We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Review of: Dmitri Hmelnițki, Alexei Șciusev, Un arhitect al stilului imperial Stalinist. traducere din engleză de Nicolae Pojoga, consultant științific Boris Gangal. Chișinău: Editura „Cartier”, 2022, 176 p. ISBN 978-9975-86-632.
More...
The article discusses the terracotta figurines discovered by A.L. Bertye-Delagard during the investigation of the Yalta (Autka) sanctuary in 1905. Currently, the Odessa Archaeological Museum houses eight figurines; one was lost, but its photograph has been published. The terracotta figurines can be conventionally divided into two groups: the first includes four realistic representations of a standing goddess, and the second consists of five anthropomorphic figurines. The figurines of the first group were probably produced in the Tauric Chersonesos, where the production of similar items is documented in the period from the 2nd to the 4th centuries. It is obvious that the workshops manufactured these figurines to satisfy the demand of the city's inhabitants, but they could also have supplied the local barbarians. As for the production of anthropomorphic figurines, the dominant opinion is that they were handmade by the barbarians. However, it is important to note some distinctive features of these figurines: they are hollow, have a symmetrical shape, clear edges and uniform wall thickness. The firing is satisfactory. It is likely that some simplified forms were used in their production. It is possible that the same workshops produced terracotta figurines of both types. The anthropomorphic figurines were probably not made specifically for barbarians; rather, they were intended for the inhabitants of the Tauric Chersonese as a more affordable option in the product range.
More...
The collections of the National Museum of History of Moldova contain more than five hundred icons, of which about a hundred depict the image of Jesus Christ. This collection of icons contains a diversity of iconographic models, which necessitated its classification into general types, and then into categories. Most of the compositions represent the stages of the Savior’s earthly life: “Nativity of Christ”, “The Holy Encounter”, and “The Baptism of Jesus”. The preaching period of Christ’s life is reflected in the icons “Jesus and the Twelve Disciples”, “Blessing the Children” and “The Entry of Jesus into Jerusalem”. The Savior’s arrival in Jerusalem actually marked the beginning of the Passion of Christ, a great drama that was preceded by several important events reflected in the scenes of the Last Supper and Prayer in the Garden of Gethsemane. Episodes of detention and trial are reproduced in the icons “Christ in Prison”, “Christ at Pilate’s Court”, “Christ Wearing the Crown of Thorns” and “Carrying the Cross”. The compositions “Crucifixion of Jesus Christ” and the shroud “Entombment” complete this chapter. The image of Christ in glory is reflected in three iconographic compositions: “Transfiguration”, “Resurrection of Jesus Christ” and “Ascension of Jesus Christ”. The creation of these iconographic types, designed to depict events that represent an incomprehensible mystery for a common man, was an extremely difficult task for the clergy and icon painters, who were able to develop a pictorial formula that made it possible to reveal the spiritual greatness of Christ in glory. The image of the Savior not made by human hand includes the icons “The Mandylion of King Abgar” and “The Veil of Veronica”; these are acheiropoieta, the miraculously created images of Jesus Christ. The symbolic image of the Savior is rendered in two museum icons known as the “Good Shepherd”, the most appropriate representation to depict Christ in his immense love for people. The liturgical image of the Lord can be found in the iconographic types “Jesus Christ the True Vine”, “Jesus Christ Pantocrator”, “Jesus Christ the King of Kings” and “Jesus Christ the High Priest”. The collection under consideration is distinguished by a diversity of painting techniques, materials and forms of realization of works, of categories and styles of interpretation – all this gives it authenticity and individuality. Created between the mid-19th and early 20th centuries, these works retain the iconographic features characteristic of that time.
More...
One of the manifestations of unresolved trauma is associated with the use of Balkan stereotypes and self-Balkanisation in films. In this paper, I explore the connection between unresolved trauma and the music used to express Balkan stereotypes, focusing on a case study dedicated to Goran Bregović’s soundtrack for Emir Kusturica’s film Podzemlje [Underground] (1995). I analyse the track “Mesečina [Moonlight]” featured in the film, and observe how the music goes hand in hand with the portrayal of some of the main characters as “wild Balkan men” associated with a myriad of negative characteristics and stereotypes.
More...
Photography is a relatively young form of fine art. Although the history of photography is only about 200 years old, its techniques and technology are developing rapidly and depend directly on scientific progress. Photography finds its application in all social spheres becoming a global phenomenon. As a form of visual communication, it fulfils applied, artistic, social, and communicative functions. The language of image making includes structural and semantic variations of terminological units, which translation requires a careful scientific and linguistic analysis. The present article studies challenges in translation of various types of English photography terms into Romanian (metaphorical terms, terminological combinations, anglicisms). When translating photography terms the interaction of the term with the context is of great importance to select the proper translation procedure and to find the best equivalent. The translation of metaphorical photography terms formed based on shape and color semantic transference involves the use of a direct equivalent or one of the lexical variants of polysemantic nature. The results of the investigation showed the predominance of borrowing (for English loan terms and abbreviations) and syntactic transformation translation techniques (for terminological combinations).
More...
The jewelleries discovered in the archaeological excavations are a very accurate tool used in the dating of the sites or archaeological contexts. Their analysis can produce important data that helps us understand the socio-economic and cultural state of the populations in the region and centuries that we are interested in. This article studies the jewelleries influenced by or originating in the Byzantine Empire found in Moldavian Subcarpathians dated in the VI-VII centuries.
More...
The building, built at the end of the 19th century is part of a complex comprised of the school building and the so-called „Teacher’s House”. The school is of „Spiru Haret” type, with two classrooms (located on one side and the other of a central hall) and a teachers’ lounge (in the extension of the hall). At present it is in a pre-collapse state, the building has not been functional since 2000.
More...
En 2003, un journaliste de Iași a demandé à l’auteur une interview concernant l’héraldique territoriale pour expliquer au public intéressé les règles qui président à la création des symboles héraldiques pour les départements, les villes et les communes. Ces explications semblaient nécessaires, à cause d’une réglementation de fraîche date à ce temps-là, une décision prise par le Gouvernement (no . 25/2003) pour établir les modalités et les règles à suivre quand il s’agit de la création d’armoiries adéquates pour les unités territoriales précitées. Il était prévu, pour le 16 mai 2003, un Colloque d’héraldique territoriale, organisé comme section du XIIe Congrès National de Généalogie et d’Héraldique; l’interview aurait pu être une introduction ou une préface aux débats attendus à ce Colloque où, en dehors des spécialistes, on avait invité des représentants des autorités intéressées. Dans les réponses aux questions (formulées par lui-même), l’auteur a exposé et a défendu les principes qui ont guidé son activité dans le domaine de l’héraldique territoriale. Pour des raisons inconnues, le journaliste (ou sa rédaction) a abandonné le projet et l’interview est restée dans les dossiers de l’auteur. Il voit le jour maintenant, avec l’espoir que les réflexions concernant l’héraldique territoriale pourraient être utiles à ceux qui continuent l’activité dans ce domaine.
More...
The research of the settlement from Cucuteni-Dâmbul Morii (also known in the archaeological literature as Băiceni-Dâmbul Morii) is closely related to the excavations carried out in the eponymous site of Cucuteni-Cetățuia. The first mention, under the name of „Settlement in the valley”, was made by the German scientist Hubert Schmidt, the author of the first monograph dedicated to the Cucuteni culture. This study aims to complete the data known up to now about the Dâmbul Morii settlement. We know that at least 10 Cucuteni phase A-B dwellings have been fully or partially investigated, seven inside the defensive ditch (1-3, 5-6, 10-11), and three (7-9) outside the same trench. We also have a partially published plan (1961-1966 campaigns). In carrying out this research I used the site excavation notebook and the excavation plans, in the collection of the Archeology Seminar of the Faculty of History of „Al.I. Cuza” University from Iasi. For the years 1977 and 1978, 25 excavation plans were identified. As a result, the number of dwelling identified increased to 15. The archaeological inventory allows the formulation of some hypotheses regarding the economy of the Dâmbul Morii settlement. The presence of the high number of stone strikers identified in all the excavation campaigns, as well as some tools with clear traces of processing, suggest that at Dâmbul Morii we can speak of a tool processing center. Among other activities, the presence of horn tools also suggest the practice of agricultural activities.
More...
The present paper presents votive materials dedicated to the goddess, most of them represent terracotta statues, that I decided to divide in ten categories based on the types that they represent. Therefore, we find Aphrodite represented with doves, accompanied by one or two Erotes, protomes of Aphrodite with a calathus or a polos on her head, with her arms closed on her chest or seated on a throne, Anadyomene, naked or half naked that underlines her power on the chthonian world. Each category represents the meaning of the cult of Aphrodite in the Black Sea region where she is worshipped as an oriental goddess, as protector of the sea, a fertility and love goddess and also she is linked to the underworld.
More...
The present paper presents my dear friend Elvira and her life in few photographs part of the „Nicu Enea” Memorial House and from her husband’s paintings, Nicu Enea: copies of photographs Nicu and Elvira Enea in 1935, Elvira profil, Elvira at an exhibition, Nicu Enea torso, Nicu and Elvira’s parents, all the photographs present in „Nicu Enea” Memorial House. Other two photographs made after two paintings are from the good period of the Nicu Enea’s workings: Elvira with an umbrella – private collection and Elvira at the Peleș Castle.
More...
There are a relatively small number of feature films that openly and exclusively address the Romani Holocaust. However, it was arguably the 1988 film And the Violins Stopped Playing that marked the major breakthrough in the tradition of representing the Romani Holocaust, for its plot focuses entirely on the Roma and their plight during World War Two. This article examines this cinematographic representation of the Holocaust, focusing on depictions of Romani culture while taking into account the assumption of the privileged position of Romani musicians among the Roma. The film, which is an adaptation of the 1985 novel of the same title by Alexander Ramati, shows the Romani Holocaust from the perspective of Romani musicians. It can be argued that not only the plot or the visuals, but also actual sounds heard throughout the film, offer meaningful insights into the reading of this work. The article claims that the film approximates the Romani Holocaust by equally involving visual and musical aspects, which, like the story shown onscreen, are not devoid of stereotyping
More...
Sinking Sculptures is a project by Professor Konstantin Denev realized through an exhibition on June 21,2012 in Resonance Gallery in Plovdiv. The project represents parts of his sculptures made of wood and personal belongings, which he cuts symbolically, transforming them into new plastic objects, placing them in another space. This is an act of short-term immersion through which Professor Denev makes us empathize with his feelings about the instability of space and time in which we live and the constant fluidity of values, ideals and cultural stereotypes.
More...
While scholars of medieval theatre have developed their respective periods and genres over the past 150 years, their work is subject to constant criticism and review. This text will examine a selection of pieces from Latin manuscripts exclusively. The objective of thiss tudy is to demonstrate how the various genres addressed the established stage conventions of the Middle Ages, which are markedly distinct from those of the Modern European period in that they overlap with the liturgical ones. The potential for staging the texts will be examined, both in terms of the action’s coherence and in terms of the available rubrics/stage directions, the nature of which also necessitates a degree of interpretive effort and imagination.
More...
Im Beitrag werden Weihreliefs für Herakles besprochen und deren Stil und Ikonographie analysiert. Dabei werden auch Beziehungen zu Reliefs anderer Gottheiten aus derselben Zeit angeführt. Ebenfalls wird die gebietliche Verteilung der Funde angegeben, die sich auf den Herkles-Kult beziehen. Auch wird eine Analyse der Stifter durchgeführt und verschiedene Aspekte des Kults dargelegt.
More...
L’auteur publie quelques types de terres cuites de Histria de fabrication locale. Elle établie des générations obtenues par la méthode du surmoulage. Les types publiés sont Ephèbe 1, Ephèbe 2, Sophocléenne, Femme drapée soulevant son himation et La Petite Herculanaise.
More...
Inhabiting ruins is closely connected to discovering a memory. Memory is that room where, sometimes, our gaze lingers, looking for a time and a place of our own. Inhabiting is, then, moving to a place whose memory we aim to turn into our homeland. We propose three moves – three gazes – that sought that homeland in the same place: the ruins of the Parthenon. First, the move of a London engraver who captured the opulent fête that a minister of the Greek army offered to the French and English troops in those ruins in 1854. The Parthenon, in a renewed life, becomes the open window to a homeland of men whose time is as fleeting as the time of a dinner. Second, 50 years later, we discover the stop of two travelers – a painter and his father – in Athens. Their gaze on those same ruins turns the architecture into a clearing that binds heaven and earth together, in a time frozen by the hasty flight of those gods defeated by destiny. Finally, we explore the visit of an American architect 100 years after that London engraver who aimed to show us that same stone structure as a place halfway between old gods and new men, in a time that both decide to share again. The visit to these three gazes that inhabited the Parthenon will show that the memory inhabiting the ruins keeps, in its different lives, our renewed fates.
More...
In aerial views of the Acropolis of Athens, the Odeion of Herodes Atticus is the most present architectural monument on the South Slope while the theatre of Dionysus often appears as a void due to its unrestored state despite its acknowledged importance as the birthplace of Western drama and archetype of Greco-Roman theaters. This paper adopts Pierre Nora’s “realms of memory” framework to explain this disparity as the outcome of a national heritage management policy to preserve “first quality” Ancient Greek theaters in their unrestored state as lieux de mémoire for the modern Greek nation while restoring “second quality” Roman performance buildings as milieux de mémoire that bring the nation together in modern performances of Ancient Greek drama, as two aspects of the same desire to revive the Ancient Greek civilization in the modern Greek state. Supporting examples are found in restorations, for modern festivals, of Roman period odeia and of “polluted/desacralized” Greek theaters that had been modified for Roman amphitheater games, employing terminology suggested by Eleana Yalouri who coined also the “first-and-second-quality” distinction. Culture-based specificity and validity of the adopted framework is then discussed based on odeion restorations on the Aegean Islands that date from a period of Italian control instead of nation-building in modern Greece. This distinction is proposed to reveal the validity of Fernand Braudel’s “total history” paradigm that suggests surface phenomena (including architectural monuments) to be unintelligible without understanding the underlying economic, social, and political conjuncture that is, in its turn, largely shaped by geo-history. Concluding observations involve themes for future studies along this path.
More...
Started as an investigation on the common elements of the ancient and the contemporary city of Thessaloniki (Greece), this study is also an argument for the essential role of historical plans as complementary sources for urban archaeology – especially when the non-regenerable resource they represent, i.e., the historical urban fabric, has been predominantly lost. Based largely on two directions of analysis – the configuration of the street network, and the general layout of the palatial complex of Galerius, along with a brief assessment of the recent built stock evolution in the background –, the main conclusion is that what used to be, no more than a century ago, an authentic historical city that developed organically over two millennia, is now a wide historical center with a compromised urban fabric, a limited (if not already exceeded) potential for development, and serious problems in the interpretation of the historical city. These outcomes all stem from the urban planning approach and implementation over the course of the last century. The limited set of data employed in this study, consisting of one historical city plan, and a couple of archaeological plans focused on one relevant area of the ancient city, might be perceived as a basis for a narrow and distorted view. However, I view it as a representative sample for what could be only the tip of the iceberg in deciphering what was actually lost in the process. Rather than a gain for urban archeology, the process of urban development and renewal (particularly in the post-war period) is, in my view, a negative and irreversible interference with a historical site, transforming a living ancient-modern city into a modern museum of an ancient city.
More...
Was there a concern for ruins in 19th century Romania? The development of the romantic spirit and the taste for the picturesque, circumscribed to a narrow cultural elite, triggered an interest for antiquities and ruins. This specific preoccupation was animated by the evocative role of a far and still little-known past, and also by the aesthetic value of the ruin. The increasingly lively interest for the research of national history and the early attitudes towards the preservation of its material remains founded a whole new chapter of the early-modern Romanian culture. Was there a cult of ruins in 19th century Romania? Towards the middle of the century, a significant literature of the ruin was flourishing – borrowed or indigene, developed in a meaningful Romanian lyric. However, the subject came to the attention of local antiquarians from a pragmatic perspective. The early archaeological excursions in Oltenia of Vladimir Blaremberg and Mihail Ghica, popularized in contemporary publications, represented a first step in the systematic approach to the ancient remains in Wallachia, which later became the basis for the Romanian Academy studies. #e “archaeological expeditions” of the mid19th century led by Alexandru Pelimon, Cezar Bolliac, Dimitrie Papazoglu, and Alexandru Odobescu accompanied by the painter Henri Trenk and, later on, those of Gheorghe Tattarescu, contributed to the foundation of a scientific knowledge, to a first inventory and in some cases, to the graphic documentation of the artifacts. By discussing these works, the article proposes several states of the architectural ruin in the Romanian 19th century: as an object of contemplation, as a source of historical information, as a vehicle of memory and aesthetic appreciation or, finally, as a means of political legitimation.
More...
