutional designs. In summarizing, France was one of the creators of the EU, and has a relatively long period of experience in dealing with its affairs. While it did not initially have precedents to follow, its executive showed strong desire in its proactive advocacy for EU affairs, and its rules allowed parliament to express opinion at the ex‐ante stage in order to lessen the possibility of ex‐post boycotts or backlash. In contrast to France, Romania was a “successor” in the EU, and its parliamentary oversight design had prefabricated norms it could follow: it created an ex‐ante oversight system based on the “Lisbon Treaty” written by France and other early EU members. In addition, the allowing of legislators to also serve as cabinet members in Romania’s “semi‐presidential” system opened up for the Parliament an extra avenue for oversight in the ex‐ante and mid‐action stages. Theoretically and logically, this should lead to fewer waves of opposition in ex‐post scrutiny. With respect to Taiwan and Cross‐Strait relations, it has insufficient experience in handling of Cross‐Strait affairs, and still lacks precedent. Also, its parliamentary oversight design tends to accord with the executive authority’s maximization based on rational self‐interest. As such, the legislature is allowed to participate in ex‐post scrutiny only. This institutional plan ensures there will eventually be a backlash in the legislature.
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The works of Maurice Duverger on political parties, electoral systems and on the French Fifth Republic, provide a theoretical frame for the so‐called “semipresidentialism.” While those elements have lost influence in France, both in legal and political Science debates, they are still prominent in many other countries. The aim of this paper is to propose a critical reading on those papers, showing that his concept of semi‐presidential regime lacks of consistency on one hand, and that on the other hand that the French Fifth Republic cannot fall under this categorization as developed by Duverger.
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The survey on Belgrade’s identity was created and conducted on a sample of citizens of Belgrade, tourists coming from Serbia and from abroad, as well as the representatives of organizations and institutions in the domain of culture, arts, education and marketing in the spring of 2006. The open-question anonymous survey organized for tourists and citizens of Belgrade was done according to quota sampling. The interviews with representatives of Belgrade in culture, arts, education and marketing were part of a non-random sampling. Throughout the interviews with citizens, city representatives and tourists some new perspectives of Belgrade were introduced and others were confirmed. During the survey, Belgrade was identified as a city where dominant events were from or connected with a tradition of wars (Autonomy from the Turkish Empire, various bombings of Belgrade) and the political events from recent history - October 5th, 2000. Personalities best representing city of Belgrade were mostly politicians (dr. Zoran \in|i}, Branko Pe{i}, Despot Stefan Lazarevi}, Prince Mihailo Obrenovi}, Prince Milo{ Obrenovi}, King Petar I Kara|or|evi}, Josip Broz Tito and Slobodan Milo{evi}), but also some personalities were from the cultural field (Mira Trailovi}, Du{ko Radovi} and Ivo Andri}). Spatial identity of the city was dominated by the Belgrade fortress, maybe not the oldest but the most persistent trace of previous periods. Among other spatial characteristics, interviewees recognized Prince Mihailo street and Republic Square, Skadarlija street, the National Theatre and confluence of the Sava and the Danube, Konsan~i}ev venac and museums. The exciting parties and fun were still the best characteristics of the city according to the tourists. The PR and marketing of the city was not evaluated as good, since almost all of the mentioned tools are not properly, effectively and efficiently applied.
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