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VOL. 6, No.1 - 2020
  • Daniela VITCU, Dean of the Faculty of Arts of the University “Ovidius” from Constanţa, Romania
    FOREWORD
    Dear readers,
    It gives me a great pleasure to present to you the 6th volume (No. 1/2020) of the “Învăţământ, Cercetare, Creaţie”, periodical of the Faculty of Arts of the University “Ovidius” from Constanţa, Romania.
    This issue contains the Proceedings of the 11th International Symposium Învăţământ, Cercetare, Creaţie - Education, Research, Creation (I.C.C.) and gives the participants a vehicle for disseminating their ideas in a more polished form and will furnish to those interested with an excellent reference title. I hope that these Proceedings, submitted for indexation to BDI - CEEOL, may help the Arts and Education community to find interesting research work. ...
Articles
  • Ana-Maria ABRUDAN
    INFLUENCE OF MEDIA ON THE SOCIAL SIGNIFICANCE OF DESIGN PRODUCTS
    The advertisement went from promoting a product for what it does, or what it tastes like, to it`s social significance. Relationships between people are transferred to the level of alienated relations between objects, because objects become powerful emotional symbols of the way individuals wants to be perceived. The products have always had an emotional significance; what is new, is individuality. The design products are a representation of the self, ways in which people can tell the world who they are. ...

  • Loredana ADĂSCĂLIȚEI
    THE THEATRE OF THE ABSURD
    The theatre of the absurd is as old as the notion of dramatic play, only it was not very explicit until the nineteenth century, because its features did not stand out in the classical theatre. The theatre of the absurd is the expression of the search of the self, of the faith, of the spirit. It is said that once the ancient forms of art lose their validity, new mechanisms must be found. The theatre of the absurd tries to convince the world regarding the reality of its condition. In his theatre, Ionescu does not hide his mechanisms, but makes them as obvious as possible. The way in which Ionescu's concepts are used in a dramatic form closely follows the structures established for each play. The playwright is constantly disturbed by mortality, which is the ultimate paradox of an irrational existence. ...

  • Ioan ARDELEAN
    FAMOUS VOICES IN THE XVII-TH CENTURY ITALY
    The aim is to present famous voices from the Italic Peninsula, to evaluate their importance in the History of the vocal music looking through the eyes of the singers from the XVII-th century and their new attitude towards the vocal art, materialised in an expressive interpretation, based on vivid, colourful word utterance - bona pronuntia and coloratio – and on embodying the meaning and feelings they contain. Starting with the XVI-th century until the beginning of the XIX-th, the concept of singer appears in constant evolution, being musicians with complete formation in the music theory, scoring, harmony, composition, instrumental and vocal practice. Illustrious voices of that time are evoked in this study and notions of style and vocal technique development across the century are also approached. ...

  • Ioan ARDELEAN
    RULES ESTABLISHED BY GIOVANNI BATTISTA MANCINI’S AND VINCENZO MANFREDINI’S TREATIES CONCERNING THE TRAINING PROCESS OF THE FUTURE SINGER
    Decanting and crystallising the pedagogical thinking in canto depended directly on the education development along the processes of humanization and civilising of the human being, all of this is accomplished by accumulating, preserving and transmitting information. In the history of the vocal music there is not a pedagogy, as a single method, but educators, who have in common only a part, more or less significant, of this set of values. The vocal education of the XVIII-ornamentth century becomes the cornerstone of the vocal technique, most of the international singing teaching relying on this bag of knowledge. ...

  • Nicoleta Mihaela ARDELEAN
    A FEW ELEMENTS ABOUT THE VOCAL MECHANISM AND TECHNICAL PREPARATION IN SINGING
    It is important to notice that the entire human body participates at the emission of the artistic sound of the instrument called voice. I believe that being a professional singer should be related to performance and that a singer should possess strong knowledge concerning the vocal aparatus (the breathing system, the phonation, muscular, bone, locomotor and nervous system)and to fully understand how they work, how they function and how they are built and structured in the physico-mechanic process of singing. The professional singing implies using several groups of muscles: the breathing muscles, those from the rhinopharyngeal area, the larynx, facial and tongue muscles, performance being achieved only if these muscles, after a necessary preparation, get to be able to support the vocal effort. ...

  • Nicoleta Mihaela ARDELEAN
    DECISIVE ASPECTS OF THE VOCAL TRAINING
    Educating the voice, the singer’s primary means of self-expression, is a complex process, characterized by progressive accumulations on the theoretical and practical fundamenting level, which is anchored to the natural god-given talent and to the organized instruction, and it develops into the direction of drawing certain concepts and a system of vocal training in order to facilitate a ballanced vocal and artistic development. After this first step towards developing the possibilities of vocal, empirical expression which consisted in adapting some methods that could not get causable explanations and general legitimacy, there followed the theoretical step, where the empirical gathered facts were subjected to interpretations, phase which allowed formulating rules and expressing predictions. ...

  • Andreea BRATU
    A PERSPECTIVE ON THE ROMANIAN CHAMBER MUSIC. COMPOSERS, GENRES AND MUSICAL WORKS IN THE SECOND HALF OF THE NINETEENTH CENTURY
    In a diachronic overview, Romanian Chamber Music is concentrated in the musical audience opinion, by its most successful and appreciated works and through a constant performance activity, preponderantly in the first five decades of the twentieth century. However, in order to achieve a significant level of expression, the Romanian compositional path begins in the previous century with the creation of the predecessors, in their legitimate search to affirm, first of all, their own aesthetic and stylistic search, in individual connection with the ethos of the Romanians and not the least, for the first time, a coherent, modern and national written musical language. ...

  • Andreea BRATU
    POLITICAL CONTEXT AND ROMANIAN STYLE IN THE SUITE OP. 1 FOR VIOLIN AND PIANO BY DUMITRU BUGHICI
    Certain works were promoted with insistence, to give an example in darker periods of our modern history, works that have been completely forgotten today. It is natural, some of them did not resist the musical value site as well from the interprets point of view as from the perspective of an eclectic stylistic diachronicism, specific to the musical composition domain, in the 20th century. In Romania,’The Obsessive Decade’ (of the 1950s) marked a repositioning of the entire compositional thinking, as well as a constant promotion of some authors, who ideologically and musically credited the massive infusion, after the Second World War -in regression terms- of the Romanian Socialist Realism’s Aestetics after Zhdanov thesis, with the excesive use of the basic characteristics of urban genres loved by the popular masses, trated in a simplified stylistic manner, exactly on the taste of the new political and ideological vision’s order. ...

  • Alina CRISTEA
    THEATRICAL ANTHROPOLOGY AND THE GESTURAL ARCHETYPE
    One of the most complex working tools in theater laboratories worldwide is, and we will demonstrate during this dissertation, Theatrical Anthropology. Eugenio Barba defines Theatrical Anthropology as "the study of pre-expressive scenic behavior that underlies the different genres, styles, roles and traditions, personal or collective in the theater" or, as Stanislavski says, the study of the organic nature of all art people, of all nationalities and from all eras. In an organized situation or state of representation, the projection of the physical and mental presence of the actor is based on an elementary architecture, built on the meta-physical pillars of principles different from those of daily life. ...

  • Laura Sînziana CUCIUC ROMANESCU, Özlem KAYA
    REPERCUSSIONS OF THE SYMBOLISM OF COLOR ON TODAY’S FASHION
    It is discerned that colors possessed symbolic values and meanings in cultures since early history. Colors were sometimes used as a means of expression in artworks and sometimes as a communication tool for expressing emotions and thoughts of individuals in the society and getting their messages across. Today, the color symbolism gave way to functional use and obtained a different dimension. Colors were always utilized for the expression of certain things since early ages. Of these expressions, the color phenomenon became one of the attention-grabbing elements in clothing habits. ...

  • Nicoleta-Cristina DEMIAN, Diana Elena SÂRB
    RHYTHMIC AND MOVING PATTERNS IN DALCROZE EURHYTHMICS
    The Suisse music pedagogue Emile Jaques-Dalcroze initiated an original education system revealing that rhythm and movement could be combined in order to facilitate the complexity of learning music. The synthesis of imagination, body motion and emotion is fundamental in the development of expressiveness and creativity. In our study, we are going to analyze the tools of Eurhythmics as a multi-senses teaching method. ...

  • Ionuţ DULGHERIU
    THEATRE AS EXPRESSION OF SOCIETY - I.L. CARAGIALE
    I.L. Caragiale will be sought in the bosom of the world, in the heart of society, through the dungeons where painters, journalists, poor people, people of all varieties pervade. Caragiale's main source of inspiration will be man, in all its splendor and especially, with all its flaws. Using his keen observation spirit, Caragiale will be responsible for taking over and processing the typologies of character, which will give color through the language and which will integrate them into stories that become complex in their simplicity. ...

  • Ovidiu FELIPOV
    COMPOSITIONAL STRUCTURES OF THE DRAWING
    The study of drawing in higher education institutions represents a basic course in the instructional-educational process of the fine and decorative arts. At the base, making pre-chromatic or compositional sketches we are in direct contact with the drawing. The present study refers to the framing of the proposed subjects to be drawn and evolves with the analysis of the compositional theories that make a true monochrome harmony from the chosen subject. In drawing, the composition represents the way of organizing the elements of artistic language in a balanced and homogeneous context that manages to convey the plastic message of the artist to the viewer. ...

  • Claudia FETI
    DIVERTISING, THE PRODUCT OF CHANGE IN SOCIETY AND OF GRASPING CONSUMERS’ ATTENTION
    Taking into consideration the importance of advertising in the recent years, it has achieved a significant exposure in human life. The subject covered by this paper deals with unconventional advertising, to which I will refer to as divertising. The way in which society has changed regarding the life of consumerism has affected and influenced advertising, forcing it to be updated to a more effective means of communication. ...

  • Cristina GELAN
    THE CONCEPT OF AURA IN WALTER BENJAMIN'S PHILOSOPHY
    The principal focus in this paper will be to highlight the concept of "aura" as it was developed by W. Benjamin in the context of aesthetic-philosophical reflection, in connection with the discourse on the problematic features of modern and contemporary art, determined by the evolution of the technological world. Benjamin's writings propose a multidimensionality of the concept of "aura". Thus, the aura can be illustrated with reference to the nature, to historical objects and phenomena, to sensitive experiences, to storytelling, but also to the aesthetic world and works of art. ...

  • Cristina GELAN
    NEO-IMPRESSIONIST AESTHETICS AS A SIGN OF THE MONSTRATIVE
    To understand neo-impressionist aesthetics supposedly highlights the important role that it was Neo-Impressionism in the birth of modern art. The technique of the neo-impressionists and the mechanisms that led to its use, as well as the themes and topics addressed by these artists are illustrative in this regard. Both in terms of the technique used and the topics covered, neo-impressionist artists refer to the same principle, extracted from the anarchic social philosophy, whereby art is understood as a face of the order of the world and the order or harmony of nature. ...

  • Yan GENG
    CHARACTERISTICS OF CHINESE POETIC-MUSICAL CREATIONS
    The present study intoduces a series of characteristics related to Chinese poetry. It shows that, together with rhythmical structure and intonation (which has a crucial role in conveying meaning), an additional, fundamental aspect of Chinese poetry lies in the latent, pictorial effect of the writing. Various genres and forms of Chinese poetry are touched upon, as well as a series of figures of speech, themes (nature, love, sadness, mythology etc.) and symbols (particularly of vegetal and animal origin), which are frequently encountered in the poems. ...

  • Maria Carla GLIGA
    THE COMICAL SITUATION REFLECTED IN THE OPERA BETROTHAL AT A MONASTERY BY SERGHEI PROKOFIEV
    The comic and sarcasm in Prokofiev’s music mirrors his intolerance towards political and social conditions, as well as towards the cultural trends of that time. His career as a composer had been very exposed and labeled from a political point of view, which gave birth to many contradictory discussions. Many music lovers only consider the real Prokofiev creations the ones produced when he was outside Russia. On opposing sides are the ones who consider that the Soviet period (from 1933 until his death) was the one that confered him the comfort of being himself through his creations. The opera Betrothal at a Monastery, composed in his Soviet period, was a truely remarkable achievement of Prokofiev. Although he choose to focus on the lyrical aspect of the subject, he did not omit the libretto parts which offered him the possibility to create comical situations. ...

  • Alina GRIGORE
    THE EXPRESSION OF TEMPORALITY IN THE HUMAN VOICE BY JEAN COCTEAU
    According to Anne Ubersfeld, theatrical time is an image of time and history and especially of individual psychic time that passes events through the filter of sensitive experience. In Jean Cocteau's play, The Human Voice, in particular, time is determined by the character's individual experience. For example, in The Human Voice, the breaks marked by the fall of the telephone line refer to a subjective time of the character that is not related to the actual duration. The crisis of the protagonist takes place between the first interruption of the telephone line (this marks the woman's discovery that she was deceived) and the last (the winding of the telephone wire around the neck and the death of the character). ...

  • Alina GRIGORE
    THE THEATRICAL SPACE IN THE HUMAN VOICE BY JEAN COCTEAU
    Each piece has a spatial framework that is organized around the main character, being considered a landmark of the situation of the statement. Through space, the text is juxtaposed with the stage representation, the latter representing the materialization of a fictional universe valued through a directorial conception. The Human Voice by Jean Cocteau relates a telephone conversation between two characters about whom nothing is known (name, age, social status, etc.). ...

  • Adrian - Mihai HASNA - PREDA
    THE MUSIC WROTE FOR THE PUPPETRY THEATRE SHOW „AL CUI EȘTI TU?”
    The problem of children in needy families whose parents go to work abroad is no longer a nov-elty. Petre Crăciun's novel "Robert cel cuminte" was the basis of the puppet theater show "Al cui ești tu?" and tells the story of a child, whose parents in Spain, where they encounter serious fi-nancial problems. The main character in this dramatization, Robert, serves as a model for the countless children that spend the majority of their time without life’s most important values. ...

  • Mirela KOZLOVSKY
    ORCID iD icon
    A MORPHOLOGICAL STUDY OF THE SONG PER SE IN THE REPERTOIRE OF AROMANIANS, MEGLENOROMANIANS, AND LIPOVAN RUSSIANS IN DOBROGEA
    Dobrogea can be considered a good example when it comes to the cohabitation and identity preservation of each ethnic group. Accepted in the midst of the compact mass of the majority group, the minority ethnic groups of Dobrogea have a culture and way of life which they assert both inside and outside their communities. For the traditional cultures of Dobrogea, the song per se represents the folkloric genre which is the most resilient to the transformations generated by a prolonged existence in an allogeneous region and by attempts at incorporation into the majority culture. We will analyse six representative songs per se selected from the traditional repertoire of Aromanians, Meglenoromanians, and Lipovan Russians in Dobrogea with the aim of ascertaining whether it is possible to draw a clear line between the types of morphological elements found in the songs of each ethnic group. ...

  • Inga MARCU-REMENTOV
    THE COMIC IN THE WORKS OF GOGOL AND CARAGIALE
    To consider theater only as literature is a long-standing point of view, but also to regard theater as a spectacle is a false position towards the art of the theater, of her essence and means of expression, the theater being a synthetic art, with a specific language , with their own autonomy. Why Gogol and Caragiale? It seems to me a natural attachment, I strongly believe that the two authors have changed, each in their own way, the gender literature of their countries, that they link a century full of social, political, effervescent phenomena, that the edifice of works is a fundamental one nationally, that they wrote with pathos, with almost fervor, about everything that needed to be addressed in everything around them. The study is a review of the main elements, strategies and models of dramatic construction in the comic work of the two. ...

  • Barney McCULLAGH
    THE YEAR OVID WENT INTO EXILE; THE ASTRONOMICAL IMPORTANCE OF TRISTIA 1.3
    We adopt the premise that Ovid left Rome to travel to Tomis late in the year 9 CE, This dating runs counter to the general consensus which sees Ovid being exiled in 8 CE. By assuming that all Ovid’s references to the night sky in Tristia 1.3 are intended to be taken literally rather than as decorative flourishes we use the online planetarium, Stellarium, to help us plot the timing of the events that led to Ovid’s departure from Rome in the early morning of 7 December 9 CE. ...

  • Anca-Daniela MIHUȚ
    THE ETERNAL RETURN… TO STANISLAVSKI. SOME THOUGHTS ON THE SYSTEM’S CONSTITUTION, ITS TRANSFORMATIONS AND ITS IMPACT
    This article brings the creative personality of Konstantin S. Stanislavski back into the spotlight, pointing out some significant elements related to the constitution of the system, its transformations and applications, but also the reception and impact which the new ideas on actor training exerted on contemporary theatrical thinking. ...

  • Ruxandra MIREA
    ASPECTS OF ORIGINALITY IN THE MUSICAL CREATION OF SOME ROMANIAN ENGINEERS
    The pathway from engineering to music is beneficial for both fields. They are both sciences and arts that express themselves in apparently distinct dimensions: the concrete field embodied by engineering, and the field of emotion, embodied by music. Paradoxically, on the one hand, the field of engineering, through a proven sensitivity in applied research can become art, and on the other hand, music, through mathematical substrate, through elaborate geometries, is also science. ...

  • Titiana MIRIȚĂ
    BRINGING BACK CLASSICAL MUSIC IN THE STUDENT'S PREFERENCES AND THE CHALLENGES THAT A TEACHER FACES DURING THIS PROCESS
    The 21st century represents for both teachers and students a period when imagination and adaptability must work at high levels. Due to the continuous flow of information children are no longer as interested in art as they were in the past and classical music is not in the top of their preferences. It is the duty of a music education teacher to slow down this trend and adapt the teaching methods so that students rediscover the qualities of this musical genre without feeling constrained by the circumstances. ...

  • Elena-Mirabela MOROŞANU
    CAMIL PETRESCU - THE MASK GAME WITH/ WITHOUT MASK
    In Camil Petrescu′s opinion, life cannot be subordinated to the idea, because complexity of Life is much more deeper than the Idea. Precisely for this reason, Camil Petrescu′s characters do not live sumptously and far from the heights of some ideas or principles, but they are angry, boiling, changing their minds, conflicting with the hostility of the world, looking for their way, suffering. ...

  • Silvia Sorina MUNTEANU
    FLORICA CRISTOFOREANU - 125 YEARS FROM THE BIRTH OF OUR GREAT OPERA SINGER
    Florica Cristoforeanu’s art, both vocal and dramatic, was exceptional, supported by a timbre of rare richness and emotional sensitivity in all her roles. One of the outstanding personalities of the world lyric and a tireless ambassador of the Romanian singing school, a great artist in the purest sense of the word and a being of an exceptional humanity. Born in the same year as Cella Delavrancea and Florica Musicescu, 1887, the great Cristoforeanu proposed, as well as the other two representatives of classical music, an original and vigorous interpretive discourse of the art of world singing, highlighting it’s richness of emotional nature, a unique interpretive aesthetic that only great artists can express in their own particular way. ...

  • Radu NICULESCU
    THEORIES OF THE COMIC
    The present report brings into discussion, by investigating and determining some directions in its evolution, the comic, in the context of the new social, economic, political and cultural realities of contemporary comedy. We have as a subject of analysis a distinct form of the dramaturgy, namely the comedy, through the prism of the multiple forms through which it is presented, and of the recurrent aesthetic formulas of these dramatic species. We do not propose the discovery of new formulas, nor the reversal of the already existing ones, we try to offer an alternative, a practical way of analysis, a thematic approach specific to the actor, not the philologist. ...

  • Maria Pia PAGANI
    ITALIAN OPEN AIR THEATRES AND FESTIVALS IN THE NEW MILLENNIUM
    For historical reasons and its position in the Mediterranean area, Italy is the country in which there is the greatest number of open air theatres in the world: many were built in the Greco-Roman era, but many others were built in the following centuries (and even in the New Millennium). In Italy there are many typologies of outdoor performance spaces but, unfortunately, they are never been considered as a subject for an academic research: this paper presents a first mapping and classification of them, considering their use in the Summer season. ...

  • Geta-Violeta RĂVDAN
    GERMAN EXPRESSIONIST DANCE, A FUNDAMENTAL CURRENT TO THE BIRTH AND DEVELOPMENT OF MODERN DANCE
    Through an expressive movement technique, German expressionist dance draws attention to the connection between body and soul. It is a strong means of expression of one’s own emotions and of the human body. Rudolf Laban and Mary Wigman, the main representatives of this current, will not focus on the technical abilities of the dancer, but they will be the rebel thinkers of their era and of the environment where they study and explore possibilities of artistic expression. They will make dance more accessible, including to large communities of amateurs. ...

  • Geta-Violeta RĂVDAN
    THE IMPORTANCE OF PHYSICAL TRAINING FOR ACTORS
    We live in the time of total performances, where the status of a total actor brings forward the body of the actor as the conveyor of creative impulses. Thus, the actor’s corporality becomes, to themselves, the very object of a fervent, continuous search towards its discovery and development as a means of expression. This aspiration calls for the usage of a deep, long-term way of introspection, self-discovery and awareness of one’s own limits and energies of physical dimensions. ...

  • Gabriela ROBECI
    VISUAL MARKS OF GENDER IN THE ART OF ANA LUPAȘ
    The topic of this research revolves around certain sculptures produced by Ana Lupaș in the 80s and 90s and never analyzed from a gender perspective. The way in which the feminine and the masculine presence in a socialist society are stylized through visual abstraction is treated in detail, on specific examples. Together with the titles of the works, that convey a subtle message, the reasoning behind some visual solutions shall be debated from a historical, political, but also sociological point of view. ...

  • Adrian ROȘU
    THE TRADITIONAL DOBRUDJAN COSTUME
    This paper tackles a less common (perhaps even unusual) topic of scientific meetings with a musical character: the traditional costume. This endeavor is justified by the belief that traditional clothing represents - like folk music and dance - one of the specific expressions of the type of territory, traditions, customs, beliefs, collective sensibilities in any region to which reference is made. The material below focuses on elements representative of the traditional costumes in the Northern, Central and Southern regions of Dobrudja, noting the similarities and differences generated in time, due to climate, customs and, last but not least, influences determined by the long coexistence with various (and not a few) ethnicities. ...

  • Lelia RUS PÎRVAN
    CONCEALED FORMS - FEMALE CONNOTATIONS ON EARTH AND MOON
    The purpose of this study is to present the symbolic signification that Earth, Moon and female forms have in ancient mythology and the diversity of artistic representations. For Gaston Bachelard, the perfect method in analyzing the phenomenology of images is to designate the image as an excess of the imagination. The main task of the imagination is to enlarge it beyond reality. "To truly overcome, you must increase, because the imagination works freely on space, forces, time or shapes. Imagination works not only with plane images, but also in the ideas having the capacity to push to excesses. ...

  • Alice Maria SAFTA
    MATEI VIŞNIEC - SUCCESSOR OF THE HUMAN FACED ABSURD IN POSTMODERNISM
    Vișniec's theater is a synthesis theater in which the parody, the lyricism, the ontological, the grotesque, the fatality merge into a compact form, maintaining a balance that gives authenticity to the dramatic writing.The ordinary, the ordinary fact, what surrounds the contemporary man naturally becomes the subject of an introspective analysis of existence, translating them into dramatic situations. You cannot speak of a mere copy of the trivial. ...

  • Anca SĂFTULESCU
    STYLISTIC AND INTERPRETATIVE PERSPECTIVES ON THE FIRST MOVEMENT OF ROBERT SCHUMANN’S PIANO CONCERTO IN A MINOR, OP. 54
    This article proposes an analytical view of the main interpretative points of the first movement of Robert Schumann’s Piano Concerto in A minor, Op. 54. It also discusses a brief presentation of the possible influences of a compositional nature, reinterpreted according to one’s own style and artistic message. The paper analyses aspects of an interpretative nature, which the soloist encounters in the process of translating the score, starting from the construction of the thematic material, organizing and realizing the sound colour palette in relation to the continuity or complementarity with the orchestral apparatus, tempo correlations and agogics. ...

  • Ancuța Simona SANDU
    THE MYTHOLOGICAL FRAMEWORK OF CREATING THE CAROL
    Trying to discover the define myth, the peculiarities of the cosmogonic myth, the mythological origine of carols, the coming into being of Christmas, the troop of lads as a basis of the custom of caroling, its description and building the text of the carol, I have included a classification of carols taking into consideration the universal and romanian mythical themes and the peculiarities regarding the analysis of carols. ...

  • Florentin Marian SÎRBU
    COMBUSTION PLANT - EXPERIMENT
    In this experiment I tried to make an oxidizing combustion, building a kiln with clay from the Medgidia and Cobadin quarries, and I was going to burn pots made especially for this purpose in it. The main objective of the reconstruction of this experiment was the repetition of the previous experiments from Mangalia, respectively obtaining an oxidized burnt ceramic, but in an enclosure made of clay mixed with chamotte with a granulation between 0-7 mm and adding a quantity of zinc oxide to give the combustion plant a resistance to thermal shock. ...

  • Florentin Marian SÎRBU
    INTERPRETATIONS OF ANCIENT TECHNOLOGIES IN PERSONAL ART
    The theoretical basis of my project is not based solely on hypotheses, but also on assumptions, as well as on what I really know about pottery making, based on chemical analyzes, as well as previous experimental approaches.The purpose of this project is to reconstruct the operational sequence for the manufacture of ceramics, from the purchase of clay to the burning in a reconstructed furnace. In addition to burning 78 replicas of Greek culture vessels, the experiment revealed data on loading and setting the ancient kilns. ...

  • Alexandru ȘERBĂNESCU
    FUNCTIONALISM - GENERAL ASPECTS
    In this article I would like to render a definition of Functionalism, to observe general aspects of the applicability of the term and functionalist philosophy. We propose an observation of both the mental and practical sides applied in sociological studies and projections. We also intend to look at the arguments but also the counterarguments that make the study of theories work. ...

  • Alexandru ȘERBĂNESCU
    TEACHER PROFESSIONAL DEVELOPMENT - A FUNCTIONALIST PERSPECTIVE
    In this article I would like to highlight the differences but also the common principles and formations within the group that form a social structure governed by the principles of Functionalism. Thus we observe how these constituent elements of the individual from whom the structural constituents branch out- norms, customs, traditions and institutions, which often come in antithesis with another element - reach a common mental state, hence the approach through the prism of Functionalism. The basic element of David Mitrany's philosophy, considered the father of Functionalism, was cooperation. ...

  • Valentina ȘTEFĂNESCU
    THE REVIVAL OF TEXTILE ARTS AT THE END OF THE 19TH CENTURY AND THE BEGINNING OF THE 20TH CENTURY
    The revival of textile arts has been a long process throughout which the searches, the questions and the answers were seen as small victories. Each step taken by the textile artists of the end of the 19th century has led to a change of vision and any struggle has led little by little to answers and solutions. Due to the artistic, social, political events, the start of the 20th century has led to change, revival and meditation on the glory age of tapestry art. ...

  • Delia Claudia STOIAN-IRIMIE
    COMPARATIVE MORPHOLOGICAL ELEMENTS FOUND IN THE CĂLUȘ, CĂLUȘARI AND CĂIUȚI FOLK DANCES
    The rituals of Călușari, Căluș and Căiuți are practiced in different areas of the country and at different times of the year: the Căluș in Muntenia, but mostly in Oltenia, is practiced during the holiday of the Descend of the Holy Spirit (Pentecost); the Călușar in Transylvania, especially in Hunedoara county, is a Christmas tradition, while the Căiuți in Moldova is a folk dance celebrating the New Year. The Călușari, Căluș and Căiuţi are complex, syncretic practices that exert their power through music, dance, costume, shouting, ritual objects, different rules, as well as certain interdictions. ...

  • Maria TEODORESCU
    ZOO-ANTHROPOMORPHIC IMAGERY IN CHRISTIAN PAINTINGS
    The purpose of this paper is to identify some Christian religious imagery that depicts a few characters with both animal and human features and search the potential source, either in pre-Christian imagery, religious cults and symbolism. Using the Holy Bible as a starting point, the present work will detail few of the most common such characters and seek for a parallel meaning in symbols dictionaries and studies regarding the interpretation of artworks. We will also relate to catholic imagery and seek correspondent depictions in traditional orthodox paintings, either in icons or in church murals. ...

  • Iliana VELESCU
    THE MUSICAL NOTATION - A PATH OF INTERDISCIPLINARY KNOWLEDGE AND DEVELOPMENT
    The music education is an activity that in certain places, schools or cities from Romania is done more or less, sometimes not at all. The music education systems are known especially in Western Europe, and I refer mainly to Montessori, Kodaly, Dalcroze or Orff proved to be extremely efficiency in acquiring basic musical skills. These consist in a quickly learning of a correct intonation, keeping a steady beat or tapping different rhythms from simple to complex, associating sounds, rhythmical beats, harmonies with body movements and even performing songs on various percussion instruments. ...

  • Octavian Denis VELESCU
    CREATIVE PERSONALITY BETWEEN FAVORITISM AND OBSTRUCTION
    This paper proposes the description of an interesting theme that brings to the fore the independence of the creator and the development of creation during a totalitarian regime. The work focuses on works of art during the totalitarian regimes of the Stalinist era and in the following years. Over time, the situation of creators in Eastern Europe oscillated between the grace and disgrace of the system, placing the entire lives of composers in an uncertain situation that called into question the survival of the aesthetic conception, creation or even the creator. ...

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