Since he was a high school student in Bucharest, Constantin Noica was fascinated by Lucian Blaga’s philosophical, poetical, and dramaturgical evolution. Between the Two World Wars in Romania only few people managed to understand the expressionist vision in Lucian Blaga’s theater. More notable is the precise intuition with which the young Constantin Noica noticed the extraordinary value of Master Manole, which was played both in Romania and in Switzerland. Later on, this was considered to be Lucian Blaga’s most outstanding dramatic play. In the decades to come, Professor and Academician Lucian Blaga kept Constantin Noica in a high esteem.
In this study we conducted a research on the Facebook page of the Romanian Gendarmerie, to understand the magnitude of the effects of the crisis this institution is facing after the Diaspora Protest ended in violence. We monitored the posts from August 10 to December 31, 2018 and analyzed the most relevant 50 comments from each post, in order to determine their character: positive, negative or neutral. In conducting this study, we started from the hypothesis that this event has affected the image of the Romanian Gendarmerie in the long time, and the crisis communication strategies used by the representatives of this institution have made a significant contribution to postponing the image restoration.
The school can therefore accommodate television screens and computers but provided they are confined to specific practices, limited, criticized, to allow time and space for a transmission of knowledge, know-how and skills which require a group, microcosm of humanity, and an authority, carrying values and ends. The screen must lose all its fantastic power, its omnipresence, to remain a complementary and partial tool in a school world, a space and a time proper, intended to instruct and educate the pupil or the student, to lead him towards a citizenship that is not confused with a consumer or with a player on screens.
This essay proposed to analyze the profile of Adriana Bittel’s writing with deep meta and intertextual accents. In a transgressive and textual framework of the 80’s generation prose, the work presents a new way of approaching the narrative by intentionally disposing all its mechanisms of conception, in a context in which the fiction self-comments and brings the reader with all the tools and components of “textual engineering”.
The article outlines the evolution of anthropomorphism, from the prehistoric phase in the contemporary one, along with related concepts such as animism and personification. A number of food brands now use this metaphorical language to influence consumers behavior. Anthropomorphic archetype becomes thus the stereotype of communication strategies and the environment in which messages propagate is governed by the paradigm of corporeality. The rhetoric of many advertising campaigns “sex exploits” successfully the cliché of carnal seduction, namely to arouse gastronomic appetite by the erotic appetite.
The present conference discusses the symbolic meaning of bread in the religious mentality of the Ancient Near East. We will find that bread, besides being a food necessary for its existence, also represented a cultural archetype that summed up and assumed in itself either different divinities of Oriental civilizations, or had a ritual-sacrificial character, in order to facilitate man rather immortality.
Vasile Băncilă is a thinker to be placed where he fits in the hierarchy of values of Romanian philosophers. Therefore, this text invokes some “start-up frames”, through which we offer a range of accents of the reception of the intellectual and philosophical dowry left by the author. Vasile Băncilă left posterity printed texts, but also thousands of sheets written over four decades of life, unfinished and not ready to be printed. Some of them are from his youth; on some of these focuses this text, namely on what meant for the young philosophy professor Vasile Băncilă the act or the process of philosophizing.
For two days, together with friends across the country, Craiova celebrated Ion D. Sîrbu. Only those who deliberately ignore him do not understand the spiritual force of this creator who left a undenieble fingerprint upon the place where he lived his life. His books, but also his existence full of tribulations and restrictions have been subject of reflection in the events that took place in several places that have been close to the great writer and moralist.
The purpose of this article is to demonstrate that Wassily Kandinsky’s geometrical paintings were inspired by the ballet world, and by the body movements of the ballerina. Moreover, painting and ballet communicate with each other. And geometry has helped that. Then, the idea of this article starts with the necessity in relating Kandinsky’s Spiritual theory on non-materiality exposed in Über das Geistige in der Kunst with Sergei Diaghilev’s Ballets Russes brought on Parisian scene between 1909s and 1929s. Ballets Russes is the term which names all the ballet representations thought and designed by Sergei Diaghilev after his musical-cultural conflict with Nikolai Rimski Korsakov. Starting with 1907s, Kandinsky had initiated Der Blaue Reiter group and he starts with various drawing techniques. Were favourable years in which Kandinsky’s evolution from simple drawings to sophisticated Compositions got up. We are witnessing a cultural increasement. So, the ballet, the music, the theatre and the painting can not be separated any more or, at least, or, at least, cannot be thought of separately as systems of aesthetic theory. The aesthetic evolution from ballet and theatre had influenced the evolution in painting. What we will try to show as novelty in our investigation, is the kinetic and spiritual relation between Kandinsky’s Compositions and some representations from Ballets Russes by Sergei Diaghilev, especially with the «L’Oiseau de feu». In conclusion, we want to show how the lines designed by Wassily Kandinsky are describing ballet’s movements. The methods used in our research have consisted in the inter-artistic comparison between Wassily Kandinsky’s theory of painting and the ballets designed by Sergei Diaghilev. We also brought a philosophical and personal perspective on both worlds.