DOCSLIB.ORG

Expressionist Tendencies in Paul Constantinescu's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Expressionist Tendencies in Paul Constantinescu's Bulletin of the Transilvania University of Bra şov Series VIII: Art • Sport • Vol. 4 (53) No. 2 – 2011 EXPRESSIONIST TENDENCIES IN PAUL CONSTANTINESCU’S CREATION R. PEPELEA 1 Abstract : Expressionism (Balkanism, Orientalism) represents for Paul Constantinescu, a modality to express a folkloric background. Adapting this universal tendency to the autochthonous specificity and framing it within the Carpathian-Danubian space outline the so-called Balkanism or Orientalism. One of the features of this direction is the comic which, for Paul Constantinescu, depicts differentiated expressions: the humor, the grotesque, the transcendent comic (directed towards philosophical spheres), each nuance being musically underlain by certain procedures, detached from the sphere of the modal. The works inscribing in this direction stand for music with text, or, at least programmatic. Keywords: Paul Constantinescu, expressionism, comic direction, modal language. 1. Introduction orientation, the tendencies of artistically enhancing the attributes of the popular Adapting this universal direction to the chant may be doubled by a more lucid, autochthonous specificity and enhancing it more realistic perception modality. in the creation outline the second facet of The composer who instituted within the Romanian spirituality, beside the Romanian music, the autochthonous smothered feeling. Framing within the expressionist orientation, expression of the aesthetical limits specific to the Balkanic- humor, sarcasm, grotesque, is deemed to Danubian space, the denomination of be Mihail Jora. This orientation was taken Balkanity or Balkanism was conveyed to it over and carried on by his disciples: [1]. The specific category of aesthetic Constantin Silvestri, Dinu Lipatti, Paul Balkanism is the comic, as the artist’s Constantinescu. detached, observing attitude towards its own human condition. Most works 2. Facets of the comic in Paul inscribing within aesthetic Balkanism Constantinescu stand for music with text or, at least, based on a literary support or on a programmatic Considering the critical message of argument. The originality of these works Caragiale’s oeuvre to be of maximum mainly resides in the manner of sonorously actuality, the musicologist Clemansa appareling the literary text. Through this Liliana Firca perceives and records its 1 Transilvania University of Bra şov, Dept. of Musical Pedagogy. 70 Bulletin of the Transilvania University of Bra şov. Series VIII • Vol. 4 (53) No. 2 - 2011 capacity to allow being “not only programmatic argument, are: humor, «discovered», but also acquired” [3]. There grotesque and transcendent comic. Each of is about creating an entire literary, musical, them, however, will illustrate personalized plastic vein, which, both for literature nuances, with slight shifts towards related (Filimon, Caragiale, Barbu, Urmuz, expressive spheres. Ionescu, Sorescu), and for music (Otescu, Mihalovici, Jora, Constantinescu), started, 2.1. Humor at the beginning of the 19 th century, from the same forerunner – Anton Pann. The There looms in the portrait sketch – Four source of inspiration merges with a certain Fables for Piano (1929-1932), the layer of folklore, town-like, strongly Arghezi-type miniature – Songs on lyrics colored by the Greek-Oriental influences by Tudor Arghezi (1929-1932), Mice of the time. Therefore, the creators having Round Dance on lyrics by Arghezi (1962), stylistically perpetuated this source were Songs on lyrics by D. Ciurezu (1935). framed by the researchers within the so- Pre-eminently cultivating this expressive called Orientalism . The musical sphere (mostly bent towards caricature and implications of this orientation can be irony than towards grotesque) likewise detected on the level of a melodic language pertains to Mihail Jora, as regards the inspired (or even quoted) from the vocal or miniature piano style, being obtained instrumental-fiddler’s town-like folklore: through special techniques of musical romance, fanfare music, funeral march scoring. The caricature style is the effect of motives, oriental-coloratura melodies or the musical contradictions, of the pertaining to the soft and entertainment mismatches generated by the false music following the epoch’s trends, relations, surprising scordaturas, accord musical portrayals, ostinato motor layers etc. Modal vision is, here, placed at rhythms, orchestration stridencies, tension the service of a clearly expressed of chromatic harmony. programmatism. If Jora, under the auspices As Cl. L. Firca notices, the aesthetics of of this aesthetics, also conceived musical the creations of this orientation is pre- works wherein the Romanian folkloric eminently achieved in the sphere of the element is, in general, absent – Joujoux caricature-like, comic-grotesque pour Ma Dame and Cortège (1925), some representations and, consequently, Pictures and Pranks (1948, 1959, 1963), musically manifests on the level of the we cannot say the same about Paul technical modalities [3]. In Paul Constantinescu. As far the latter is Constantinescu’s creation pertaining to this concerned, beside neoclassical tendencies, orientation, the comic embodies several the expressionism is a modality of nuances, each of them being musically expressing a folkloric basic fund. Fables underlain by certain procedures; detached for Piano, Songs for Voice and Piano have from the sphere of the modal, they a Romanian resonance, being constructed manifest themselves in the melodic, on a melody created in folkloric spirit. harmonic language (chromatic advanced), Deviating this melodic spirit towards the or polyphonic-linear (where poly- comic, humoristic factor is achieved modalism may be noticed as avant-garde through specific procedures: procedure). - Jamming formulas that create Consequently, the expressions that the disequilibria (scordaturas, comic embodies in Paul Constantinescu, in decomposition of the internal close correlation with the literary- R. PEPELEA : Expressionist Tendencies in Paul Constantinescu’s Creation 71 equilibrium of the accord, modal searches for equilibrium, also present in complementariness). the Romanian creation. One of the - Portrayals with musically specific materializations of this tendency consists procedures. in adding the ajoutées elements, meant to - Comical use of some attack color, to dissimulate, to refresh the basic manners. sonorities. Places above or beneath the The apparition of the scordatura in the basic layer, these elements often convey to melody, in contradiction with the static the accord, a percussive effect (ex. 3 – harmonic plan, may result in the false Fable nr.4 for Piano). relation, as it appears in the example Ex. 3: below, extracted from the Fable no.4 for Piano. Ex 1: We subscribe, here, to the remark uttered by the musicologist Gh. Firca: “What was Sometimes, its sudden apparition in the recognized in tonal harmony as melodic harmony results in almost instantaneously note, consequently as transient second changing the mood – a phenomenon between the functions of the accords, was pertaining to the world of childhood, treated as foreign from these accords. The characterized through psychological reverse is valuable for modal instability (ex. 2 – Mitzura’s Sleeping harmonization, [...] which proves, once Song). more, the determination from the melody Ex. 2: of the modal harmony.” [2]. The portrayals achieved with musically specific procedures resort to rhythmical- harmonic entities with pronounced characterological sense. For instance, the lied The Bugler (lyrics by Al. O. Teodoreanu) is constructed on the opposition of the two basic elements: the motive-signal (the bugler) versus the dancing figure (the princess). Ex. 4: Decomposing the internal equilibrium of the accord is one of the 20 th century’s 72 Bulletin of the Transilvania University of Bra şov. Series VIII • Vol. 4 (53) No. 2 - 2011 The special use of some attack elements, it appears in the “fashionable” melodies) as staccato , becomes, sometimes, a and the harmonic chromatics (modal or, musical pretext for illustrating the comic still, tonal). “This violent and spectacular (ex. 5 Mitzura’s Sleeping Song ). music succeeds, however, on the level of a Ex. 5 shocking aesthetics and under the appearance of some language «extravagancies» which troubled their contemporaries, to appropriate, as national art, an aesthetic and technical set of issues, at the same time European and modern” – Cl. L. Firca posits [3]. Among the means used by Paul Constantinescu to mockingly materialize his intentions, there is worth noticing the 2.2. Grotesque enhancement of the antiquated character of some melodic typologies: waltz, romance, It is present in the works From the Army chansonette. The composer proceeds to (1933) , the lied The Bugler (1955) , modifying (altering) the initial character of partially in Seven Songs from Our Lane these circulation melodies, through (1959) and especially in the parody A artifices from the arsenal of the musical Stormy Night (1934) . parody. Hence the mechanistic nature of In guise of musical transposition of a some musical clichés, particularized playwriting of the closed space, of a petty through standardized marches (detached, world, deprived of signification, deprived for instance, from Zi Ńa’s waltz of slum, of ideals, Paul Constantinescu’s grotesque- suggesting, through returns, the monotony oriented creation will resort to comic and the inertia of the petty-bourgeois social procedures within the scope of bantering; environment of the oeuvre A Stormy Night,
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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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”).
    [Show full text]
  • Intercultural Communication and Active Cohabitation 1. Introduction
    ACTA UNIVERSITATIS DANUBIUS Vol. 9, No. 1/2015 Intercultural Communication and Active Cohabitation Vasile Burtea1 Abstract: The hypothesis from which we initiate our approach is that the socio-cultural identity of the Romanian nation is configured by involving all participants to the act of coexistence, the Romany people having in turn a significant participation. In order to highlight this contribution, we propose in this paper operationalizing the concept of active cohabitation and the presentation of some Romany personalities, who have added value through their national culture. If, in our view, multiculturalism is none other but simply living together in the same area of two or more ethnic groups, two or more cultures, or two or more religions, between which there are established and produced relations of certain types, at certain times, the interculturalism being beyond the static or contemplative nature thereof, and basing on multiculturalism, it requires knowledge, appreciation, and mutual learning and conscious use of norms, values, customs, processes or technologies, leading to a common patrimony, each usable according to the moments, situations and circumstances, which increases the stock of mutual appreciation. Keywords: co-existence; active cohabitation; interculturalism; socio-cultural dialogue; socio-cultural identity 1. Introduction To exist means to communicate and to communicate means to exist for each other and through the other, for the self. The person does not have a sovereign national territory and it is always and entirely on the border with others. (Markova, 2004, pp. 128-130) When introspecting, it looks always in each other's eyes or the eyes of another. “...the dialogisitic builds and rebuilds the social world, the world of varied and polyphonic realities located in the culture”.
    [Show full text]
  • 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.
    [Show full text]
  • 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!..
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The View from Here Artists // Public Policy Ceu School of Public Policy Annual Conference June 4 / 5 / 6 / 7 / 2016 Another Day Lost: 1906 and Counting
    the view from here artists // public policy ceu school of public policy annual conference june 4 / 5 / 6 / 7 / 2016 Another Day Lost: 1906 and counting... by Syrian artist Issam Kourbaj 1 From Ai Wei Wei to Banksy, we can see art engaging policy and the political sphere. But in an increasingly connected world where cultural production is ever more easily disseminated, how can this engagement be most effective and meaningful? The CEU School of Public Policy’s 2016 annual conference focuses on a series of questions that are not often asked in the world of government or academia. How do artists engage with issues in public policy? How do artistic representations of issues change how they are perceived? Can artists promote wider public engagement in policymaking? How do artists challenge ideas in their societies and to what end? How does humor intersect with politics, censorship, and violence? Focusing on Hungary, India, Mexico, Sudan, and Syria, we are seeking a truly global perspective on issues including democracy, drugs, migration, violence, and censorship. 2 PROGRAM / ART Visit and participate in exhibitions at CEU from June 1-7. Nador u. 11, Body Imaging by Abby Robinson room 002 Precise office hours will be announced soon. Body Imaging, an installation/performance/photography piece, affords a unique collaborative occasion to make photos of all types of bodies, allowing people to display as much/little exhibitionism as they wish in a protected, safe environment. EXAMINATION: Only doctors & photographers examine people’s bodies at distances reserved for lovers. In my performative role as “photo practitioner,” I peer at people’s selected body parts at incredibly close range.
    [Show full text]
  • Inhaltsverzeichnis Zu "Limba Romǎnă"
    Cuprins 1. Țara mea, de Elena Dragoș..................................................... 8 2. Din nou sună clopoțelul școlii ............................................. 10 Să repetăm ce-am învățat despre propoziție ...................... 12 3. Amintirile vacanței ................................................................. 14 Ce-am învățat despre cuvînt? ............................................. 16 Compunere — expunere. A trecut vara, a trecut vacanța .. 17 4. Tricolorul, de Elena Dragoș..................................................... 18 Ce-am învățat despre silabă ?................................................. 19 5. Un concurs folositor................................................................. 21 Ce-am învățat despre sunete și litere ? .............................. 23 Compunere — expunere. Se desprind frunzele galbene .... 24 6. Fii slăvit! de Eugen Jebeleanu ............................................. 25 7. La datorie ................................................................................. 27 Propoziția. Scrierea corectă a propoziției.............................. 29 Compunere — expunere. Mîinile harnice .............................. 31 8. E greu fără prieteni! după Constanța Popescu-Olt.............. 33 . Cuvîntul. Silaba ..................................................................... 35 9. Recapitularea vocabularului ................................................. 38 10. Pacea ......................................................................................... 40 Despărțirea cuvintelor
    [Show full text]