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I have known Valentin Popa for so long that his face gets lost in the mist of time. Despite the feeling that it was just yesterday, the truth is that I’ve actually known him since the last century—somewhere around the early 1980s. He was a delicate young man, slender and not very tall, with fair skin set off by thick black hair. Back then, he resembled George Enescu in appearance; later on, little by little, he began to resemble more and more... himself.
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Valentin is the very first major landmark of my life as a teacher in Brăila. I had just won a competition for a teaching position as a special education teacher at the Brăila Auxiliary School for Boys in the summer of 1979, and I was deeply worried, not knowing the specifics of working with children with intellectual disabilities. Not knowing Brăila.
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This article is a supplement to the biography of the well-known artist Hariclea Darclée. The author publishes for the first time several pieces of correspondence from the patrimony of the National Museum of Romanian Literature in Iași. It is about seven letters, two postcards and a telegram that the artist sent to her friends.
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Although at first glance this material seems to be a study of Nae Ionescu's life – as the title and manner of work seem to suggest, we are in fact in front of the ”presentation” (rather of the summary!) of the book signed by Tatiana Niculescu ”The seductive Mr. Nae. The life of Nae Ionescu”, and published this year by Humanitas.
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The article contains letters with historical and genealogical topics, received by Mihai Sorin Rădulescu from two German historians –professor Emanuel Turczynski (1919 – 2002) and Balduin Herter (1926 - 2011). Turczynski has received in the 90’s the title of doctor honoris causa of the Bucharest University and I have made his acquaintance at this occasion. His writings on Romanian modern history – more precisely about Bucovina, the region of his birth – were in general known to me, so we quickly found common subjects of conversation of historical interest. At the beginning of 2000, I have spent a month of documentation and research at the Siebenbürgen – Institut in Gundelsheim am Neckar (in Federal Germany). There I have met the genealogist Balduin Herter, Saxon of Transylvania, originated from the town of Codlea (Zeiden, In the district of Brașov). Balduin Herter has been one of the main founders of this institute, of its library – the richest library concerning Romanian history which exists nowadays in the West –, as well as one of the main founders of the genealogical association of the Transylvanian Saxons. The two scholars were among the very few German historians who had the necessary knowledge as well as a non – non-destructive attitude on Romanian history, this great Unknown.
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As the title suggests, this material is dedicated to the complex personality of Dimitrie Leonida. In order to decipher as accurately as possible this great scientist, the author presents her family in detail in the broader context of the nineteenth century.
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Although he was clearly aware that he was part of the scientific elite of Romania after 1947, Dr. Eng. Florin A. Rădulescu reflected on the successes of his life shortly before embarking on his great journey, under the title The Destiny of an Ordinary Romanian.
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The author of these lines believes that an analysis of an 80-year life can serve as an example of a dignified life with significant achievements in the field of scientific research for younger generations.
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Caricature is a form of exaggerated visual representation originating from the Italian word caricare, meaning "to exaggerate," often used to mock political or social figures. In Hungary, political caricature gained prominence in the late 19th century, with the satirical weekly Ludas Matyi becoming a major propaganda tool during the Rákosi era, using humor to reach politically disengaged audiences. This study analyzes Ludas Matyi’s depictions of Tito and the West during the Rákosi period, focusing on how these caricatures reflected changing political narratives and propaganda goals, especially after the Tito-Stalin split.
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Artist Nomeda Jakūnienė was born in 1964 in Kaunas. During her childhood she lived in Vilnius, where she attended a children‘s art school. In 1979 she entered the Stepas Žukas Technical School of Applied Arts in Kaunas, where she studied ceramics. From 1984 to 1990 she deepened her knowledge of ceramics at the Kaunas Faculty of Industrial Art of the Vilnius Art Institute (now the Kaunas Faculty of the Vilnius Academy of Arts). During her studies and after graduating, she worked as a small series artist at the Jiesia Ceramics and Porcelain Factory in Kaunas. In 1995 she became a member of the Lithuanian Artists‘ Union. N. Jakūnienė is an expert in various ceramic materials and techniques. She works with earthenware, chamotte, stoneware and porcelain, and is familiar with raku, soda, reduction and anagama firing techniques. The artist has participated in many ceramic symposiums. Her works have been exhibited in national and international ceramics exhibitions. Among the latter, the biennial European Ceramics Context (Denmark), the international exhibitions of the Dragon of Fire, Reduction, are worth mentioning. The artist has organised up to ten personal exhibitions. The author is a creator of ceramics of various genres. She makes original tableware, decorative plates and small sculptures. Many of them show the influence of Eastern cultures and Lithuanian folklore. Today N. Jakūnienė works as an art therapist in a home for the elderly in Žiegždriai, where she creates ceramic objects together with the elderly.
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With the current issue, 19/2019, "Analele Brăilei," the regional culture magazine founded by engineer Gh. T. Marinescu in 1929, reached the venerable age of 90 years.
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Viorel Mortu (known in the literary world under the pseudonym Viorel Coman) was born on December 18, 1949, in the village of Pitulați, part of the Brăila commune of Scorțaru Nou. He attended primary school in his native village, and for secondary studies, he chose the prestigious "Nicolae Bălcescu" College, graduating in 1967. His early passion for philology led him to enroll in the philology department at the University of Craiova (Romanian and French language and literature), from which he graduated in 1972. Between 2009-2011, he attended the doctoral program at the "Danubius" University of Constanța, completing it with a doctorate in letters, defending his thesis titled "Fănuș Neagu – The Metamorphoses of Storytelling.".
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Viorel Coman established himself in the Brăila area as an exceptional professor, general school inspector, consistent politician, and outstanding literary figure, particularly excelling in the fields of criticism, essay writing, and literary history.
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An excellent essay collection by Viorel Coman is titled On the Steps. At first glance, the title may seem simple. It is not! Immediately, it provokes, raises questions: where, toward what direction, on steps? Up? Down? In delay? The sign, a kind of secret marker, points to a unique path: toward the core of existence of the one from whom it emanates. On the Steps is designed to reflect a way of being for the author. A meaning that, in line with the destiny of the one to whom we dedicate these lines, can only be one of ascent: step by step!
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In a field marginalized in contemporary culture—literary criticism and history, as well as the philosophy of culture—especially when these are pursued in cities relatively distant from major university centers like Bucharest, Iași, or Cluj-Napoca, which also serve as publishing hubs and strong “nests” of Romanian literary life, Viorel Coman has created—and continues to create—an astonishing phenomenon in Brăila in particular, but also in Galați, two cities bound by cultural and geographical destiny.
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Not long ago, the Comedia Valahă trilogy by poet Nicolae Grigore Mărășanu was published by Istros Publishing House of the "Carol I" Museum of Brăila, accompanied by an extensive introduction to the work, written by literary critic Viorel Coman. In fact, the introduction we refer to here, both in scope and in the issues it addresses, goes far beyond the structure of a typical preface—a fact acknowledged by the author himself at the end of the text, where he notes that it is part of a much larger work about the poet.
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I read Professor Viorel Coman’s book, symbolically titled "On the Steps", right in the middle of the media scandal sparked by the publication of the results Romanian students obtained in the famous, yet ghostly, “PISA Tests.” Why do I say “ghostly”?
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Danielius Rusys was born in 1964 in Klaipeda. In 2008 he began his studies in fresco-mosaic at the Vilnius Academy of Arts, and in 2013 he received his Master’s degree in monumental painting. He was a resident of the Užupis Art Incubator. His paintings are dominated by figurative subjects, enriched with juxtapositions of reality and fantasy, the aesthetics of a dream that transcends the usual perception of reality. Known as a non-conformist, his work exalts the content of the subconscious and transforms it on the canvas using a wide range of creative tools: metaphysical painting, surrealist automatism, Dadaist irony, assemblages. Since 1992 he has been exhibiting and participating in group exhibitions and plein-air art workshops. He is a member of the Lithuanian Union of Artists. He now lives in Vilnius.
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I’ve always felt a pull toward the Danube, toward its stories, woven with golden thread by great storytellers and interpreted by its great scholars. Destiny almost had a surprise in store for me upon graduating from university, when I narrowly missed getting a post on the banks of the Danube. But I returned, always with the same joy—whether to Galați or to Brăila, where I’ve built a circle of friends I cherish and wouldn’t dare to lose. For a long time, thanks to the Antares magazine festival, I passed through Brăila like water off a duck’s back. Just a few stingy hours, during which I didn’t have the time—or the natural opportunity—to wander its fabulous streets, lined with buildings in which the past moans through façades decayed by time and laments, with tears of crumbling mortar trickling down the walls, its former glory.
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The title of this intervention refers to the novel recently translated into Romanian as well – ”Filotheos' respites” (”Filotéou Párerga”), written by Nicolae Mavrocordat, and, of course, is the subject of the present analytical foray. So, we discover, not just a leader modern, highly educated, living permanently surrounded by the world of books, but also a true writer, always divided “between the worries of the reign and literary concerns”.
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