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The article sets itself a twofold aim – on the one hand, to present Süskind’s novel Das Parfum as an allegory of the Enlightenment, and on the other, to outline an aesthetic approach that would restore the rights of the so-called “lower” senses (e.g., smell and touch) in cultural distinction. In addition, it will be argued that Süskind’s novel playfully refers to the tradition of early German Romanticism, especially with reference to authors like Heinrich von Kleist and E. T. A. Hoffmann. Finally, perfume will be recognized here as a metaphor that represents the possibility to provide appropriate expression of the modern aesthetic worldview.
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The second part of the article dedicated to the great Russian composer N. A. Rimsky-Korsakov on his 175th birthday, deals with his brilliant masterpiece ,,The Legend of the Invisible City of Kitezh". This mysterious work related to church music culture (akathist, liturgy) has a deep philosophical and religious sense and is often compared to the musical innovations of Richard Wagner. The work describes the charming heroines of Rimsky-Korsakov's work.The authors of the article, also, inform users about books and other famous works of composers that can be found in the Office of Musical Literature of SL USARB.
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The author embarks upon a study concerning the way the contemporaries and successors of Andrei Șaguna have appreciated throughout the years his contributions to the advancement of the Romanian nation, to the moral and cultural affirmation in the nineteenth century context. In the mean time, he makes a presentation of the plastic art works – sculpture – which were dedicated to this brilliant precursor by sleeping partners and creators. Suggestions are made concerning the creation of new works to complete this patrimony within the next few years.
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The article discusses a collection of essays by Grzegorz Jankowicz entitled Blizny [Scars]. Jankowicz’s attainments are what constitutes the main focus for the author of the article – not only those relating to literary criticism, but also the untypical ones that belong to the sphere of “literary activism.” In the text, there is conducted a close analysis of the essayist’s self‑presentation considered in a context of the societal games of prestige and significance. Furthermore, a more general situation in the intellectual domain known as literary essayistic writing is outlined. Apart from the foregoing, the author ponders the issue of an emergence of the literary form in question, namely, the collection of texts – once dispersed and written in various circumstances, prompted by variegated impulses, and then consolidated, ordered to achieve a convincing monographic effect.
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The sanitary problems in the 18th century Europe led to the emergence of the pavilion-type hospital, first introduced in England (1758-1765) and developed all over the world in the 19th century, as a rigor of the time regarding patients isolation in separate single-levelled pavilions settled around gardens. Romania adopted this modern type of construction, most of the hospitals built between 1875 and 1900 were made in a pavilion system. There has always been a double pressure on historic hospitals, the first regarding constant change to meet the health standards and the second regarding the survival as a historic monument by preserving the original physical components, interior, exterior or context. To what extent does the functional updating (layout modification, new wings, connected wings between pavilions, etc.) of the historical monument lead to the loss of its authenticity? What is the main premise in restoring a historic monument hospital and what are the limits for such restoration? The authors are trying to find answers to these questions by presenting a case study regarding the evolution of the military pavilion hospital ”Aristide Serfioti” in Galați (1883-1886). Keywords: military hospital – pavilion, historical monument, historical function, authenticity, compositional concept, conservative restoration / creative restoration, continuity
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This article is a plea for restorations based on minimal, non-invasive interventions, whenever possible. A prudent, limited action will stop the evolutionary degradation process, stabilize the object, protecting it from the inevitable shocks of large-scale operations and allowing any other interventions without the need of major de-restoration. Such an approach brings multiple benefits through reduced working time, by limiting the restorer’s exposure to toxic environment, as well as financial benefits. The selected methodology was influenced mainly by the improper technical design of the support, namely choosing a wood with knots and fibre anomalies, as well as by the conservations conditions over time with effect on the integrity of the pictorial matter. All these required an archaeological research based on the principle of minimum restoration. The lacunae of the pictorial layer were more than 50% of the painted surface. To better grasp the composition and differentiate the additions in relation to the original, it was decided to selectively fill in a number of small lacunae, choosing a differentiated integration of putties, preserved primer traces and the wear.
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The initial state of the two artworks presented in this paper is questionable regarding their exposure in the context of the opening of the Oriental Art Gallery. In the case of the damages presented by these paintings, we are dealing with two different situations compared to the ones encountered in the Occidental graphic artworks. In the same time they represent two particular cases because these degradations are the product of countless inadequate interventions during a long period of time. All these damages are the proof of some old interventions on the materials that make up the artistic object. All these deteriorations have appeared prior to the entrance of the artworks in the patrimony of the National Art Museum. Even though at the moment they are in a balanced state due to careful conservation, aesthetically speaking their display is not possible in this condition. The purpose of this paper is to present the typologies of the two artworks and the technical characteristics based on the mounting technique, the initial materials and the adaptations of the restorations treatment to each of them.
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At the Art Farm we are building together with sculptors Marian and Victoria Zidaru, the project Triangle architecture-sculpture-agriculture, a set of houses, modular art galleries, conference rooms, workshops and concerts, in a concept of cultural and human ecology. We hope to make in the area a place for people, arts and crafts, with training experiences, increasingly necessary in the landscape of contemporary life. Keywords: Triangle: architecture-sculpture-agriculture, a new rurality, transmission and permanent learning, restoration in the broadest sense, architecture as a pretext, cultural and human ecology, art farm, rural specific, eco-economy, heritage and manual labour for all, education through arts and architecture.
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Renowned connoisseur (and publisher) of the work of Libanios, but also of others works from late Antiquity, especially legal ones, the author has produced aBased tetrarch's "political biography", as she even testifies inthe Introduzione, on the analysis of "organic evolution", in time, of itspersonality and his reign. This analysis is also based on a “giustoequilibrio ”(p. 2) between the events where the context has also been involvedbroader historical (political, social, ideological, spiritual), specific to the end3rd century and early 4th century. It is also based on internal analysis andcomparison of the information offered by literary and epigraphic sources,legal, archaeological, artistic and numismatic, on the evidenceof the way in which the different rhetorical topoi (tyrannus, barbaritas, hostilitytowards romanitas, the absence of paideia) were used by the authorsChristians to sketch the portrait of Galerius.
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(lz: Modernity and the Hegemony of Vision, prir. David Michael Levin, Univ. of California Press, Los Angeles 1993, str. 379-405)
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Tekst koji se nalazi pred čitateljem djelo je blaženog Giorgia La Pire (1904-1977), u duhovnom životu poznatog kao fra Rajmund (Raimondo), poznatog talijanskog političara, pravnika, ustavotvorca, znanstvenika i pisca, profesora rimskog prava na Sveučilištu u Firenci i dominikanskog i franjevačkog tercijara.
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