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1
Ţoca, Vlad. "Romanian Art Historiography in the Interwar Period. Between the Search for Scholarship and Commitment to a Cause." Artium Quaestiones, no. 30 (December 20, 2019): 93–122. http://dx.doi.org/10.14746/aq.2019.30.5.
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At the end of World War I, Romania emerged as a much stronger nation, with a greatly enlarged territory. During the two world wars, the Romanian state was permanently looking for the best way to preserve the newly created national state and defend its frontiers. This was the only matter all Romanian parties seemed to agree on. The threat of territorial revisionism coming from Hungary, the Soviet Union and, to a lesser extent, Bulgaria united all the political actors in defending the peace system of Versailles and supporting the League of Nations as the guarantor of this peace and stability. The interwar period was a remarkable time for Romania’s cultural history. Between the two world wars, the Romanian cultural scene was dominated by what Keith Hitchins calls the ‘Great Debate’ about national identity and development. The opponents were those advocating synchronism with the West, on the one hand, and those pleading for tradition, on the other, with many others looking for a third way. In Romanian interwar culture, the country’s modernity was emphasized in order to place the country within the larger family of European nations. An opposing, and at the same time, complementary line of thought was that of presenting the long and noble Romanian history, tradition and ancestral roots. These two themes have been present in Romanian culture since the mid-19th century. They were used by various authors, sometimes in a complementary fashion, while at others, in a conflicting manner in literature, historical writing or political discourse. This process did not end with the creation of the Greater Romania after the end of World War I. New threats, which are mentioned above, maintained the need to continue this discourse. In this context, historical arguments became political arguments and were used by the Romanians in order to justify the new territorial gains and the Versailles system. Art history, part of the family of historical disciplines, came to play an important part in this. Romanian art historical writing or political discourse. This process did not end with the creation of the Greater Romania after the end of World War I. New threats, which are mentioned above, maintained the need to continue this discourse. In this context, historical arguments became political arguments and were used by the Romanians in order to justify the new territorial gains and the Versailles system. Art history, part of the family of historical disciplines, came to play an important part in this. Romanian art historical writing did not exist as such until the end of the 19th century. It was only in the first years of the next century that the number of scholarly works produced following western standards steadily increased. As part of a general tendency of aligning Romanian academic practices with those in the West, art historiography established itself as a respectable academic discipline, a process which went hand in hand with the establishment of new institutions such as museums, university departments, research institutions and the Commission for historical monuments. All these institutions were founded and financed by the Romanian state, and most scholars were involved with these institutions in one way or another. Although Romanian art historiography of the period is dominated by the desire to produce academic works to the highest standards, the ideas of the Great Debate are present in the works of that time. At the same time, in several texts, the most prominent art historians of the day strongly affirm the necessity of putting their work in the service of the national cause. In this paper, we will be looking at the general histories of Romanian art written between the two world wars. The choice of these texts is motivated by the fact that these works are the result of larger research projects and have a broader scope and as such better summarise the trends of the interwar period.
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HOWARD, TERESA. "Romanian Art Renaissance." Art Book 15, no. 2 (May 2008): 60–61. http://dx.doi.org/10.1111/j.1467-8357.2008.00962.x.
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Nae, Cristian. "Constellational Modernisms: “Socialist Humanism” and “Contextual Art” in Ion Bitzan and Wanda Mihuleac's Graphic Art of the 1970s." ARTMargins 13, no. 2 (June 1, 2024): 45–64. http://dx.doi.org/10.1162/artm_a_00383.
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Abstract Art exhibitions acted as facilitators of transnational encounters among artists during the Cold War. This article analyzes the emergence and local circulation of two art critical concepts which described adaptations of art practices and techniques associated with Pop art and conceptual art in Romanian graphic arts of the 1970s as an expanded artistic medium. Focusing on the way Romanian artists Ion Bitzan and Wanda Mihuleac adjusted their experimental art practices to suit different audiences in state-supported exhibitions such as the Romanian Pavilions in Venice or the Ljubljana Graphic Arts Biennale, as well as in other large-scale exhibitions organized in Romania and abroad, the text helps undermine the distinction between official and unofficial art in art under socialism. It argues for the continuities between artistic experimentation in the two spheres of artistic activity and proposes a constellational reading of their graphic art practices as examples of modernisms in translation.
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Modreanu, Roxana. "Romanian Art History During the 1950s as a Form of Social History of Art." Art History & Criticism 19, no. 1 (November 30, 2023): 81–94. http://dx.doi.org/10.2478/mik-2023-0007.
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Summary The Romanian Workers’ Party – the political party that led Romania from 1947 until 1965 – need for legitimisation led to the rewriting of history in a way that the history of Romania was presented as a linear progression finally leading to communism. In art history, art also became a linear phenomenon, progressively advancing towards Socialist Realism. The tactics of constructing the new narrative in art history during the 1950s and the beginning of the 1960s can be read as a form of the social history of art. Although the methodology could have led to remarkable results, ethical boundaries were violated: only some historical episodes and moments from artists’ biographies were selected. Within this context, this study investigates whether papers and monographs about Romanian painters active in the second half of the 19th century and the beginning of the 20th century can be read as a form of social history of art.
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Danga, Mihaela. "Art libraries in Romania." Art Libraries Journal 20, no. 1 (1995): 24–25. http://dx.doi.org/10.1017/s0307472200009214.
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Specialised art libraries emerged in Romania during the 19th century. Today, all of Romania’s art libraries are facing similar problems, the result of years of isolation from the international community and from one another, compounded by an absence (until recently) of education for librarianship, and by a continuing lack of money and adequate accomodation. In addition, different kinds of art library are confronted by problems specific to their functions. However, the renewal of contact with the wider world is bringing many benefits; work has started on a common automated system, initially involving a handful of art libraries; and three art libraries are trying to establish a Romanian art libraries society. (The text of a paper presented to the Annual Conference of ARLIS/NA at San Francisco, January 28th — February 3rd 1993. Please note that this report dates from over two years ago. We eagerly await further news.)
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Pascar, Mihai. "Orthodox aesthetics on modern and contemporary Art. Between Redemption and Art for Art’s sake: The Romanian case." Revista CICSA online, Serie Nouă, no. 8 (2022): 147–65. http://dx.doi.org/10.31178/cicsa.2022.8.8.
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This paper aims to outline the current Orthodox aesthetics vision on modern and contemporary art, based on a thorough exploration of relevant Orthodox theological writings published in Romania. After going through a significant part of the theological literature that deals with aesthetics written by Romanian authors such as Nichifor Crainic, Dumitru Stăniloae, Ioan Bizău, Mihaela Palade, etc., and by internationally well-known Orthodox theologians translated into Romanian such as Paul Evdokimov and Leonid Uspensky, we are able to highlight the main features of a coagulated Orthodox vision on modern and contemporary artists, art movements and artistic phenomena. There is a general agreement among Orthodox theologians that Renaissance was the age when the spirit of individuality and formal freedoms entered art, which led to a distancing of artworks and artists from God. Also, modern art and contemporary art are usually regarded as harmful to the human soul and to its Salvation. These views also reverberate among some circles of Romanian visual artists and art critics with strong Orthodox personal beliefs. Furthermore, this aesthetic vision might partially explain why the Romanian Orthodox Church has remained fairly uninterested in recent art phenomena and why it hasn’t tried to establish a theological or practical dialogue with the artworld, in the past few decades.
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Spiridon, Ioana-Cristina. "M. H. Maxy: de la avangardă la socialism." Revista Muzeelor 1 (2023): 216–23. http://dx.doi.org/10.61789/rm.2023.13.
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„M. H. Maxy: from avant-garde to socialism”, opened on the 28th of December 2023 at the Romanian National Museum of Art, uses a chronological line of events to bring up to date the image of Max Herman Maxy (1895 – 1971), seen as a leading artist with a significant role in the Romanian Avant-garde, but also as the first director of the Romanian National Museum of Art. Subsequently, his contribution to the development of the national art scene can’t be denied in art history. Furthermore, the opening was carefully chosen to mark a symbolic anniversary of 145 years since the first Romanian Jew obtained his citizenship, therefore enhancing the role that the Jew community had in the bloom and spread of the Avant-garde in Europe. The exhibition has a tacit dialogue to the main artistic events which celebrate Timișoara as The Cultural Capital of Europe 2023, the retrospectives dedicated to Victor Brauner and Constantin Brâncuși, suggesting the main artistic pillars in the dawn of Modern Romania.
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Modreanu, Cristina. "Elements of Ethics and Aesthetics in New Romanian Theatre." New Theatre Quarterly 29, no. 4 (November 2013): 385–93. http://dx.doi.org/10.1017/s0266464x13000705.
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Young Romanian theatre artists are very concerned to address issues from the recent past and in using collaborative art to educational and therapeutic ends. The implications of the increased ethical consciousness in their work is addressed here by Cristina Modreanu, who focuses on the productions of directors Gianina Cӑrbunariu and David Schwartz. She analyzes the relationship between ethics and aesthetics in contemporary work against the backdrop of post-Communist Romanian society and in a global context, as well as the dynamics connecting the new wave of Romanian theatre to internationall tendencies in contemporary art, as observed by authors such as Jaques Rancière and Claire Bishop. Cristina Modreanu's doctorate on Romanian theatre after 1989 is from Bucharest University of Theatre and Film, and she has also developed the subject in lectures at Tel Aviv University and Plymouth University. A Fulbright alumna and former Visiting Scholar at New York University, Performance Studies Department, Modreanu currently lectures in Contemporary Performance at Bucharest University. Her publications include articles on Romanian and Eastern European theatre for journals such as Theater, Theater der Zeit, and Alternatives Théâtrales, and for the anthology Romania after 2000: Five New Plays, edited by Martin E. Segal.
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CIUBOTARU, Smaranda. "Recent and Radical: Excess, Absence, and Erasure in the Museum of Recent Art." Martor. The Museum of the Romanian Peasant Anthropology Review 26 (2021): 93–113. http://dx.doi.org/10.57225/martor.2021.26.06.
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Inaugurated in 2018, the Museum of Recent Art (MARe) in Bucharest has rapidly become one of the leading contemporary art institutions in Romania. Rivaling state-financed museums, MARe’s approach to exhibiting contemporaneity is dialectical, exchanging the conventional, chronologically determined museological method for anachronism. This approach provides a framework through which the perpetual theoretical correspondence between past, present, and future artistic practices is facilitated. Focusing on art that circumvented the official visual discourses of the communist regime and on art that emerged after the Romanian Revolution of 1989, MARe’s novel museological method has, however, been impaired by the museum’s failure to fully account for the country’s totalitarian history. The absence of context, an unethical silence that can be seen as a symptom of Romania’s unresolved tension towards its communist past, underpins both the conception of the museum’s building and that of its permanent collection. Impeding discussions of nationalization, coercive state mechanisms, and the imposition of Socialist Realism, MARe further limits the emergence of art historical narratives by reaffirming the traditional, hierarchical superiority attributed to fine art forms.
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Stykalin, Alexander. "The mood of the Romanian intelligentsia in the early 1960s through the eyes of a young Soviet writer." Slavic World in the Third Millennium 18, no. 1-2 (2023): 33–47. http://dx.doi.org/10.31168/2412-6446.2023.18.1-2.02.
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The Russian State Archive of Literature and Art (RGALI) contains reports of Soviet writers and cultural figures who traveled in the 1950s-1980s on creative business trips to socialist countries. Not yet in high demand by researchers, they are at the same time of undoubted interest as a historical source, since they reflect information related to the establishment of bilateral and multilateral cultural ties, the development of literature and art in foreign (in particular, Eastern European) countries, as well as the mood of foreign intelligentsia. The article deals with the report on the trip to Romania in the spring of 1962 by the young playwright Mikhail Filippovich Shatrov (1932–2010). A sincere supporter of the genuine renewal and democratization of the Soviet system, M. Shatrov was pleased with the reception given to him in Romania and highly appreciated the state of theatrical performances in this country. At the same time, he got the impression based on communication with Romanian interlocutors (writers and theatrical figures) that the Romanian society was lagging behind the Soviet one in its readiness to break with the Stalinist legacy. In his view, those responsible for cultural policy preferred to play it safe when it came to staging the Soviet plays in Romania that were critical of Stalin's personality cult, as they might lead the public to undesirable parallels with the current situation in Romania. Moreover, according to M. Shatrov, an atmosphere of fear continued to flourish in Romania, “a terrible legacy of the era of the cult of personality”. On the other hand, he drew attention to the reluctance of some Romanian cultural figures to advertise their old Soviet connections in the face of public opinion, because they were afraid of being compromised in the eyes of their colleagues in the conditions when the Romanian communist regime began to keep distance from the USSR.
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Balko, Maria-Judit. "Temporality and permanence in Romanian public art." Journal of Education Culture and Society 6, no. 1 (January 5, 2020): 207–16. http://dx.doi.org/10.15503/jecs20151.207.216.
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This paper analyzes the relationship between permanent monuments and temporary art projects, as temporality is one of the strategies employed by Romanian artists to counterbalance the support that the Romanian state has shown only towards monuments and memorials dedicated to affirming its value. The complex nature of public art requires a careful consideration of the different dimensions this practice employs, and for that the Western debate on this matter can be a reference point in understanding Romanian public art. We will be looking at possible aspects of the functions of these two main directions in Romanian public art, as they stand methodically one in opposition to the other, in connection with the texts of Piotr Piotrowski (Art and Democracy in Post-communist Europe, 2012) and Boris Groys (Art Power, 2008).
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Dinu, Mirela. "Problema publicului restrâns din muzeele de artă din România." Eon 5, no. 2 (2024): 150–60. http://dx.doi.org/10.56177/eon.5.2.2024.art.9.
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Museums in Romania face a limited number of visitors, which, although increasing in recent years, still remains small in relation to the frequency of cultural audiences in other European countries. This situation occurs because Romanian museums are still operating in a different social reality from the current one; they have not synchronized with contemporary society, which is eager for entertainment and sensational. They face financial and legislative difficulties, outdated concepts that cannot be easily changed without competent and specialized personnel. Today, museums are making efforts to diminish the elitist preconception and become part of a wider community. Although there are often discussions about the lack of audience in art museums in Romania, visible efforts are being made to attract them through various methods. It remains to be seen how many acts of culture are carried out in Romania, as it is important to know in the present research if this would be a fair number in relation to the number of museum institutions and their possibilities. The objective of this research is to identify and analyze the key factors contributing to the limited audience and to define the profile of the Romanian cultural consumer.
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Apostol, Snejana. "Some characteristics of the development of choreographic art in Romania and the Republic of Moldova: the values and educational framework." Studia Universitatis Moldaviae. Seria Științe ale Educației, no. 5(165) (July 2023): 190–95. http://dx.doi.org/10.59295/sum5(165)2023_31.
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The given article presents an analytical approach to the evolution of choreographic art in Romania and the Re-public of Moldova. Emphasis is placed on analyzing the evolution of classical stage dance as well as folk dance. It should be noted that the development of choreographic art in Romania was strongly influenced by European choreography. The 19th and 20th centuries were the most significant for the development of Romanian ballet. The most famous classical ballets were staged: Zâna păpușilor, Lacul lebedelor, Priculiciul etc. The fame of Romanian ballet was brought by: Anton Romanowski, Floria Capsali, Oleg Danovski. In the Republic of Moldova, ballet - developed under the influence of European and Russian choreography, having an important base - folk dance. Namely, folk dance created premises for the establishment of popular stage dance, represented, first of all, by the academic ensemble ,,Joc” – the first professional folk dance ensemble, led for several years by people’s artist V.Curbet.
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Baran, Dana. "Insights into the Beginnings and Glory of Romanian Gerontology." DELTOS 33, no. 51 (June 14, 2024): 44–51. http://dx.doi.org/10.12681/dj.38109.
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Romanian medicine has made significant early contributions to modern gerontology and geriatrics. Understanding, integrating and combating old age was in keeping not only with ancient mythology and old Romanian fairy-tales, but also with the scientific approaches to the art of prolonging life, or macrobiotics, which emerged in the 19th century. In the 20th century, several Romanian doctors focused on gerontology and geriatrics, a research area directly related with the progress of neurology, endocrinology and physiology. Professors Gheorghe Marinescu, Constantin I. Parhon and Ana Aslan, along with Grigore Benetato, all members of the Romanian Academy, as well as Dr. Dimu Kotsovsky were among these scientists interested in age study and management. Institutes, publications and medico-social establishments were designed for this purpose. Today, Romania is striving to revitalise its rich tradition of gerontology and geriatrics in alignment with current international standards.
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Nasui, Cosmin. "The cement nude, the (h)ero(tic)ism of the working class – the artistic programme of outdoor sculptures on the Black Sea littoral and the pro-natal, pro-family policies under communism." Historia Slavorum Occidentis 39, no. 4 (2023): 13–32. http://dx.doi.org/10.15804/hso230401.
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Controlled eroticization of the proletariat through pro-natal policies was an almost unnoticed facet of the programme of iconographic public works displayed in exceptional locations throughout the newly-built resorts along Romania’s Black Sea shore. Never previously studied on its own merits, this artistic programme of open-air sculptures that begun in the Romanian Popular Republic and continued in the Romanian Socialist Republic needs to be understood and contextualized, by way of interdisciplinary instruments, against a broader post-Eastern approach that goes beyond the established methodologies of art history.
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Horváth, Gizela, and Rozália Klára Bakó. "Online Artistic Activism: Case-Study of Hungarian-Romanian Intercultural Communication." Coactivity: Philosophy, Communication 24, no. 1 (March 31, 2016): 48–58. http://dx.doi.org/10.3846/cpc.2016.237.
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Technical reproduction in general, and photography in particular have changed the status and practices of art. Similarly, the expansion of Web 2.0 interactive spaces presents opportunities and challenges to artistic communities. Present study focuses on artistic activism: socially sensitive artists publish their creation on the internet on its most interactive space – social media. These artworks carry both artistic and social messages. Such practices force us to reinterpret some elements of the classical art paradigm: its autonomy, authorship, uniqueness (as opposed to copies and series), and the social role of art. The analysis is aimed at Hungarian and Romanian online artistic projects from Transylvania region of Romania, relevant as intercultural communication endeavours. Our research question is the way they differ from the traditional artistic paradigm.
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Feneșan, Costin. "Rascoala din 1738 a romanilor banateni si ecoul ei in presa din Europa." Banatica 1, no. 33 (2023): 325–64. http://dx.doi.org/10.56177/banatica.33.1.2023.art.18.
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In 1738 a large part of the military operations of the Austro‑Turkish War (1737–1739) took place on the territory of Banat. The penetration of the Turkish troops in the mountainous area of south‑eastern Banat encouraged the revolt of Romanian peasants who were extremely unhappy with the harsh taxation regime and the abuses of the imperial officials in Timisoara and in the province. The rebellious Romanians joined the Turkish troops in large numbers and attacked, often under their protection, small units of the imperial troops, but especially the mines and copper and iron smelters and also the villages (inhabited by German settlers) which had kept faith with Emperor Charles VI. Depending on the evolution of the front on the territory of Banat, the repression of the rebellious Romanians was carried out with no mercy by the Austrian troops (e. g. in the Almăjului Valley). The different war episodes and someones of the Romanian uprising were the source of the extensive reports sent to Vienna by the military commanders on the front and by the Imperial Administration in Timisoara, which were published twice a week in the semi‑official “Wiennerisches Diarium”. In fact, the Viennese newspaper was the exclusive source from which other newspapers in Europa took news of what was happening in Banat, includ‑ ing the Romanian uprising. In the appendix are published the 39 news items about the uprising that appeared in nine European newspapers: “Mercurii Relation oder wochen‑ tliche Ordinari‑Zeitung” in Munich, “Gazette de France” in Paris, “Le Courrier d’Avi‑ gnon”, “Bologna”, “Amsterdam” with the supplement “Suite de nouvelles d’Amsterdam”, “St. Petersburgische Zeitung” in St. Petersburg, “Mercure historique et politique” of The Hague (whose accounts were translated into Spanish and published in “Mercurio histórico y politico” in Madrid) and “Gazeta de Lisboa” in Lisbon.
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Dumitru, Florin. "The lost art. An overview on the Romanian Palaeolithic art." Annales d'Université "Valahia" Târgovişte. Section d'Archéologie et d'Histoire 8, no. 1 (2006): 198–206. http://dx.doi.org/10.3406/valah.2006.941.
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Tîţu, Aurel Mihail, Constantin Oprean, and Andreea Simina Răulea. "The Management Of Intellectual Property In A Romanian State University Where Research Represents A Strength." ACTA Universitatis Cibiniensis 66, no. 1 (July 1, 2015): 176–81. http://dx.doi.org/10.1515/aucts-2015-0049.
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Abstract The transition to the knowledge-based economy and society requires adaptation to constant change that implies intellectual property as a multidimensional concept that continually leaves its mark on generations contributing to their well-being in obvious and undeniable ways. The main objective of this article was to assess the present level of the management of intellectual property in a state university in Romania displaying their strengths and weaknesses. The overall objective of the work is to analyze the state of the art in a Romanian state university in order to find solutions to the current problems that the Romanian scientific environment is facing. The conclusions drawn in the study converge in directions and proposals for improving the way in which the intellectual property is regarded and its management in the state universities of Romania.
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Altman, Dana. "Contemporary Romanian Art in the United States." American, British and Canadian Studies Journal 22, no. 1 (August 15, 2014): 87–93. http://dx.doi.org/10.2478/abcsj-2014-0023.
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Abstract The article discusses the recent international interest in contemporary Romanian art and its growth in market share, with a focus on the United States. The theme is followed thorough in numerous museum exhibitions, increased collector following, art fair presence, gallery representation and auction activity initially in Europe and the United States. The phenomenon is discussed both in the context of the larger international movement conducive to the contemporary art price bubble, and in that of the local socio-economic changes. My chief interest lies in the factors leading up to the entry of post 1989 Romanian art in the global arena as a manifestation of market forces in the field. The analysis follows its grass roots local emergence through non-profit institutions, individual artists, small publications, low budget galleries, as well as the lack of contribution (with few notable exceptions) of state institutions, while pointing out the national context of increasing deregulation of social support systems resulting in lack of focus on cultural manifestations. The conclusion is that the recent ascent of contemporary Romanian art (and coincidentally, the award winning contemporary Romanian cinematography) is a fortuitous convergence of various factors, among which, increased international mobility and sharing. At the same time, it is also the result of the evolution of various individual artists that pursued a form of art rooted in Romanian artistic tradition but with a focus on the symbolic figurative. The result is a personal semiotics of raising the mundane to extraordinary levels that reconfigured the anxiety of entering a new system into an unmistakable and lasting visual language.
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Florian, Olteanu. "WOMEN OF MEDIEVAL AND MODERN ROMANIA AND THE ART OF WRITING AND TRANSLATION." Analele Universităţii din Craiova seria Istorie 28, no. 2 (February 28, 2024): 41–50. http://dx.doi.org/10.52846/aucsi.2023.2.03.
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Romanian history, from ancient times until today contains numerous events, facts, events that can be analyzed from a complex perspective. However male and female personalities bear the imprint that was involved throughout the passage of time. The article intends to follow, chronologically, biographies of the firrst women writer-translator or journalist in Romania's history.
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Narai, Eusebiu. "Relatiile romano-franceze in luna mai 1932, reflectate in paginile cotidianului banatean Vestul." Banatica 1, no. 33 (2023): 451–68. http://dx.doi.org/10.56177/banatica.33.1.2023.art.24.
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War reparations deeply affected international relations, and attempts were made by American economic, financial and political circles to solve this thorny problem by launch‑ ing two plans (the Dawes Plan – 1929 and the Young Plan – 1930) and by establishing a general moratorium on the payment of war reparations and debts (the Hoover Moratorium - 1931). Unfortunately, the end of the First World War did not bring the much‑desired peace to Europe, as the Versailles system soon proved ineffective and short‑sighted. On the ruins of the former Central and Eastern European empires (the German Second Reich, Austro‑Hungary – derived from the Habsburg Empire, the Ottoman Empire and the Tsarist Empire), nation states emerged or existing states, which had gained their independence some time ago and had embarked on the road to modernisation, joined their territories. Some European states adopted authoritarian or totalitarian models of government relatively early on (the Soviet Union, Italy, Turkey, Bulgaria, Poland, Hungary, Germany – now the Weimar Republic, Portugal, etc.). The great global economic crisis has led to a progressive deterioration in international relations. On the European level, a number of pressing and difficult issues have emerged: war reparations; the Austro‑German customs union or the Curtius‑Schober project: disarmament; the European Union project, etc. Of particular concern were the privileged Soviet‑German relations and the successful attempt by the Weimar Republic to achieve equal rights with other states in the field of armaments. Formed on the basis of the principle of nationalities at the end of the First World War, Greater Romania will always advocate the maintenance of the territorial status quoo and collective security, strictly respecting the Covenant of the League of Nations and building a network of agreements and treaties to defend the fundamental interests of the small and medium‑sized states of Central and Eastern Europe. Dominated by four world‑renowned diplomats (Take Ionescu, Ionel Brătianu, Nicolae Titulescu and I.G. Duca), Romanina for‑ eign policy between the wars was defined by: the decisive role played within the frame‑ work of the Little Entente; the deterioration of Romanian‑Soviet relations, generated by the dispute over Bessarabia; adherence to the Briand‑Kellogg Pact, supplemented by the Hoover‑Stimson doctrine; the strengthening of relations with Poland; the initiative to convene Balkan conferences, in order to achieve a new regional defensive alliance; the hostile reaction to the Austro‑German customs union project; the favourable attitude towards the Danube Confederation plan launched by France; the Romanian‑Hungarian confrontation in the trial of the Hungarian opthonists in Transylvania; the active involvement in the work of the Disarmament Conference; the privileged relations between Romania and France; the trade agreements and the Romanian‑German cultural relations, etc.
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Minea, Cosmin. "Beyond national style : the innovative thinking and designs of the architect Ion Mincu (1852–1912)." Art East Central, no. 2 (2022): 49–76. http://dx.doi.org/10.5817/aec2022-2-3.
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This article offers a critical reading of the works and thinking of the celebrated Romanian architect Ion Mincu (1852–1912) in relation to the broader cultural and political context of the new nation-state. It investigates the literature on him up until the present day to trace the formation of his image as 'creator' of the Romanian (also known as Neo-Romanian or National) architectural style before presenting Mincu's range of artistic interests, innovative ideas and designs. Even if famous in Romania, Mincu is little-known for an English-language audience and partly to blame is precisely his fame as national architect which has made him a central figure only in histories of Romanian art and architecture. However, the article shows that Mincu harboured a diverse range of artistic ideas and interests, not all related to Romanian national ideology. His understanding of the relation between local building traditions and contemporary architecture was multi-faceted and driven by attempts to reconcile ideas about artistic progress and modernity with those about traditions and cultural identity. Therefore, the article move beyond the connection between his work and ideas about national identity in order to discern his many artistic concerns and his complex relation to the Romanian architectural heritage.
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Prestia, Joseph D. "‘Civilized States’ and Situational Sovereignty: The Dilemmas of Romanian Neutrality, 1914–1916." European History Quarterly 51, no. 1 (January 2021): 45–75. http://dx.doi.org/10.1177/0265691420983582.
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At the 1914 Crown Council, which decided to keep Romania neutral in 1914, former Conservative prime minister Petre Carp offered his succinct and direct opinion about the direction of Romanian foreign policy in the opening days of the Great War. He admonished the Council that, if Romania wanted to remain among the ‘civilized states’ ( statele civilizate) it had to follow Germany and Austria-Hungary into war immediately. The idea of ‘civilized states’ that dominated the remainder of the Crown Council was not merely an intersubjective social construction. It was a legal term of art in fin de siècle international law that could be applied in the real world. It was only the legally-civilized states that enjoyed the full panoply of rights, privileges, and protections under international law. This is a study of how Romania’s policy-making elite, and Ion I. C. Brătianu’s government, in particular, confronted the challenges of ‘situational sovereignty’. It asserts that, during Romania’s two-year Period of Neutrality (3 August 1914–17 August 1916), Brătianu initially used bilateral conventions as both a method to establish recognition of Romania’s status (or at least a guarantee of territorial integrity) and as a litmus test to determine which (if any) foreign powers recognized Romania as a legal equal. Although he was able to achieve a short-term victory of having an equality clause inserted into the August 1916 political convention with the Entente, it is unclear if that clause could have been durable. Ultimately, Brătianu was trapped between a desire to secure Romania’s recognition through international agreement, but confronted with the reality that Romania’s lack of recognition as a legally-civilized equal meant those very conventions could be unenforceable.
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ROGHINĂ, Răzvan Cosmin. "Repere de identitate constituțională în România pre- și post-comunistă." Analele Universitării din București Drept 2020, no. 2020 (January 13, 2020): 54–75. http://dx.doi.org/10.31178/aubd.2020.05.
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The Romanian Constitution, in art. 1 parag. 3, states that fundamental constitutional values such as human dignity, citizen rights and liberties, the free development of human personality, justice and political pluralism are to be understood through the spirit of the Romanian democratic traditions. Thus, working with traditions, we have to seek constitutional identity signs in the past, in order to see, in a wider analytical and institutional background, what defines the political identity of the Romanian people as a whole and as individuals (citizenship can be discussed in paradox terms). Such an academic endeavor can successfully turn into a book subject, considering its complexity and its inter, intra and pluri scientific field connections. In the limits of a research article, we will briefly explore the constitutional history of pre- and modern Romania (which is mainly a history of constitutional transplant). One of the aimed purposes of the paper is to discover the Romanian individual that constitutes the soul or matrix of the national state or to see if a Constitution really constitute constitutional identity.
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Király, Hajnal. "Looking West: Understanding Socio-Political Allegories and Art References in Contemporary Romanian Cinema." Acta Universitatis Sapientiae, Film and Media Studies 12, no. 1 (September 1, 2016): 67–86. http://dx.doi.org/10.1515/ausfm-2016-0004.
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AbstractThe representation of other arts in cinema can be regarded as a different semiotic system revealing what is hidden in the narrative, as a site of cultural meanings inherent to the cinematic apparatus addressing a pensive spectator, or a discourse on cinema born in the space of intermediality. In the post-1989 films of Romanian director Lucian Pintilie, painterly and sculptural references, as well as miniatures become figurations of cultural identity inside allegories about a society torn between East and West. I argue that art references are liberating these films from provincialism by transforming them into a discourse lamenting over the loss of Western, Christian and local values, endangered or forgotten in the post-communist era. In the films under analysis – An Unforgettable Summer (1994), Too Late (1996) and Tertium Non Datur (2006) – images reminding of Byzantine iconography, together with direct references and remediations of sculptures by Romanian-born Constantin Brâncuşi, participate in historico-political allegories as expressions of social crisis and the transient nature of values. They also reveal the tension between an external and internal image of Romania, the aspiration of the “other Europe” to connect with the European cultural tradition, in a complex demonstration of a “self-othering” process. I will also argue that, contrary to the existing criticism, this generalizing, allegorical tendency can also be detected in some of the films of the generation of filmmakers representing the New Romanian Cinema, for example in Radu Jude’s Aferim! (2015).1
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POPA, Marius. "THE LEGAL SYSTEM AND THE NATIONAL DEFENSE SYSTEM. REPORTS AND FUNCTIONALITY." STRATEGIES XXI - National Defence College 1, no. 72 (July 15, 2021): 113–34. http://dx.doi.org/10.53477/2668-5094-21-08.
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Within any legal system, implicitly also in the national one, the Constitution stands out as important, a fundamental law that represents the supreme system of political-legalnorms. Article 118 para. 2 of the The Constitution of Romania states that "The structure of the national defense system, the preparation of the population, economy and territory for defense, as well as the status of military personnel, are established by organic law" and, in light of the above regulation, the headquarters of the matter regarding the national defense system is represented by Law no. 45/1994 of the national defense of Romania, with the subsequent modifications and completions, this being established, at art. 6, the fact that the national defense system includes: leadership, forces, resources and territorial infrastructure. On the other hand, collaboration with partners or allies within NATO or strategic partnerships is an essential component of national and regional security.Thus, the participation of the armed forces in missions and operations outside the territory of the Romanian state, the entry, stationing, conduct of operations or transit of Romanian territory by foreign armed forces, or Romania's participation in the Missile Defense System, are legally substantiated issues. on a complex set of normative acts which, through their interpenetration, through the existing relations between them, manage to create a true pillar of the national and collective defense.Keywords: national defense system; Supreme Council of National Defense; defense planning.
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Anghel, Florentina. "A Revolution for the Stage – Mad Forest by Caryl Churchill." Romanian Journal of English Studies 15, no. 1 (December 1, 2018): 1–8. http://dx.doi.org/10.1515/rjes-2018-0001.
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Abstract The raw material of Caryl Churchill’s Mad Forest was extracted from the 1989 Revolution in Romania and chiselled to the essence. The play bridges reality and fiction through a cross-cultural perspective, which implies documentation, collaborative work and emotional detachment. The British playwright used innovative devices and adapted pictorial techniques to turn the Romanian Revolution into a work of art, to preserve what she considered particular and also connect the event to several of the cultural symbols Romania is associated with.
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Stanca, Nicoleta. "Elements of Nation Branding at the Embassy of Romania in Dublin (2021-2023)." DIALOGO 10, no. 1 (November 30, 2023): 72–80. http://dx.doi.org/10.51917/dialogo.2023.10.1.4.
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This article analyzes elements of nation branding, i.e., cultural activities employed by the Embassy of Romania in Ireland in the recent context of the term of the current Romanian Ambassador (2021-2023). It will be proved that the Embassy operates between tradition and novelty, keeping already established connections in Ireland and forging new ones. Also, the formal institution representing Romania has been working with “informal ambassadors” (the diaspora, associations, churches, businesses, schools, art institutions, etc.) for the benefit of bilateral relations.
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Margan, Roxana, Madalin-Marius Margan, Corneluta Fira-Mladinescu, Salomeia Putnoky, Ioana Tuta-Sas, Radu Bagiu, Zoran Laurentiu Popa, et al. "Impact of Stress and Financials on Romanian Infertile Women Accessing Assisted Reproductive Treatment." International Journal of Environmental Research and Public Health 19, no. 6 (March 10, 2022): 3256. http://dx.doi.org/10.3390/ijerph19063256.
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Around 20% of couples worldwide are affected by infertility issues, with numbers in the European Union reaching as high as 25%, while access to reproductive care varies significantly by geopolitical and country-specific variables. The purpose of this research is to shed light on the unique social, psychological, and financial difficulties faced by Romanian couples seeking access to assisted reproductive therapy (ART). A cross-sectional study was conducted between 2017 and 2019 to involve women who accessed ART at fertility clinics in Romania by completing two infertility surveys. We analyzed the data in terms of all facets of infertility and ART, including the effect of personal background and stress levels on succeeding to conceive, the impact of treatment costs, and household income. A total of 829 participants completed the survey. We observed that high stress exposure leads to a substantially higher duration to conceive using ART, although the proportions of successful pregnancies did not differ between low-stress and high-stress groups. A significantly higher number of couples achieved pregnancy when their monthly household income was higher than EUR 1000 and if the ART method was more expensive. Additionally, we observed that advanced age, high stress levels, and the high cost of ART had a negative association with achieving pregnancy using ART. The findings indicated that Romanian couples experiencing infertility must contend with significant expenses for specialist infertility treatments, as well as treatment-related stress, both of which have a detrimental effect on their odds of attaining conception.
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Iacob, Viviana. "Scenes of Cold War Diplomacy: Romania and the International Theatre Institute, 1956–1969." East Central Europe 45, no. 2-3 (November 29, 2018): 184–214. http://dx.doi.org/10.1163/18763308-04502003.
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The article maps Romania’s involvement with the International Theatre Institute during its first decade of membership. The argument revolves around a number of East–West convergence high points such as the 1959 Helsinki Congress or the 1964 Bucharest Symposium. It analyzes the connections developed by Romanian theatre specialists within the framework provided by iti, the specialized networks they helped create and the domestic impact of these interactions. The article examines the multifaceted Romanian involvement with these projects in national and international context. It begins in 1956, Romania’s first participation at the Dramatic Art Festival in Paris, the forerunner of iti’s Theatre of Nations Festival. It closes the arc of the story with the 1969 international symposium on training young theatre directors. The article shows that soon after joining iti ranks, Romanian theatre artist were propelled into the international limelight and were recognized by their Western peers. It advances the idea that East European theatre practitioners had a role in shaping their respective community of knowledge as much as their Western counterparts did.
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Căpîlna, Mihai Emil, Nicolae Ioanid, Viorel Scripcariu, Madalina Mihaela Gavrilescu, and Bela Szabo. "Abdominal Radical Trachelectomy: A Romanian Series." International Journal of Gynecologic Cancer 24, no. 3 (March 2014): 615–19. http://dx.doi.org/10.1097/igc.0000000000000076.
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ObjectiveAbdominal radical trachelectomy (ART) is one of the fertility-sparing procedures in women with early-stage cervical cancer. The published results of ART, in comparison with vaginal radical trachelectomy, so far are limited.Materials and MethodsThis retrospective study comprises all cases of female patients referred to ART with early-stage cervical cancer from 2 gynecologic oncology centers in Romania.ResultsA total of 29 women were referred for ART, but subsequently, fertility could not be preserved in 3 of them. Eleven women had stage IA2 disease (42.3%), 14 (53.8%) women had stage IB1 disease, and 1 (3.8%) woman had stage IB2 disease. Histologic subtypes were 15 (57.6%) squamous, 8 (30.7%) adenocarcinoma, and 3 (11.5%) adenosquamous. There were no major intraoperative complications in both hospitals. Early postoperative complications were mainly related to the type C parametrectomy—bladder dysfunction for more than 7 days (8 [30.7%] women) and prolonged constipation (6 [23.0%] women). Other complications consisted in symptomatic lymphocele in 2 (7.6%) patients, which were drained. Median follow-up time was 20 months (range, 4–43 months). Up to the present time, there has been 1 (3.8%) recurrence in our series. Most patients did not experience late postoperative complications. Three (11.5%) women are amenorrheic, and 1 (3.8%) woman developed a cervical stenosis. Of the 23 women who have normal menstruation and maintained their fertility, a total of 7 (30.4%) women have attempted pregnancy, and 3 (42.8%) of them achieved pregnancy spontaneously. These pregnancies ended in 2 first trimester miscarriages and 1 live birth at term by cesarean delivery.ConclusionsOur results demonstrate that ART preserves fertility and maintains excellent oncological outcomes with low complication rates.
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Andraş, Sonia. "Fashioning simultaneous migrations: Sonia Delaunay and inter-war Romanian connections." Critical Studies in Fashion & Beauty 13, no. 2 (December 1, 2022): 229–53. http://dx.doi.org/10.1386/csfb_00047_1.
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This article analyses the connections between the worlds of fine art and fashion through the complex interconnections between the Parisian-Eastern European creative exile. It follows the common threads between Ukrainian-Jewish artist and fashion designer Sonia Delaunay (1885–1979) and prominent inter-war Parisian Romanians: namely, Tristan Tzara, Constantin Brâncuși and Lizica Codreanu. I suggest the concept of ‘simultaneous migrations’ to illustrate fashion’s mobility beyond and across cultural differences, identities and aesthetics through Sonia Delaunay’s philosophy of Simultaneity, focusing on her inter-war Romanian connections in Paris. The research bridges across the fields of fashion studies, art history and cultural studies, in order to explicate the synapses that shed light on Sonia Delaunay’s ideas of Simultaneity and colour theories to Paris as an ideological, cultural, artistic and identity hub.
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Rotaru, Marina Cristiana. "Uses of the Throne Hall in the former Royal Palace in Bucharest from 1947 to 2019: a social semiotic perspective." Swedish Journal of Romanian Studies 3, no. 1 (April 17, 2020): 188–205. http://dx.doi.org/10.35824/sjrs.v3i1.20432.
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The purpose of this paper is to investigate, from a socio-semiotic perspective, the manner in which the political regimes installed after the forced abdication of King Mihai I (on 30 December 1947) used the Throne Hall in the former royal palace in Bucharest to meet their own needs. In December 1947, Romania was illegally turned from a constitutional monarchy into a popular republic, with the help of the Red Army. Then, the popular republic was transformed into a socialist republic, in fact, a communist dictatorship. In December 1989, the communist regime collapsed and was replaced by a post-communist one, a regime which did not seem willing to leave behind the communist ideological legacy, manifest, in the 1990s, in the brutal repression of anti-government protesters in University Square in Bucharest, or in the Romanian Mineriads of 1990 and 1991. The political regimes that succeeded to power after 1947 deprived the Throne Hall of its monarchic symbolism and used it in ways incongruent with its inherent function, albeit for official purposes. The manner in which the communist regime made use of this particular place is indicative of its intent and success in reinventing traditions or adapting older traditions to its ideological goals, in order to alienate Romanians from their recent past, in disrespect for the nation’s heritage. Although the former royal palace was completely transformed into a national museum of art after 1990, a cultural institution meant, by its very purpose, to save at least part of the nation’s memory, political decision makers ignored the symbolism of a national museum such as the National Museum of Art of Romania, known to many Romanians as the former royal palace. In bewildering, yet not unprecedented fashion, the Throne Hall has been recently used, by the Romanian government, as a dining hall in a series of events that preceded the takeover of the presidency of the EU Council by Romania in January 2019. We claim that the government’s decision can be circumscribed to Jean Baudrillard’s concept of consumerism, characterized by the rule of sign value as a status symbol. In addition, Jan Blommaert’s and Barbara Johnstone’s taxonomies further the argument that the Throne Hall is not a mere space, but a place, its function having been perverted by both ideological manipulation and aggressive consumerism.
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Ianc, Alexandra-Clara. "L’art, l’artiste et la presse:les armes de la propagande et de l’idéologie communiste en Roumanie. L’exposition Flacăra, 1948." ARHIVELE TOTALITARISMULUI 31, no. 3-4 (February 13, 2024): 134–49. http://dx.doi.org/10.61232/at.2023.3-4.09.
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After the proclamation of the Romanian People’s Republic in December 1947, a new direction in art developed. The Flacăra exhibition marks the beginning of Soviet-style socialist realism, which gradually takes hold of the Romanian art scene. The press played an essential role in the establishment of realism and exercised a particular form of control. The Communist Party realised that art and the press could be a powerful tool to convey the Marxist-Leninist ideology. The article analyses the press discourse on the works presented in Flacăra.
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Pășcan, Sabin-Gavril. "Începuturile învățământului artistic la Târgu Mureș. Institutul de Teatru „Szentgyörgyi Istvan“." Cercetări teatrale 3, no. 1 (2023): 41–56. http://dx.doi.org/10.46522/ct.2023.01.03.
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Târgu Mureș is recognized today as one of the most valuable theatre centres in Romania, and the audience from Târgu Mureș is demanding but also generous. The appearance of the Târgu Mureș theatre somewhat coincided with the appearance of the Theatre Institute after the Second World War. If at the beginning the plays were performed only in Hungarian, after 1962 the theatre became intercultural when the Romanian section of the State Theatre in Târgu Mureș was established. In the 1960s and 1970s, theatrical artistic education occupied a special place in the education system. The specialized department of the Institute, the Art of the Actor, which had the role of creating the artistic-professional education of the students, was made up entirely of “specialists from outside the school” – that is, of the qualified actors of the State Theatre of Târgu Mureș. In 1976, after 22 years in which Transylvania was bereft of the Romanian theatre school, the reorganization of the Institute took place by establishing the Romanian section, specializing in acting, in Târgu Mureș. The Theater Institute in Târgu Mureș is today a renowned higher education institution in the theatrical field in Romania and offers students the opportunity to develop as professionals in a creative and stimulating environment.
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BRÎNZA, Serghei, and Vitalie STATI. "Convenția de la Lanzarote privită prin prisma unor prevederi din partea specială a Codului penal al Republicii Moldova și din cea a Codului penal al României." Analele Universitării din București Drept 2021, no. 2021 (July 2, 2021): 55–74. http://dx.doi.org/10.31178/aubd.2021.04.
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To ensure a proper prevention and combating of sexual exploitation and sexual abuse against children the provisions of the special parts of Moldovan and Romanian Criminal Codes should be in line with art. 18-23 of Lanzarote Convention. However, Moldovan and Romanian Criminal Codes do not reflect entirely these provisions. Unjustified deflections from the provisions of art. 18-23 of Lanzarote Convention have a negative impact on unifying the international provisions on preventing and combating sexual exploitation and sexual abuse against children. To facilitate the compatibility of the special parts of Moldovan and Romanian Criminal Codes with Lanzarote Convention, the authors of this article highlight solutions to improve legal provisions.
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Theodorescu, Ana. "Theodor Vasilescu – The Dancer Who Took the Romanian Folklore all over the World." History of Communism in Europe 11 (2020): 215–31. http://dx.doi.org/10.5840/hce20201110.
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The main theme of the proposed paper concerns the professional training and artistic activity of Theodor Vasilescu, choreographer and dancer, specialized in folk dance, with a rich international activity during the communist regime. The analysis will focus on illustrating how the artist’s biography was influenced by a new trend in the satellite states of the U.R.S.S., namely that of transforming traditional dance into art with a political substratum. Also, the main thread of the article will consist in revealing the specific type of relationship between the artist and the regime, dominated by a permanent awareness of the mutual benefits of this partnership: for the dancer Theodor Vasilescu it was the chance to develop a successful career, which for the propaganda apparatus implied a strong image campaign for Romania, abroad. Regarding the temporal framework, the analyzed period will focus on the regime of Nicolae Ceaușescu, 1965-1989, relevant in Theodor Vasilescu’s career path, as well as in the dissemination of his work results. There are three important aspects that will be analyzed in this article: first, the recovery of an important cultural trend in Romanian history, when, through the influence on the Soviet chain, folklore and traditional dance became an art form strongly subsumed to an ideology. This aspect led to the foundation of many Folk Ensembles with a specific type of artistic manifestations, including folk dance. At the same time, it will be illustrated how the regime was involved in financing and promoting this type of dance, by including it in the development of the most important national performances, by encouraging research in this field and creating professional opportunities through training and also by organizing an International Folklore Festival, “Romania 69”. This approach definitively changed the professional career of Theodor Vasilescu. The last aspect consists in presenting the international career of the choreographer, as a direct result of the increased interest that the communist regime had in promoting Romania’s image abroad. This made the Romanian folk dance very popular in countries such as Netherlands, Japan, Canada, Germany. Also, the frequent tournaments con-tributed to the increase of the Securitate’s interest in his daily activity. The main categories of sources for documentation will consist of: my personal archive which contains two interviews with Theodor Vasilescu, documents in the funds and collections of the National Archives of Romania (The Central Committee of the Romanian Communist Party, Propaganda and Agitation Section, Organizational Section), also those of the National Council for Studying the Securitate Archives.
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SINCA, Alexandru. "Caragiale between comic and communism." Theatrical Colloquia 13, no. 1 (May 15, 2023): 162–67. http://dx.doi.org/10.35218/tco.2023.13.1.18.
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"A work of art is never finished because it acquires and captures new values and meanings with each passing year, decade or century. Thus, Caragiale's dramatic work, mirrors a new world and new perspectives of thought with each staging. What kind of Romania was captured by Sică Alexandrescu in staging the play "A lost letter" from 1954 compared to the one offered by Liviu Ciulei in 1982? What kind of comedy did a society in the midst of a world war taste when "A Stormy Night" was made in 1943 compared to the humor it enjoyed during the years of communism in 1984? If we balance these different stagings of the two plays of the most beloved Romanian playwright, we can observe both the evolution of his dramatic work and the evolution of Romanian society."
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Naie, Lăcrămioara. "4. Project “Easter Triptych”." Review of Artistic Education 1, no. 23 (April 1, 2022): 34–39. http://dx.doi.org/10.2478/rae-2022-0004.
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Abstract The “Easter Triptych” project was conducted in six annual editions (except for 2020 and 2021 – the years of the Coronavirus Pandemic). It was conceived and achieved in the name and in the spirit of the three important moments in the history of our humanity: Birth, Passion and Joy of the Resurrection of our Savior Jesus Christ. This great religious cultural project was attended by important personalities of Iaşi and not only, such as lyrical artists from the Romanian National Opera Iaşi, church persons from the Metropolitan Church of Moldavia and Bukovina, university professors, ethnographers, craftsmen and students. We were joined by Radio Romania Cultural Bucharest, Radio Iasi, TV Iasi, Radio “Trinitas” and “Moldova” National Museum Complex Iasi. With this important project, I also went to Austria, Vienna, to the Romanian Cultural Center and to the Republic of Moldova, to “Alecu Russo” State University Balti. Each edition presented under its generous scope, equally traditions, customs and beliefs firmly established in our soul and conscience as Romanians. The events included moments of musical art: classical musical works (lyrical, instrumental, choral), Christmas carols, Easter songs, religious poems, book launches, exhibitions of decorated eggs from the Bukovina area, exhibitions of icons, crosses, carpets woven in monasteries, ceramic objects from Horezu, wooden sculpture objects and traditional folk costumes. In addition to these, there was a CD: “Easter Triptych”.
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Guţiu, Simona. "Some considerations of Romanian legal framework on online sale of OTC medicine. Coordination or contradiction to European legislation?" Proceedings of the International Conference on Business Excellence 15, no. 1 (December 1, 2021): 930–35. http://dx.doi.org/10.2478/picbe-2021-0086.
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Abstract The present work is aimed to answer a very interesting and sensitive legal issue in the Romanian pharmaceutical field. This issues regard mainly the existence of coordination or contradiction between Romanian (i.e. Romanian Pharmacy Law no. 266/20081) and European legislation (art 34 TFEU2) in respect of the delivery of the online sale of OTC medicine only from pharmaceutical units.
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Proksch-Weilguni, Stefanie. "Performing art history: continuities of Romanian art practices in post-communist performance." Journal of Contemporary Central and Eastern Europe 27, no. 1 (January 2, 2019): 99–120. http://dx.doi.org/10.1080/25739638.2019.1643076.
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MINEA, Cosmin. "Building the Nation in Stone and Wood. Restorations and Writings about Historical Monuments in the First Half of the Twentieth Century in Romania." New Europe College Yearbook 2022-2023 (May 9, 2024): 311–40. http://dx.doi.org/10.58367/necy.2024.1.11.311-340.
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The paper looks at restoration and preservation practices and at art history writings to explore attitudes and mentalities in the first decades of the twentieth century in Romania. It deciphers the creation of an architectural heritage and the meanings of writings about and restoring historical monuments in a young nation-state that expanded significantly after World War I. Some of the major restoration sites in Romania, around 1900, are analysed together with several of the architectural history writings of the interwar period that reveal a growing turn to nationalism in the Romanian cultural and political spheres.
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Selejan, Ileana L. "Actions. Situations. Possible Scenarios." Protest, Vol. 4, no. 2 (2019): 50–55. http://dx.doi.org/10.47659/m7.050.art.
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Zigzagging through personal memory and historical episodes of great consequence – the fall of the Berlin wall, the Romanian revolution and the April 2018 protests in Nicaragua – the essay seeks points of connection between the personal and the political, exploring how the two are intimately and inextricably intertwined. The textual approach can be situated in-between historical analysis and auto-biographical fiction; the aim is to enable multi-layered narratives, and contrasting, conflicting temporalities to co-exist. Illustrative of this intent, Romanian artist Călin Man intervenes upon the more well-known documentary photographs referenced in the text, by conflating them with everyday snapshots from the city of Arad taken at different points along the temporal arc described. Keywords: documentary, memory, personal history, photography, revolution, transnationalism
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Oarcea, Felicia Aneta. "Nobilimea romaneasca aradeana in veacurile XIX-XX. Familia Petranu de Ileanda – destin si istorie." Banatica 1, no. 33 (2023): 411–22. http://dx.doi.org/10.56177/banatica.33.1.2023.art.22.
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In the labyrinth of discovering the past lives of the Romanian nobility, our thoughts have stopped on the longevous Petranu Family of Ileanda whose history of over 250 years of nobility raises new interests of deciphering a universe, anchored in traditions, spirituality, and Romanian culture throughout the ages. Old records mention that the Petranu Family of Ileanda was ennobled by the Transylvanian Prince G. Rákoczy, in 1650, for military services. Over the history, two of the members of this family marked the Romanian culture and spirituality. The renowned priest‑professor Dr. Ioan Petranu (1864–1904) was an author of school textbooks, a well‑known collector of folklore, a passionate philologist, and a researcher of the most important bibliophile documents from the parts of Arad. His son, Coriolan Petranu (1893–1945), a university professor at the Institute of Archeology and the History of Art from Cluj‑Napoca, was considered a pioneer in the field of Romanian museology. His prodigious activity was always driven by professionalism, conscientiousness, and visionary spirit. Over the time, he remains a model for us, the generation of today. We consider it appropriate, at the celebration of 130 years since he was born, to reinstate him in the pantheon of the Romanian nation, creator of new cultural and spiritual values.
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Sîrbu, Adrian. "“Style” or “yphos” in Psaltic Art?" Artes. Journal of Musicology 24, no. 1 (April 1, 2021): 321–28. http://dx.doi.org/10.2478/ajm-2021-0019.
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Abstract The term style is used in the philosophy of culture, in aesthetics, art theory and art criticism, in literary languages, in the plastic and monumental arts, in the way of life and behavior of people to characterize cultures, eras, creative individuals or works, so as we learn from philosophy dictionaries. If in Greek there is this duality of the terms style and yphos, the Romanian language uses only the former, while yphos appears to be used with completely different meanings, over time. Unlike the meanings in Greek, in the current dictionaries of the Romanian language the word yphos has a more pejorative meaning, suffering over time semantic changes. However, it seems that the old meaning of the term yphos reveals much deeper and richer valences than the term style and helps us to understand in a better way the conditions of an authentic musical-spiritual interpretation, in the “right spirit”.
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Vicol, Alexandra Madalina. "Considerations regarding the object of the judicial action in order to resolve disputes arising from execution of administrative contracts." Supremacy of Law, no. 2 (June 2023): 120–29. http://dx.doi.org/10.52388/2345-1971.2022.e2.11.
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Disputes arising from the execution of administrative contracts constitute a continuous challenge to the social actors involved. The Republic of Moldova could take advantage of Romanian legislation if it started from the assumption that the theories and principles that govern administrative contracts in Romania are valid for it. In the case of Romania, the reconsideration of art. 8 para. (2) of the Administrative Litigation Law no. 554/2004 which requires a legislative intervention in order to cancel the negative consequences for the private entrepreneur, part of an administrative contract, as a result of the procedural defect of not invoking, ex officio, by the court, at the first term, of functional material competence. After such an approach, the legislature of the Republic of Moldova could also be inspired, and could improve and harmonize the provisions of the Administrative Litigation Law no. 793 of 10.02.2000 and the Administrative Code no. 116/2018. Anyway, in The Republic of Moldova, by virtue of its status as a candidate country for the EU, many legislative harmonizations will take place, and Romania’s experience would help.
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Ursachi, Rodica. "Nicolae Grigorescu – marele rapsod al plaiului românesc." Revistă de Ştiinţe Socio-Umane = Journal of Social and Human Sciences 42, no. 2 (April 2019): 56–61. http://dx.doi.org/10.46727/jshs.2019.v42.i2.p56-61.
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The article aims at the creation of the Romanian artist Nicolae Grigorescu, which through his work has made a considerable contribution to the national painting. His creation introduced in Romanian painting a new conception, vision and plastic language, the artist being considered as a pioneer of modern art. Nicolae Grigorescu, through his „peasant” painting, has highlighted the Romanian spirituality (man, nature, the joy of life), and highlighted the beauty of his native plateau.
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Târcoveanu, E. "Recenzia Congresului Nașional de Chirurgie XXIX Sinaia 8-11 iunie 2022." Jurnalul de Chirurgie 18, no. 2 (June 30, 2022): 176–79. http://dx.doi.org/10.7438/jsurg.2022.02.08.
Full textAbstract:
29th Congress of the Romanian Society of Surgery. Between June 8 and 11, 2022, the National Congress of Surgery, an event with international participation, was organized in Sinaia in the halls of the "Casino Sinaia" International Conference Center. The congress was organized by the Romanian Society of Surgery (prof. Dr. Traian Pătrașcu- acting president and prof. Dr. Viorel Scripcariu - elected president), in collaboration with the Romanian Academy of Medical Sciences, the Romanian Association of Hepato-Bilio Surgery -Pancreatic and Liver Transplant, Romanian Association of Endoscopic Surgery, Romanian Society of Emergency Surgery and Traumatology, UMF "Carol Davila" Bucharest, Romanian Society of Surgery students, Romanian Society of Surgery and Oncological Gynecology, Romanian College of Physicians, Hellenic Romanian Society of Surgery, Hernia traning Center. The congress had a generous theme: "Advances in the surgical treatment of cancer" and Varia. However, the scientific program also included many other topics of maximum interest for surgeons in Romania, hepato - biliary and pancreatic surgery, such as laparoscopic surgery, endocrine surgery, esogastric surgery. pediatric surgery, Almost 400 papers were presented in 40 scientific communication sessions, held in parallel in 4 rooms, during the four days of the Congress. This edition brought together about 1200 surgeons from the country and abroad and was characterized by an innovative, European change in the organization of the congress, in the sense that some papers were transferred to posters, the rest of the congress was based on state of the art conferences, round tables, plenary presentations, video sessions. Along with the experience of Romanian professionals and experts (200) presented at the congress, the participants benefited from the expertise of 30 European personalities of surgery. This congress, released by the pandemic, was a success, with the large participation of young people, with iscussions in permanently full halls, which allowed the participants to follow the areas of interest. One of the strengths of the congress was the organization of a number of 16 pre- congress postgraduate courses. This congress demonstrated the strength of Romanian surgery. The late spring in Sinaia, the special location, good organization, academic atmosphere, beneficial discussions, rich exhibition, book exhibitions, large presence of residents, special social program and perfect organization (EVENTER) made this congress an unforgettable event.
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Radu, Magda. "“What We Think about the Object Is Far More Important Than Its Making”: Some Notes on Horia Bernea's Early Works." ARTMargins 2, no. 3 (October 2013): 63–86. http://dx.doi.org/10.1162/artm_a_00061.
Full textAbstract:
The text analyzes the early activity of the Romanian artist Horia Bernea (1938–2000), putting it in conjunction with various aspects of conceptual art. It emphasizes points of contact between Bernea's practice and the existing narratives of conceptual art (including the Eastern European ones) and it provides contextual information about the artistic and socio-political environment in Romania during the period of liberalization which debuted at the end of the 1960s and lasted for a few years. The text mainly focuses on a close reading of some Bernea's works which were made in this timeframe, namely the Production Charts series and his investigation of the “post-cognitive iconography” formed by a family of “Entities” with invented names and morphologies.