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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]

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]

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 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.)

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]

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]