Pub Date : 2021-11-01DOI: 10.52603/9789975351379.21
Valentin Arapu
The „Black Plague” pandemic (1347–1351) was a biological and epidemiological phenomenon. The term „red plague” was first used by F. Reinhardt in his work „Die Rote Pest” (1930). The „Red Plague” is a plague of Bolshevik / communist ideological, political and military fanaticism, installed in October 1917 in Russia and later spread to several countries. The origin of these two plagues is totally different; at the same time, there are multiple affinities of imagological, symbolic, ethnological, demographic, demonological and semiotic type between them. The medieval plague appeared simultaneously with Death, Hunger and War, respectively, the communist regimes, associated with the „red plague”, are guilty of mass extermination of tens and even hundreds of millions of people worldwide. The “red plague” has far outweighed its disastrous impact on any plague or pandemic in human history.
{"title":"From „black plague” to „red plague”: meanings, symbols and impact (historical, literary, medical, imagological and ethnocultural)","authors":"Valentin Arapu","doi":"10.52603/9789975351379.21","DOIUrl":"https://doi.org/10.52603/9789975351379.21","url":null,"abstract":"The „Black Plague” pandemic (1347–1351) was a biological and epidemiological phenomenon. The term „red plague” was first used by F. Reinhardt in his work „Die Rote Pest” (1930). The „Red Plague” is a plague of Bolshevik / communist ideological, political and military fanaticism, installed in October 1917 in Russia and later spread to several countries. The origin of these two plagues is totally different; at the same time, there are multiple affinities of imagological, symbolic, ethnological, demographic, demonological and semiotic type between them. The medieval plague appeared simultaneously with Death, Hunger and War, respectively, the communist regimes, associated with the „red plague”, are guilty of mass extermination of tens and even hundreds of millions of people worldwide. The “red plague” has far outweighed its disastrous impact on any plague or pandemic in human history.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125534999","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}
Pub Date : 2021-11-01DOI: 10.52603/9789975351379.09
A. Munteanu
Every nation has a history of multiple cultural, ethnic, linguistic interferences, which complement each other from one century to another. The Romanian people have a tumultuous past, with periods of Ottoman occupation, the liberation and unification of Greater Romania, but also the separation from the mother country after the Second World War. Currently, the political and national development path of the Republic of Moldova is struggling between the East and the West. Romanian traditional stylistics represents us through culture, tradition, and customs. We have a valuable cultural heritage inherited from our ancestors, characterized by architecture and folklore, costumes, traditions, and national holidays, which bring back the beautiful spring, winter, and autumn holidays of yesteryear. The home is a peasant house, today a monument of traditional-vernacular architecture (made by folk craftsmen) with architecture specific to each area of the Republic of Moldova, has currently become an ethnographic museum of this richly endowed land. The peasant house is the interior space characterized by the inhabitants of a country. The constructions had a plan, size, and aspect influenced by the physical-geographical conditions of the natural environment, by the particularities and specifics of the household system, historically and socially conditioned. Starting from the stylistic origins of manifestation in interior design and architecture, the traditional Romanian-Moldovan style can be aligned in a rustic ethnic style, monuments of peasant architecture. Therefore, according to its characteristics the rustic style represents the preservation or conservation of the traditional, the old, the folklore of a people, which makes you immediately think of the family home in an atmosphere torn from a fairy tale, sitting on a soft carpet in front of the fireplace (sobă). The rustic style is closely linked to tradition and the countryside. Traditional architecture, regardless of country and geographical area, presupposes the use of natural materials from the environment where the houses are built – wooden beams, stone, clay, straw both inside and outside. For example, the peoples of Romania, Moldova, Ukraine used wood in forested areas and stone in mountain areas.
{"title":"Times and the interior and exterior architectural stylistic character of the Romanian-Moldovan traditional dwelling, incontestable museum decoration","authors":"A. Munteanu","doi":"10.52603/9789975351379.09","DOIUrl":"https://doi.org/10.52603/9789975351379.09","url":null,"abstract":"Every nation has a history of multiple cultural, ethnic, linguistic interferences, which complement each other from one century to another. The Romanian people have a tumultuous past, with periods of Ottoman occupation, the liberation and unification of Greater Romania, but also the separation from the mother country after the Second World War. Currently, the political and national development path of the Republic of Moldova is struggling between the East and the West. Romanian traditional stylistics represents us through culture, tradition, and customs. We have a valuable cultural heritage inherited from our ancestors, characterized by architecture and folklore, costumes, traditions, and national holidays, which bring back the beautiful spring, winter, and autumn holidays of yesteryear. The home is a peasant house, today a monument of traditional-vernacular architecture (made by folk craftsmen) with architecture specific to each area of the Republic of Moldova, has currently become an ethnographic museum of this richly endowed land. The peasant house is the interior space characterized by the inhabitants of a country. The constructions had a plan, size, and aspect influenced by the physical-geographical conditions of the natural environment, by the particularities and specifics of the household system, historically and socially conditioned. Starting from the stylistic origins of manifestation in interior design and architecture, the traditional Romanian-Moldovan style can be aligned in a rustic ethnic style, monuments of peasant architecture. Therefore, according to its characteristics the rustic style represents the preservation or conservation of the traditional, the old, the folklore of a people, which makes you immediately think of the family home in an atmosphere torn from a fairy tale, sitting on a soft carpet in front of the fireplace (sobă). The rustic style is closely linked to tradition and the countryside. Traditional architecture, regardless of country and geographical area, presupposes the use of natural materials from the environment where the houses are built – wooden beams, stone, clay, straw both inside and outside. For example, the peoples of Romania, Moldova, Ukraine used wood in forested areas and stone in mountain areas.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122006216","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}
Pub Date : 2021-11-01DOI: 10.52603/9789975351379.31
Josefina Cusnir
The interpretive ethnological model “The Decalogue and Harmonizing Hermeneutic Maxims of Obligatoriness: An Aspect of Upbringing” is developed within the framework of a noetic interdisciplinary system of our four concepts (concept of humanization of myth; concept of megamodern; concept of ethicizing mythological consciousness; concept of aesthetic meaning). This system is based on the works by many outstanding scholars, including the achievements of interpretive (hermeneutic) anthropology by C. Geertz, the ideas of J.J. Wunenburger, K. Hubner, V. Frankl, E. Fromm, N. Berdyaev, J. Ortega y Gasset, K. Jaspers, etc. In the interpretative model, the eight “implicit principles of upbringing (world perception, behavior) according to the Decalogue” revealed by us are applied: these principles are based on the concept of man and the Universe represented in the Ten Commandments. This model allows examining distinct hermeneutic maxims as a sort of ethnocultural specificity of shaping the epoch of “new humanism for the 21st century” (UNESCO). A Family Portrait in the Midst of Chisinau Landscape, memoir prose by Susanna Cușnir, is examined according to this model. One of the revealed hermeneutic maxims reads: “The Universe is such that man can follow his creative impulses at any age”.
解释性民族学模型“十诫与义务性的协调解释学格言:教养的一个方面”是在我们四个概念(神话的人性化概念;超现代概念;神话意识的伦理化概念;美学意义的概念)。这一体系以许多杰出学者的著作为基础，包括格尔茨的解释(解释学)人类学成果，J.J. Wunenburger、K. Hubner、V. Frankl、E. Fromm、N. Berdyaev、J. Ortega y Gasset、K. Jaspers等人的思想。在解释模型中，应用了我们揭示的八项“根据十诫培养(世界感知，行为)的隐含原则”:这些原则基于十诫所代表的人类和宇宙的概念。这个模型允许检验不同的解释学格言，作为塑造“21世纪新人文主义”时代的一种民族文化特征(联合国教科文组织)。苏珊娜Cușnir的回忆录散文《基希讷乌风景中的全家福》就是按照这一模式进行考察的。其中一条揭示的解释学格言是:“宇宙就是这样，人类在任何年龄都可以追随自己的创作冲动。”
{"title":"Interpretative ethnological model “decalogue and harmonizing hermeneutic maxims of obligatoriness: an aspect of upbringing”: on the example of the memoir prose of a native of Chisinau","authors":"Josefina Cusnir","doi":"10.52603/9789975351379.31","DOIUrl":"https://doi.org/10.52603/9789975351379.31","url":null,"abstract":"The interpretive ethnological model “The Decalogue and Harmonizing Hermeneutic Maxims of Obligatoriness: An Aspect of Upbringing” is developed within the framework of a noetic interdisciplinary system of our four concepts (concept of humanization of myth; concept of megamodern; concept of ethicizing mythological consciousness; concept of aesthetic meaning). This system is based on the works by many outstanding scholars, including the achievements of interpretive (hermeneutic) anthropology by C. Geertz, the ideas of J.J. Wunenburger, K. Hubner, V. Frankl, E. Fromm, N. Berdyaev, J. Ortega y Gasset, K. Jaspers, etc. In the interpretative model, the eight “implicit principles of upbringing (world perception, behavior) according to the Decalogue” revealed by us are applied: these principles are based on the concept of man and the Universe represented in the Ten Commandments. This model allows examining distinct hermeneutic maxims as a sort of ethnocultural specificity of shaping the epoch of “new humanism for the 21st century” (UNESCO). A Family Portrait in the Midst of Chisinau Landscape, memoir prose by Susanna Cușnir, is examined according to this model. One of the revealed hermeneutic maxims reads: “The Universe is such that man can follow his creative impulses at any age”.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134391516","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}
Pub Date : 2021-11-01DOI: 10.52603/9789975351379.07
A. Marian
In Moldovan sculpture, there are two types of the introduction of anatomical structures in the creation of sculptural nudity: based on realism and stylized ones. The pioneer in the study of sculptural nudity was Alexander Plamadeala. Although his studies at the Imperial Academy of Art, Sculpture and Architecture allowed him to comprehensively approach the depiction of sculptural nude, the sculptor still continued to experiment and seek new ways in the description of nude. “Nude” in Yuri Kanashin’s interpretation is an integral part of thematic compositions and has a separate logic, subordinated to the author’s sensitivity. Anatomical interpretation in Ion Zderciuk’s works is the starting point for realistic forms which transform into stylized ones, where metaphor takes the leading place and the solutions are innovative. Interpretations of sculptural nudity involve long-term training, knowledge of the anatomy of the skeleton and musculature, the proportions of the human body. Based on this, the sculptors practiced stylization, always different in artistic manners, but which represented a new vision of the interpretation of sculptural nudity in Moldovan plastic art.
{"title":"Anatomical constructions in the making of the nude moldovan sculpture. Approaches in the realm of realism","authors":"A. Marian","doi":"10.52603/9789975351379.07","DOIUrl":"https://doi.org/10.52603/9789975351379.07","url":null,"abstract":"In Moldovan sculpture, there are two types of the introduction of anatomical structures in the creation of sculptural nudity: based on realism and stylized ones. The pioneer in the study of sculptural nudity was Alexander Plamadeala. Although his studies at the Imperial Academy of Art, Sculpture and Architecture allowed him to comprehensively approach the depiction of sculptural nude, the sculptor still continued to experiment and seek new ways in the description of nude. “Nude” in Yuri Kanashin’s interpretation is an integral part of thematic compositions and has a separate logic, subordinated to the author’s sensitivity. Anatomical interpretation in Ion Zderciuk’s works is the starting point for realistic forms which transform into stylized ones, where metaphor takes the leading place and the solutions are innovative. Interpretations of sculptural nudity involve long-term training, knowledge of the anatomy of the skeleton and musculature, the proportions of the human body. Based on this, the sculptors practiced stylization, always different in artistic manners, but which represented a new vision of the interpretation of sculptural nudity in Moldovan plastic art.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133554518","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}
Pub Date : 2021-11-01DOI: 10.52603/9789975351379.04
Violina Galaicu
The trajectory of the Romanian cult music is intertwined with the trajectory of the Byzantine cult music, the mega-phenomenon and its zonal manifestation conditioning and enhancing each other. Respectively, any attempt to stage the evolution of sacred singing in the reference area refers to the transformations supported by Byzantine music as a whole. In the historiography of the field, we found several variants of systematization of the Byzantine ecclesiastical music on the Romanian territories: according to historical epochs, according to the stages of consolidation of the national Church, according to the linguistic factor (succession of sacred languages), according to stylistic manifestations. Based on the way in which the studies are structured, it is observed that historians do not consistently follow one way or another, but opt for summing them up. Thus, a milestone with generalizing value is outlined, in which the first Christian centuries mark the penetration and spread of Proto-Byzantine and Byzantine song in the Romanian space, the IX-X centuries – the enrollment of Romanianism in the Byzantine-Slavic religious front, the XIV century – the inauguration of the period of cultural effervescence related to the constitution of the Romanian medieval states, the end of the XVI century – the XVIII century – the Romanianization of the liturgical melody, the beginning of the XIX century – the XXI century – the passage of the Byzantine chant through the avatars of modernity and contemporaneity.
{"title":"The historical trajectory of Byzantine religious music in the Romanian space: volutes and milestones","authors":"Violina Galaicu","doi":"10.52603/9789975351379.04","DOIUrl":"https://doi.org/10.52603/9789975351379.04","url":null,"abstract":"The trajectory of the Romanian cult music is intertwined with the trajectory of the Byzantine cult music, the mega-phenomenon and its zonal manifestation conditioning and enhancing each other. Respectively, any attempt to stage the evolution of sacred singing in the reference area refers to the transformations supported by Byzantine music as a whole. In the historiography of the field, we found several variants of systematization of the Byzantine ecclesiastical music on the Romanian territories: according to historical epochs, according to the stages of consolidation of the national Church, according to the linguistic factor (succession of sacred languages), according to stylistic manifestations. Based on the way in which the studies are structured, it is observed that historians do not consistently follow one way or another, but opt for summing them up. Thus, a milestone with generalizing value is outlined, in which the first Christian centuries mark the penetration and spread of Proto-Byzantine and Byzantine song in the Romanian space, the IX-X centuries – the enrollment of Romanianism in the Byzantine-Slavic religious front, the XIV century – the inauguration of the period of cultural effervescence related to the constitution of the Romanian medieval states, the end of the XVI century – the XVIII century – the Romanianization of the liturgical melody, the beginning of the XIX century – the XXI century – the passage of the Byzantine chant through the avatars of modernity and contemporaneity.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123625242","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}
Pub Date : 2021-11-01DOI: 10.52603/9789975351379.08
M. Moşneagu
Agapia Monastery – the remarkable Moldavian monastery painted by Nicolae Grigorescu – has a precious heritage of icons, books and documents, liturgical textiles, goldsmithing. Among these, the main place is occupied by the icons painted in the XV-XIX centuries, either in post-Byzantine style, in tempera technique, or in realistic style, in oil technique. Some icons from the XVIII-XIX centuries have been preserved and restored in the Icon Restoration laboratory of the Faculty of Theology in Iaşi. In time, the icons kept in the storage of the Monastery Museum have suffered of degradation caused both by the deficient author’s technique and by the exogenous, biotic and abiotic factors. The wooden supports of some icons were severely degraded by the attack of xylophagous insects, being affected both the mechanical resistance and the appearance of the wood. The numerous galleries immediately below the pictorial layer determined its deformation. The pictorial layer of some icons was degraded mainly due to the errors of the painters’ work technique: very thin and fragile preparation layer or excessive binder, which led to the formation of accentuated early cracks. The appearance of the icons was affected either by the chromatic alteration of the protective varnish, or by the deposits of dust and soot in the atmosphere. The interventions for the conservation of the icons consisted in biociding the painting support and in consolidating the pictorial layer detached from the wooden support. The restoration of the icons aimed at removing the dirt deposits from the painting by physico-chemical means, filling the gaps in the icons and their chromatic integration, with easily reversible materials. After conservation and restoration, the icons returned to the Agapia Monastery for use.
{"title":"Conservation and restoration of some icons from the collection of church objects of Agapia Monastery, Neamţ, Romania","authors":"M. Moşneagu","doi":"10.52603/9789975351379.08","DOIUrl":"https://doi.org/10.52603/9789975351379.08","url":null,"abstract":"Agapia Monastery – the remarkable Moldavian monastery painted by Nicolae Grigorescu – has a precious heritage of icons, books and documents, liturgical textiles, goldsmithing. Among these, the main place is occupied by the icons painted in the XV-XIX centuries, either in post-Byzantine style, in tempera technique, or in realistic style, in oil technique. Some icons from the XVIII-XIX centuries have been preserved and restored in the Icon Restoration laboratory of the Faculty of Theology in Iaşi. In time, the icons kept in the storage of the Monastery Museum have suffered of degradation caused both by the deficient author’s technique and by the exogenous, biotic and abiotic factors. The wooden supports of some icons were severely degraded by the attack of xylophagous insects, being affected both the mechanical resistance and the appearance of the wood. The numerous galleries immediately below the pictorial layer determined its deformation. The pictorial layer of some icons was degraded mainly due to the errors of the painters’ work technique: very thin and fragile preparation layer or excessive binder, which led to the formation of accentuated early cracks. The appearance of the icons was affected either by the chromatic alteration of the protective varnish, or by the deposits of dust and soot in the atmosphere. The interventions for the conservation of the icons consisted in biociding the painting support and in consolidating the pictorial layer detached from the wooden support. The restoration of the icons aimed at removing the dirt deposits from the painting by physico-chemical means, filling the gaps in the icons and their chromatic integration, with easily reversible materials. After conservation and restoration, the icons returned to the Agapia Monastery for use.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123867138","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}
Pub Date : 2021-11-01DOI: 10.52603/9789975351379.23
I. Gumenâi
With the annexation of Bessarabia to the Russian Empire, not only economic, political and cultural changes took place, but also spiritual ones. The strengthening of the role of the Orthodox Church for the idea of the Russian press will take place with the launch by Nicholas I of the well–known triad: “Orthodoxy, autocracy, people” – the three pillars on which Russian statehood will be based. It is interesting that “orthodoxy” in this triad occupies the primordial place and this in a multinational and multi–denominational state, and “autocracy” is on second place giving way to the Church. This position of the Russian Orthodox Church existed before and has been preserved since, with slogans such as “For Faith, the Tsar and Fatherland” or “Russian God, Russian Tsar and Russian People”. Obviously, for this position, the Orthodox Church had to make a significant effort to spread the cult of the tsar, which also refers to Bessarabia as a component part of this colossus. And this is done through all existing measures and possibilities. This also refers to the publicity of books invoking the entire imperial family, to the publication of instructions and special regulations related to the manner and rules of performing divine services in honor of the emperor and the imperial family, as well as various actions aimed at promoting the imperial image.
{"title":"The cult of the tsar and its promotion by Orthodox religious institutions","authors":"I. Gumenâi","doi":"10.52603/9789975351379.23","DOIUrl":"https://doi.org/10.52603/9789975351379.23","url":null,"abstract":"With the annexation of Bessarabia to the Russian Empire, not only economic, political and cultural changes took place, but also spiritual ones. The strengthening of the role of the Orthodox Church for the idea of the Russian press will take place with the launch by Nicholas I of the well–known triad: “Orthodoxy, autocracy, people” – the three pillars on which Russian statehood will be based. It is interesting that “orthodoxy” in this triad occupies the primordial place and this in a multinational and multi–denominational state, and “autocracy” is on second place giving way to the Church. This position of the Russian Orthodox Church existed before and has been preserved since, with slogans such as “For Faith, the Tsar and Fatherland” or “Russian God, Russian Tsar and Russian People”. Obviously, for this position, the Orthodox Church had to make a significant effort to spread the cult of the tsar, which also refers to Bessarabia as a component part of this colossus. And this is done through all existing measures and possibilities. This also refers to the publicity of books invoking the entire imperial family, to the publication of instructions and special regulations related to the manner and rules of performing divine services in honor of the emperor and the imperial family, as well as various actions aimed at promoting the imperial image.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131178273","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}
Pub Date : 2021-11-01DOI: 10.52603/9789975351379.05
Dumitru Hanganu, Svetlana Badrajan
The instrumental chamber music works by composers from the Republic of Moldova are rich and diverse, both in terms of the musical genres addressed and the instruments required, either for the ensemble or solo parts. The trumpet, an instrument with wide technicalinterpretative and expressive possibilities, offers composers an ample opportunity for harnessing its potential. The two works, which we will analyze from an interpretive point of view – “The Concert Study” for trumpet and piano (in B) by Alexandr Sokireanski (1977) and “Oleandra” for trumpet and piano (in B) by Vladimir Slivinski (1979), are part of the active repertoire of trumpeters and are of interest to researchers. They require certain execution skills and a certain level of handling the instrument, as they contain elements with a high degree of difficulty; we refer here to the rhythmic structure, the complexity of dynamic nuances, technical elements, the change of tempo during the proceeding of the musical discourse, the exploitation of the acute register of the trumpet.
{"title":"Aspects of the treatment of the technical-expressive and interpretative means of the trumpet in the Concert Study by Alexandr Sochireanschii and Oleandra by Vladimir Slivinskii","authors":"Dumitru Hanganu, Svetlana Badrajan","doi":"10.52603/9789975351379.05","DOIUrl":"https://doi.org/10.52603/9789975351379.05","url":null,"abstract":"The instrumental chamber music works by composers from the Republic of Moldova are rich and diverse, both in terms of the musical genres addressed and the instruments required, either for the ensemble or solo parts. The trumpet, an instrument with wide technicalinterpretative and expressive possibilities, offers composers an ample opportunity for harnessing its potential. The two works, which we will analyze from an interpretive point of view – “The Concert Study” for trumpet and piano (in B) by Alexandr Sokireanski (1977) and “Oleandra” for trumpet and piano (in B) by Vladimir Slivinski (1979), are part of the active repertoire of trumpeters and are of interest to researchers. They require certain execution skills and a certain level of handling the instrument, as they contain elements with a high degree of difficulty; we refer here to the rhythmic structure, the complexity of dynamic nuances, technical elements, the change of tempo during the proceeding of the musical discourse, the exploitation of the acute register of the trumpet.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115352663","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}
Pub Date : 2021-11-01DOI: 10.52603/9789975351379.22
Adrian Dolghi
The daily life in the Moldavian SSR orphanages during the post–war years was determined by the living conditions, the sanitary and hygienic state of the institutions, the provision of food and clothing, and the activities in which the children were involved. In the present paper, on the basis of unpublished archival documents and published documents, we elucidate the living conditions and the attitude towards children in the orphanages of the Moldavian SSR in the post–war years. Following the worsening of the social situation in the immediate post–war period in the Moldavian SSR, the number of orphans and vagrants increased. The solution of the Soviet state for this serious social problem was to expand the network of orphanages. On September 1, 1947, 21,553 children were already taken care of in 124 orphanages, a number that exceeded the possibilities of accommodation and food. The institutionalization of children was one of the solutions accepted ideologically by the Soviet Power. However, the ideological ideals did not correspond to the serious social realities in orphanages, where children lived in unsanitary conditions, also demonstrated by the numerous diseases caused by unsanitary conditions and lack of hygiene in the institutions: typhus, itching, tuberculosis. Children also suffered from malnutrition and dystrophy. The overall mortality rate among children was high.
{"title":"Living conditions in orphanages of the Moldavian SSR in 1944–1947","authors":"Adrian Dolghi","doi":"10.52603/9789975351379.22","DOIUrl":"https://doi.org/10.52603/9789975351379.22","url":null,"abstract":"The daily life in the Moldavian SSR orphanages during the post–war years was determined by the living conditions, the sanitary and hygienic state of the institutions, the provision of food and clothing, and the activities in which the children were involved. In the present paper, on the basis of unpublished archival documents and published documents, we elucidate the living conditions and the attitude towards children in the orphanages of the Moldavian SSR in the post–war years. Following the worsening of the social situation in the immediate post–war period in the Moldavian SSR, the number of orphans and vagrants increased. The solution of the Soviet state for this serious social problem was to expand the network of orphanages. On September 1, 1947, 21,553 children were already taken care of in 124 orphanages, a number that exceeded the possibilities of accommodation and food. The institutionalization of children was one of the solutions accepted ideologically by the Soviet Power. However, the ideological ideals did not correspond to the serious social realities in orphanages, where children lived in unsanitary conditions, also demonstrated by the numerous diseases caused by unsanitary conditions and lack of hygiene in the institutions: typhus, itching, tuberculosis. Children also suffered from malnutrition and dystrophy. The overall mortality rate among children was high.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121628742","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}
Pub Date : 2021-11-01DOI: 10.52603/9789975351379.17
Светлана Беляева, Елена Фиалко
The article is devoted to the results of archaeological investigation of barbican – one of the strategic points of fortification in the Belgorod-Dnestrovskyi fortress. In spite of being of Eastern origin, barbican became one of the types of defensive structures in Europe. The typological and chronological periodization of the building of Belgorod’s barbican includes the following stages. It was constructed in the XV century on the territory of the Moldavian Principality all together with the Low Wall, as part of the early period of the history of the fortress. Similar to the other European barbican buildings of the same time in Torun, Krakow, Lvov, it represents the structure of the tower type. The tower is connected with the main room of barbican through the gallery; the entrance was discovered in the course of excavation. The square of the earliest structure of barbican is about 250 m2. The reconstruction of barbican took place in the Ottoman period of the fortress, as part of the bastion system connected with the further development of artillery. The main elements of the first phase of building, such as of the tower and the planning in the trapezoid shape can be seen on gravures of the beginning of the XIX century.
{"title":"European traditions in the structure of fortification of the lower defense line of the moldovan period of the Belgorod Fortress: Barbakan","authors":"Светлана Беляева, Елена Фиалко","doi":"10.52603/9789975351379.17","DOIUrl":"https://doi.org/10.52603/9789975351379.17","url":null,"abstract":"The article is devoted to the results of archaeological investigation of barbican – one of the strategic points of fortification in the Belgorod-Dnestrovskyi fortress. In spite of being of Eastern origin, barbican became one of the types of defensive structures in Europe. The typological and chronological periodization of the building of Belgorod’s barbican includes the following stages. It was constructed in the XV century on the territory of the Moldavian Principality all together with the Low Wall, as part of the early period of the history of the fortress. Similar to the other European barbican buildings of the same time in Torun, Krakow, Lvov, it represents the structure of the tower type. The tower is connected with the main room of barbican through the gallery; the entrance was discovered in the course of excavation. The square of the earliest structure of barbican is about 250 m2. The reconstruction of barbican took place in the Ottoman period of the fortress, as part of the bastion system connected with the further development of artillery. The main elements of the first phase of building, such as of the tower and the planning in the trapezoid shape can be seen on gravures of the beginning of the XIX century.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127321403","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：