Th e traditional Moldovan-Romanian style represents the history traveled through cultural inferences, identity and tradition, with a valuable potential approached in the stylistics of the contemporary rural and urban space. Since ancient times, the Romanian people have built and decorated their home with handmade ornaments, both pieces of furniture and textiles ornamented with symbols transmitted from generation by generation. Today we have a valuable cultural heritage inherited from our ancestors, which is kept with holiness in peasant dwellings, traditional-vernacular architecture in the Moldovan villages. Th e traditional Moldovan-Romanian style is one with an ethnically artisanal rustic aspect, which conveys the idea of nature, through the colors, materials and fabrics used. Th e well-developed craft smanship from the end of the XIX century, the beginning of the twentieth century in Bessarabia puts a great emphasis on the Moldovan-Romanian national style through folk art. Man has always sought to increase the comfort of his homes, today the creators of interiors implement the traditional national stylistics, one with character and connection between health, family and the tradition of the sheavers.
{"title":"Contemporary interior space in promoting national identity of traditional Romanian stylistics","authors":"A. Munteanu","doi":"10.52603/pc22.05","DOIUrl":"https://doi.org/10.52603/pc22.05","url":null,"abstract":"Th e traditional Moldovan-Romanian style represents the history traveled through cultural inferences, identity and tradition, with a valuable potential approached in the stylistics of the contemporary rural and urban space. Since ancient times, the Romanian people have built and decorated their home with handmade ornaments, both pieces of furniture and textiles ornamented with symbols transmitted from generation by generation. Today we have a valuable cultural heritage inherited from our ancestors, which is kept with holiness in peasant dwellings, traditional-vernacular architecture in the Moldovan villages. Th e traditional Moldovan-Romanian style is one with an ethnically artisanal rustic aspect, which conveys the idea of nature, through the colors, materials and fabrics used. Th e well-developed craft smanship from the end of the XIX century, the beginning of the twentieth century in Bessarabia puts a great emphasis on the Moldovan-Romanian national style through folk art. Man has always sought to increase the comfort of his homes, today the creators of interiors implement the traditional national stylistics, one with character and connection between health, family and the tradition of the sheavers.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132932601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Th e subject addressed exposes some considerations regarding the musical culture of Bessarabia in the XIX century recorded in literary documents, which come from outside the country. Th e analytical selection is based on the information reported by foreign observers – military, ambassadors, historians, biographers, memorialists, etc. In the extracts from the studied sources, we highlight the fl uency of musical manifestations in the time period we are dealing with, the dominants and the bearers, some of their facets, which, as we move towards the next century, will change in form and content, foreshadowing an evolutionary path, which will create premises for the affi rmation of professionalism in Bessarabian musical art. We also discuss the intensifi cation of the artistic dialogue with the European cultural space, its benefi cial confl uences and infl uences. It is true that those, who visited Bessarabia on diff erent occasions, recorded data about the presence and variety of music in the administrative center of the province in their descriptions. However, these notes are not enough to reproduce the complexity of musical life in the entire space to the left of the Prut. Th e interpretive approach combines new elements, bringing to attention the valuable and historical dimension of the national music and, at the same time, makes some additions to the artistic past in our country with the intention of putting little or not at all known to the reader documents into the scientifi c circuit.
{"title":"Aspects of musical life in Bessarabian culture seen by foreigners. Documentary accounts from the XIX century","authors":"Victor Ghilaş","doi":"10.52603/pc22.14","DOIUrl":"https://doi.org/10.52603/pc22.14","url":null,"abstract":"Th e subject addressed exposes some considerations regarding the musical culture of Bessarabia in the XIX century recorded in literary documents, which come from outside the country. Th e analytical selection is based on the information reported by foreign observers – military, ambassadors, historians, biographers, memorialists, etc. In the extracts from the studied sources, we highlight the fl uency of musical manifestations in the time period we are dealing with, the dominants and the bearers, some of their facets, which, as we move towards the next century, will change in form and content, foreshadowing an evolutionary path, which will create premises for the affi rmation of professionalism in Bessarabian musical art. We also discuss the intensifi cation of the artistic dialogue with the European cultural space, its benefi cial confl uences and infl uences. It is true that those, who visited Bessarabia on diff erent occasions, recorded data about the presence and variety of music in the administrative center of the province in their descriptions. However, these notes are not enough to reproduce the complexity of musical life in the entire space to the left of the Prut. Th e interpretive approach combines new elements, bringing to attention the valuable and historical dimension of the national music and, at the same time, makes some additions to the artistic past in our country with the intention of putting little or not at all known to the reader documents into the scientifi c circuit.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130765431","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Th e architecture of the city of Chisinau has been formed for more than a hundred years in diffi cult historical and socio-economic conditions, being infl uenced by the conceptual transformations of world architecture. During the study period, the architecture of buildings underwent a consistent stylistic transformation from historical to modern trends: eclecticism, neoclassicism, modernism, and postmodernism. In the last two decades, there has been an increase in the infl uence of conceptual direct ions of development of foreign architecture on the creative processes of postmodernist orienta tion taking place in Moldovan architecture. Th e research makes it possible to determine the current trends in the development of architecture in Chisinau, denoting them with the concepts – “Convergence”, “Reminiscence” and “contradiction”, which has a certain architectural and stylistic reference with corresponding compositional techniques that refl ect the polystylism of the development of world architecture.
{"title":"Stylistic trends in the development of the architecture of the city of Chisinau in the XX-XXI centuries","authors":"Светлана Олейник","doi":"10.52603/pc22.13","DOIUrl":"https://doi.org/10.52603/pc22.13","url":null,"abstract":"Th e architecture of the city of Chisinau has been formed for more than a hundred years in diffi cult historical and socio-economic conditions, being infl uenced by the conceptual transformations of world architecture. During the study period, the architecture of buildings underwent a consistent stylistic transformation from historical to modern trends: eclecticism, neoclassicism, modernism, and postmodernism. In the last two decades, there has been an increase in the infl uence of conceptual direct ions of development of foreign architecture on the creative processes of postmodernist orienta tion taking place in Moldovan architecture. Th e research makes it possible to determine the current trends in the development of architecture in Chisinau, denoting them with the concepts – “Convergence”, “Reminiscence” and “contradiction”, which has a certain architectural and stylistic reference with corresponding compositional techniques that refl ect the polystylism of the development of world architecture.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"519 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134140439","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An analytical approach to several variants of the defi nition of the essay facilitated the identifi cation of its essential features. Essay writers interpret topics in an individual way, relying more on erudition, imagination, and associations. Th anks to the thematic freedom and the ways of expression, the essay evolves between the two forms of knowledge: scientifi c and artistic. All these particularities are also common to the cinematographic essay, asserting themselves with the appearance of the author’s fi lm. Th e constitution of the fi lm-essay also requires a special attitude towards the ways of cinematic expression, as well as its formal elements. In domestic cinema, essayistic tendencies can be identifi ed in the fi lms of several directors. However, the fi lmmaker Vlad Druc asserted himself completely in the fi eld of this type of non-fi ction fi lms,. Most of his fi lms contain some of the essential particularities of the essay, and a good part of them, integrating these qualities, can be called essay fi lms in the notional sense: Ion Creangă, Ploi de dor, Firul viu, Goblen, Meșterul anonim, Moara, Cheamă-i, Doamne, înapoi, Ștefan cel Mare, Obsesie, Vai, sărmana turturică, etc.
对文章定义的几种变体的分析方法有助于确定其基本特征。论文作者以个人的方式解读主题，更多地依靠博学、想象力和联想。由于主题的自由和表达方式的自由，散文在科学和艺术两种知识形式之间演变。所有这些特点在电影散文中也是常见的，随着作者电影的出现而彰显出来。电影散文的构成也要求对电影的表现方式及其形式要素有一种特殊的态度。在国内电影中，可以在几位导演的电影中发现散文式的倾向。然而，电影制作人弗拉德·德鲁克在这种类型的非小说电影领域完全宣称了自己。他的大部分电影都包含了一些散文的本质特征，其中很大一部分，整合了这些特征，可以被称为概念意义上的散文电影:Ion creangei, Ploi de dor, Firul viu, Goblen, Meșterul anonim, Moara, cheam -i, Doamne， 纳波伊，Ștefan cel Mare, Obsesie, Vai, sourmanturturicei等。
{"title":"Essay valences in the creation of filmmaker Vlad Druc","authors":"Dumitru Olărescu","doi":"10.52603/pc22.17","DOIUrl":"https://doi.org/10.52603/pc22.17","url":null,"abstract":"An analytical approach to several variants of the defi nition of the essay facilitated the identifi cation of its essential features. Essay writers interpret topics in an individual way, relying more on erudition, imagination, and associations. Th anks to the thematic freedom and the ways of expression, the essay evolves between the two forms of knowledge: scientifi c and artistic. All these particularities are also common to the cinematographic essay, asserting themselves with the appearance of the author’s fi lm. Th e constitution of the fi lm-essay also requires a special attitude towards the ways of cinematic expression, as well as its formal elements. In domestic cinema, essayistic tendencies can be identifi ed in the fi lms of several directors. However, the fi lmmaker Vlad Druc asserted himself completely in the fi eld of this type of non-fi ction fi lms,. Most of his fi lms contain some of the essential particularities of the essay, and a good part of them, integrating these qualities, can be called essay fi lms in the notional sense: Ion Creangă, Ploi de dor, Firul viu, Goblen, Meșterul anonim, Moara, Cheamă-i, Doamne, înapoi, Ștefan cel Mare, Obsesie, Vai, sărmana turturică, etc.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"131 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130242042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Th e tale „Th e little purse with two half-pennies” signed by Ion Creanga appeared in repeated editions in various countries and is one of the best known. Th e analysis and the history of the evolution of the literary subject are of special interest and deserve more extensive research. It is equally curious to compare various plastic approaches to the topics of the tale. In Soviet and post-Soviet Moldova, the book was illustrated by famous graphic artists such as Leonid Grigorașenco, Ilia Bogdesco, Lică Sainciuc, Igor Vieru, Filimon Hămuraru, Andrei Ţurcanu, Anatoli Smîșleaev, Alexei Colîbneac, Simion Zamsa, Elena Karacențev, Sergiu (Serghei) Samsonov and other artists, who have made a remarkable contribution to this fi eld of art. Each book graphic designer has created unique variants of interpreting the illustrated subjects, approaching various artistic techniques and means, compositional and stylistic principles, etc. By studying them, we have the opportunity to compare the creation of these authors. Th us, we have the occasion to meditate on the aesthetic values of current editions compared to previous ones.
{"title":"Repeated editions of the tale „Th e little purse with two half-pennies” by Ion Creangă. The evolution of artistic values in Moldovan book graphics in the Soviet and post-Soviet period","authors":"Victoria Rocaciuc","doi":"10.52603/pc22.06","DOIUrl":"https://doi.org/10.52603/pc22.06","url":null,"abstract":"Th e tale „Th e little purse with two half-pennies” signed by Ion Creanga appeared in repeated editions in various countries and is one of the best known. Th e analysis and the history of the evolution of the literary subject are of special interest and deserve more extensive research. It is equally curious to compare various plastic approaches to the topics of the tale. In Soviet and post-Soviet Moldova, the book was illustrated by famous graphic artists such as Leonid Grigorașenco, Ilia Bogdesco, Lică Sainciuc, Igor Vieru, Filimon Hămuraru, Andrei Ţurcanu, Anatoli Smîșleaev, Alexei Colîbneac, Simion Zamsa, Elena Karacențev, Sergiu (Serghei) Samsonov and other artists, who have made a remarkable contribution to this fi eld of art. Each book graphic designer has created unique variants of interpreting the illustrated subjects, approaching various artistic techniques and means, compositional and stylistic principles, etc. By studying them, we have the opportunity to compare the creation of these authors. Th us, we have the occasion to meditate on the aesthetic values of current editions compared to previous ones.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124730817","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Th ere are some symbols (images) of cities in which they come to the fore. Th ese symbols can be diverse such as city silhouettes, temples, holy places, museums, festivals, natural areas, food, drinks, and desserts. Urban symbols can be an important soft power and tourism intermediary for the promotion of both the city and the country. Many examples such as Japan’s kimono, Kyoto garden, and sushi; France’s Paris Eiff el Tower; Moldova’s wine cellars; Moscow’s Kremlin Palace in Russia; Istanbul’s Topkapi Palace in Türkiye, beaches, doner kebab and baklava; Tibet’s Buddhist temples can be cited. As can be understood from these examples, a city or a small settlement can sometimes come to the fore even more than the country itself due to its symbol. Countries that benefi t from this can provide a good promotion in terms of tourism. While there are professional works in creating an image of the city, sometimes bad examples can be seen. However, creating the image of the city, strange structures or sculptures can sometimes be used for the promotion of the city. In fact, it is an interesting method which causes a very bad appearance. Even this situation sometimes causes a funny and disgusting image. For example, ill-hewn statues of fruit-vegetable, food, animals, persons or heroes, etc. It is unnecessary but it also causes bad publicity. Instead, applied kitchens, food and beverage presentations, and museums are more remarkable. In this paper, the city image “met halva”, which has come to the fore in the fi eld of gastronomy, with the cultural animations made recently in Sivrihisar district of Eskișehir province of Türkiye will be introduced.
{"title":"A Symbolic Taste of the City: Eskișehir Met Halva from Legend to Game","authors":"Adem Koc","doi":"10.52603/pc22.29","DOIUrl":"https://doi.org/10.52603/pc22.29","url":null,"abstract":"Th ere are some symbols (images) of cities in which they come to the fore. Th ese symbols can be diverse such as city silhouettes, temples, holy places, museums, festivals, natural areas, food, drinks, and desserts. Urban symbols can be an important soft power and tourism intermediary for the promotion of both the city and the country. Many examples such as Japan’s kimono, Kyoto garden, and sushi; France’s Paris Eiff el Tower; Moldova’s wine cellars; Moscow’s Kremlin Palace in Russia; Istanbul’s Topkapi Palace in Türkiye, beaches, doner kebab and baklava; Tibet’s Buddhist temples can be cited. As can be understood from these examples, a city or a small settlement can sometimes come to the fore even more than the country itself due to its symbol. Countries that benefi t from this can provide a good promotion in terms of tourism. While there are professional works in creating an image of the city, sometimes bad examples can be seen. However, creating the image of the city, strange structures or sculptures can sometimes be used for the promotion of the city. In fact, it is an interesting method which causes a very bad appearance. Even this situation sometimes causes a funny and disgusting image. For example, ill-hewn statues of fruit-vegetable, food, animals, persons or heroes, etc. It is unnecessary but it also causes bad publicity. Instead, applied kitchens, food and beverage presentations, and museums are more remarkable. In this paper, the city image “met halva”, which has come to the fore in the fi eld of gastronomy, with the cultural animations made recently in Sivrihisar district of Eskișehir province of Türkiye will be introduced.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126299515","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Analyzing the co-reporting of the concepts music - identity, music seems to be one of the key elements of identity, because it off ers a perception of the self, but also of the collectivity. Musical compositional creation that tended to embody tradition has served as a powerful cultural resource for nationalism since the XIX century. Th us, in the context of the national movements from the end of the XIX century, new national schools appeared. Th e compositional vector was directed, on the one hand, to get out of the crisis of the romantic music trend, and on the other hand, to strengthen the new national schools in Eastern Europe states, where the academic musical culture was at a relatively young stage. In these conditions, the affi rmation of identity in national musical cultures, in East and Central European professional composition, consolidated the formation of compositional schools that were based on the principles of exploring the traditions of popular art, the uniqueness and specifi c local-regional individuality, in order to affi rm national music and to create cult music.
{"title":"Cultural and musical identity as a formative factor of the new national composition schools from the end of the XIX century","authors":"Valeria Barbas","doi":"10.52603/pc22.24","DOIUrl":"https://doi.org/10.52603/pc22.24","url":null,"abstract":"Analyzing the co-reporting of the concepts music - identity, music seems to be one of the key elements of identity, because it off ers a perception of the self, but also of the collectivity. Musical compositional creation that tended to embody tradition has served as a powerful cultural resource for nationalism since the XIX century. Th us, in the context of the national movements from the end of the XIX century, new national schools appeared. Th e compositional vector was directed, on the one hand, to get out of the crisis of the romantic music trend, and on the other hand, to strengthen the new national schools in Eastern Europe states, where the academic musical culture was at a relatively young stage. In these conditions, the affi rmation of identity in national musical cultures, in East and Central European professional composition, consolidated the formation of compositional schools that were based on the principles of exploring the traditions of popular art, the uniqueness and specifi c local-regional individuality, in order to affi rm national music and to create cult music.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"144 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123334196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
It is well known that in traditional human societies, intercultural communication is mainly achieved through natural language. In the contemporary era, however, the written/oral discourse has been continuously integrated into increasingly complex semiotic systems by means of sophisticated information technologies. Th is phenomenon amplifi ed the intercultural dialogue and, thus, a regeneration of the exchange of symbolic goods at the planetary level was attested. In general, throughout history, mass media, starting with print media, radio communication, cinema, television and up to the Internet have stimulated public debate in human communities, and the production and reception of media messages has acquired an overwhelming role. Th is article is focused on the “cinema of reality”, trying to shed light on the presence of intercultural communication in today’s documentary fi lm. We will refer to the documentary dialogue Life in a Day from 2011 and 2020, respectively; the fi lm Marica (2011) directed by Mircea Surdu; At home in Marienfeld (2014) by Eugeniu Popovici, Lucia Tăut and Irina Crăciun (screenplay and direction).
{"title":"Intercultural dialogue in today’s documentary fi lm","authors":"Alexandru Bohanţov","doi":"10.52603/pc22.21","DOIUrl":"https://doi.org/10.52603/pc22.21","url":null,"abstract":"It is well known that in traditional human societies, intercultural communication is mainly achieved through natural language. In the contemporary era, however, the written/oral discourse has been continuously integrated into increasingly complex semiotic systems by means of sophisticated information technologies. Th is phenomenon amplifi ed the intercultural dialogue and, thus, a regeneration of the exchange of symbolic goods at the planetary level was attested. In general, throughout history, mass media, starting with print media, radio communication, cinema, television and up to the Internet have stimulated public debate in human communities, and the production and reception of media messages has acquired an overwhelming role. Th is article is focused on the “cinema of reality”, trying to shed light on the presence of intercultural communication in today’s documentary fi lm. We will refer to the documentary dialogue Life in a Day from 2011 and 2020, respectively; the fi lm Marica (2011) directed by Mircea Surdu; At home in Marienfeld (2014) by Eugeniu Popovici, Lucia Tăut and Irina Crăciun (screenplay and direction).","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134177262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Historical documents highlight the existence of three cemeteries belonging to the city’s Jewish community on the territory of today Chisinau. Th e use of two of them, the most ancient, was interrupted in the 19th century. Th e cemeteries were preserved until the middle of the 20th century when they were destroyed by Soviet authorities. Today, in their place are high-rise buildings and private houses. Th e third Jewish historic cemetery was established in 1819. In the middle of the 20th century, the authorities reduced its territory, and a city park was equipped and residential high-rise buildings were built. In 1970, the cemetery was closed. In the last decades of the century, the remaining part of the cemetery fell into degradation. In 1993, according to the decision of the Parliament, the Jewish cemetery was inscribed in the Register of Monuments of the Republic of Moldova Protected by the State. Since 2018, this property has become a branch of the Public Institution Museum of the History of the Jews of the Republic of Moldova.
{"title":"Jewish Cemeteries of the city of Chisinau. Preliminary considerations","authors":"Sergius Ciocanu","doi":"10.52603/pc22.10","DOIUrl":"https://doi.org/10.52603/pc22.10","url":null,"abstract":"Historical documents highlight the existence of three cemeteries belonging to the city’s Jewish community on the territory of today Chisinau. Th e use of two of them, the most ancient, was interrupted in the 19th century. Th e cemeteries were preserved until the middle of the 20th century when they were destroyed by Soviet authorities. Today, in their place are high-rise buildings and private houses. Th e third Jewish historic cemetery was established in 1819. In the middle of the 20th century, the authorities reduced its territory, and a city park was equipped and residential high-rise buildings were built. In 1970, the cemetery was closed. In the last decades of the century, the remaining part of the cemetery fell into degradation. In 1993, according to the decision of the Parliament, the Jewish cemetery was inscribed in the Register of Monuments of the Republic of Moldova Protected by the State. Since 2018, this property has become a branch of the Public Institution Museum of the History of the Jews of the Republic of Moldova.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114741969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the historical past, lepers were organized into separate communities, living poorly in leprosariums. In society, lepers were treated diff erently, being tolerated and marginalized. Tolerance of lepers included Christian perception and multiple biblical postulates in which the lepers were miraculously healed; Jesus was received in the home of Simeon the Leper. At the same time, people’s fear of leprosy, amplifi ed by the ignorance of the causes of the disease, made lepers undesirable in the medieval society. Multiple restrictions were imposed on lepers; marriages were dissolved when the husband or wife had leprosy. In more serious cases, marked by the phobias of the time, leprosy patients were killed, being blamed for a series of horrors, born more against the background of phobias that dominated the collective imagination of the people. Th e imposed lepers lived in a separate world of their own, a world that existed in the suburbs of the city, a world that lived by its rules and regulations, imposed for the most part from the outside.
{"title":"Th e world of lepers in conditions of marginalization and mercy: habitat, legislation, restrictions and prejudices (historical, sanitary-epidemiological and ethnocultural interferences)","authors":"Valentin Arapu","doi":"10.52603/pc22.27","DOIUrl":"https://doi.org/10.52603/pc22.27","url":null,"abstract":"In the historical past, lepers were organized into separate communities, living poorly in leprosariums. In society, lepers were treated diff erently, being tolerated and marginalized. Tolerance of lepers included Christian perception and multiple biblical postulates in which the lepers were miraculously healed; Jesus was received in the home of Simeon the Leper. At the same time, people’s fear of leprosy, amplifi ed by the ignorance of the causes of the disease, made lepers undesirable in the medieval society. Multiple restrictions were imposed on lepers; marriages were dissolved when the husband or wife had leprosy. In more serious cases, marked by the phobias of the time, leprosy patients were killed, being blamed for a series of horrors, born more against the background of phobias that dominated the collective imagination of the people. Th e imposed lepers lived in a separate world of their own, a world that existed in the suburbs of the city, a world that lived by its rules and regulations, imposed for the most part from the outside.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127733013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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