Pub Date : 2021-11-01DOI: 10.52603/9789975351379.15
Daniela Trocinel
This article attempts to present sketches of the compositional creativity of Alexandr Boris Mulear (1922–1994), who is one of the most important figures of the music culture in the Republic of Moldova and belongs to the older generation of composers, as his glory years were between 1950 and 1980. The composer’s record contains a valuable artistic heritage that is appreciated by performers but the study of his works is not in the center of interest of musicologists yet. However, the article will present some examples of the Mulearian creativity. Analyzing the composition portfolio of A. Mulear, the author shows that chamber works predominate for the most part in his creativity, including suites, quartets, sonatas, miniatures and musical pieces, with a wide range of instrumental groups: from the duo (violin and piano, piano and voice) to the symphony orchestra. In conclusion, it is noted that the composer manifested himself in an original way in chamber music, which is more innovative and bright and reveals diverse forms of classical music in terms of style and genre.
{"title":"Sketches on the creative portrait of the composer A. B. Mulear","authors":"Daniela Trocinel","doi":"10.52603/9789975351379.15","DOIUrl":"https://doi.org/10.52603/9789975351379.15","url":null,"abstract":"This article attempts to present sketches of the compositional creativity of Alexandr Boris Mulear (1922–1994), who is one of the most important figures of the music culture in the Republic of Moldova and belongs to the older generation of composers, as his glory years were between 1950 and 1980. The composer’s record contains a valuable artistic heritage that is appreciated by performers but the study of his works is not in the center of interest of musicologists yet. However, the article will present some examples of the Mulearian creativity. Analyzing the composition portfolio of A. Mulear, the author shows that chamber works predominate for the most part in his creativity, including suites, quartets, sonatas, miniatures and musical pieces, with a wide range of instrumental groups: from the duo (violin and piano, piano and voice) to the symphony orchestra. In conclusion, it is noted that the composer manifested himself in an original way in chamber music, which is more innovative and bright and reveals diverse forms of classical music in terms of style and genre.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"16 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":"116232158","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: 10.52603/9789975351379.06
V. Kravcenko
The paper is focused on the bookplates in original and in reproductions kept in the large collections of the Romanian cultural space. Data on the stylistic elements of the signs of possession from the old books and from the engraving and drawing collections are provided. Important data is offered on the ex-libris types, on the creative traditions and rules of making, on the origin of the signed books and of the artworks made in Romania, Republic of Moldova and other states in different years. Also, there are highlighted original bookplates made by Leonid Nikitin and Valeriu Herţa, the well-known artists and engravers of the Republic of Moldova. The author has described and analyzed graphic works, stressing their technical and decorative account, and evidencing common features of bookplates – general somber appearance, free and also refined grotesque drawing, sophisticated play with the text and images.
{"title":"Bookplates from the archives of the National Library of Romania and the National Library of the Republic of Moldova: some profiles from the big collections","authors":"V. Kravcenko","doi":"10.52603/9789975351379.06","DOIUrl":"https://doi.org/10.52603/9789975351379.06","url":null,"abstract":"The paper is focused on the bookplates in original and in reproductions kept in the large collections of the Romanian cultural space. Data on the stylistic elements of the signs of possession from the old books and from the engraving and drawing collections are provided. Important data is offered on the ex-libris types, on the creative traditions and rules of making, on the origin of the signed books and of the artworks made in Romania, Republic of Moldova and other states in different years. Also, there are highlighted original bookplates made by Leonid Nikitin and Valeriu Herţa, the well-known artists and engravers of the Republic of Moldova. The author has described and analyzed graphic works, stressing their technical and decorative account, and evidencing common features of bookplates – general somber appearance, free and also refined grotesque drawing, sophisticated play with the text and images.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"313 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":"123235030","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: 10.52603/9789975351379.03
O. Cazacu
The military marching band is an imposing but also prestigious artistic present in the national and international musical landscape. Having a rich and old tradition, it continues to play an important role in the cultural life, asserting itself as a mechanism for promoting national and universal musical heritage and as an effective means of ethical and aesthetic education of the military and the general public. Often, famous works from the universal repertoire are more easily assimilated by the average spectator through fanfares. In this article, we will refer to some aspects of the history of the phenomenon. After 1990, with the postponement of the independence of the Republic of Moldova, military structures, internal affairs bodies, institutions for training specialists in the field, such as the Police Academy, etc. are created. As a result, military band orchestras are established and invigorated. One of them, which enjoys success and shows high professionalism, is the Band Orchestra of the General Inspectorate of Carabineers of the Ministry of Internal Affairs.
{"title":"Aspects of the history of the military band in the cultural area of the Republic of Moldova","authors":"O. Cazacu","doi":"10.52603/9789975351379.03","DOIUrl":"https://doi.org/10.52603/9789975351379.03","url":null,"abstract":"The military marching band is an imposing but also prestigious artistic present in the national and international musical landscape. Having a rich and old tradition, it continues to play an important role in the cultural life, asserting itself as a mechanism for promoting national and universal musical heritage and as an effective means of ethical and aesthetic education of the military and the general public. Often, famous works from the universal repertoire are more easily assimilated by the average spectator through fanfares. In this article, we will refer to some aspects of the history of the phenomenon. After 1990, with the postponement of the independence of the Republic of Moldova, military structures, internal affairs bodies, institutions for training specialists in the field, such as the Police Academy, etc. are created. As a result, military band orchestras are established and invigorated. One of them, which enjoys success and shows high professionalism, is the Band Orchestra of the General Inspectorate of Carabineers of the Ministry of Internal Affairs.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"63 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":"134379679","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: 10.52603/9789975351379.26
Oleg Galusenco
Grigory Ivanovich Borisov, party alias Stary (Old) was born in the Bendery district of Bessarabia on December 9, 1880. He was forced to work from the age of seven. Since 1900, G. I. Stary took part in the revolutionary movement. For active participation in clandestine activities, he was repeatedly arrested by the police and served sentences in various prisons of tsarist Russia. G. I. Stary made a great contribution to the creation and development of the Moldovan ASSR. In 1924, he was appointed chairman of the Provisional Revolutionary Committee of the Autonomous Republic. Then G. I. Stary was elected chairman of the Central Executive Committee. In 1926–1928 and 1932–1937, he worked as chairman of the Council of People’s Commissars of the MASSR. Contemporaries assessed his position on the issue of “Moldovans or Romanians” as ambivalent. G. I. Stary denied accusations of opposing the indigenous policy: “It is wrong that I am against Moldovanization. I only take into account the difficulties, and this is taken as resistance”. He was repressed in 1937 and rehabilitated in 1955. The article was written on the basis of materials from the Soviet secret police (NKVD) archive.
格里戈里·伊万诺维奇·鲍里索夫，党名Stary (Old)， 1880年12月9日出生于比萨拉比亚的本德里区。他从七岁起就被迫劳动。自1900年以来，g.i.史泰里参加了革命运动。由于积极参加秘密活动，他多次被警察逮捕，并在沙俄的各个监狱服刑。G. I. Stary为摩尔多瓦ASSR的建立和发展做出了巨大贡献。1924年，他被任命为自治共和国临时革命委员会主席。接着，g.i.史泰里当选为中央执行委员会主席。1926年至1928年和1932年至1937年，他担任人民共和国人民委员会主席。同时代的人评价他在“摩尔多瓦人还是罗马尼亚人”问题上的立场是矛盾的。g.i. Stary否认了反对土著政策的指控:“我反对摩尔多瓦化是错误的。我只考虑到困难，这被视为阻力”。1937年被镇压，1955年平反。这篇文章是根据苏联秘密警察(NKVD)档案中的材料写成的。
{"title":"Ethnopolitical views of Grigory Ivanovich Borisov (Stary)","authors":"Oleg Galusenco","doi":"10.52603/9789975351379.26","DOIUrl":"https://doi.org/10.52603/9789975351379.26","url":null,"abstract":"Grigory Ivanovich Borisov, party alias Stary (Old) was born in the Bendery district of Bessarabia on December 9, 1880. He was forced to work from the age of seven. Since 1900, G. I. Stary took part in the revolutionary movement. For active participation in clandestine activities, he was repeatedly arrested by the police and served sentences in various prisons of tsarist Russia. G. I. Stary made a great contribution to the creation and development of the Moldovan ASSR. In 1924, he was appointed chairman of the Provisional Revolutionary Committee of the Autonomous Republic. Then G. I. Stary was elected chairman of the Central Executive Committee. In 1926–1928 and 1932–1937, he worked as chairman of the Council of People’s Commissars of the MASSR. Contemporaries assessed his position on the issue of “Moldovans or Romanians” as ambivalent. G. I. Stary denied accusations of opposing the indigenous policy: “It is wrong that I am against Moldovanization. I only take into account the difficulties, and this is taken as resistance”. He was repressed in 1937 and rehabilitated in 1955. The article was written on the basis of materials from the Soviet secret police (NKVD) archive.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"24 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":"125828517","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: 10.52603/9789975351379.29
Nadejda Cara
The author analyzed the functional, symbolic, and semantic features of the traditional dwelling of the Bulgarians of the Republic of Moldova in fairy-tale folklore (novelistic tales and anecdotes). The types of dwellings and their constituent elements (internal and external) were considered as a part of the material; culture is reflected through subject realities as a component of ethnic culture in the human microcosm. The connection of dwelling with traditional values of the Bulgarians of the Republic of Moldova was also analyzed.
{"title":"Dwelling in novellistic fairy tales and anecdotes of the Bulgarians of Moldova (ethnocultural features)","authors":"Nadejda Cara","doi":"10.52603/9789975351379.29","DOIUrl":"https://doi.org/10.52603/9789975351379.29","url":null,"abstract":"The author analyzed the functional, symbolic, and semantic features of the traditional dwelling of the Bulgarians of the Republic of Moldova in fairy-tale folklore (novelistic tales and anecdotes). The types of dwellings and their constituent elements (internal and external) were considered as a part of the material; culture is reflected through subject realities as a component of ethnic culture in the human microcosm. The connection of dwelling with traditional values of the Bulgarians of the Republic of Moldova was also analyzed.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"67 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":"122995284","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: 10.52603/9789975351379.24
S. Sprincean
The European intercultural context, especially in the current pandemic, requires the acceleration of modernization of the system of ensuring human security and safety by re-conceptualizing the personal security of the individual, as well as the culture of security and safety. In this context, the concept of human security was developed in direct connection with the theory of the society at risk, in which special role is given to the security of the person. The Republic of Moldova (RM) interacts at institutional, normative, value, civilizational level with the European intercultural space in the format determined including by the Association Agreement of the RM with the EU, signed on June 27, 2014. The priorities of the Agreement are related to the specifics of the Moldovan society, to its modernization needs. Therefore, the sustainable development of the RM, as part of the European space, with new values and perspectives determines a revaluation of the individual’s primary needs, including the need for personal safety and security and for an easier intercultural dialogue in a European intercultural space meant to become a stronghold of harmony, security, development and prosperity.
{"title":"The importance of personal safety and human security in the context of the COVID-19 pandemic for the sustainable development of the Republic of Moldova in the European intercultural space","authors":"S. Sprincean","doi":"10.52603/9789975351379.24","DOIUrl":"https://doi.org/10.52603/9789975351379.24","url":null,"abstract":"The European intercultural context, especially in the current pandemic, requires the acceleration of modernization of the system of ensuring human security and safety by re-conceptualizing the personal security of the individual, as well as the culture of security and safety. In this context, the concept of human security was developed in direct connection with the theory of the society at risk, in which special role is given to the security of the person. The Republic of Moldova (RM) interacts at institutional, normative, value, civilizational level with the European intercultural space in the format determined including by the Association Agreement of the RM with the EU, signed on June 27, 2014. The priorities of the Agreement are related to the specifics of the Moldovan society, to its modernization needs. Therefore, the sustainable development of the RM, as part of the European space, with new values and perspectives determines a revaluation of the individual’s primary needs, including the need for personal safety and security and for an easier intercultural dialogue in a European intercultural space meant to become a stronghold of harmony, security, development and prosperity.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"54 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":"115382828","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: 10.52603/9789975351379.27
Tatiana Zaicovscaia
The author presents some results of her research of the indicated period, which was carried out on the basis of a specially compiled questionnaire in places of compact residence of Lipovans in such villages as Kunicha, Egorovka, etc., as well as in the city of Chisinau. There are a number of preventive actions and prohibitions aimed at ensuring the health and strength of the woman in labor and her baby. Often they are based on common sense, on pragmatics, but not always the informants could explain the reasons for certain prohibitions. A pregnant woman was prohibited from doing, for example, the following actions: sewing; stepping over a long (wire, rope) or sharp object; contacting with animal hair (dogs, cats, etc.); touching her own body when frightened (for example, during a fire); looking at the deceased through the window, etc. According to the testimony of informants, much attention was paid to protecting the woman in labor from the „evil eye”. And if this happened, then they were treated with prayers and herbs. There were also signs by which they tried to guess the sex of the unborn child. Before giving birth, a woman usually confesses to her spiritual father.
{"title":"The prenatal period and related prohibitions and prescriptions among the Old Believers of the Republic of Moldova","authors":"Tatiana Zaicovscaia","doi":"10.52603/9789975351379.27","DOIUrl":"https://doi.org/10.52603/9789975351379.27","url":null,"abstract":"The author presents some results of her research of the indicated period, which was carried out on the basis of a specially compiled questionnaire in places of compact residence of Lipovans in such villages as Kunicha, Egorovka, etc., as well as in the city of Chisinau. There are a number of preventive actions and prohibitions aimed at ensuring the health and strength of the woman in labor and her baby. Often they are based on common sense, on pragmatics, but not always the informants could explain the reasons for certain prohibitions. A pregnant woman was prohibited from doing, for example, the following actions: sewing; stepping over a long (wire, rope) or sharp object; contacting with animal hair (dogs, cats, etc.); touching her own body when frightened (for example, during a fire); looking at the deceased through the window, etc. According to the testimony of informants, much attention was paid to protecting the woman in labor from the „evil eye”. And if this happened, then they were treated with prayers and herbs. There were also signs by which they tried to guess the sex of the unborn child. Before giving birth, a woman usually confesses to her spiritual father.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"6 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":"134371041","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: 10.52603/9789975351379.28
Евгения Иванова, Велчо Крыстев
The Gypsy/Roma ethnic group has lived in the Balkans for centuries. Gypsies/ Roma turn out to be bearers of a traditional cultural heritage that has long been forgotten by those around them. In our presentation, we look at how authentic knowledge of the Gypsy/Roma community can be the subject of public presentation in museums through the techniques of visual anthropology. Our thesis is that for those studying the Gypsy/Roma ethnic group, which has no writing and written history, visual anthropology is of particular importance as a primary source of knowledge, as a testimony of time. The photos, images, video recording preserve, show and transmit the material culture, traditions and way of life of the different Gypsies/Roma groups, which, together with the common, have very specific group and regional differences. We also ask the question – the historical knowledge about the community created up to which historical moment is authentic, as the culture of the Gypsies/Roma is not static in time, but is influenced by modern forms, typical for today’s global world.
{"title":"Knowledge about the gypsy/roma communities in Bulgaria, presented by visual anthropology","authors":"Евгения Иванова, Велчо Крыстев","doi":"10.52603/9789975351379.28","DOIUrl":"https://doi.org/10.52603/9789975351379.28","url":null,"abstract":"The Gypsy/Roma ethnic group has lived in the Balkans for centuries. Gypsies/ Roma turn out to be bearers of a traditional cultural heritage that has long been forgotten by those around them. In our presentation, we look at how authentic knowledge of the Gypsy/Roma community can be the subject of public presentation in museums through the techniques of visual anthropology. Our thesis is that for those studying the Gypsy/Roma ethnic group, which has no writing and written history, visual anthropology is of particular importance as a primary source of knowledge, as a testimony of time. The photos, images, video recording preserve, show and transmit the material culture, traditions and way of life of the different Gypsies/Roma groups, which, together with the common, have very specific group and regional differences. We also ask the question – the historical knowledge about the community created up to which historical moment is authentic, as the culture of the Gypsies/Roma is not static in time, but is influenced by modern forms, typical for today’s global world.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"25 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":"123811491","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: 10.52603/9789975351379.10
Dumitru Olărescu
The history of national cinema shows that the evolution of non-fiction biographical film began with subjects dedicated to prominent personalities. These were included in the film magazine “Soviet Moldova” and in the almanac “Life in pictures”. In 1961, the first historical-biographical film “The Legendary Brigade Commander”- a eulogy to Grigore Kotovski (director A. Litvin) appeared at the “Moldova-film” studio, followed by other films dedicated to the heroes of the times: Pavel Tkacenko, Elena Sârbu, Tamara Cruciok, which were dominated by a pronounced propagandistic character. A new level of national historical-biographical film can be noticed in the late 1960s and early 1970s, when the filmmakers: Emil Loteanu (“Academician Tarasevici”), Andrei Buruiană (“Ştefan Neaga”), Vlad Druc (“Ion Creangă”) made their debut. Yet, the idea of biography especially predominates in the creation of Anatol Codru, who played a significant role in the affirmation stage of this kind of nonfiction film, bringing through his films, “Alexandru Plămădeală”, “Alexei Şciusev”, “Dimitrie Cantemir”,”Vasile Alecsandri” a new breath in the context of the films made before him. He imposed himself through a poetic-philosophical vision on the destinies and the creation of the personalities, who contributed to the spiritual prosperity of the nation.
{"title":"The historical-biographical film: destinies and personalities","authors":"Dumitru Olărescu","doi":"10.52603/9789975351379.10","DOIUrl":"https://doi.org/10.52603/9789975351379.10","url":null,"abstract":"The history of national cinema shows that the evolution of non-fiction biographical film began with subjects dedicated to prominent personalities. These were included in the film magazine “Soviet Moldova” and in the almanac “Life in pictures”. In 1961, the first historical-biographical film “The Legendary Brigade Commander”- a eulogy to Grigore Kotovski (director A. Litvin) appeared at the “Moldova-film” studio, followed by other films dedicated to the heroes of the times: Pavel Tkacenko, Elena Sârbu, Tamara Cruciok, which were dominated by a pronounced propagandistic character. A new level of national historical-biographical film can be noticed in the late 1960s and early 1970s, when the filmmakers: Emil Loteanu (“Academician Tarasevici”), Andrei Buruiană (“Ştefan Neaga”), Vlad Druc (“Ion Creangă”) made their debut. Yet, the idea of biography especially predominates in the creation of Anatol Codru, who played a significant role in the affirmation stage of this kind of nonfiction film, bringing through his films, “Alexandru Plămădeală”, “Alexei Şciusev”, “Dimitrie Cantemir”,”Vasile Alecsandri” a new breath in the context of the films made before him. He imposed himself through a poetic-philosophical vision on the destinies and the creation of the personalities, who contributed to the spiritual prosperity of the nation.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"23 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":"124777513","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: 10.52603/9789975351379.13
Violeta Tipa
Ion Creangă’s personality challenged the filmmakers on both banks of the Prut to create films in which to bring the famous storyteller back to the big screen. And if the genre of fiction film allows itself an artistic approach, with deviations and directorial inventions, then the non-fiction film is based on the document, drawing the true nature of the writer. In this context, there are a series of films, which aim to follow various aspects of the writer’s life, such as: Creangă (1973, directed by Vlad Druc), Creangă si Junimea (1989, directed by Ioana Holban), Ion Creanga’s God (1996, directed by Grid Modorcea), Ion Creangă (1999, directed by Anatol Codru) and others. But even these films are largely influenced by the writer’s work oscillating between document and fiction. We will refer to the films Ion Creangă’s God and Ion Creangă and analyze them from the perspective of that amalgam of events taken from the masterpiece of the writer Childhood Memories that form a common body with the rich iconographic material (photos, books, documents, archive documents, etc.) and biographical data, which being incorporated into a whole, give a special charm to the life of the writer.
伊昂·克里昂居的个性向普鲁特河两岸的电影人提出了挑战，要求他们制作电影，把这位著名的说书人搬上大银幕。如果虚构电影这一类型允许自己有一种艺术方法，有一些偏差和导演的发明，那么非虚构电影就是基于文献，描绘作家的真实本性。在这种背景下，有一系列的电影，其目的是遵循作家的生活的各个方面，如:creangi(1973年，导演弗拉德·德鲁克)，creangi si Junimea(1989年，导演Ioana Holban)， Ion Creanga的上帝(1996年，导演格丽德·莫德切)，Ion creangi(1999年，导演阿纳托尔·科德鲁)等。但即使是这些电影，也很大程度上受到了作者在纪实和虚构之间摇摆的作品的影响。我们将以电影《Ion creangu’s God》和《Ion creangu》为例，从作家的代表作《童年记忆》中的事件与丰富的图像材料(照片、书籍、文献、档案文件等)和传记资料构成一个整体的角度来分析，这些材料结合在一起，给作家的生活增添了一种特殊的魅力。
{"title":"Ion Creanga’s personality: between document and fiction","authors":"Violeta Tipa","doi":"10.52603/9789975351379.13","DOIUrl":"https://doi.org/10.52603/9789975351379.13","url":null,"abstract":"Ion Creangă’s personality challenged the filmmakers on both banks of the Prut to create films in which to bring the famous storyteller back to the big screen. And if the genre of fiction film allows itself an artistic approach, with deviations and directorial inventions, then the non-fiction film is based on the document, drawing the true nature of the writer. In this context, there are a series of films, which aim to follow various aspects of the writer’s life, such as: Creangă (1973, directed by Vlad Druc), Creangă si Junimea (1989, directed by Ioana Holban), Ion Creanga’s God (1996, directed by Grid Modorcea), Ion Creangă (1999, directed by Anatol Codru) and others. But even these films are largely influenced by the writer’s work oscillating between document and fiction. We will refer to the films Ion Creangă’s God and Ion Creangă and analyze them from the perspective of that amalgam of events taken from the masterpiece of the writer Childhood Memories that form a common body with the rich iconographic material (photos, books, documents, archive documents, etc.) and biographical data, which being incorporated into a whole, give a special charm to the life of the writer.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"76 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":"127416005","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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