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The current review, interconnected with a previous analysis (Borsec mineral water baths: Spritzer/ blends/ spirits featured in the literature of the beginnings) lays on scanning the various ways in which the theme of beer consumption has been reflected in Romanian literature. Broadly, it encompasses three stages, not entirely distinct from one another: (a) the local prejudices, historically invalidated (as analysed by the 1848’s writers); (b) the realistic approach (which was mainly nurtured by members of Junimea society); and, finally (c) the somehow idyllic reconciliation (a dominant part of the work of authors in the XXth century). Among all three, the second one is, obviously, both of high interest and well-documented through examples and amendments, an approach that is closer to the real dynamics of the Romanian society and where authors like Iacob Negruzzi, Eminescu, Caragiale and others have shed light on the dark side of this seemingly benign behavior: hysteria, violence, suicide, crime, sexual abuse. [ABSTRACT FROM AUTHOR]

The relationships between journalism and sustainability are seen as interdependent and mutually beneficial. On the one hand, sustainable development also includes a free, autonomous and strong press that can support itself economically, and on the other hand, responsible journalism brings the problems of the current world to the public and it can also involve experts to talk about the solutions possible to these issues, which generates a media discourse about sustainability and resilience now and in the future. The present paper examines the conceptualization of constructive journalism, interrogating, at the same time, its normative and societal role, as well as the resistance of this alternative direction, in the current context, marked by political instability and post-pandemic economic crisis. In Romania, the DoR experience, its course, but also the announced end of this journalistic project, shows the difficulties that constructive journalism encounters. [ABSTRACT FROM AUTHOR]

The article is based on the hypothesis that the poetic intensity of Nezâmi’s Haft Peykar stems from the entanglement of the Imaginary, the Symbolic and the Real. Our goal is to prove that this romantic epic unveils beauty through its reflection. Thus, first we pose on the structural and thematic implications of the Imaginal. Then, we seek to elucidate the symbolic meaning of the legend told by the Slavonic princess. Finally, we try to demonstrate that beauty is epiphanized through metaphorical images with symbolic value. One is the gemological metaphor, in particular that of the two par excellence gems of beauty: the pearl and the ruby. Another is the vegetable metaphor, in particular that of the two par excellence plants of beauty: the rose and the cypress. [ABSTRACT FROM AUTHOR]

All over the world investigative journalism involves tremendous risks. Attacks and aggressions aimed to intimidate, humiliate, or discrediting journalists and even to undermine the credibility of the media are a growing phenomenon in the digital world. Threats to the freedom of press include various types of intimidation, harassment, or attacks, while women journalists often face gender-specific forms of violence. In this study we investigate the most common forms of intimidation and pressure that journalists face in Romania: attacks from the politicians, intimidation through lawsuits, aggressive reactions from the public, various types of digital harassment including hacking, doxing and identity spoofing, online sexual attacks against women, physical violence. Any form of aggression, besides the direct effects on victims, represents threat to the freedom of the press, and must be publicly denounce. [ABSTRACT FROM AUTHOR]

The number of projects dedicated to the digitization of newspaper collections in libraries and archives has risen continuously in recent years. The main focus is on securing German-language press inventory outside of the German-speaking area, which often cannot be copied due to the aging process, and – with a view to developments, cross-connections and research approaches – making them available for broad use for future independent investigations. Through various funding programs, the ministries responsible for education and research and national research infrastructures also work to keep this cultural heritage alive, to digitize it on a larger scale, to develop it and to make it internationally accessible. The article therefore shows some of the noteworthy newspapers and magazines of the German minority in Central, Eastern and Southeastern Europe and some efforts for documentation of the German minority press in this region. [ABSTRACT FROM AUTHOR]

The irony represents a fundamental element in satirical press. The most well-known form of its expression is the intertextuality. This article brings in discussion the titles from satirical press which are based on intertextuality. The examples absorbed in study, concerning the Romanian press, are references to fiction, music, arts, history and religion. We will try to demonstrate how the intertextual pictures will become levers in the hands of the journalists, regarding this kind of direct and grossed ironic references which have the persuasive and captatio benevolantiae purpose. [ABSTRACT FROM AUTHOR]

The events preceding the First World War triggered a revival in Romanian foreign policy, oriented for three decades towards the Central Powers. The actions of the Vienna Cabinet -contrary to Romania's interests -during the Balkan Wars (1912-1913), but especially the situation of Transylvanian Romanians, under the rule of the dualist Hungary, prompted the beginning of Romania's reorientation to the Entente. The great powers of the Entente, especially France and Russiasought to take full advantage of the deterioration of the Romanian-Austro-Hungarian relations. Russia was most interested in weakening the influence of Austria- Hungary in the Balkans and to draw Romania on the side of the Entente. As a result, the visit of Russia's Tsar in Constanţa on 14 June 1914 produced the most vivid agitation in German and Austro-Hungarian diplomatic circles due to the advances that the powers of the Entente made in Romania. [ABSTRACT FROM AUTHOR]

Stanciul Tomovici or Popovici was a gifted typographer and remarkable xylographer who printed 20 books and signed 15 woodcuts in the typography of Bucharest's Mitropoly, between 1779 and 1809. One of the woodcuts is dated to 1781. As a xylographer he appealed to themes previously engraved in Romanian books or in Ukrainean ones. Sometimes he proved to be an inventive spirit, executing works different from those which had been accomplished earlier or in his time. In the 2nd half of the 18th century, the xylography of Bucharest was deeply marked by the activity of two craftsmen: Grigorie Ieromonah şi Stanciul Tipograf. [ABSTRACT FROM AUTHOR]

Being a cultural magazine that served as an official organization of The Transylvanian Association for Romanian literature and the culture of the Romanian people (Astra), Transilvania has abundantly published information on books. Without doubt, most books were linked to newly published books or to the ones that were in the ongoing process of printing thanks to the Association, but nevertheless information on old Romanian or foreign book could also be found. The primary purpose of this research is to present the way in which Transilvania magazine has understood to support bibliographic information and the way it focused, or not, on old books. Our study is based on data gathered from the magazine but also on bibliographical sources, edited or unedited. [ABSTRACT FROM AUTHOR]

Our aim is to inquire about the link between the public space, his conditions and the ways that the journalist use some strategies to manipulate by writing in the newspapers the editorial. The concept of public identity suppose a double reference: political and existential reported to the common identity of the individual. Public identity is a border -concept for defining the identity in the context of the conscience of otherness. The editorial, by the main issues that put in his textual body, became a mirror of the society and also contribute to the coagulation of the public identity. [ABSTRACT FROM AUTHOR]

The 19th century, and especially its second decade, represents an essential stage in the historical process of the modern Romanian State foundation. The years 1859 and 1877 are distinguished as reference years in the history of our people. The former is the year of the First Union of the Principalities, while the latter is the year when the Romanian state gains its independence on the battlefield. In an era in which national autonomy becomes a stringent issue for most European states, Romanian press focuses mainly on the attempts of the Romanian political class towards territorial unification and the gaining of independence. Following the Berlin Peace Conference our country is imposed, as a price for its independence, to give up three counties of Southern Bessarabia (Cahul, Ismail, Bolgrad) to Russia, a situation that was thoroughly debated in the newspapers of the time. This study aims at analysing the importance given to the Bessarabia issue by the Romanian press at the end of the 19th century and the way this issue is treated by four publications, considered representative for the Romanian journalistic discourse of that time: „Românul”, „Timpul”, „Voința Națională” and „Epoca”. [ABSTRACT FROM AUTHOR]

Many specialists have studied the "Printing Revolution", as well as the importance of the production and the trade of books. Images of Romanian cities have been made on a wide range of supports, but the vast majority of them were printed images. The oldest images of Romanian cities were the views of Oradea and Cluj, from Georg Brauns Civitates Orbis Terrarum, made by Georg (or Joris) Hoefnagel, artist born in Antwerp. The work itself is strongly related with this famous centre, trough Abraham Ortelius's Theatrum orbis terrarium, printed there. While Civitates and Hoefnagel's activity is well known, Gaspar Boutats, Jacob Harrewijn and Jacob Peeters, who as well represented cities from nowadays Romania, are almost unknown to Romanian historiography. Their images seem to be "head series" for a type of representations that circulated for two centuries. This paper intends to study these images, together with the books in which they have been printed. Both images and books were created in the 17th century Antwerp. [ABSTRACT FROM AUTHOR]

This study tries to analyze the last details regarding the appearance of Transilvania magazine. The last decisions were taken in the fall of 1867 and in the first part of 1868. The General Assembly of the Association periodic of 1867 had decided that the last details regarding the magazine were to be resolved by the Central Committee. It organized various sessions in which it tried to resolve the tasks given by the General Assembly in Cluj. The Central Committee decided, after fervent discussions, the name, the apparition style and the editor of the magazine. Choosing George Bariiu as editor of Transylvania periodic was not random. He was a strong sustainer of the magazine from 1861, and also a Secretary I of the Association, a position that had as task to draw up the official periodic of the newly cultural society of the Romanians from Transylvania. [ABSTRACT FROM AUTHOR]

The present article is an essay and an analysis of Alexandru Muşina's poetry, focused on his methods and his themes such as they are approached in his best-known long poem, Budila Express. Between the concepts that he used, such as experimentalism, irony, subversion, the such called trivial poetry, the author emphasizes the importance of satire, the main expression of Muşina's critical attitude. Thus, Muşina created an intelligent, social, comic though bitter poetry, masterfully learned and practiced. The article also shows how the communist environment and the censorship were incentives for poet's imagination and, on the other hand, how this biting game of hide and seek has become an important mark of Muşina's poetry. [ABSTRACT FROM AUTHOR]

The scientific preoccupations in the last period have led to new tendencies in history of the press, history that is more and more emphasized. Because of this, I tried to bring a contribution to it, analyzing the discussions carried out in 1861-1868 regarding the appearance of Association periodic, in the place where it was supposed to appear and the role that was to be followed in the recent founded society. This research tries to solve the issue of Transilvania magazine's appearance, magazine that although was foreseen by the statutes of the society did not emerge until 1868 after fervent discussions between the main players that were supporting it and those who did not believe in its usefulness. I divided this research into two parts. In the first part, I followed the evolution of the discussions carried out between the members of the Association periodic and control mechanisms of the cultural organization during 1861-1867, that also presented the decisions of the General Assembly of 1867 which led to the appearance of the magazine. In the second part I tried to resolve the issues regarding the editing of the magazine, issues that appeared in the fall of 1867 and in the first part of 1868. [ABSTRACT FROM AUTHOR]

The present study analyzes Metropolitan Andrei Şaguna's contribution to Transylvanian culture from a very particular point of view, observing his activity as a decisive cultural vector in the field of Transylvanian printing craft history. More precisely, the study aims at showing that Transylvanian cultural life has achieved a superior level of intensity afer the creation of a diocesan typography due to the direct involvement of the Metropolitan Andrei Şaguna. As a matter of fact, the national and spiritual development could not be achieved unless through the establishment of such means of promoting a cultural and national identity of the Transylvanians both as Romanians and Orthodox. This article presents the importance of both Şaguna's handwritings and printings in order to reach this goal. [ABSTRACT FROM AUTHOR]

In 1700 Mitrofan, the Bishop of Buzău, printed the first partially Romanian Triode book. In the romanian printing tradition, the Triode is usually a richly decorated book comprising church songs and sacred chants of the pre-Easter season. The analyzed book is particularly lavishly decorated with masterly cut engravings, frontispieces, initials, vignettes and typographic ornaments. The article presents each group of decorative elements, details their peculiarities and compares them with ornaments in other Triode books from earlier or later periods. This religious book was published in several editions in all romanian printing centres during the 18th century and the article states that the 1700 Triode may have served as their initial model of decoration. [ABSTRACT FROM AUTHOR]

The present article aims at highlighting the place that satire, irony and humour own within press, mainly late XIXth and early XXth century press. Starting with the definition of their primary signification, the paper dwells upon the role that satire, irony and humour hold in exposing social and national injustice or the political abuses of this fervent period of the Romanians' history. Offering some concrete examples of domains that are constantly satirized in the pages of the humorous magazines of that time emphasizes the fact that satire, irony and humour represented the main tools that press used in raising readership awareness on the social-political realities that they were witnessing. [ABSTRACT FROM AUTHOR]

The study is focused on the figure of Ion Vinea, one of the major poets of the interwar period. But the object of the study is not Vinea's poetry, the author being interested in his activity as a journalist - Vinea being the editor-in-chief of the most influential avant-garde magazine, Contimporanul (1922-1932), and also of Facla (1930-1940), another influential magazine of the period. Even though Vinea has been biased towards leftist intellectuals and journalists, frequently hiring them as editors in the journals and newspapers he ran, after the installation of the communist regime he was immediately purged. This first part of the study examines the years prior to 1945, when Vinea edited the newspaper Evenimentul zilei (The event of the day), aiming at creating an example of free press in an extremely complicated context. [ABSTRACT FROM AUTHOR]

The study is focused on the figure of Ion Vinea, one of the major poets of the interwar period. But the object of the study is not Vinea's poetry, the author being interested in his activity as a journalist - Vinea being the editor-in-chief of the most influential avant-garde magazine, Contimporanul (1922-1932), and also of Facla (1930-1940), another influential magazine of the period. Even though Vinea has been biased towards leftist intellectuals and journalists, frequently hiring them as editors in the journals and newspapers he ran, after the installation of the communist regime he was immediately purged. This first part of the study examines the years prior to 1945, when Vinea edited the newspaper Evenimentul zilei (The event of the day), aiming at creating an example of free press in an extremely complicated context. [ABSTRACT FROM AUTHOR]