Intercultural Communication and Active Cohabitation 1. Introduction
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Nationalism Through Sacred Chant? Research of Byzantine Musicology in Totalitarian Romania
Nationalism Through Sacred Chant? Research of Byzantine Musicology in Totalitarian Romania Nicolae GHEORGHIță National University of Music, Bucharest Str. Ştirbei Vodă nr. 33, Sector 1, Ro-010102, Bucharest, Romania E-mail: [email protected] (Received: June 2015; accepted: September 2015) Abstract: In an atheist society, such as the communist one, all forms of the sacred were anathematized and fiercly sanctioned. Nevertheless, despite these ideological barriers, important articles and volumes of Byzantine – and sometimes Gregorian – musicological research were published in totalitarian Romania. Numerous Romanian scholars participated at international congresses and symposia, thus benefiting of scholarships and research stages not only in the socialist states, but also in places regarded as ‘affected by viruses,’ such as the USA or the libraries on Mount Athos (Greece). This article discusses the mechanisms through which the research on religious music in Romania managed to avoid ideological censorship, the forms of camouflage and dissimulation of musicological information with religious subject that managed to integrate and even impose over the aesthetic visions of the Party. The article also refers to cultural politics enthusiastically supporting research and valuing the heritage of ancient music as a fundamental source for composers and their creations dedicated to the masses. Keywords: Byzantine musicology, Romania, 1944–1990, socialist realism, totalitari- anism, nationalism Introduction In August 1948, only eight months after the forced abdication of King Michael I of Romania and the proclamation of the people’s republic (30 December 1947), the Academy of Religious Music – as part of the Bucharest Academy of Music and Dramatic Art, today the National University of Music – was abolished through Studia Musicologica 56/4, 2015, pp. -
Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
Caietele CNSAS, Nr. 2 (20) / 2017
Caietele CNSAS Revistă semestrială editată de Consiliul Naţional pentru Studierea Arhivelor Securităţii Minoritatea evreiască din România (I) Anul X, nr. 2 (20)/2017 Editura CNSAS Bucureşti 2018 Consiliul Naţional pentru Studierea Arhivelor Securităţii Bucureşti, str. Matei Basarab, nr. 55-57, sector 3 www.cnsas.ro Caietele CNSAS, anul X, nr. 2 (20)/2017 ISSN: 1844-6590 Consiliu ştiinţific: Dennis Deletant (University College London) Łukasz Kamiński (University of Wroclaw) Gail Kligman (University of California, Los Angeles) Dragoş Petrescu (University of Bucharest & CNSAS) Vladimir Tismăneanu (University of Maryland, College Park) Virgiliu-Leon Ţârău (Babeş-Bolyai University & CNSAS) Katherine Verdery (The City University of New York) Pavel Žáček (Institute for the Study of Totalitarian Regimes, Prague) Colegiul de redacţie: Elis Pleșa (coordonator număr tematic) Liviu Bejenaru Silviu B. Moldovan Liviu Ţăranu (editor) Coperta: Cătălin Mândrilă Machetare computerizată: Liviu Ţăranu Rezumate și corectură text în limba engleză: Gabriela Toma Responsabilitatea pentru conţinutul materialelor aparţine autorilor. Editura Consiliului Naţional pentru Studierea Arhivelor Securităţii e-mail: [email protected] CUPRINS I. Studii Natalia LAZĂR, Evreitate, antisemitism și aliya. Interviu cu Liviu Rotman, prof. univ. S.N.S.P.A. (1 decembrie 2017)………………………………7 Lya BENJAMIN, Ordinul B’nei Brith în România (I.O.B.B.). O scurtă istorie …………………………………………………………………............................25 Florin C. STAN, Aspecte privind emigrarea evreilor din U.R.S.S. -
Contributions to the Adaptation to Romanian of Chants in the 3Rd Volume of the Antologhia by Nectarie Frimu Zamfira- Irina Dănilă* [email protected]
1st International Conference: The Psaltic Art as an Autonomous Science, 29 June-3 Jult 2014, Volos, Greece Contributions to the adaptation to Romanian of chants in the 3rd volume of the Antologhia by Nectarie Frimu Zamfira- Irina Dănilă* [email protected] Nectarie Frimu, the bishop of Tripoleos (†1856), born in Moldavia, is known in specialised literature as the translator and composer of Romanian psaltic music. His creation, which is of great importance, is contained in the two musical collections he published, Anthology of church chants, 3rd volume (Neamţ, 1840) and a Book of church chants (Iaşi, 1846). They were sung and appreciated especially in the second half of the 19th century, when they were circulated both in printed form and in manuscript. The present study aims at revealing a part of the means used in the process of “adaptation to Romanian” used by Nectarie Frimu in his translations in the 3rd volume of the Anthology containing chants performed during the Holy Liturgy. The main musical sources of his translations into Romanian are the pieces by the great post Byzantine composers Daniil Protopsaltis, Petros Lampadarios, Petros Vyzantios as well as the interpretations of the reformers Chourmouzios Chartofilax and Gregorios Protopsaltis. In terms of melody contour, the composer observes the patterns of the Greek musical model by faithfully absorbing the specific formulae, of the main musical cadences and of the modulations of the musical text. In terms of the relation between text and melody, psaltic melodies are adapted or sometimes even masterfully recreated according to the prosodic characteristics specific of Romanian, which offers the musical discourse fluency. -
CK Ogden Basic English
Theoretical Backup Three for the Lexicon of Finnegans Wake: Volume Fifty-Seven C. K. Ogden The only professional British linguist who succeeded to provide a recording of the voice of James Joyce, and the very first translator of Ludwig Wittgenstein into English. Basic English Edited by C. George Sandulescu Recommended Reading: C. K. Ogden: The Meaning of Meaning C. K. Ogden: Opposition C. K. Ogden: Basic English Bucureşti 2013 This “theoretical insert”, Volume 55, Volume 56, and Volume 57, is dedicated to Professor CARLA MARENGO— a most remarkable teacher of English Literature, and thorough researcher of Joyce. Monte Carlo, Noël 2013 George Sandulescu The Turin Shroud Press Release Noël 2013 Theoretical Backup for the Lexicon of Finnegans Wake Edited by C. George Sandulescu Charles Ogden (1889-1957) was Charles Ogden (1889-1957) este a linguist and a language philosopher: cunoscut ca lingvist şi filosof al to him the word was as real as any other limbajului: cuvântul, pentru el, era o object in his hands. He demonstrated realitate concretă. Acest lucru l-a this by recording the very voice of demonstrat atunci când a înregistrat pe James Joyce himself. The reading was disc vocea lui James Joyce însuşi. made in August 1929 at King’s College, Înregistrarea a fost făcută în august London. By mentioning the year of that 1929 la King’s College, Londra. Tot în recording, we inevitably notice that the primul sfert al secolului XX s-au mai first quarter of the twentieth century petrecut o sumă de evenimente grouped together quite a number of importante. 1. -
Tradition and Innovation in Romanian Orthodox Chant – “Our Father”
Journal of the International Society for Orthodox Church Music Ed. Ivan Moody & Maria Takala-Roszczenko Vol. 3, Section II: Conference Papers, pp. 236–247 ISSN 2342-1258 https://journal.fi/jisocm Tradition and innovation in Romanian Orthodox Chant – “Our Father” Ionuț-Gabriel Nastasă Faculty of Orthodox Theology, Iași, Romania [email protected] I Introduction. Tradition or Innovation? It is well known that Romania has found herself over time at the confluence of several cultures (Latin, Greek, Slavic, Western). The Romanian people are Latin, speaking a Romance or new Latin language, but are also promoters of the Orthodox faith, with Byzantine roots and heritage. This situation explains why Romanian culture in general and church music in particular have combined, at certain points, Eastern (Byzantine) elements with those of Western or of another origin (e.g., Slavic). In discussing Romanian Orthodox chant, it should be remembered that, for a long time, in Romanian churches, the services were sung in the traditional languages of worship, Greek and Slavonic; but, beginning with the 15th-16th centuries, singing “in the language of the fatherland” began to emerge, as a result of books being translated in Romanian, and, in 1713, the first manuscript with chant music in Romanian was compiled by Filothei sin Agăi Jipei. If psaltic music, of the Byzantine tradition, has always been sung in Romania, harmonic- polyphonic music was introduced systematically during the second half of the 19th century (although it had been sung earlier in Transylvania, Banat and Bucovina), giving birth to much controversy, some of which has been maintained until today (in some circles, there is a belief that “only Byzantine music is Orthodox, redeeming”, and “harmonic-polyphonic music is heretical, hellish”). -
Bicentennial of the Superior School of Land Surveying Engineering in the National Language from Wallachia
Journal of Geodesy, Cartography and Cadastre - ISSN: 1454-1408 Bicentennial of the Superior School of Land Surveying Engineering in the National Language from Wallachia. Remember: Gheorghe Lazăr Gheorghe Nistor, Cristian Onu, Gabriel Săndulache Received: September 2018 / Accepted: Octomber 2018 / Published: March 2019 © Revista de Geodezie, Cartografie și Cadastru/ UGR Abstract In the times of numbness of nations there appear The Superior School of Land Surveying Engineering, the moments that, like rays from heaven, illuminate the minds first superior education program in Wallachia, was of people in the waking of self-consciousness and lead inaugurated two hundred years ago (1818-2018). This them on the path of progress, in the development of the memorable event occurred owe to the arduous efforts of a national sense. An event of this nature, one of the most great patriot, Gheorghe Lazăr, who carved a path for memorable, appeared in the history of Wallachia: the Romanians to pursue science and engineering in their establishment of the school of the great mentor and the maternal language. enthusiastic patriot Gheorghe Lazăr, who opened to the country the book of science and the appreciation of their language and nationality. Keywords Gheorghe Lazăr was born on 5 June 1779 in Superior education, Wallachia, science. Transylvania, in the village of Avrig, at the foot of the Făgăraș Mountains, on the Olt Valley. His parents, Gheorghe and Maria, Romanian Orthodox, had the modest condition of the peasants, who had their little free property, as well as the saxons in the commune. Of the inhabitants it is said that a small part was made up of saxons, and a large part of the Wallachians, whose main occupation was carrying the goods of merchants from Hungary, Slovenia, Banat and Wallachia. -
Textual Transpositions and Identity Games in I.L. Caragiale's Late
Textual Transpositions and Identity Games in I.L. Caragiale’s Late Writings ∗ Doris MIRONESCU Key-words: cultural identity , irony , ambivalence , Balkan literature , textual transposition The first critical edition of I.L. Caragiale’s Works , initiated by Paul Zarifopol in 1930 at “Cultura Na ţional ă” Publishing House, opens with the famous photo of the author taken in Berlin, in which Caragiale sits cross-legged, oriental-style, on a similarly themed rug, dressed in Balkanic garb, wearing a fez and white long socks, posing evidently for the camera with his chin resting on his closed hand and his eyes gazing intently to the right. But, even in these carefully asorted Levantine surroundings, one cannot fail to notice that behind the posing artist there is a heavily stacked library, filled with thick manuscripts that seem to overflow. The image is, therefore, twice symbolic: on the one hand, because in it Caragiale seems to claim to be returning to the “ethnic roots” that he often reclaimed polemically, orally and in writing, precisely to contradict the partisans of a ridiculous and violent Romanian nationalism; on the other hand, because this return takes place in the foreground of a library, or better yet of literature 1. Caragiale’s entire work is characterized by a frequent use of intertextual procedures, but these appear to become even more often in his last period of creation, in Berlin (1905–1912). The critics have long remarked that “Caragiale drew a character face for himself” (Tomu ş 1977: 340) but he exploited it especially now, in the later years at Berlin, to present himself under the largely known name “nenea Iancu” ( Ţal!.. -
Nicknames of Romanian Politicians After 1989
Nicknames of Romanian Politicians after 1989 Daiana FELECAN, Oliviu FELECAN Key-words: nicknames, political discourse, pragmalinguistics, semantics, sociolinguistics 1. Preliminaries 1.1. Politicians’ nicknames – strategies of argumentum ad hominem1 The present-day world of Romanian politics takes the shape of a theatre of operations from a warring area, a Gaza Strip whose property deed is continually claimed by parties found at either ends of the political spectrum. These parties insult one another publicly, suspect and tell on one another to the National Anticorruption Directorate. They even listen in on their private conversations and discredit each other by means of compromising films. All the aforementioned events, alongside many others, unfold before the alert yet blind eyes and under the allegedly fair consideration of a system of justice that is overwhelmed by the multitude of penal cases pending before courts of law, with ever-postponed trial dates. Nicknames have become means of attack, picked by belligerent interlocutors from the arsenal at hand. They are prolonged-release antidotes used to destroy opponents and their effect is visible in the long run, as nicknames become part of users’ collective memory. When this happens, speakers associate a nicknamed individual with the verbal tag considered emblematic of the nickname bearer. Contemporary Romanian society appears to be increasingly oblivious of the principles that underlie its foundation (politeness, promoting respect in interpersonal relationships and acknowledging the distribution of social roles). As a result, the psychological and linguistic profile of Romanian society was altered along with the institution of democracy after 1989. The consequences of hastily adopting a recently imported configuration, unspecific to a community that is respectful of traditional values yet anxious to follow the pace of globalisation and Americanisation at once and at any cost, are also salient in one of the most prolific language compartments, i.e. -
Proquest Dissertations
LITERATURE, MODERNITY, NATION THE CASE OF ROMANIA, 1829-1890 Alexander Drace-Francis School of Slavonic and East European Studies, University College London Thesis submitted for the degree of PhD June, 2001 ProQuest Number: U642911 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642911 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT The subject of this thesis is the development of a literary culture among the Romanians in the period 1829-1890; the effect of this development on the Romanians’ drive towards social modernization and political independence; and the way in which the idea of literature (as both concept and concrete manifestation) and the idea of the Romanian nation shaped each other. I concentrate on developments in the Principalities of Moldavia and Wallachia (which united in 1859, later to form the old Kingdom of Romania). I begin with an outline of general social and political change in the Principalities in the period to 1829, followed by an analysis of the image of the Romanians in European public opinion, with particular reference to the state of cultural institutions (literacy, literary activity, education, publishing, individual groups) and their evaluation for political purposes. -
Movement and Utterance in Marionette Study
Învăţământ, Cercetare, Creaţie Vol. 7 No. 1 - 2021 71 The Hospital of Love - Movement and Utterance in Marionette Study Anca CIOFU1, Dumitriana CONDURACHE2 Abstract: The marionette or string puppet was for years mistakenly considered a mere imitation of big stage characters or a means of offering educational support to the little ones taking part in such shows. Lately it has proved that, despite its similarity to human movements, it is also valuable in terms of specific language that is both metaphorical and symbolic as well as in harmonious movements and articulated gestures adapted to the physical appearance and the embodied character’s inner traits. This statement was best sustained by our choice of Anton Pann’s The Hospital of Love which not only stirs imagination but is also a good example for students’ handling and speech techniques. The rich universe of both The Hospital of Love and Worldly Songs gives the various marionettes with clearly cut facial features and well defined characters, such as the young lady with visible dark circles under her eyes, the young housemaid, the old drunkard etc., the opportunity to perform in a small setting in which the focus falls on the variety of costume colors. Key-words: string-puppets; marionettes study; movement and speech tehniques; Worldly Songs; Singer of Longing 1. Introduction On his real name Antonie Pantaleon (Pandaleon, Pantoleon, Pană) Petroveanu (1797- 1854), Anton Pann owes his fame on the one hand to the contribution made in the history of literature, on the other hand to Romanian music: "[…] for writers, he is a writer, folklorist and printer, and for musicians, he appears as a theorist, composer, and pedagogue of Psaltic Chant, but especially as the first collector of "popular" music at a time when the meaning of the term was uncertain and limited"3. -
Octavian Lazar Cosma the Romanian Music Chronicle Vol
Octavian Lazar Cosma The Romanian Music Chronicle vol. I (1973) - vol. IX (1991) The fIrst Romanian treatises of Politics, Literature, Education, History of Art or Culture, appeared in the 19th and at the beginning of the 20th century (and here we quote the work ofA. D. Xenopel, V. A. Urechia, N. Iorga, E. Lovinescu), but a comprehensive History of Music had to wait for its main components and establishment and investigation of principles. Time was needed to clarify all these problems but the next threshold is the fusion with the western culture. Besides all these attempts, which may constitute a "protohistory" of Romanian music, there are almost two millennia offolk and Byzantine music, both of them interdependent, complementary and interfering with one another and with other spiritual zones. lust think of Anton Pann, who was a weil known psalt ( performer, teacher, chant creator, editor, s.o.) and areal treasure of' folk and old entertainment music aswell. He is the link between Oriental and Western culture, being considered a huge personality of the Romanian folklore creation, preserving and spreading. Tbe great similarity between Christianity and the old religion of the Romanian people explains the ease in accepting St. Andrew's sermon~ one used to say that Romanians are born Christi ans. Romanians adopt the new, Christi an, later Byzantine music, that fmds, on their territory,' a place for preservation after the Byzantine Empire decayed, for development and flourishing. What else can the weIl known monastic schools from Neamt, Ptna, Scheii Brasovului, Iasi, Cozia, Targoviste, Ramnic, Bucuresti, Buzau, s.o., be than the Orthodox equivalent of western "schola cantorum", where even foreigners were coming to leam Byzantine music, that is still in use nowadays, where musical books were written, and that was a worthy refuge for Greeks during the Turk occupation.