Search

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.)

Copyright of Studia Universitatis Babeș-Bolyai, Historia Artium is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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]

The paper deals with the construction of Une petite flamme dans la nuit (A Little Flame in Night) by F. David, comparing it with Mille et Une Nuits (A Thousand and One Nights), as well as the educational and moral impact of literature on childhood and youth. Une petite flamme dans la nuit strikes by its re-use of sources and motifs placed in a new net, by their construction balance, by the noble touch of their aims. [ABSTRACT FROM AUTHOR]

Definitions: The aesthetic risk factors according to Renouard-Rangert11 represent an analytical approach to the most relevant aesthetic aspects of implant-borne rehabilitation. They can be used to foresee the aesthetic outcome of a case yet to be treated, or to analyse the achieved result of an already completed case. The purpose of this paper is to present a simple formula which enables the calculation of an aesthetic score value for any implant-borne rehabilitation. Materials and methods: The paper illustrates every original Renouard-Rangert aesthetic risk factor using an original case. Every risk factor is assigned a specific value ranging from -2 to +2. The sum of these values represents the final aesthetic score value of a specific implant-borne rehabilitation. Results: The subjective perception of a specific rehabilitation, as to it being aesthetic or not, is matched to our aesthetic score value. Discussion: Although the original authors accurately classified and described several aesthetic risk factors, they failed to come up with a calculation method intended to produce an overall aesthetic score value, as they did for the biomechanical risk factors. Our calculation method is actually as criticisable as the Renouard-Rangert biomechanical score value calculation because each and every aesthetic risk factor has been allotted a different value on a purely subjective basis. Conclusions: The aesthetic score value seems to be an efficient calculation method for prospective and retrospective aesthetic result assessment of implant-borne rehabilitations. In order to switch from presumption to certainty, a prospective double-blind controlled study which compares the prospective aesthetic score value to the retrospective one is needed. [ABSTRACT FROM AUTHOR]

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.)

This paper offers a parallel insight into two key concepts of two pre-eminent, though antagonised Romanian literary critics from the first half of the 20th century: the literary selection, used by G. Ibrăileanu, and E. Lovinescu's theory concerning the mutation of aesthetic values. Both derived from post-Darwinian biology, the concepts mentioned above imply different yet complementary coherent methodological approaches, whose systemic similarities and differences have been currently missed or misinterpreted. [ABSTRACT FROM AUTHOR]

Starting from comparative modern vs. postmodern philosophical traditions, this paper will explore issues surrounding educational mimesis as relationships between personal mimesis vs. significant mimesis, between texts -- books and images in visual literacy in regard to theory and praxis. Perspectives are sought from those engaged in the fields of education, visual arts and literature, on issues related to the interconnections generated from intertextuality upon Jacques Derrida's philosophy of deconstruction, between visual literacy and cultural identity. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to present one of the many choices in prosthodontics treatments which concernes the direct reconstructions, using fiber-quartz reinforced endodontic posts and core systems. The method began to be used very often due to the biocompatibility, radioopacity, elasticity module very close to that of dentina, easy technique and fast to set (15-20 minutes), their combination with dualcure omposites permeeting an homogen mechanical and fizical-chemical reconstruction. They satisfy with succes the esthetical demands, permeeting the apliccation of integral- ceramic crowns. [ABSTRACT FROM AUTHOR]

Art Communication occupies a particular place within the ‟orchestra„ of social communication and has got a number of specific and irreducible features. Under the pressure of avant-garde movements, which caused a rift between arts and public in the field of theory researchers and studies on aesthetic perception and reception have been promoted. They acquired a more consistent basis wile the expansion of semiotic approaches. Particularities and complexity of artistic communication are directly related to the specific artistic language. This study redefines some aspects of the theme, while highlighting the contribution of Romanian thinkers in defining and understanding the artistic language, in contrast to the language of science. I had in mind, mainly Tudor Vianu's theory on ‟double intention of language„ (transitive/reflexive), then the theory of Pius Servien, an author less known, but who anticipated certain current perspectives regarding the dependence of the significance of expression in the poetical language, and the complex theory of Solomon Marcus, recognized author and commented within the international scientific community, who developed a table of systematic oppositions between scientific and artistic language. The table at the end of the paper takes over some of the most relevant oppositions which these Romanian authors made famous. [ABSTRACT FROM AUTHOR]

Copyright of Metalurgia is the property of Fundatia Metalurgia Romana 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 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.)

The article refers to the nega-tive images rediscovered in re-cent Romanian history, images of the Iaşi pogrom of June 28 to 30, 1941, that still triggers rejection reactions in different environ-ments. The fate of these images that were to be destroyed after the event is as interesting as the recent revaluation of the data base of images, which is found to-day in various archives. In multi-ple frames civilian witnesses can be seen passing by scenes show-ing executions and bodies of Jewish children, women and men. Talking about the event is still rare within hours of Romanian history or public setting, often even in Iaşi, where many teachers prefer to talk about images relat-ed to Poland and concentration camps. Also using images from Iaşi pogrom without interpreta-tions can lead in time to the same type of abuse of the image as in Auschwitz case, a negative stereo-type that shows an abused victim exposed of our sight. [ABSTRACT FROM AUTHOR]

Always focused on the dialogue between pleasure and ideology, with an echo in the present reality, melodrama played the part of an open aesthetical form, encouraging the public to acknowledge and self-perceive its identity with a sort of enthusiasm which foregoes the mass culture phenomenon. Contrary to the views expressed by Lovinescu and other theorists which assert the eternity of melodramatic structures (Eric Bentley, among others), Peter Brooks harbours the melodramatic category to the strict boundaries of modern culture - and, particularly, to the purist aesthetics of modernity - by neglecting its socio-cultural side. Aesthetically speaking, the outstanding originality of melodrama does not lie in the psychological insight on fictional characters which are now moulded according to an "existential" way of being. It is the intrigue the element which keeps a tensioned atmosphere of suspense and, more precisely, the explicit scenic disposition which astonishes the public by displaying pompous paraphernalia and theatrical effects and draws the spectator to recognize the eternal pattern of good-evil fight. After its stage settings and awesome effects, melodrama actually comes nearer to the experimental genres. It releases the strong feeling that, bearing the ability to reshape itself on various contexts and conditions, melodrama resembles very much to the model of avant-garde literature. Lovinescu's point in pinning up the actuality of melodrama is nevertheless meritorious as, engrained by melodramatic techniques, his novels break open the ways to other perspectives on modernism. [ABSTRACT FROM AUTHOR]