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A l'occasion des récentes recherches effectuées sur les monuments d'architecture de la zone du nord de la Dobroudja, on a découvert dans le village de Niculiţel, un ancien édifice de culte, actuellement l'église St. Athanase (fig. 1). La plus ancienne partie de l'église, comprenant le pronaos, le naos et l'autel, est surmontée d'une tour, soutenue vers le sud et le nord par deux arches latérales en plein cintre, vers l'ouest par une voâte semicylindrique, disposée en long, et vers l'est par une voûte étroite, toujours cylindrique (fig. 2). Le pronaos de l'église — en forme actuel adossé à la construction initiale — de forme presque carrée, est recouvert d'une voûte longitudinale (fig. 3). La dernière étape de construction est constituée par l'exonarthex surmonté d'une tour, ajouté à l'ancien édifice en 1880. Les éléments dont nous disposons à l'état actuel des recherches nous permettent de situer le monument dont il s'agit dans une époque dont les limites ne dépassent pas la fin du XII-ème siècle et le début du siècle suivant. En tenant compte de son type et de ses dimensions, nous considérons que cette église a appartenu soit a une résidence féodale, soit à une collectivité civile.
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The interview focuses on opinions of the photographer, lecturer, and Assistant Professor Jozef Sedlák. Last year, on the occasion of his 60th birthday, the photographer organized a recapitulatory author exhibition. The interview discusses the photographer’s creative concepts, his approach to photography as a medium, and it also comprises the function of photography in society. One of the topics he deals with from a long-term perspective is social documentary. However, the photographer deals in parallel with staged figurative photography, later on with the conceptual pictures. Each of his documentary photographs captures an event that articulates anonymous personae connected by momentary chance and situations. The author presents his authorial philosophy and stances to work with the medium of analogue photography. The practical experience and theoretical philosophy of Jozef Sedlák reflect his opinion and ideas regarding theoretical questions, such as the sense of family tradition, allusive warnings on evaluation and societal ladder, the need for lively humanistic tradition, decoding of developing and current tendencies in art, questioning the autonomy of photography, relationship patterns of artists and theoreticians, the necessity of critical thinking development among students and the continuity of an artist’s and creator’s life. The given interview declares the author ́s strong concept of creativity and provides an evaluating perspective of an influential figure in Slovak photography. The interview focuses on the author’s less presented productions. The same as with his other outputs, they have a certain mysterious depth and timelessness. This part of his production may reveal the personality of Jozef Sedlák, as a photographer in a broader context. It will be definitely interesting to have a look together with the author beneath the surface of the medium of photography, but especially, I dare to say, beneath the surface and thus into the depth of the author ́s intentions as a photographer, educationalist and last but not least a truly faithful person.
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Coriolan Petranu – Referee of the Historical Monuments Commission and His Expert Art Reports Written in Romania during the Interwar Period. Scattered Letters. The present study is a welcome and useful completion of the chapter published by the author in the volume entitled Istoria Artei la Universitatea din Cluj [Art History at the University in Cluj] (Nicolae Sabău, Corina Simion, Vlad Țoca. Coordinator Nicolae Sabău). The article focuses on previously unpublished letters on the topic. The teaching activity of Professor Coriolan Petranu, founder of the Art History Department at the University in Cluj, was beneficially completed after 1920 by his contributions in the field of historical monuments protection in Inter-War Romania and his expert reports in the field of fine arts and of the restructuring of the museums in Transylvania according to the modern principles of European museums. Among his numerous expert reports, the documents/letters under analysis record his observations, actual art historical studies, on projects related to town planning, architecture, public monuments, street furniture and technical works, urban systematization plans etc. (the building sites, liturgical furniture and wall paintings of the Orthodox church in Târgu Mureș and of the Orthodox cathedral in Cluj, the fresco of the festive hall of the Academic College in Cluj painted by master Costin Petrescu, 1938-39), the analysis of certain folk art objects from museums and collections in Transylvania, public and institutional monuments (Avram Iancu’s statue in Cluj, the Union Monument in Arad, Pârvan’s bust from the University in Cluj etc.), expert reports on Romanian vernacular monuments, wooden churches (Poiana, Tălgi, Honțișor, Bocșa Română, Roșiori etc.) and masonry churches (Criscior), his correspondence with artists of the Inter-War Period and the exhibitions he organized (Catul Bogdan, Emil Cornea, Atanase Damian, Aurel Ciupe, Aurel Papp etc., the exhibition Collegium Artisticum Transylvanicorum, Cluj, 1921), his expert reports on works of painting, sculpture, graphic arts and European bookmaking. The correspondence of the art historian from Cluj with intellectuals, professors, art historians, museum directors and library directors of upper and general education institutions from Great Romania, from Bessarabia and Bucovina, was impressive (Petre Constantinescu, Oreste Tafrali, Vasile Ciurea, Al. P. Arbore). He also made generous donations of books and photographic materials to these institutions.
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Viewed from outside, a human life – our lives – resemble a horizontal line stretching from the moment of birth to the grave. The actual reality of our lives, however, unfolds in a vertical plan of height and depth, or more precisely, on both plans simultaneously. That is, to say:“in the reality of the cross”
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In Lars von Trier’s latest movie, The House That Jack Built (2018), the serial killer Jack may be seen as a substitute for God. Following Maurice Blanchot and drawing from Jungian psychology, I will analyze the relationship between murder and sovereignty. Jack’s dream of the perfect crime is reminiscent of the Schopenhauerian project of universal crime. Taking into account the nihilistic works of Philipp Mainländer, Mihai Eminescu, Angernon Charles Swinburne, and others, I will discuss the Antinatalist predilection of non-existence over existence. I shall also examine the possibility of anti-nihilism.
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The aim of this article is to discern - guided by works such as Frank Sulloway’s Freud, Biologist of the Mind, or Joseph Campbell’s The Hero with a Thousand Faces - the main stylistic and discursive elements contouring the myth of the hero in John Huston’s 1962 film Freud. It is contended that the biographical approach constituting the most apparent layer of the film is built on a theoretical approach covering the main tenets of psychoanalysis, as well as on a mythical approach gradually unfolding the archetypal figure of the hero, shaped by aspects such as the protagonist’s isolation and originality, the presence of helping characters, the descent to the underworld, etc. However, as it is famously the case for psychoanalysis, the founder’s biography is closely linked with the fate and image of his work: specifically, in this film, Freud’s journey is doubled by the emergence of psychoanalysis as a discipline, molded by inspiration, observation, and opposition. Thus, the film follows the main events in Freud’s life over ten crucial years, from his decisive travel to Paris and his acquaintance with Charcot’s work, up to his abandoning hypnosis in favor of free association and the birth of psychoanalysis. Even if – with the hindsight that Freud’s efforts of promoting his work have proved to be more than fruitful – one might be tempted to assume that this is a flawless hero’s journey, the end of the film stays somewhat ambivalent, casting a shadow of doubt over the apparent note of triumph: both Freud’s image and that of psychoanalysis are fated to an open future.
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This review follows Cristian Ciceu’s reflections on the theme of death in the context of Jim Morrison’s poetry. The author presents death as a finality, an aspect that imposes itself directly and finds paradoxical expressions in the rock star’s lyrics. Morrison’s poetics is infused with the theme of death which appears in different aspects: violence, apathy; but it appears in positive aspects also: sexuality and creativity. The author emphasizes the rapport between the poet and death, finding that death would cancel the contact with matter, a thing that is most important for a Dionysian personality. Salvation appears in a paradoxical form, the irreversibility of time implies at the same time the immutability of the past.
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Les hypothèses entourant l’existence d’un amphithéâtre à Tomis nʹont cessé de différer. Celle communément acceptée défend la tenue des combats de gladiateurs dans un théâtre ou un stade modifié afin de les accueillir. Les réserves exprimées autour de l’existence d’un édifice spécifique, romain par excellence, dans une ville grecque ont perduré même après la découverte dans les années 1980 d’un bâtiment présentant certaines caractéristiques propres à un amphithéâtre. Le présent article se propose dès lors dʹaborder à nouveau cette question en passant en revue les différentes catégories de bâtiments concernés avant de cerner le rôle joué par l’amphithéâtre de Tomis dans l’histoire des provinces de la mer Noire.
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The work discusses the image of the medieval archi- tectural heritage in the Polish public discourse of the nineteenth century. The author uses a corpus of texts published in academic journals and books to ana- lyze the attitudes towards historical buildings in a period marked by intense development of the national cause and Romanticism, and later by the grow- ing competition between the empires of Central Europe in the field of culture. The analysis shows growing esteem for the Gothic style, which was seen as having great potential for the future of architecture, as the well as general pessimistic attitude towards culture prevalent in the 1880s.
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The article analyses the content of nineteenth-century guides of Kraków. The author seeks to define the period in which the guides first started to include information on the Jewish quarter of Kazimierz and its heritage sites.
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Interdisciplinary studies on the role of plants in culture are rare, that is why a rich plant ornamentation of the churches in Poland is little known. This article presents the first documentation of the plant ornaments in nine Roman Catholic churches of Kiełczygłów Community and surroundings in Łódź Voivodeship, which were built from the 16th into the 20th centuries. The first stage of work was to take 385 photographs, then to organize a basis with 505 records, one record containing one plant ornament. As a result of botanical analysis 39 taxa were determined, including 17 species, 18 genera, and 4 families. Some of the plant motifs could not be identified because of strong stylization. The most frequent taxa were the old useful plants popular in sacral art, originating in southern or south-eastern regions of Europe and in West Asia: bear’s-breech (Acanthus sp1.), rose (Rosa sp.), Madonna lily (Lilium candidum L.), and grape-vine (Vitis vinifera L.). Some ornaments present the plants occurring in wild in Poland or as field and meadow weeds, e.g. bellflower (Campanula sp.) or poppy (Papaver sp.). The greatest number of ornaments was identified in the neo-Gothic St. Casimir Church in Osjaków. Captivating in their colors and diversity of shapes, the plant ornaments serve not only decorative functions, but symbolic ones as well. This article hopes to contribute, at least to a small extent, to the reflection on the presence of plants in our culture and to raise the awareness of how important it is to protect local species that perish irretrievably due to anthropogenic activity.
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Dans la tradition musicale roumaine, la guerre pour l'indépendance symbolise la lutte et les sacrifices du peuple roumain depuis toujours dans la voie de l'affirmation de la souveraineté de la nation. La bravoure et les prouesses des soldats roumains ont stimulé abondamment la création musicale, gui a abordé de préférence les genres miniaturaux plus accéssible à la grande masse des gens. Les partitions musicales se trouvant dans les collections de la Bibliothèque Centrale d'Etat, constituent la production musicale imprimée la plus importante de l'époque. Elle se trouve présentée par groupes, suivant les genres de création et les modes d'inteprétation. Il nous semble utile, par ailleurs, de souligner les excellentes conditions graphiques dans lesquelles les Imprimeurs roumains ou étrangers ont présenté le contenu de ces oeuvres : couvertures suggestives illustrées avec fantaisie, sans oublier les circonstances qui ont constitué le sujet de la création respective — scènes de guerre, images de soldats, trophées etc. Une bibliographie détaillée sur la création musicale ayant pour thème l'année 1877, a été élaborée par la Bibliothèque Centrale d'Etat — après minutieuses recherches et l'analyse des partitions musicales — jusqu'à la période de la première guerre mondiale, quand s'est parachevée l'union de tous les roumains.
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L'héroïsme de l'armée roumaine pendant la guerre de 1877—1878, pour conquérir l'Indépendance d'état de la Roumanie a inspiré le créateur populaire ainsi que les grands écrivains et compositeurs de cette période-là. Dans la riche création musicale populaire du département de Prahova on rencontre des chansons où sont évoqués des moments de la bravoure roumaine sur le champ de bataille au sud du Danube : La chanson de Plevna, Hö, mon brave, où va-tu ? collectionnées dans le village de Bătrâni — la commune de Starchiojd, la chanson intitulée Le sergent Dan du village de Boldeşti — la commune de Boldeşti-Grădiştea, Hé, captain Walter etc. De la vaste oeuvre des compositeurs roumains de cette période-là, dédiée à cet événement, oeuvre signée Ciprian Porumbescu, Gavriil Musicescu, Ion Vidu, Constantin Dimttrescu, George Brătianu, Ion Costescu, lalovtski etc., on rémarque les chansons : La mort brave, La ronde de Plevna, La ronde de Grivitza, Les trompettes résonnent, Les fils de la Roumanie par Gavril Musicescu et notamment L'hymne des chasseurs — un vrai poème choral écrit par le grand compositeur moldave pour honorer les faits d'armes du bataillon 2 Chasseurs de Ploieşti qui se couvrirent de gloire pendant les luttes de Grivitza et de Plevna. L'hymne des chasseurs a été chanté pour la première fos en 1897 à l'occasion de l'inauguration du monument des Chasseurs de Ploieşti.
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Le perfectionnement de la recherche scientifique dans le cadre de l'ample action d'inventaire systhémathique des oeuvres d'art appartenant au patrimoine culturel national réclame l'utilisation des méthodes modernes d'analyse documentaire. L'expérience des autres pays a démontré que l'utilisation des méthodes de l'informatique peuvent être appliquées avec succès et offrir des résultats intéressants dans le domaine de l'histoire de l'art. Ces méthodes utilisées dans le cadre des recherches sur les ensembles de peinture murale du moyen âge de notre pays permettent l'élaboration d'analyses détaillées, rigoureusement scientifiques, comparatives, tant du point de vue iconographique que du point de vue du style, qui constitueront une base de discussions concernant les nouvelles méthodes modernes d'investigation, appliquées à l'avenir dans les recherches individuelles et en vue de l'utilisation des analyses obtenues à l'aide du calculateur électronique. Pendant cette première phase de la recherche il convient que les représentations picturales soient formalisées, décrites selon un schéma type, élaboré par nous en fonction des caractéristiques formelles et matérielles générales et particulières des images. Différentes catégories de fiches systhématisées, formant un corpus de documents se référant aux divers thèmes iconographiques analysés chronologiquement, ou classifiés, ou bien aux cycles iconographiques ou ensembles de peinture murale représentatives, constitueront des répertoires détaillés, ayant une double function: 1. nécessaires aux recherches individuelles, constituant d'utiles instruments de travail; 2. nécessaires aux analyses éléctroniques, après avoir été tout d'abord codifiés et introduits dans la mémoire du calculateur. L'application conséquente des mtéhodes de l'informatique aux analyses iconographiques et de style auront comme résultat l'élaboration d'études statistiques concernant les solutions structurales dans leur diversité, études se référant à des principes nouveaux de classification des images et des théories nouvelles d'ordre esthétique. Ces analyses permettront en fin de compte l'élaboration de tableaux scientifiques comparatifs, de statistiques concernant l'évolution des peintures murales du moyen âge dans les différentes zones du pays. Quant aux modalités de calcul éléctronique, il est nécessaire que les historiens d'art, en collaboration avec les mathématiciens, élaborent un „lexique documentaire" qui sera utilisé à indexer le stoc d'informations résultées de la recherche des peintures murales, qui seront réceptionnées par le calculateur. Les résultats finals obtenus par l'exploitation automate des documentations se montreront utiles à l'élaboration des études comparatives d'iconographie et de style, des études statistiques, de l'évidence centralisée et à la vérification des Les recherches à l'aide du calculateur éléctronique peuvent être également hypothèses appliquées avec succès dans les domaines de l'histoire de l'art, en assurant un système organisé et des méthodes d'investigation se basant sur la technique de la classification, méthodes qui garantiront des données d'une rigueur scientifique à l'appui des analyses complexes et diversifiées. Dans ce processus, le rôle de l'historien d'art est particulièrement précieux, ses connaissances étant en permanence impliquées dans la vérification de la cor-rectitude des résultats des analyses éléctroniques. L'application des méthodes de l'informatique dans le domaine de la recherche des peintures murales du moyen-âge en Roumanie, contribueront de façon certaine à la modernisation des recherches scientifiques.
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Evénement à de profondes significations pour l'histoire de la Roumanie, la guerre de 1877—J878 a attiré l'attention de nombreux créateurs, de divers domaines de la culture nationale. Parmi les plasticiens roumains s'inspirant de la participation héroïque de l'armée roumaine aux combats avec les Turcs, à côté des maîtres de préstige, comme Nicolae Grigorescu, Sava Henţia et George Demetrescu-Mirea, il est aussi à remarquer la création du peintre Oscar Obedeanu (1867—1915), dont le Musée d'Histoire de la R. S. de Roumanie a récemment fait l'acquisition de plusieurs dessins. Spécialiste reconnu de la peinture historique roumaine à caractère militaire, Oscar Obedeanu a illustré dans ses dessins, d'une manière véridique, réaliste et suggestive, maintes scènes des combats menés par les Roumains pour l'indépendance. Les dessins laissent voir non seulement une documentation attentive de l'auteur sur des faits historiques militaires mais, en égale mesure, son talent à bats, l'héroïsme des soldats roumains en des scènes individuelles ou collectives.
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However ungrateful the situation of Romanian writers who express themselves by means of a language with a limited circulation – the Romanian language – may remain, quite a few of them are European writers. This is reflected in the role they play in their national literature, the modern contents and artistic expressivity of their works and, last but not least, their commitment to the active conscience of human community. The present article is aimed at undertaking a hermeneutical exercise of a centuries-old, fruitful history of cultural and literary Franco-Romanian relations from the beginning until the second half of the 19th century. We will mainly address the topic of Vasile Alecsandri and his generation, who struggled with all responsibility for the development of these relations. This study proves how the Romanian writer, truly European by character, knew that the convergence between national specificity and the modernity of the European spirit is the basis for literary success, the longevity of his works and the cultural relations between his nation and France. Literature has always meant a value of human equilibrium, civilization and humanization. Taking into account all that has been mentioned above, we believe that dwelling at some length upon the exemplary demonstration of the Romanian Europeanism carried out by Vasile Alecsandri in his human and artistic essence, cannot be anything but legitimate, opportune and useful.
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Comparisons between books and movies tend to instigate intense conversations. Adapting a film is no simple task, but contrasting the two products can also be an erratic process, regardless of how much one tries to gather all of their ideas together. A mere observation can bring about diverse opinions or daring suggestions on how readers / viewers would have portrayed a certain scene or a small but crucial detail. In the end, it comes down to the charm of taking on the active role of a “critic” and analyzing the choices that were made alongside possible alternatives. The respective article will talk about how the novel “Wonder Boys”, written by Michael Chabon, came to be interpreted in a different medium, as a comedy-drama film from 2000, directed by Curtis Hanson. “Wonder Boys” may be perceived as a world of freedom from various outlooks. In 1995, Chabon – already ahead of his time – produced a small universe in his novel, where his characters could express themselves candidly. In 2000, Hanson went from being a reader to an avid interpreter and creator of his own “Wonder Boys”. Up until today, fortunate people, who come across the book and the film, can spot the director’s ingenious approach, accompanied by his constant loyalty to the writer’s concepts. We are dealing with a piece of work which should be discussed more frequently in classrooms or university lectures, due to its representative teacher-student bonding, the twisted realistic world – in which troubled individuals can still become inspirations for others – and its quality to be replicated in such inventive ways.
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Pomeranian churches combine elements of the medieval Gothic tradition and furnishings from the Lutheran Reformation era. Such examples can be found in two temples, the history of which dates back to the times of the mission of religious orders in the Koszalin region. The original relics of the original furnishings are very rare, but relatively many elements of Protestant sacred art have been preserved. Two pulpits located on the new tourist route between Darlowo (Darłowo) and Sianow (Sianów) attract particular attention. The pulpit in Osieki belongs to the family of late-Renaissance pulpits (c. 1660) with an architectural structure with figural and sometimes painted decorations. An interesting fact here is the inscriptions of the chronostychonic co¬nvention, which encode chronological information in the writing of letters as Roman numerals. Unfortunately, during the last conservation works, the information from the parish chronicle published before World War II was not used. Documented biblical sentences originally placed under the parapet and in the panels under the statues of the apostles have not been recreated. The rococo pulpit (1729) in Sucha Koszalinska (Sucha Koszalińska) is even more rooted in the scriptural tradition. Here, the decoration of the canopy and the pulpit’s basket are a dozen medallions with biblical quotations, which fully express the ideological program rooted in the prophetic and apostolic books. The only figure is the image of Christ the Savior of the World, and on the top of the canopy we have the image of the Holy Spirit’s dove. Both pulpits deserve the attention of art and liturgical historians, and after the necessary conservation works, they can become a tourist attraction of the coastal microregion.
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