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.
By „dispute” we mean an argumentative dialog where each of the two parts state opposite theses. Two sentences can be contrary if they have similar reference, but incompatible predicates (SIP – sentences with incompatible predicates). Usually, the disputes are solved using force in different ways, but that does not mean that the winner is right and his thesis is true. Therefore, we cannot evaluate a thesis on the ground of its success, but we need a reference mark for that. According to the Sophist school, the individual is the only reference mark, so any SIP is equally justified. The absolutist point of view claims that there is an objective reference mark and, consequently, the truth is, at its turn, objective and unique. Finally, the relativist orientation rejects any objective reference mark, but the right thesis is not arbitrary, as the sophists thought, it is true relatively to the state of the evaluator to a given moment. It follows that, for any evaluator, at a moment of time, only one SIP is true.
The current review analyzes the last editorial issuance of Professor Gabriel Hasmaţuchi. Dedicated with much accent on cultural phenomenology, the author proposes interpretations that develop a binary, alike, contradictory, concurrent, complementary or congruent character. The work has the smell of ancient doxographies being a truly protreptic one, as well as a treaty of cultural posology.
Postpartum depression is a relatively frequent psychiatric pathology that involves some challenges in the management and treatment of the case due to the increased risk of suicide and infanticide. Having a relatively early postpartum onset within 4-12 weeks, this pathology may have psychological, social and family repercussions in the long term, both on mother and father, but especially on the child. Postpartum depression is a relatively frequent psychiatric pathology involving some challenges in managing and treating the case due to the increased risk of suicide and infanticide. Having a relatively early postpartum onset within 4-12 weeks, this pathology may have psychological, social and family repercussions in the long term, both on the mother and father, but especially on the child.
Postpartum depression manifests with symptoms typical of all depressive episodes, such as depressed mood, irritability, low tolerance to frustration, anxiety, hypersomnia, but also more specific symptoms such as feelings and guilty thoughts about correct child development, lack of empathy, lack of maternal behavior. Emotional, socio-cultural and physiological factors play an important role in the onset of this symptomatology.
Postpartum depression raises ethical concerns about the proper conduct of the doctor. In this article we will address both deontological aspects such as doctor-patient confidentiality, suicide and infanticide, as well as the legal aspects that may occur in such situations. Thus, postpartum depression is a therapeutic challenge because of the multiple social, family and legal interferences it presents.
The present study looks at how to structure an election or commercial advertising campaign in the online environment, the strategy it must follow in promoting it, without neglecting: the large or small frequency of interventions on social networks, the type of message, the target audience and the effects sought. All these stages are found in both business and online policy. In the election campaign, the most important goal is how we can turn into voices the likes received on the social network media. During the commercial advertising campaigns, the main goal is to achieve profit by strengthening the image of the brand. The success or failure of a campaign depends, to an overwhelming extent, on the way in which the message and image of the company or the politician / party has been seen on the online environment.
The present paper is a concise comparison of the two doctrines of truth, Husserl’s and Heidegger’s, from the point of view of the identity and its implicates. The concept of identity also allows us to compare and to assess two different interpretations of Heidegger’s writings on the truth: Tugendhat’s and Gethmann’s. And, finally, the same concept of identity is that which does imply reification and in this way leads, essentially, to the self-suppressing of the thematization of the truth on a transcendental basis.
This study aims to highlight the problem of justice in Karl Marx’s vision from the perspective of the critique of capitalism. Although, there is a strong dialectic in the socio-political and philosophical debates among political thinkers (including Marxists) on the existence or non-existence of a theory of justice in Marxism, the exegesis of Marxist writings reveals two types of justice (“Justice through fair distribution and Justice through the dictatorship of the proletariat”). The first aspect the study proposes is to reinforce and argue for the existence of a Marxist theory of Justice, followed by a critical analysis of how this is reflected in both socialist and communist society.
Often compared to Jorge Luis Borges or even to William Faulkner for the intricate and symbolic structure of his work, the Spanish writer Antonio Muñoz Molina always tried to evaluate within his novels the complex relationship between reality and fiction. The Spanish Rider (1991), one of his most exquisite creations also deals with the significance of memory as far as his protagonist’s evolution and decisions are concerned. Above all these, the novelist analyzes the influence of history on common people’s life and underlines the necessary balance that has to be established between the historical great events and everyday’s choices. His next novel, Full Moon (1997) uses the same aesthetic points of departure, but complicates everything with the details of a specific kind of psychological thriller, the author proving how the seemingly very simple structure of a crime story may turn into an unexpected evaluation of the tragic aspects definying contemporary human condition.
„Ion D. Sirbu’s idea of memories dates back, according to his own testimony in 1979,when he decided that: „I will buy a tape recorder. I wish - because I have a special gift of oral storytelling, live speech of heart to heart confession – I wish [...] to „tell” (as in the park, pubs, cemetery) those memories that cannot be written because they were too lived!!”
In 1980-81, Ion D. Sîrbu bought a tape recorder MAJAK 203 and recorded on two ORWO tapes, of 360 m, some of the memories (childhood, adolescence and the early months of his student life in Sibiu). On June 7th, 1989, „urged by the ghosts of my insomnia, I open a new notebook and start - for the first time - to write the story of my poor life. I will not be concerned at all to be precise, the memory began to leave me, nor do I care about my life as reality but as a story: thought, dreamed, told dozens of times and, especially, lived. „
He wrote 75 pages, the latter probably before the end of the month, since, on 1st July, dictates to his wife a letter to David Prodan. The story line „breaks” the day he left for war.
This fragment (ms., Pp. 23-28) and the three letters, all unique, we have included in the volume: Ion D. Sirbu Latest ..., soon printed”. (Toma Velici)