Small children show a lot of media activity: they are perfectly capable of handling new technologies as they have been using them since the first years of their life. The types of activities that they manifest depend on the family home and the behaviour they observe in their parents. With their support and with the provision of positive patterns, children may become not only passive media users, but also active media content creators who, in the course of time, will have a real impact on the reality in which they are growing up. In the paper, the author presents selected results of own research which verifies the role that the media play in the life of a child in an early school age. The author tries to determine if children only display passive and imitative media activities or whether there is also active media creation.
provide an expository treatment of
Aquinas’ use of mixed relation in attempt to bridge his philosophy and theology while
seeking to encourage and aide others to more actively incorporate the category of
relation in theological work, as Aquinas himself did.
mixed relation • Thomistic theology • Creator • creature • accident
European Journal for the Study of Thomas Aquinas 38 (2020)
that this is not accidental, but rather, in the way that Thomas treats these topics, the
content of each successive question requires the discussion of the previous
An incursion into the Romanian musical life is always a pleasure, a moment of harmony, feeling and excitement. However, the turmoil of contemporary life sometimes brings us back to reality, urging us to check its pulse and to objectively look towards the future. Postmodernism, with its multiple facets, is in such times a subject for reflection, given its force which touched not only the artistic dimension, but also the communicational one, creating mutations which were difficult to imagine several decades ago. The past and future brought into the present are oscillating on the axis of time, and the interference between art, science and technology are embodied into an indestructible entity. Bringing the mundane usefulness and derisory in relation with beauty and harmony, this phenomenon has become permanently set into the area of objective reality, generating at times conflict, at times coexistence in the creator – performer – public spectator relation.
Musical-theatrical pieces of the nineteenth century, propagated by Italian, French and German troops, were an inspiration for Romanian composers. They will create similar fashionable musical theatre genres, in Romanian, for entertainment purposes. Works placed on the border between vaudeville and the lyrical genre can be identified in the creation of the newly emerging genre of operetta: such pieces are the compositions of Alexandru Flechtenmacher, Eduard Wachmann, Eduard Caudella. In the cultural atmosphere of the time, patriotic musician Ciprian Porumbescu (1853-1883) would find the perfect way to put a longstanding artistic wish into practice: to compose an operetta, following the success of his humorous musical-theatre pieces Cisla and Candidatul Linte [Candidate Linte]. A multifarious personality, a lover of folklore and of his nation, Ciprian Porumbescu – one of the founders of the national school of music – contributed to the authenticity and identity of the Romanian musical language through his extensive works; one important contribution is the composition of the first Romanian cultivated operetta Crai Nou [New Moon] (1882). As a tribute to his art, on the centenary of his birth, the creator of the operetta Crai nou becomes the protagonist of the operetta Lăsați-mă să cânt [Let me sing] (1954) by Gherase Dendrino, set during the time of the staging of Porumbescuʼs musical-dramatic work. Crai Nou and Lăsați-mă să cânt are highlights of the Romanian lyrical theatre, from the artistic past and present, and hold their position as musical pieces frequently performed and received with interest and enthusiasm.
The main objective of this paper is to present the process of preparing and conducting my biographical research regarding creators’ middle-adulthood. My intention in this study is to direct attention towards such an approach to creators’ biographies that in the very process of biographical narrative reconstruction reveals not only the different viewpoints regarding life experiences, but also interpretation of events. First of all, my approach to biographical research did not focus on creators’ life stories, but allowed them to create different tales of their own lives and to show different aspects of their autobiographical experiences related to shaping their own lives. In this paper, I intend to discuss a methodological solution and by this, to show how my research methods developed during the preparation stage, but also during the stages of implementation and preparation of the concept of analysis. A particular challenge, which is the subject of this study, was the strategy that required some aspects of creativity in the process of data collecting. Within the frame of this strategy, the researcher prepared biographical tasks designed in consideration of the poosed research problems. The tasks took a form of diverse forms of activity (verbal, visual) and encouraged respondents to refer to their own life experiences (past), reflect on the present moment (present), consider plans and projects (future), as well as to inspire constructing different stories about life (Lasocińska, 2013; 2017). The result of that was a structure that divided a biographical interview into phases and stages that assume different uses of time periods and diverse biographical reflections. In the following text, I do not focus on the results of my research, which are still being formulated, but focus my attention on concepts and research experiences related to the search for adequate solutions for the chosen topic and to the initial assumptions of the research.
Scientific and technical developments and progressive digitization in almost all areas of life have led to the development of a new type of digital customer, with specific requirements and expectations for suppliers of goods and services. Customers, in particular consumers, are one of the key groups of stakeholders who create the corporate reputation. Customers are first of all creators of the corporate reputation as an “offeror” and “supplier” of value to buyers, as well as co-creators of the company’s reputation as a market player, employer, business partner or citizen, because their purchase decisions determine the company’s ability to meet the expectations of other stakeholder groups, that is, investors, employees or business partners. Building and maintaining a good reputation requires proper identification and satisfaction of the needs of key stakeholder groups. The aim of the article is to identify the specific requirements and expectations of digital customers in the context of building and maintaining a good reputation of the company. The thesis is that the digital customer expects, first and foremost, reliability and personalization in their relations with the supplier.
On the occasion of the 50th anniversary of the passing of the Transylvanian musician Nicolae Bretan (1887-1968), known during the interwar period due to his complex field of activity (interpreter, director, conductor, composer), we consider it necessary to elaborate a study that is critical for several reasons. Starting with the dilemmatic comments existent in the current bibliography, we propose, on the one hand, to systematize the information regarding the reception of his personality in the context of the age in which he lived and worked, and on the other hand, to outline the premises that generated the appearance of controversial writings, but especially to question their effects on the deformed stylistic perception of the musician at national and international level. We consider that this is one of the ways in which the “phenomenon of Bretan’s rebirth” can be objectively reevaluated, appreciating the existence and real contributions of a minor musician, who, although endowed with talent, could not be in the same compositional direction that included national models (George Enescu, Mihail Jora, Paul Constantinescu), are comparable to those in the universal space of the first half of the 20th century.
This essay demonstrates that Athenagoras’ theology is primarily concerned, not with the creative activity of God, as L.W. Barnard has argued, but rather with the immateriality of the divine nature and the unity of the Father and the Son. It is this two-fold basis of distinction and unity that makes the apprehension of God possible only by mind and reason. Since the divine nature is heavenly and immaterial, such apprehension cannot occur in the physical realm as promoted in pagan worship, but must take place in the mind through the Son, who is the Logos or Mind, the Reason and Wisdom of the Father. Athenagoras’ assertion that the immaterial God can only be apprehended by reason emphasizes the distinction between God and matter, while the unity of the Father and Son in God’s acts and teachings highlights the role of reason in the soul’s apprehension of the divine. One must be conformed to the Son, who is the Reason of God, in order to apprehend God the Father, and Athenagoras evokes the ethical dimension of reason in the soul’s apprehension of the divine. As the soul follows the Son in obeying his teachings, it is conformed to the Son, thereby becoming rational and engaging in rational worship, focusing on the heavenly rather than the earthly. Thus it is in ethical conduct that Christians are essentially pure in spirit and rational in worship, as they are directed by the Son, who is unified with the Father, to apprehend the immaterial God.
1918-2018: 100 Years of Theatre Research in Iași
DOI number https://doi.org/10.2478/9783110653823-007
Censorship in Theatres. System Analysis. The Mechanisms
for Creating a Theatre Repertoire. Literary Secretariat -
Creator / Maker of Directorial Views
Faculty of Theatre, George Enescu National University of Arts, Iaşi
Abstract: Through this scientific approach, we are attempting a punctual
reconstruction of the evolution and the development of the theatrical/cultural institutions’
activity in times when the Soviet
Behind the scenes of the
Estonian TV series The Bank:
Ideas, practices, and stories.
An interview with its creators.
ALESSANDRO NANÌ, Tallinn University, Estonia; email: firstname.lastname@example.org
ULRIKE ROHN, Tallinn University, Estonia; email: email@example.com
ANDRES KÕNNO, Tallinn University, Estonia; email: firstname.lastname@example.org
The Bank (Pank) is a ten-episode Estonian
TV drama series originally broadcast dur-
ing prime time in autumn 2018 on ETV, the
main channel of Estonian Public Service
Set in the post