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Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper is to analyse some characteristics of the art of poetry by Rimbaud in the context of dramatic expressionism. The expressionist movement seems in fact to have inherited some concepts and motifs from the new aesthetic introduced by Rimbaud (poetic language revolution, a very personal vision of art where all the elements of the fictional world seem subordinated to fluctuations of the author's psyche, subjectivism which abolishes the rules of the Aristotle's mimesis, etc.). This new analytic perspective is particularly interesting because we can easily find realisation of the Rimbaudian vision of the new art of poetry in some pieces by such expressionist dramatic authors as Strindberg, Lenormand or Pellerin. [ABSTRACT FROM AUTHOR]

The present paper analyses the emergence of a novel field of interest in the philosophical aesthetics of the 1960s in Romania: the aesthetics of everyday life. As such, it first starts by drawing out an overview of the aesthetic discussions in 1950s Romania by closely reading several articles from the main philosophical journal of the period: Cercetări filozofice. In this regard, I focus on two main aspects, namely the theory of reflection, which was the guiding principle of Marxist-Leninist aesthetics, and the theory of the social function of art. Further on I will sketch out how these two aspects defined the main traits of the local aesthetics of everyday life, a topic which took the center fold of aesthetic interest for almost a decade, and which has ever since the early 2000s found renewed interest. [ABSTRACT FROM AUTHOR]

Copyright of ICT in Muzical Field / Tehnologii Informatice si de Comunicatie in Domeniul Muzical is the property of Tehnologii Informatice si de Comunicatie in Domeniul Muzical / ICT in Musical Field and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

[At the Sources of Poetry] manuscript, drafted during the 1960-1970 period, represents an aesthetic trial of the lyric poetry, left in a drafting-project stage, never completed, nor finished. The manuscript text enters the aesthetic research area of Professor Dumitru Isac, of which plenty edited and unedited works resulted, some being published during the last years by "Anuar" [Year Book] and "Studii şi cercetări din domeniul ştiinţelor socio-umane" [Studies and researches in the field of social science and humanities]. The initial fragment of the La izvoarele poeziei manuscript, published for the first time hereof, endeavors a journey in the history of the aesthetics, concerning the definition of poetry, of the formal structure and of its artistic mission. The initial motivation of the research, invoking the state of the poetic creation in the Romanian society at the time the manuscript was drafted, is quickly overcome towards a welcomed and vast opening towards the universal contributions of the investigated lyric poetry. The Dumitru Isac's main sources in drafting the paper are represented mainly by French aestheticians, namely H. Brémond, P. Claudel, É. Gilson, P. Valéry, M. Dufrenne etc, but he also valorizes local thinkers: L. Blaga, L. Rusu, T. Vianu. Explicitly, D. Isac settles the ground of his research in the field of the poetry philosophy of a certain "objective research" of the poetry, and not within the literary critics. Thus, the paper does not aim at researching the various known lyrical creations, for the purpose of establishing their value or non-value. The author seeks something else: that the concrete examples, which were chosen and analyzed, to illustrate what the poetry is in itself, which are its sources and component elements. [ABSTRACT FROM AUTHOR]

Recent reflections on the return of the aesthetics (Michael Bérubé, Vincent Jouve) have triggered debates in French and American cultural contexts on the need to re-evaluate the literary according to a set of contingent criteria. The paper investigates the impact of these theoretical debates on literary studies in the post-2000 period, by questioning the concept of value in the field of postcolonial studies (concerned with the relation between high and low culture), new reception theories (preoccupied with the revival of the „aesthetic emotion") and the ideology of literature. On the one hand, the article Debates on Literary Value in Contemporary Theory shows that postcolonial studies have never ceased to functionalize value principles. Recent American theorists (Martha Nussbaum, Rita Felski) have maintained the utility of the literary work by redefining the readers' interaction with the literary work. The concepts of selfidentification or self-problematization become central in the postcolonial axiology. On the other hand, French theorists openly state the conjunction of aesthetics with other disciplines like sociology or cognitive psychology (Jean-Marie Schaeffer, Yves Citton). The paper holds that the extension of the notion of „aesthetic experience" (Marielle Macé) over domains of experience unacknowledged by the tradition of literary studies („democratic experience" or „cognitive experience") is part of the same attempt to redefine literary value on new theoretical grounds. [ABSTRACT FROM AUTHOR]

The paper analyzes how English Romanticism gave birth to a poetic care that managed to convey strong feelings to readers. Romanticism has put its mark on the numerous fields of research, but also on the individuality of Man. It is a phenomenon that still has important topics and hypotheses to analyze. We will consider the beauty of their work, the way it was expressed, because it is precisely this concept that is the reference point of the romantic literary phenomenon. In the same way we will also focus on the connection between the author's meditation and the concept of beauty. The preoccupation of the romantics was to give birth to a beautiful eternal to adapt the requirements of the nearby societies in the continuation of the movement. Most of the time, we will see a beautiful relationship, with the ugly antithesis. This is possible in the romantics, because they did not see the opposite of the ugly, but a way of highlighting a unitary system from which the idea that they wanted to present as eloquently as possible came out, using any method of expressing the inner self. They often used contrasting associations, of the beautiful / ugly, finite / infinite, good / bad type. The place where the romantic writer places the action is specific to the romantic lyricism, a favorable place for creation, a place where all the elements form an idyllic frame. English Romanticism was a sort of start on the road to modernity, towards a new sense of aesthetics. [ABSTRACT FROM AUTHOR]

The paper aims to analyse the aesthetic evolution of the Romanian New Wave genre, by examining two films at the opposite ends of its timeline. In the case of these films, the manifestation of beauty is not only an artistic expression method, but it also includes an affirmation of realistic elements, starting from the scenes selected and ending with the phenotype of the actor chosen to play the main character. Aesthetics, in fact, reaches its splendor only when the visual creativity is noticed, offering the viewers delight, but also a correspondent in reality. If “The Stuff and Dough” by Cristi Puiu is a “day-in- the - life look” at a group of young people living in a post-communist country still recovering, shot in a way that validates the catchphrase Romanian New Wave, “Aferim!”, directed by Radu Jude, marks a detachment from the previously explored contemporaneity, the directorial discourse focusing the viewer`s gaze on a historical moment in order to identify the possible acts of social injustice. Finally, the questions related to various historical or contemporary contexts give rise to a type of filmic communication within the society that produces communion on a human level. [ABSTRACT FROM AUTHOR]

The aim of this essay is to analyse the aesthetical conceptions of Lucian Blaga and Liviu Rusu regarding the relationship between the creation and its creator. Beyond the shared philosophical influences of the two academics, their philosophic beliefs communicate their vision about art and the author. They develop their aesthetic universe starting from an imbalanced state that needs to be rebuilt through creation. Debating the origins of the artwork, placing those in a subconscious projection, in play or through an evolutive path, establishing the creative affliction, bypassing censorship through the artistic performance are only some of the features discussed in this paper. In an attempt to unravel both the converging and conflicting aspects of their works we believe to have retraced the inception of the Romanian art philosophy. [ABSTRACT FROM AUTHOR]

Copyright of Romanian Journal of Marketing is the property of Rosetti Educational s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study is dedicated to my main strategies in composition related to the correlation with the idea of tradition towards the new aesthetic that I founded and I called the Archetypal Trans-Realism. The introduction gives an overview on Romanian composers and their folklore-oriented works (from George Enescu onwards). The paper focuses on three personal directions in composition, namely: 1. exploring traditional resources (both Romanian and universal), 2. archetypal and spiritual multi-level approachand 3. archetypal trans-realism. The study centres on some of my related works - the ongoing cycle- Interferences, the pieces involving a spiritual approach - the oratorio Jesus with a Thousand Arms or The Path of the Human Angel (dramatic or orchestral version) and four of the trans-real syncretic works-Dynamic Meditation,White Lady's Power Places, the opera The Dreamer Awake and the Shamanic Prologue. This study is a guide for soloists and performers in generalto a new aesthetic orientation, the archetypal trans-realism, which offers a perspective on discovering the potential of artas a source of selfdevelopment and spiritual growth. [ABSTRACT FROM AUTHOR]

The paper tries to raise some issues of a philosophical nature, pertaining to the idea of literary canon. The history of the canon is usually presented in one of two ways: either the canon is depicted as the result of social negotiation (the consensual explanation), or as the true reflection of a stable history of the permanent values of a culture (otherwise known as the best that has been thought and said"). I argue that there are problems with each and that none is entirely true by itself alone, concluding that the consensual explanation is probably a more useful way of looking at cultural history. [ABSTRACT FROM AUTHOR]

Copyright of Revista Muzeelor is the property of National Institute for Cultural Research & Training (NIRCT) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Theatrical Colloquia is the property of George Enescu University of Arts, Artes Publishing House and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)