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La ţigănci [With the Gypsy Girls] by Mircea Eliade is one of the texts that enjoyed several versions in different artistic languages – theatrical, musical ones, cartoons, film projects, audiobooks –, although its thematic universe is far from the entertainment area. This fact confirms the richness of the literary text and the possibility of its transposition/translation into different semiotic codes, preserving at the same time its ideational content.
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Le poète des Métamorphoses, des Heroïdes et des Fastes, celui qui a fait de la mythologie le thème de son chef-d’œuvre, Ovide inclut le mythe aussi dans les deux recueils d’élégies de l’exile, Tristia et Epistulae ex Ponto, de sorte qu’on peut constater une permanente alternance entre la mythologie et l’histoire concrète, entre le mythe et la réalité humaine.Le recours à la mythologie dans la poésie de l’exile doit être compris comme le résultat de l’aspiration du poète vers une certaine objectivation et vers le symbolisme révélateur. L’auteur utilise le fonds mythologique comme élément de comparaison pour des histoires courantes et, souvent, devient rhétorique, soit pour atténuer ses chagrins, soit pour nous mettre dans la situation de recevoir directement leur message émotif. D’autrefois, Ovide fait usage du mythe pour suggérer des réalités plus profondes qui, à cause des circonstances politiques, ne pouvaient pas être exprimées expressis verbis sans mettre l’auteur en péril.Cette œuvre regroupe une série de personnages mythologiques qui deviennent des emblèmes clef de l’exile ovidien qui servent pour exempla en divers moments de ses élégies, de manière que la réalité historique et la fiction mythique se réunissent dans une symbiose parfaite
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The sense of the History approaching is granted through classical ways of writing – a special type of inscription enhanced by documentation or artistic virtues. Nevertheless, an extremely rare privilege can be considered the direct contact with the beauty creator, grateful to posterity as the heir of sometime a more distant past or a more recent one. Ioana Postelnicu, originating from Poiana Sibiu wanted to become what once was the well-known Romanian poet, Octavian Goga, – an ambassador of his people. So she wandered through shepherds villages, and specialized museums throughout Transylvania and Bucharest, in order to trace the spiritual individuality of the peasantry in general and of the sheperds in particular. The fruit of her work is “The Vlaşins”, a work that resists in Romanian literature.The recorded meetings with the author – several hours of discusions – revealed important information regarding the creative laboratory as well as the past world in which she had lived in. The present paper proposes a radiogram of the affective memory of the writer filled with various types of textualisations.
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Pupa russa is a male’s novel having a female protagonsit; thus, Gheorghe Crăciun is another Gustave Flaubert awarding himself a womanish identity through the power of fiction, an androginous being retrieving, by means of literary creation, his long-lost half. Under these circumstances, the present paper tries to reveal the positive valency of the bovaric phenomenon, as androginous manifestation: the novelist, an intelectual male obsessed with the frailty and precarious condition of human life, too short and incosistent to be relevant, completes himself with a more abiding existence, living Leontina’s bookish life. Therefore, bovarism is not only a pathological disabilitating disruption, but also a sanitary unification, a rescuing self-completion, that makes the individual stronger and tougher in hist fight against time.
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La série synonimique – fragmentarisme, décomposition, écartèlement – se propose à illustrer la modalité cioranniene de rédiger, une méthode pleine de valences esthétiques, valeurs existentielles, psychanalitiques. La recherche compare deux essais biographiques qui retracent la vie et l`oeuvre de Cioran. Dans les portraits de L`exercices d`admiration, l'un des points de départ d`Ilina Gregori - Cioran. Sugestii pentru o biografie imposibilă, le philosophe parle de soi-même, l`introverti, l`égocentrique incorigible, Les Exercices... étant un élément essentiel de sa philosophie qui pivote autour de l`individu, de l`identité. Nous croyons qu`il ne s`est pas proposé de surprendre le monde littéraire par l'aspect fragmentaire de l`écrit; pourtant, cela évoque parfaitement sa structure psychique angoissée, scindée. Peut-être qu`il n'était pour le grand spectacle du logique, c`est encore que le fragmentarisme désigne une structure intérieure greffée sur Nietzsche et Pascal. Un Cioran ambivalent, partagé entre le morbide, le régressif par la peinture des morts et la rédemption par le portrait même, les deux pôles plus représentatifs par rapport au couple intérieur-extérieur, proposé par Ilina Gregori, dont la source d'inspiration se trouve dans la philosophie de Schopenhauer: la pitié et la méchanceté. On a mis en évidence le style de Cioran, la forme fragmentaire, destructurée, aphoristique de son écrit. L`essai biographique de Stéphane Barsacq Cioran. Ejaculări mistice în oglindă est centré sur la perspective religieuse, mystique, théologale de la vie du philosophe roumain, depuis que chaque journal ou biographie est un devenir du héros, une initiation aux mystères du monde. Le journaliste tente à effacer le versant roumain de l`oeuvre cioranienne, en la jugeant d`hystérique et désagréable, tout en prenant Cioran pour un sacré tombé et ressuscité grâce aux moralistes français, une tentative de s'emparer de Cioran pour la culture française.
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Notre recherche propose une approche sémiotique de l’altérité au niveau du discours economique, défini, de manière générique, comme le discours portant sur les problèmes pécuniaires. L’altérité est décrite dans le cadre d’un modèle chronotopique, dans un contexte culturel comprenant plusieurs axes de référence (séries chronotopiques): la dimension ethnique, la dimension de la corporalité, la composante corporatiste et celle des protocoles de la communication. On analise les représentations de l’altérité configurées au niveau du parler d’un îlot linguistique propre à la minorité ethnique et culturelle des Csango de Roumanie
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The terms belonging to theatre have been permanently transferred and adapted to various epistemic spaces, in the pursuit of organizing a coherent explanation pattern, the “script” being the “the speaking stage that the discourse involves in order to be produced and that, in exchange, needs to confirm through its utterance” . “The communication discourse” promotes understanding based on inferential reasoning, structured by the fundamental principles of conscious learning whose results will configure the identity of the cognitive structure of the teachable subject. This primary understanding, pertaining to the logical significance, will be a condition for further acceptance of an interpretation course, based on heuristic processes, on the consistent character of learning, reflected within the relationship with the incorporated information belonging to the student’s knowledge. The passage from potential to achievement is dependent on the intention and desire of the sender who has to translate an interior need. As part of the teaching discourse, “the creative discourse” is the practice context of the student’s creative potential, tributary to the development of the “lecture competence” with reference to Romanian as a school subject, aiming at the conscious approval of the interpretation process. This can be described in terms of labor concerning the creation process, the literature context facilitates the relationship between the education subject and various “paratope” belonging to Romanian and universal literature, through which the reaction to the symbolic valences of the literary works can be obvious. The identification process between the reader and the creation substantiated through a “school trial” should start from the re-enactment of the author’s labor process, through a participative activity associated to the questioning labor, organized according to the textbook score. It has to provide the student an understanding and interpretation pattern in order to guarantee a “successful” reading, that should harmonize various interpretation strategies.
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This paper aims to highlight the importance of regularity and other specific elements with the weekly publications (in our case, Formula AS) on editorial discourse. Thus, in addition to some common stylistic and discursive features of any non-journalistic publication (false actuality, preferential valorization, synthesis of information etc.), we depicted in our study a new genre that we, for the time being, call the “usurped title” editorial. Its uniqueness lies right in this blending type: of style, methods and subjects. Progressively different from the political commentary, this new sort of editorial is getting more and more appealing (at least in Romanian media space) confirming, if needed, an important tendency in media trend: its orientation towards style, emotion, pathos and expressiveness at the expense of argumentation, of credibility, of logos. Without getting involved in current deviations from ethical and professional standards, we limit ourselves to ascertain this new journalistic discursive reality: an indistinct mixture of subjectivity and neutral reading mixture that gets out of control, a combination of information and commentary, along with undeclared and unconfirmed sources.The study of the editorial with “usurped title” shows not necessarily the decay of a journalistic genre until recently very important, but the nowadays trend of Romanian media. Redefining trend is present at all levels (theme, style, approach). The trend of globalization of journalistic discourse makes possible the disappearance of many differences between daily and periodically newspaper. Current media has become exactly what prophetically announced McLuhan (1975) - a press that expresses only itself, with a profound subjective assumption and an increasingly visible stylistic game.
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Nowadays new informational technology finds its roots in the technical revolution that had started in the fifth decade of the past century. The e-learning models in Romanian educational system are from an older generation of learning type. In the last two decades, this system has evolved significantly. The internet, as the whole source of reliable source of information, offers the guarantee of a quality at least equal to one of a huge academic library. Our interest is to depict the roles of web sites and portals of prestigious academic institution or research institutes, scientific and cultural publishing houses in specialized education.
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Vasile Spiridon - UN MAESTRU AL SUBTERANEI ÎN TURNUL BABEL - Luminiţa Corneanu, Leonid Dimov. Un oniric în Turnul Babel, Bucureşti, Editura „Cartea românească”, 2014; Floriana Popescu - NADIA NICOLETA MORĂRAȘU: THE STYLISTIC IDENTITY OF ENGLISH LITERARY TEXTS - Nadia Nicoleta Morăraşu, The Stylistic Identity of English Literary Texts, Editura „Alma Mater”, Bacău, 2014; Florinela Floria - VASILE ALECSANDRI LA O NOUĂ LECTURĂ - Adrian Jicu, Mon cher Basile. Eseu despre identitarul lui Vasile Alecsandri, Editura „CasaCărţii de Ştiinţă”, Cluj-Napoca, 2014; Gabriela Furtună - EMRAH POLAT: CÂINII MERG ÎN... PARADIS - Emrah Polat, Câinii merg în... Paradis, Editura „Vivaldi”, Bucureşti, 2013; Ramona Lescaie - GHEORGHE CRĂCIUN: FEMEI ALBASTRE - Gheorghe Crăciun, Femei albastre, Editura "Polirom”, 2013;
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We dedicate this magazine issue, in general, and this dialogue, in particular, to the connections that art and religion have had over time. The discussion partner is Mr. Constantin I. Ciobanu, a well-known historian and art critic. The topics around which the dialogue is made are: the relations between art and religion as two fundamental concerns of humanity; the meeting places and the differences between the aesthetic and the religious feeling; the forms of artistic transmission of the religious message; artistic expressions of faith in the Christian world; the contribution of the principles of Christianity to the enrichment of the cultural-artistic treasure of humanity; the influences of the mosaics on the walls of the Byzantine churches on the development of the later art; religious kitsch and how we distinguish true art.
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In this study we took into consideration the subject of the impact of human powerlessnessduring the historical times of disasters, cataclysms, human tragedies on the faith in divine providence,reflected in the Romanian parabolic novels Three hours in hell (1970) by Antonie Plămădealăand Apocalipsis (2019) by Adrian G. Romila.The aesthetics takes of the parable novels selected in the study are the edification of being andengaging in subtle debates regarding the values of an entire spiritual space, the accumulation of newsenses radiating to reflect on the serious phenomena, on the critical times in our history and on theabsurd condition of a tragic time, affecting the status of the human being, its natural dimensions, withregenerative effect: the free, doubtful thinking, without imposing ideological grids, which are aware ofthe difficulties of survival.
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The Dialogue with the famous art critic, professor and director of the Institute of Art History „G. Oprescu” from Bucharest, Dr. Adrian-Silvan Ionescu, its develops around the theme of the current employment of art in the needs of the city, of society in general. The questions that have been tried to be answered are whether it is still possible to engage in politically engaged art, agitating art, militant art; whether today’s artist can maintain the level of missionary and progressive employment without being the messenger of any sponsor (governmental, political, commercial etc.); what is the role of art engaged in contemporary art and what category of artists are more called today to get involved in alarming social situations.
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In the age of living heraldry, the notion of „heraldic art” covered the profession of theherald in all its manifestations related to coats of arms. Later, two other meanings were added: „the artof composing a coat of arms” and „the art of drawing a coat of arms”. After explaining the three meanings,the author follows the evolution of heraldry as an applied art in Europe, the limits imposed onartistic creation by the science of heraldry, the material on which the concrete image is made and theartist’s working tools. With reference to the Romanian heraldic art, it is shown that it was present in theRomanian space since the origins of Romanian States and was synchronized with the models and thefashion of the time from the countries with organized heraldic institutions, with which the Romanianshad political, economic or cultural contacts. After the state unification of the Romanians, the premisesfor the appearance of a national school of heraldry were created: first on the scientific segment, andfrom the second half of the twentieth century on the artistic one.
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The study brings to the attention of the public several churches with a triconch plan in Chișinău, which have survived the changes in architecture that have occurred over time. The Church dedicated to the Assumption of the Blessed Virgin Mary, known as the Mazarache Church; Annunciation Church, the Church-martyr Saints Archangels Michael and Gabriel, known as the Old Council; Church of St. Ilie. We follow the way in which they were represented by the plastic artists Șneer Cogan, Gheorghe Munteanu, Ludmila Țonceva, Veaceslav Ignatenco, Galina Cantor-Molotov and others.
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The author of the article comes with new information selected from archive sourcesand field research with reference to the clothing of the population of Chisinau in the first postwardecades. The garments from these times had the elementary role of „dressing” the majority of the populationin order for them to become an identically dressed mass. In Chisinau were concentrated mostgarment workshops, a tradition well known in the interwar period, where tailors were working, followingfashion trends and offering customers fashionable pieces. In 1947 opens the first fashion housein the republic. The workshops and factories were subordinated to the Moldovan Industry Council,fulfilling various state orders in the field of clothing production. In specialized workshops, stylizedfolk costumes were produced to represent a synthetic national costume, imposed by the authorities onthe population of the Moldovan SSR. In this context, the Moldovan SSR Clothing House was just oneelement of the network of similar institutions, which appeared almost simultaneously in the capitals ofthe Soviet republics and in large cities on Russian territory. The assistance provided by the institutionby expanding the offer has contributed to the development of the service providers sector consisting ofworkshops aimed at making custom-made clothes and national costume pieces.
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In promoting the tourist image of the Republic of Moldova, the significance of Chișinăuis indisputable. Likewise, city tours must be in line with the expectations of the capital’s guests andcreate an attractive image.The article comes with the analysis of the share of tours through Chișinău inthe hiking activity during the Soviet period and at the present stage, the themes of the excursions andthe perception of their quality and those gaps, which are to be clarified in the interdisciplinary project.Following the research, the authors managed to capture most of the strong ideological character ofthe trips through Chișinău during the Soviet period. At present, the trips through the country’s capitalhave lost the strong ideological character of the previous period, but they have largely preserved the hikingthemes, especially the city tour. At the same time, in the last 3-5 years, a new generation of guideshas appeared, experimenting with the theme of tourist circuits through Chișinău and have greatly diversifiedthe excursion offer of the country’s capital.We consider that the work of the interdisciplinaryteam of the project will increase the veracity and quality of the information about the tourist objectivesin the city that will essentially change the tourist image of the Chișinău.
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In the study, the authors approash the subject of foreign students enrolled at the MoldavianState University of Medicine and Pharmacy “Nicolae Testemitanu”. The first foreign studentsstartied their studies at USMF “Nicolae Testemitanu” on September 1, 1990. They came from countriessuch as Ukraine, Russian Federation, Azerbaijan, Belarus, and also Romania, Italy, Syria, Sudan, Turkey,Israel, Palestine, Jordan, Morocco, etc. Over time, the number of foreign students has increasedfrom 1,000 to more than 2,000 people. The training process of foreign citizens was considered a strategicdirection and a priority activity for all subdivisions of USMF ”Nicolae Testemitanu”, an objectiveon which the future of the institution largely depends. The university is a leader among higher educationinstitutions in the Republic of Moldova in the export of “gray matter” in the form of training ofcitizens from other countries.
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The Romanian writer George Dorul Dumitrescu arrived at Chișinău in 1933 and workedfor a time as a substitute teacher of Romanian at the „Regele Ferdinand I” Military High School. In1944, a memoir about Chișinău appeared in Bucharest, entitled The City of Remembrance. Thanks tothis book, we have the opportunity to recover the image of Chișinău from the interwar period with allthe urban and cultural acquisitions, acquired in more than half a century under two political regimes.The author of the memoirs takes us imaginarily through a representative urban space of Chișinău. Oneby one, as the reading progresses, the center of a „special brilliance”, the wide boulevards and the cleanstreets with tree salong, the massively built building sand the elegant gardens take shape. For anyonewho wants to see this literary representation imaginarily reconstructs, like current digital technologies3D, a true „western city”. From The wanderers in thekidnapped land by Dumitru Moruzi, George DorulDumitrescu created perhaps the widestand most amazing panorama of the city in the literary space.
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This study touches upon the projections of Chișinău, as these result from Gala Galaction’spublicist activity, scattered in “Viața Basarabiei” (Life of Bessarabia), “Dimineața” (Morning),“Izbânda” (Victory), “Adevărul” (Truth), “România” (Romania) etc. The social, cultural, imagologicalaspects and transformations that Chișinău underwent during the two interwar decades are captured.It reflects the urbanistic aspect, the relief marked by vineyards and coasts, the cultural life and the wayof being of Chișinău inhabitants. The publicist outlines the image of a heteroclitic Chișinău, built onenthusiasm and stagnation, optimism and slowdowns, ascendancy and provincial complexes. However,a strong attachment and a deep involvement in the spiritual life of Chișinău results from all theevocations.
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The writer Sergiu Matei Nica (1917–1973), considered one of the most representativeBessarabian poets and publicists, configures in his texts a stratified, mobile Chișinău urban space froma heterogeneous contiuum of experiences, remembered by confrontation with major historical-socialor political traumas. The moving fictional radiography of Chișinău converges towards the creation ofnostalgic products of the mnemonics of multiple experiences and the understanding of urban space asa living space that shapes collective images. Multilocation by analogy with multivocality expresses inSergiu Matei Nica’s texts the reflective relationship with the city, the different experimentation dependingon the change of place identity and the complex historical: the interwar city of youthful memories,of the remembrance of bohemian life in all sectors of the capital, of the tragedy of June 28, 1941; the cityguarded by superhumans from poetry published in volumes, periodicals and unpublished, but also thecity of seminarian experience, the destroyed city, through the fire, of the bitterness of the irreparable,with a strong trace of alienation on return and the Soviet city with a severely changed soul from shortprose, the city of longing dreams of the convict at forced labor at the Danube-Black Sea Canal, of thefugitive who lives another inner existence from original newspaper pages.
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In the interwar period Chişinău was the second Romanian city in size and importance.The municipal authorities carried out some series of urban development works, technical modernizationextended to the transport structure and communications. The urban planning documentation waselaborated.At that time, several buildings of remarkable architecture were designed, some of which were notfully completed due to the world economic crisis of the 1930s (the Palace of Culture of the Union, today’sNational Theater “Mihai Eminescu”; the National Theater, today’s cinema “Patria”; the Officers’Club, today’s “Mobiasbanca”). Among the new buildings that appeared in Chişinău were the boardingschool for the children of the railway workers, the building near the Metropolitan complex, the casino,etc. There were built several personal villas and wealthy houses in the city. The elements of modernistarchitecture could be combined with those of neoclassical architecture, with those of “neo-Romanian”architecture or with details from the Art Nouveau repertoire. The architects Nicolae Mertz, GheorgheCujbă, Gheorghe Cupcea, Nicolae Ţâganco, Eugen Bernardazzi, Ecaterina Ocuşco-Alhazova, V. Ulinici,Rudi and others contributed to the image of interwar Chişinău.
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The article presents the history of Chișinău from its first stage of existence as a rurallocality near a tatar campand to the fair in Lăpușna. A subject of clarification is the etymology of thetoponym “Chișinău “. The first documentary records of the estate, then of the village, of the fair withthe first economic and social mutations are reviewed. The central leadership of Moldova also contributedt the strengthening of Chișinău as an urban locality, especially during the reigns of Vasile Lupuand Eustatie Dabija. In 1677, Chișinău is also mentioned in Miron Costin’s work, “Polish Chronicle”,and in 1684, in “Polish Poem”, as a small town in the land of Lăpuşna. In the next historical stages, theadministrative and economic status of Chișinău will gradually increase.
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On March 2, 2020, the President of the Republic of Moldova signed Decree no. 1475-VIII regarding the registration of some territorial symbols of Chișinău municipality. By this act, theurban signs, approved by the Decision of the Chișinău Municipal Council no. 5/2 of December 19,2019, were registered in the General Armorial of the Republic of Moldova: the coat of arms and the flagof Chișinău municipality and the coats of arms and flags of the Botanica, Buiucani, Centru, Ciocanaand Râșcani sectors. The new municipal coat of arms is a “large coat of arms”, which preserves as a“small coat of arms” the old coat of arms from 1930, resumed in use in 1990 in another graphic version,completed them with supporters (two water towers), motto (“By ourselves”) and increases the tinctureof the municipal crown from Argent to Or. The new municipal flag, in which the white field predominates,represents an adjusted version of the flag in unofficial use since 1998. The coats of arms and flagsof the sectors of Chișinău municipality represent a premiere for the urban symbols of the Republic ofMoldova. They have been developed in the complex, are similar in structure and introduce, in additionto the specific emblem, different custom colours for each sector.
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The dialogue partners in this issue know the city of Chișinău very well. Alexandru Corduneanu is a poet, a publicist and former deputy mayor of Chișinău, and Anatolie Gordeev, an architect with more than 40 years of experience, was the chief architect of Chișinău between 1985 and 1989.The topic of discussion is the importance of aesthetics in establishing and even surviving a city. It examines whether the space of old Chișinău can be analyzed from the perspective of evolutionary aesthetics, if the space where it was built was good for fortification constructions, we still have, like all cities with medieval history, old walls to fill the agendas of tourists, if potentially creativity must always be renewed and if a city needs poets, writers in general.The main axis and the current nuclei of the city, the essential routes of food circulation were specified. There was talk of the extent to which the arts in Chișinău reflect the structure of Chișinău residents. An attempt was made to answer the question that the city of Chișinău currently lacks, what else should it build to look more beautiful, more attractive to humanity and what are the strong images that make up a brand.
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The psalter composed in verse represents the most important and renowned writing owed to humanist scholar and hierarch Dosoftei, impressive through its age and literary value. A premiere in the history of Romanian literature, it was translated from Eastern sources between 1665 and 1670 and in 1673 it was printed in the cultural centre which was the Orthodox Monastery in Uniev (Galicia). The cult book comprises the text of the 150 psalms in rhyming lyrics of various lengths, organized in 20 kathismas. The versified work of metropolitan bishop Dosoftei led to the creation of an original poetic language and was called by the classics of Romanian contemporary literature the first and most valuable monument of poetic language within the medieval Romanian space.
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The purpose of this article is to reproduce the transliteration of a 19th century Romanian manuscript written with Cyrillic characters, more precisely a Romanian translation of an imaginary speech by 4th century Greek rhetor Libanius (Declamation no. 26 – the speech delivered in front of a city council by a man who wants to be allowed to commit suicide in order to escape from his much too talkative wife). Based on a Greek annotation on the cover of the manuscript (a list of nouns), it may be assumed, but not concluded, that the translation was made from Greek. Also, there is no information regarding the author of the translation. What makes the manuscript noteworthy is the fact that it represents the only Romanian translation of a text by Libanius known so far.
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In this article we tried to analyze the atmosphere in which the balls took place at the Royal Court during the reing of Charles I. The first ball organized by prince Charles I took place in 1867, with 800 guests attending the event. Then, during the reing of King Charles, two balls were to be held each year; the grand ball taking place of the evening of December 31, and the second ball in February. Thought both events well very well organized, the guests spending time in an elegant and refined setting, it is found that the first ball of the year was more democratic, with a large member of guests taking part in the event. Instead, the second ball was smaller, with guests always including members of the government, members of the diplomatic corps, the most important dignitaries and officers. Althought people from the different social conditions were invited, the king Charles wanted the etiquette and the protocol to be strictly observed, each guest knowing from the reception of the invitation in which salon he will spend the evening and implicitly with whom he will socialize. Thought the balls were organized in the smallest detail, sometimes there were incidents. The palace ball were a opportunity from king Charles to cultivate feelings such as honor and generosity. Through balls, the royal family came into contact with the Romanian and European elites of the time, these events having the character of the official and popular celebrations. In addition to being a way of socializing and entertaining, the bals organized at the palace also had a pragmatic purpose stimulating trade.
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The article proposes a new reading model illustrated on the novel The Name of the Roseby Umberto Eco. The model balances the research of intratextual instances with the study of extratextual ones. At the same time, individualized by the “syncretic” eterminant, the model presupposes a three-dimensional approach, from the perspective of dialogism, intertextual theory and sociocriticism. The need to conceptualize a syncretic model of reading is conditioned by the characteristics of modern and postmodern texts. Starting from the dialogic principle and the idea of perspectivism, the syncretic model of reading aims to overcome the problem of inadequate, partial and rigid interpretations. The syncretic reading algorithm involves three stages: Pre-reading, Proper reading and Post-reading, each of which, in turn, requires a series of operations to be performed. The syncretic reading exercise based on The Name of the rose illustrates the applicability of the conceptualized model, the efficiency of the steps and operations to be performed.
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Innovation in the field of literature has made us feel the need to renew the instruments in the domain of literary criticism and theory. The difficulty has already appeared at the stage of defining the new concept of literature, the overcoming of which could be a suitable ground for the theorizing of the digital literary phenomenon. In this article we propose to present a series of definitions of the traditional concept of literature issued by theorists such as R. Wellek, A. Warrenn, T. Eagleton, J. Culler, A. Marino, Gh. Crăciun, in order to access the definition contemporary concept of digital literature, presented by E. Aarseth, I. Berszán, Ph. D. Bootz, R. and C. Ghiță, L. Malomfălean, M. Ursa and A. Vuillemin. The traditional definitions create the background on which the theorizing of digital literature, of the ergodic text manifested in the literary space in the last decades. The approached historical perspective facilitates the establishment of a path of evolution of the concept of literature and the adequate definition of the new literary forms. Based on the traditional definitions, one of the digital, cybernetic literature is outlined, which introduces new types of texts: hypertext, intertext, cybertext and ergodic text - as an integrative term for them. In the age of digitalism, literature does not resign, and the crisis proves to be a pretext for the manifestation of the new literature.
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In the Romanian Principalities, society balls were held between 1st of January and Lent. Everyone was eager to revel in this joyful period to the full. The prosperous upper classes and those less well-to-do all made preparations and saved substantial amounts of money for this purpose. Satirists found balls to be a rich source of inspiration for their humorous writings. N. T. Orășanu, I. C. Fundescu, Iorgu Caragiale and his brilliant nephew, Ion Luca Cargiale, wrote about them with great perception and wit in contemporary periodicals.
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The Second World War, for the population of Romania from the east of the Prut River, began with the annexation of 28 June 1940, based on the secret additional protocol of the Soviet-Nazi pact Molotov-Ribbentrop Pact of 23 August 1939. Thus, the period June 1940 – August 1944 in memory of local communities preserves multiple traumatic memories of political repression, mass arrests and deportations, war disaster and human losses on both sides of the front, including massacre of the Jewish and Roma communities, epidemics, evacuations and mass destruction – issues sequested to historical knowledge for a long time. This study aims to elucidate the image of war, reflected in the childhood universe of a segment of voices marginalized by the discourse of Soviet historiography – the cohort of “children of enemies of the people”, emerging in the first year of forced Sovietization in the Moldavian SSR. Their memoirs on the events surrounding the Second World War are an important source for synthetic studies on the totalitarian past, but also for researching the impact of Soviet policies on contemporary society of the Republic of Moldova.
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Since the first years after the annexation of Bessarabia, the Russian administration has established the administrative system according to its own model, “solving” the problem of including the elements of the functional social system in the Principality of Moldova to those of the Russian Empire system by recognizing the personal non-patrimonial rights of the representatives of the native privileged categories. The classification of the privileged Moldovan categories from Bessarabia, as superior social elements of the Romanian hierarchy, which include all the boyar estates(social categories), was removed, from the beginning, from the equation of classification, being dissolved in the first half of the 19th century. In this sense, the inclusion of the boyars from Bessarabia in the Russian social estates system and the administrative system occurred through the recognition of personal non-patrimonial rights stipulated in the Regulation on the recognition of the quality of dvorean in accordance with the Moldovan ranks and privileges. Thereafter, with the application of this normative act in Bessarabia, the nobility was liquidated as a social category.
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Excerpted – with some amendments – from a much wider study, this passage was published in the volume The Decalogue of my time (Cluj-Napoca: Mega Publishing House, 2019) and was aimed at the metamorphosis of both cultural identity as well as the artistic product starting with the second half of the past century. The considerations predominantly refer to the urban space, but they can be extended to other environments as well. Some of the most diverse manifestations of culture and civilization are displayed in order to support the expressed notions, which, bearing the postmodernist imprints, renew the very existence of the stronghold and stimulate the interhuman connections, allowing at the same time – through the affluence of alternatives - the multiplication of beneficiary categories of the cultural product. Aspects such as manipulation of the aesthetic taste and the kitsch metastasis are not overlooked.
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At the National History Museum of Romania (NHMR) are preserved some objects which illustrate the history of the Brătianu family, the “dynasty of Argeş County”, as it was called during the interwar period, starting from Ion C. Brătianu and Dimitrie C. Brătianu and continuing with Ion I.C. (Ionel) Brătianu, Vintilă I.C. Brătianu and Constantin I.C. (Dinu) Brătianu. Founders of modern Romania, of the National Liberal Party and then of Greater Romania, the members of the Brătianu family also remained in the country’s history through material testimonies of their lives, which were kept and became part of the NHMR’s collections.
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The article presents the timeline of the foundation in Sibiu of a history and ethnography museum, an idea launched by Ioan Puşcariu in 1860 and later borrowed by most of the marking members of the Association. At the beginning of the 20th century, a building was erected and the Association’s Museum in Sibiu was inaugurated on the 6th/19th august 1905, with many scholars from Romania attending, Nicolae Iorga among them. The museum enriched its collection annually and during the interwar period it became one of the most appreciated and visited museums in the country. Moreover, it became a model in what concerns the organization of such cultural-national institutions.
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How can elements of Intangible Cultural Heritage such as Traditional Knowledge and Traditional Cultural Expressions contribute to enabling cultural sustainability in Romania and what is the legal framework applicable to them? This editorial advocates for the implementation of a coherent strategy for the protection and promotion of Traditional Knowledge and Traditional Cultural Expressions in Romania. The current international context demonstrates the need for innovation in this space, especially given the high occurrence of cultural misappropriation cases in the fashion and textiles industry. Although considered a niche field of law, the legal protection of elements of Intangible Cultural Heritage can become a field of law in its own right, known as cultural intellectual property law, and can generate system change in the fashion and textile industry.
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The section aims to present a selection of the most important normative legal acts, including decisions of unconstitutionality, appeals in the interest of the law, preliminary judgments and decisions of the ECHR published in the Official Gazette of Romania and republished laws.
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The section contains a presentation of the legislative process of the EU institutions, the procedures for drafting the European legislation, particularly the activity of the European Parliament, the EU Council and the Commission, and of the political events in the EU with legislative impact.
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The section contains a presentation of the most important cases brought before the International Court of Justice, the International Criminal Court and the Special Criminal Courts and also a review of the treaties or agreements concluded, the conferences being organized and the celebration of significant events with both international and national impact.
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In the judicial practice it was found that there is no unitary point of view regarding the interpretation of the provisions of art. 266 para. (41) of Law no. 207/2015, respectively if by canceling the tax obligations owed by debtors, natural persons who carry out economic activities independently or free professions, as well as associations and other entities without legal personality, deleted from the registers in which they were registered, it is understood the cancellation of said tax liabilities or only their deletion from the tax register of the taxpayers in question, without legal personality, but not their cancellation, with the consequence of their transmission to the natural persons holding the forms of independent exercise of the activities from which the tax claims resulted.
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The study is a synthesis of the Court of Justice of the European Union’s rich case-law in interpreting Regulation (EC) no. 261/2004, with the scope to offer answers to possible difficulties which may arise in applying this legal instrument. We identified the main legal issues of interest in the event of cancellation or long delay of flights, such as the autonomous notions in this legislative act of the European Union, the main rights of passengers and obligations of air carriers, the nature and conditions of the air carrier’s liability, international jurisdiction of internal courts in cross-border litigation. The conclusion drawn is that CJEU’s case-law reflects the aim of ensuring a high level of protection for passengers, through an extensive interpretation of their rights, a restrictive interpretation of the cases in which the air carrier may be exonerated from liability and by establishing the complementary character of the Montreal Convention in relation to Regulation (EC) no. 261/2004.
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According to art. 360 para. (2) of the Civil Code, the liquidation of the matrimonial regime of the separation of assets takes place, if this is the choice of the spouses recorded in their matrimonial agreement, depending on the mass of assets purchased by each of the consorts, based on which the participation claim is established. Unless otherwise stipulated, the participation claim represents half of the value difference between the two net purchase masses and is due to the spouse whose purchase mass is higher. Essentially (and elementary), determining the participation claim involves going through three stages: determining the net acquisition mass of each of the spouses; establishing the value difference between the two masses of net acquisitions; establishing the participation claim. The first of these is the most complex and practically decides the amount of the participation claim, as well as its beneficiary; the subsequent steps are nothing but arithmetic calculations that operate with values from the first phase of liquidation. We intend to draw attention to the elements without which the participation claim algorithm is only a generic equation, namely the composition of the net acquisition mass of each of the spouses and the evaluation of the assets included in those masses. In our opinion, the quasi-absolute discretion of the law in relation to the elements of fundamental importance on which the determination of the participation claim depends makes it extremely risky to assume such a plan to liquidate the matrimonial regime of separation of property, even under a meticulously detailed matrimonial agreement.
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Compared to the general, axiomatic character of the condition of validity regarding the conformity of the administrative act with the law, the article aims to identify and highlight a theoretical structure of this condition, but one which should be reflected in practice. The study begins with a presentation of the main ways of systematizing the conditions of validity of the administrative act in the national doctrine. Subsequently, to create a contrast with the approach of our doctrine, the article presentes, briefly, the vision of the French literature on cases of appeal for excess of power. Finally, using the available theoretical evidence, but, perhaps more importantly, the national jurisprudence of the last decade, the study substantiates each element of the structure of the condition of conformity of the normative administrative act with the law, namely: direct violation of law, indirect violation of the law, error of law and error of fact.
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The almost generalized practice of the Galaţi prosecutor's offices provides an opportunity to reflect on the purpose and principles of criminal prosecution, the role of the judge of rights and freedoms and the rights of the defendant in the criminal prosecution phase. The procedure used by the Prosecutor's Office attached to the Galaţi Tribunal, apparently legal, to request pre-trial detention after the end of the criminal investigation and the preparation of the indictment and the notification of the court, involves several discussions regarding the defendant's right of defense and the role of judge of rights and freedoms. and that of the preliminary chamber.
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The section contains a selection of the most important decisions of the Romanian Constitutional Court. The decisions are summarized and grouped by law subjects. The Official Gazette in which the decisions have been published is indicated, as well as the contested legislation and the pronounced solutions.
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This article aims to discern whether the dispute involving the United Kingdom Internal Market Bill stems from a fundamental contradiction between the inherent logic of the British constitutional system and its EU law counterpart. The supremacy of EU law against the constitutional order of Member States has always been the subject of conflicting views between the EU Court of Justice and national courts. Invoking a conflict between the British Constitution and certain provisions of the Protocol on Northern Ireland, the United Kingdom intends to adopt a law which deviates unilaterally from duties contracted under said international agreement. Still, even if the CJEU holds that provisions of said Protocol prevail over national legislation, British courts shall apply the United Kingdom Internal Market Act, in virtue of the doctrine of parliamentary sovereignty. Therefore, one would argue that this dispute echoes an existential contradiction between said doctrine and the CJEU case law.
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The study focuses on the Romanian Bukovinian composer Ciprian Porumbescu, insisting not on the musical work, but on his efforts for the cultural and national emancipation of the province found during his studies within the Austro-Hungarian Empire. Enrolled at the Theological Institute in Chernivtsi, he became a student of the new university in 1875 and also an active and enthusiastic member of the student society „Arboroasa”, being its president at the dissolution by the authorities. The „Arboroasa” trial aroused a huge interest from the Romanians from Bukovina and throughout the Romanian space, the acquittal of its leaders hitting the interests of the imperial government. A new academic society was born - „Junimea”, with Ciprian Porumbescu as secretary and Dimitrie Onciul as president. Arriving in Vienna, he puts his talent and experience at the service of the „Romania Juna” society. The premature death ended a struggle for an ideal that he could not see fulfilled.
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The First World War also marked the lives of the Romanian inhabitants and the communities in which they lived that were part of the former-county Alba Inferioară. In the actions imposed by the war were involved 28,688 persons from the 178 localities reviewed.Between 1914 and 1918 from the localities of the county were concentrated 28,498 Romanian inhabitants. Among those called to arms, 26,500 were employed in the active part, as soldiers on the frontline, and 1,998 in the sedentary part for auxiliary activities or mobilized on the spot. 158 other Romanian inhabitants were detained to be incarcerated or imprisoned in camp most likely because of their involvement in the national fight and 32 of them chose the path of refuge.During the war, among the Romanians mobilized, 2,368 died on the front, 654 died in detention, in exile, due to the diseases they caught or from the injuries and 1,863 went missing. At the end of the war the number of survivors was 23,803. 20,228 of them returned home fully healthy, 2,177 ill or injured which afterwards would make a full recovery and 1.398 of them disabled. 2,621 medals were received. Those that were dead or had disappeared left behind 2,150 widows and 4,926 orphans.The communities of the county had their own contribution in sustaining the war. The donation and volunt ary contributions made by the inhabitants of those communities reached a total value of 971,700 lei during the entire war. At the same time, they suffered damages that reached a total value of 1,648,800 lei.
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Armenians had an important contribution to the Great Union of Romania during the World War I. Dozens of Armenian soldiers from Romania died on duty in the line of fire for the sake of Greater Romania. They chose to fight for their new Motherland, Romania, a country which ever since the Middle Ages had offered them a shelter in harsh times. Many Armenians from the Romanian Army, like Lieutenant Gabriel Pruncu or Lieutenant Ioan Missir, were real heroes in battle. But the most important of them was General Iacob Zadik – the liberator, the peacemaker and the Governor of Bucovina (1918).
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Between the two world wars the political and military leaders in Bucharest were forced to ensure the adequate defense of Dobrudja, through which they could head off or, if the situation called for it, repel any revisionist attempt from the neighboring countries that felt cheated by the Paris treaties.In this regard there were in this period economic, political and military efforts to create a defense system for Dobrudja, while all of the Bulgarian governments, regardless of their political colors, approached an aggressive diplomacy trying to get the Transdanubian province within the borders of Greater Bulgaria.
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The article is about an unknown and, unfortunately, destroyed palace that King Carol II constructed by the Scroviștea lake, part of the Royal Hunting Estate in Periș village (Ilfov county). Built on the designs of the architect Alexandru Zaharia, in the so called mediterranean revival style, with decorative Tuscan touches, the new palace in Scroviștea was erected between 1938 and 1940 by Emil Prager’s entreprise, in addition with other outbuildings such as the Adjutants’ Pavilion, the Staff’s Accommodations and the Guard House.Finished using high-quality materials brought from France, Italy and Germany, provided with the most modern systems and facilities at the time (central heating, sanitary fittings, electricity and refrigerating machines), made by prestigious foreign companies (Sulzer Frères, Siemens-Schuckert, General Electric), the grand palace of 91 rooms - which, in 1943, impressed the philosopher Constantin Rădulescu -Motru - was not inhabited, not even inaugurated, by his august owner who abdicated and left Romania on 6th September 1940.Abandoned at the moment when almost made and kept in preservation, the Palace in Scroviștea (four buildings with 210 rooms in total), was nationalized in 1948 and destroyed in 1959, by the order of Gheorghe Gheorghiu-Dej, to give place to a modern building for the party nomenclature’s entertainment. Happily, the royal pavilions existing in the park were preserved till nowadays, as time witness of a unique royal residential architectural monument’s existence, located by the lake which, once, was ennobled by Romania’s kings and queens.
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The paper it is about the presence (1940-1943) of Liliane Eremie-Trohani, as volunteer nurse of the Red Cross in the Hospital Z (one) O (perative) 406 in Golta, in Transnistria, during the second world war, thus as it emerges from written relations and correspondence with her mother (Irma Eremie) and her husband (Nicolas Trohani), information officer in Crimea.Besides, we present “The Walk of the Red Cross Hospital 406 of Golta” written by the doctor Matei Condeesco.
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The article presents, with the help of 25 postcards discovered at an antique shop in Bucharest, the history of a family from Chirnogeni, Constanța County during the Second World War. Nicolae Carabulea, teacher, husband and father was enrolled in the Romanian Army at the beginning of the summer of 1940, when the Romanian state entered the war, and for two years he was stationed in the country, guarding the new border in Dobrogea. In September 1942 he left for the Eastern Front, where he fought in the battle of the Don bend. Nicolae Carabulea tells his wife, Georgeta, through military postcards, about life in the army, homesickness and the fear of the Soviet front. One impressive postcard is that in which he recounts how he met his brother somewhere in Russia, thousands of kilometers from home. The history of the Carabulea family is the history of thousands of families in Romania who were separated because of the Second World War.
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Nicolette Franck, a permanent correspondent for La Libre Belgique at the United Nations Palace in Geneva for 40 years, wrote about King Michael but also spied. In addition to her interest in the Romanian monarch, Nicolette Franck also focused on the international policies of the UN, on communism and Eastern Europe, but especially on the totalitarian regime in her native country. Her contacts with the diplomatic representatives of Communist Romania in Switzerland, as well as the publication of articles at a certain time favorable to the Ceaușescu regime, provided her for a time with a connection with the Securitate, the Communist secret services. Nicolette Franck was classified by the Securitate as a hostile element, which could not be trusted, being considered an agent of the Swiss and American counterintelligence services. She published her memoirs after the fall of the Iron Curtain, perhaps considering that she should have first left behind her own image of an existence lived on the tumultuous road of exile.
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The issue of official humor used by the Romanian Communist regime, through caricature, as a form of visual propaganda, will be approached from the perspective of the graphic series, Bilă, which appeared for over 5 years in the magazine “Urzica” (April 1977 - November 1982), the main humor magazine in Romania between 1949-1989, inspired by the Soviet magazine “Krokodil”. The stated intention of the magazine was to educate by capturing “mistakes, weaknesses, in their caricatured and satirical aspect - but not detached from reality – and making them public”, therefore to educate, by suggesting appropriate behaviors. Through the symbolic and affective implications, hidden, or at least apparently disguised by the humorous formula, caricatures manifested themselves as a special form of monopoly policy over information and cultural or journalistic messages, using the technique of distortion (exaggerating certain features, emphasizing or, on the contrary, eliminating others), without the need to preserve the appearance of an objective journalistic message. The analysis of this source will be performed, on the one hand by analyzing the cultural context, the symbols, and on the other hand by observing the frequency of the topics approached by the artist, the position inside the magazine, during the 5 years, taking into consideration the artist’s relation with the regime. Beyond the declarative purpose of the magazine and the first reading of the message, this series, by its apparent simplicity, is relevant to how this type of graphics changed its role: the manipulation assumed by publishing in a controlled setting, capturing valid comic situations, beyond the context in which they were created or the presentation of the subjects, which at a deep analysis represented the reality perceived by individuals and not by the regime.
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The historiography of the 20th century Romanian art is focused mainly on the Old Masters, followed by other grand names. Along with renowned paintings and sculptures, their œuvre includes graphic artwork as well. Consisting of sketches, drawings, pastels, watercolours, and often overlooked and considered an initial step in the execution of a painting, graphic art remains, nonetheless, a substantial genre which is no less meritorious in a purposeful investigation.Seeking to expand on previous research, the centrepiece of the present study concerns a critical analysis of the visual discourse which can be found in a specific, rather peripheral type of graphic art: postage stamps mock-ups belonging to the National Philatelic Museum hosted by the National History Museum of Romania. Simultaneously, we are particularly interested in investigating the historical context of the creation of such artworks, as it is shaped by certain social and political movements and, consequently, as reflected in the visual imagery in art.
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This article describes the restoration process of a Sarmatian sword, the only one so far to be owned by a Romanian museum, which entered the collection of the National History Museum of Romania in 2013. The artefact in question presents similarities to a Sarmatian sword discovered in the Ural region.
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This volume is the result of a research project funded by the "Emergence (s)" program by the City of Paris, with the participation of the scientific council of the National Institute of Oriental Languages and Civilizations - INALCO, the Europes-Eurasia Research Center and the Center National Institute for Scientific Research - CNRS. It therefore meets pragmatic requirements. On the one hand, from a scientific point of view, it covers an important bibliographic gap in the French university program, but also, as we will see below, the international one. Namely, it synthetically makes a comparative history of literary translations in the space corresponding, to a large extent, to the former Eastern Bloc, with the notable exception of Russia and the inclusion of Finland. On the other hand, it responds to the need to strengthen, in the West, as much as locally, in each of the former socialist countries, the feeling of cultural belonging of these spaces in Europe, frequently neglected in recent years, in which Waves of nationalism have brought Eurosceptic governments to power in some of these states.
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The work represents the most important monograph dedicated to the residential complex in Florica, the place to which the name of the most important family of politicians in the modern and contemporary history of Romania is linked: the Brătianu family. Florica was “a complete residential area” and unique in Romania in that it gave the country three prime ministers (Ion C. Brătianu, Ion IC Brătianu and Vintilă IC Brătianu), whose mandates, full of political-administrative achievements, have almost 25 years, between 1876 and 1928. If we add to this list Dumitru C. Brătianu, brother of Ion C. Brătianu, we notice that we are dealing with a family of politicians ("Argeș dynasty", as he called it, ironically, Nicolae Iorga) who had an overwhelming role in the modern and contemporary history of Romania ”.Narcis Dorin Ion managed to leave in this book an impressive amount of information but also a very large number of photographs, many unique, from various sources - archives, private collections, museums, libraries -, thus creating a complete image and complex of the place and the people who made it have such great significance and such a fascinating history.
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The present study is following how the young people get information from the media and social networks, as well as the expectations they have from journalism, in the conditions of the Covid-19 pandemic. The study is based on an opinion poll conducted in December 2020 on a sample of 40 students, from 9th and 10th grade, from Laude-Reut Educational Complex in Bucharest. The opinion poll was processed quantitatively and qualitatively, following a grid with 4 questions: sources of information, motivations, priority information, and expectations from the media.
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