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Journal articles on the topic 'Vieru Grigore'

Author: Grafiati
Published: 3 June 2025
Last updated: 31 July 2025

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1

Strechii, Irina. "Traduceri în engleză din Grigore Vieru." Limbaj şi context = Speech and Context : Rev. internaţională de lingvistică, semiotică şi şt. literară 2011(1) (April 18, 2017): 181–86. https://doi.org/10.5281/zenodo.546786.

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2

Gagim, Ion. "Muzica şi poezia, într-un corp comun / Music and poetry as a whole." Artă şi educaţie artistică : rev. de cultură, şt. şi practică educaţională 2011 (1) (October 23, 2017): 84–85. https://doi.org/10.5281/zenodo.1035177.

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Abstract: Articolul reprezintă recenzia lucrării Grigore Vieru, Ştefan Andronic. ROUA VEŞNICIEI. Editura Pontos, 2010. Volumul reprezintă, ca gen, o crestomaţie de creaţii ale marilor compozitori ai muzicii universale în transcripţie pentru cor de copii pe versurile inspirate ale poetului Grigore Vieru.
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3

Şoşu, Luiza. "Traduceri în engleză din Mihai Eminescu şi Grigore Vieru." Limbaj şi context = Speech and Context : Rev. internaţională de lingvistică, semiotică şi şt. literară 2011 (1) (April 18, 2017): 187–89. https://doi.org/10.5281/zenodo.546813.

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4

GÎSCĂ, Raisa. "Aspecte ale sacrului în poezia lui Grigore Vieru." Revista de studii interdisciplinare "C. Stere" 3-4 (19-20) (December 15, 2018): 161–66. https://doi.org/10.5281/zenodo.3361181.

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The poet Grigore Vieru admirably fulfilled the duty to instruct his readers by sacralising and emphasising the eternal values of humanity which come from God and which are directly and indirectly rendered in his writing from childhood to adulthood. The main themes that are sacralised in the poet’s literary output and that mark the core lines of the human existence are: mother, homeland, childhood, love, woman, parental home, ancestral speech, national liberty etc. Grigore Vieru is a poet of genius who lived with all his being for the Romanian people, for the Romanian language and for the
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5

Serdeşniuc, Cristian. "The mother archetype in the poetry of Grigore Vieru." Akademos, no. 3(62) (December 2022): 106–10. http://dx.doi.org/10.52673/18570461.22.3-66.12.

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Grigore Vieru created a poem about children and childhood, and in the middle of it arranged a mother’s image. Marked with the irrepressible wish to his mother, even being an adult, he was looking avidly for returning to the lost paradise of childhood. By intermedium of the poems for children about the mother and the entire environment, Vieru helped the little reader to discover the sense of the Universe. The living beings guided the children through harmony and continual rejoice. The poet was looking for discovering some primary needs of an infantile being, identifying them with the child itse
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6

Serdesniuc, Cristian. "Grigore Vieru’s Poetry: Edification of the Spirit and (Re)Construction of the World." Philologia, no. 3(318) (December 2022): 89–97. http://dx.doi.org/10.52505/1857-4300.2022.3(318).08.

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The poem of Vieru contributed significantly to the reeducation of a psychologically disfigured by proletarian ideology nation. Pioneer’s song and “October’s” acclamations replaced the tune of the sun and the impressive dialogue of non-speaker beings. Vieru’s living beings guided the little reader through the discovery of the vital senses and himself. The poem of Vieru demonstrates the sacredness of an infantile universe: a native village, a parent`s house, a mother’s being, and an inhabitant of nature. The figurative projector of the village in the poems of Vieru is identified as a truly “pant
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7

Gârlea, Olesea. "Rostul lui Dumnezeu și implicația diavolului în aforismele lui Grigore Vieru." Akademos 2 (August 9, 2019): 118–24. https://doi.org/10.5281/zenodo.3364359.

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The Good and the Evil as factors of evolution and the development of inter-human relations, progress and regression, were concretized by two archetypal images, by two concrete metonymized or personified representations. The God, as the positive energy representative and the devil as opposed to it. The article has as an axis of analysis the aphorisms of Grigore Vieru, in which appears the divine and the worldly experiences. The massive presence of aphorisms in which the name of God appears denotes the profoundly Christian education of the poet, the omnipresence of God b
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8

Apetri, Dumitru. "The Poetic Work of Grigore Vieru in the Ukrainian Value Circuit." Philologia 323, no. 2 (2024): 43–50. https://doi.org/10.52505/1857-4300.2024.2(323).04.

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In this article is shown the process of reception of Grigore Vieru’s poetic works that is produced in the cultural-literary area of Ukraine. It can be seen that, starting from 1969, the phenomenon unfolds in two ways. The first way – publishing a certain number of creations in the form of lyrics cards for preschoolers and schoolchildren and volumes for adults; the second – the inclusion of certain Vieru’s works, as a rule, in the form of cycles, in collections containing selected writings from Romanian literature, sometimes from other literatures as well. Considering the contents of the lyric
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9

Cristea-Enache, Daniel. "Perestroika și noua poetică basarabeană: Eugen Cioclea și Grigore Chiper." Philologica Jassyensia 37, no. 1 (2023): 33–43. http://dx.doi.org/10.60133/pj.2023.1.02.

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"The poetic model Păunescu − Vieru hasn’t diminished its value in the Bessarabian literary space and most probably the lyrism with ethnical and ethical elements will be regarded as a source of inspiration for the new generation of poets. The study problematizes a unifying perspective by simplifying, reducing the field of poetical experiences to a patriotic dominant feature. Considering the perspective from a distance, outside the Bessarabian literary space, as well as from the inside, we notice the way that a poet chooses one or several models no matter the space and its matrix, his mother ton
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10

Bohantov, Alexandru. "Filmmaker Valeriu Vidrașcu – Between Vocation and Destiny (creative profile)." Intertext, no. 1(59) (July 2022): 145–51. http://dx.doi.org/10.54481/intertext.2022.1.16.

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The cinematographic trajectory of the documentary film director Valeriu Vidrașcu falls within the limits of two audiovisual formulas - the portrait film and the problem film. Within the respective aesthetic coordinates, the talented filmmaker has fully exploited his creative potential, although in his directorial track-record there are also a few films with a fairly consistent musical subject. To add that the moldovan filmmaker has established himself in the audiovisual landscape of the Republic of Moldova by capitalizing unique directorial solutions. The 1983 film Suite for four trumpets is e
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11

Mardari, Daniela, and Lucia Adascalița. "SERGIU PUICĂ – MAESTRUL GRAFICII DE CARTE PENTRU COPII." Magazin Bibliologic 3-4, 2021 (December 9, 2021): 145. https://doi.org/10.5281/zenodo.5769613.

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The paper presents the results of the study on activity of Sergiu Puică, famous painter and illustrator. The full member of the Union of Fine Artists of the Republic of Moldova since 2001, throughout his career he was acclaimed by critics for his works, which include not only book illustration, but also cartoons, charges, scenography and graphics. For his lifelong activity he was awarded with the "Igor Vieru" Prize in 2012. Throughout the time he made illustrations for more than 100 books, among them the best known are as following: "Beautiful is our language" (1996) by Gri
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12

Burlacu, Alexandru. "Liviu Damian: The circles of the verb." Akademos 3 (54) (November 1, 2019): 132–38. https://doi.org/10.5281/zenodo.3525146.

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This article examines the poetic journey of Liviu Damian, a poet of destiny, an important representative of the Bessarabian poetic phenomenon between the 60s and 80s of the last century. His volume Sunt verb (I am a verb) (1968), together with Numele tau (Your Name) (1968) by Grigore Vieru, changes the aspect of the poetry of the 60s in Bessarabia, contributing to the paradigm shift, and imposing itself as a modernist remake. The poem after Sunt verb   (I am a verb), with some exceptions from the volumes Mandrie si rabdare (Pride and patience) (1977) and Altoi pe o tulpina vorbitoare
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13

Burlacu, Alexandru. "(Neo)modernism în rupturi rizomice." Limba, literatura, folclor, no. 1 (August 2021): 34–38. http://dx.doi.org/10.52505/llf.2021.1.03.

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This article exposes theses on the Eminescian model as the irradiating center of the Romanian literary canon. The poetry of the 60s and 80s of Bessarabia is conceived as ,rupture with the dogmas of socialist realism and a return to the models Arghezi, Blaga, Bacovia, Barbu. Neomodernism, through rhysome ruptures, has a decisive impact on the metamorphoses of sixty/seventy poetry. The testing of aesthetics produces a change in the concept of poeticity, a mutation from the ardent east-ethics of the generation of Grigore Vieru and Liviu Damian to the aesthetic „liberated from sentimentality”, to
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14

TIPA, Violeta. "The image of the forest in the national artistic creation." Arta 31, no. 2 (2023): 105–12. http://dx.doi.org/10.52603/arta.2022.31-2.16.

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Th e image of the forest or of the woods is deeply implanted in the spiritual life, becoming for centuries a maternal symbol of our people. We fi nd it in popular creation (doinas, ballads, tales). In most folk tales, the main characters, on their way to becoming, wander through a thick and dark forest, as the forest itself is the destination point, where the dramatic denouement, an unpredictable meeting or a love idyll will take place. We also fi nd this space of transformations in the creation of our poets and writers (Mihai Eminescu, Vasile Alecsandri, Grigore Vieru, Ion Druță, etc.), in so
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15

Serdesniuc, Cristian. "The Significations of the Game in Vierean's Poetry for Children." Intertext, no. 1(61) (December 2023): 91–97. http://dx.doi.org/10.54481/intertext.2023.1.10.

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Vieru's creation for children was searching continuously for the break of the Soviet canon. Propelled by a bouncing lyricism and by the sap of mythical folk headsprings, Grigore Vieru's poem brings back the literature of the 1960's to its aboriginal origins. The universe of the Vierean childhood rejects the artificial game, the partisan template, the glorious themes of the USSR, reconfiguring a new aesthetic picture of the child and childhood. Seen like a little demiurge, the Vierean child, an antipode of the child -hero, explores the mysteries of the rural adventure. Suggested from a series o
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