Pub Date : 2023-12-01DOI: 10.52603/arta.2023.32-2.18
Constantin Manolache
The article is dedicated to the outstanding scientist in the field of entomology and plant protection Ia. Prinţ, who made a significant contribution to the research of the biology and ecology of phylloxera and to the development of integrated vine protection systems. Professor Ia. Prinţ worked in various scientific institutions in the former Soviet Union (Azerbaijan, Georgia, Russian Federation, Moldova). Bioecological and systematic studies, as well as the registration and estimation of insects were carried out in the Laboratory of Invertebrate Zoology (1957-1966). In 1961, Ia. Prinţ was elected in the first group of full-time members of the Academy of Sciences of MSSR, being highly appreciated by the international and national scientific community. Significant contributions in entomofauna research were made by the Academician’s disciples B. Vereshcheagin, P. Kiskin, S. Plugaru, I. Plugaru.
这篇文章是献给昆虫学和植物保护领域的杰出科学家 Ia.普林茨，他为根瘤蚜生物学和生态学研究以及葡萄树综合保护系统的开发做出了重大贡献。Ia.Prinţ 教授曾在前苏联（阿塞拜疆、格鲁吉亚、俄罗斯联邦、摩尔多瓦）的多个科研机构工作。在无脊椎动物学实验室（1957-1966 年）开展了生物生态学和系统研究，以及昆虫登记和估算工作。1961 年，Ia.普林采当选为苏联科学院第一批全职院士，受到国际和国内科学界的高度赞赏。院士的弟子 B. Vereshcheagin、P. Kiskin、S. Plugaru 和 I. Plugaru 在内生动物研究方面做出了重大贡献。
{"title":"Academician Iakov Prinţ (1891-1966) – founder of the Moldovan entomological school","authors":"Constantin Manolache","doi":"10.52603/arta.2023.32-2.18","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.18","url":null,"abstract":"The article is dedicated to the outstanding scientist in the field of entomology and plant protection Ia. Prinţ, who made a significant contribution to the research of the biology and ecology of phylloxera and to the development of integrated vine protection systems. Professor Ia. Prinţ worked in various scientific institutions in the former Soviet Union (Azerbaijan, Georgia, Russian Federation, Moldova). Bioecological and systematic studies, as well as the registration and estimation of insects were carried out in the Laboratory of Invertebrate Zoology (1957-1966). In 1961, Ia. Prinţ was elected in the first group of full-time members of the Academy of Sciences of MSSR, being highly appreciated by the international and national scientific community. Significant contributions in entomofauna research were made by the Academician’s disciples B. Vereshcheagin, P. Kiskin, S. Plugaru, I. Plugaru.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"260 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139025586","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.03
Vasile Chiseliţă
The study addresses the diverse and controversial aspects regarding the concept, notion and principle of authenticity in neo-traditional music, known as “popular/folk music”, promoted by the popular studio orchestra “Folclor”, within the Republican Television and Radio Broadcasting Company (TRM), in the ideological context of the Soviet period, throughout 1970-1980s. The author tries to reveal the directorial role of the Artistic Council of the TRM, as an institutional body of control, censorship, evaluation, homologation and political accreditation of the popular creations as cultural expressions of the Moldavian SSR, in accordance with the cultural policies of the party-state. Calling on the analysis of some studies on the topic, the synthesis of typical wordings from the minutes and the evaluation of the critics, exposed in the press pages of the era, the main characteristics of the neo-traditional popular/folk authenticity are highlighted.
{"title":"The problem of authenticity in the repertoire of the “Folclor” orchestra: institutional policies of the Moldovan Broadcasting, and reflections in the Soviet press from the 1970s-1980s","authors":"Vasile Chiseliţă","doi":"10.52603/arta.2023.32-2.03","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.03","url":null,"abstract":"The study addresses the diverse and controversial aspects regarding the concept, notion and principle of authenticity in neo-traditional music, known as “popular/folk music”, promoted by the popular studio orchestra “Folclor”, within the Republican Television and Radio Broadcasting Company (TRM), in the ideological context of the Soviet period, throughout 1970-1980s. The author tries to reveal the directorial role of the Artistic Council of the TRM, as an institutional body of control, censorship, evaluation, homologation and political accreditation of the popular creations as cultural expressions of the Moldavian SSR, in accordance with the cultural policies of the party-state. Calling on the analysis of some studies on the topic, the synthesis of typical wordings from the minutes and the evaluation of the critics, exposed in the press pages of the era, the main characteristics of the neo-traditional popular/folk authenticity are highlighted.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"761 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139018709","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.02
Violina Galaicu
If the 18th century initiated - through Psaltichia Rumănească by Filotei sin Agăi Jipei - the process of autochthonization of psalter singing in the Romanian area, and then it ensured its upward course, the first half of the 19th century marks the zenith of the approach, bringing in the foreground personalities such as Macarie Hieromonk and Anton Pann. Both the Macarian concept of Romanization of sacred singing, as well as Anton Pann’s achievements in this domain, have a certain artistic and instructive value and, in their time, were affirmed as attitudes and models to follow. At the same time, the current Byzantinistics insists on the limited character of these contributions, showing that the two precursors only referred to Constantinopolitan singing after 1814 and did not capitalize on the old autochthonous liturgical music, did not take into account the psalter singing from villages, close to the folkloric matrix. They aimed especially at the text of the pew singing and not at the musical background, which changes only to a small extent.
{"title":"Hypostases of the adaptation of psalter Melos to the prosody and topic of the Romanian language in the first half of the 19th century","authors":"Violina Galaicu","doi":"10.52603/arta.2023.32-2.02","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.02","url":null,"abstract":"If the 18th century initiated - through Psaltichia Rumănească by Filotei sin Agăi Jipei - the process of autochthonization of psalter singing in the Romanian area, and then it ensured its upward course, the first half of the 19th century marks the zenith of the approach, bringing in the foreground personalities such as Macarie Hieromonk and Anton Pann. Both the Macarian concept of Romanization of sacred singing, as well as Anton Pann’s achievements in this domain, have a certain artistic and instructive value and, in their time, were affirmed as attitudes and models to follow. At the same time, the current Byzantinistics insists on the limited character of these contributions, showing that the two precursors only referred to Constantinopolitan singing after 1814 and did not capitalize on the old autochthonous liturgical music, did not take into account the psalter singing from villages, close to the folkloric matrix. They aimed especially at the text of the pew singing and not at the musical background, which changes only to a small extent.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"173 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139024452","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.08
Dorina Khalil-Butucioc
Bessarabian playwrights, at the turn of the centuries, addressed several taboo subjects, such as it was and still is the Dniester War of 1992. However, the evocation of this event that has already become history served as the pre/subtext of the following dramatic texts: Saxofonul cu frunze roşii/Saxophone with red leaves by Val Butnaru, staged at ”Luceafărul” Theater (1998); the plays by C. Cheianu Noi/We, staged at ”Luceafărul” Theater (1994), and Ţara asta a uitat de Noi…/This country has forgotten us…, at the National Theater ”Satiricus I. L. Caragiale” (2011); Fata cea mută a început să vorbească/The dumb girl started talking by D. Crudu, Teatrul Radiofonic România (2013); Tără(z)boi by Mariana Starciuc staged in Satu Mare, Iasi, Piatra Neamţ (2018); Valsul Tancurilor/Tanks’ Waltz by Irina Nechit staged at the National Theater ”Satiricus I.L. Caragiale” (2020). The scenes of the texts, written in different registers, alternate from deep drama to overwhelming tragedy, the amalgam of realism and fiction being, however, nuanced. Of an overwhelming topicality, these dramatic works are not only chronicles, but also open files in which the characters play the role of participants, witnesses, prosecutors, lawyers, executors. Thus, these plays are a true history lesson provoking the touching of sensitive chords and reviving the memory of present and future generations.
在世纪之交，贝萨拉比亚剧作家们创作了一些禁忌题材，如 1992 年的德涅斯特河战争。然而，对这一已经成为历史的事件的唤起成为以下戏剧文本的前奏/潜台词：Val Butnaru 的《Saxofonul cu frunze roşii/红叶萨克斯风》，在 "Luceafărul "剧院上演（1998 年）；C. Cheianu 的剧本《Noi/我们》，在 "Luceafărul "剧院上演（1994 年），以及在国家剧院 "Satiricus I. L. Caragiale "上演的《Ţara asta a uitat de Noi.../This country has forgotten us...》（2011 年）。Caragiale "国家剧院（2011 年）；Fata cea mută a început să vorbească/The dumb girl started talking by D．Crudu，Teatrul Radiofonic România（2013 年）；Mariana Starciuc 的 Tără(z)boi，在 Satu Mare、Iasi、Piatra Neamţ 剧院上演（2018 年）；Irina Nechit 的 Valsul Tancurilor/Tanks' Waltz，在 "Satiricus I.L. Caragiale "国家剧院上演（2020 年）。文本的场景以不同的语域书写，从深沉的戏剧到压倒性的悲剧交替出现，现实主义与虚构的融合却又细致入微。这些戏剧作品具有极强的现实意义，不仅是编年史，也是公开档案，剧中人物扮演着参与者、证人、检察官、律师和执行者的角色。因此，这些戏剧是一堂真正的历史课，触动敏感的神经，唤醒当代人和后代人的记忆。
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Pub Date : 2023-12-01DOI: 10.52603/arta.2023.32-2.12
Ana-Maria Plamadeala
The originality of Emil Loteanu’s talent in the cinematographic sphere is strengthened by the consonance of the conception of Nature in the ideal and confessional hypostases propelled by the grand romantics, with Romanian patterns of nature-centric parentage. The article discusses the phenomenon of crystallization of the personal Myth of the Carpathians reintegrated as a philosophical-aesthetic and genuine-stylistic binder, which interpenetrates all the poetic and cinematic creation of the artist. This myth of the filmmaker’s myths simultaneously contains the cardiography of the turbulent history of the nation, but also of the personal life of the filmmaker-orphaned by his father and by both homelands of his childhood, who took refuge in the catharsis of the splendors of the Carpathians, bringing back in his inspired films the estranged Bucovina into a spiritual, aesthetic, civic whole. In the paper, Emil Loteanu’s creation is related to the sacred monsters of the world film, especially O. Welles, F. Fellini, I. Bergman, A. Tarkovski, who also through their personal myths revealed their unconscious personality to mankind, but also the hierarchies of spiritual values of world images.
埃米尔-洛泰努在电影领域的独创性得益于大浪漫派所倡导的理想和忏悔式的自然概念与罗马尼亚以自然为中心的母体模式的一致性。文章讨论了喀尔巴阡山脉个人神话的结晶现象，该神话作为哲学-美学和真实-风格的粘合剂重新融入艺术家的所有诗歌和电影创作。这个电影人的神话同时包含了国家动荡历史的心路历程，也包含了电影人的个人生活--他被父亲和童年的两个故乡所蛊惑，他在喀尔巴阡山脉的壮丽中寻求庇护，在他灵感迸发的电影中将疏离的布科维纳带回到一个精神、美学和公民的整体中。在本文中，埃米尔-洛泰努的创作与世界电影中神圣的怪物有关，特别是 O. 威尔斯、F. 费里尼、I. 伯格曼、A. 塔尔夫斯基，他们也通过个人神话向人类揭示了他们无意识的个性，同时也揭示了世界影像的精神价值等级。
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Pub Date : 2023-12-01DOI: 10.52603/arta.2023.32-2.10
Vivien Bondea
The social structure of the Moldavian Csángó settlements and the social systems that form in the dance scenes significantly determine the possibility of participation in dance occasions and the formal and stylistic performance of dances. The gender, age, and marital status of community members, as well as the specific position of dancers and the relationship between them, are revealed in dance forms and practices of space use on the dance floor, individual dance construction, and dancers’ behaviour. Through the study of local dance cultures, a social structure is observable that is held together by gendered and generationally defined norms, rules, and obligations. This makes dancing a socially defined collective activity in rural communities in Moldavia, Romania. The aim of this study is to interpret the representational practices of age and social status in dance culture, which are constantly changing, through the example of dance events, especially weddings, in a single Moldavian Csángó village.
{"title":"Relations of dance culture and social structure in a Moldavian rural community","authors":"Vivien Bondea","doi":"10.52603/arta.2023.32-2.10","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.10","url":null,"abstract":"The social structure of the Moldavian Csángó settlements and the social systems that form in the dance scenes significantly determine the possibility of participation in dance occasions and the formal and stylistic performance of dances. The gender, age, and marital status of community members, as well as the specific position of dancers and the relationship between them, are revealed in dance forms and practices of space use on the dance floor, individual dance construction, and dancers’ behaviour. Through the study of local dance cultures, a social structure is observable that is held together by gendered and generationally defined norms, rules, and obligations. This makes dancing a socially defined collective activity in rural communities in Moldavia, Romania. The aim of this study is to interpret the representational practices of age and social status in dance culture, which are constantly changing, through the example of dance events, especially weddings, in a single Moldavian Csángó village.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"210 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139022986","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.09
E. Prus
The dramatic model is associated with the entire generation at the end of the 19th century, a time of “generalized staging” with a predisposition for the spectacular. The city is perceived as a scenic place. A true phantasmagorical space, the urban space dramatizes the inhabitants who are transformed, in turn, into actors. Paris, in the 19th century, was not only the place of famous world exhibitions, it became itself an object of exhibition, thus spreading its influence over people and things. All the French novelists of the 19th century experienced theatrical training, having launched certain dramatic projects (Balzac, Baudelaire, Flaubert, Zola, Daudet, Flaubert, and Goncourt). The novel of the studied period has a visible organization, dramatic pattern, and vision associated with a time that presupposes a generalized dramatization of society. The theatrical metaphor appears frequently in the 19th century novel to denounce the hypocrisy of society which hides dubious things under honest appearances. This is the leitmotif of the realist/naturalist novel, which aims at revealing and develop realities in profusion. Social relations, places, behaviors are placed under the sign of appearance, of the mask. The itinerary of the characters consists in learning the scenic regularities behind the scenes of the sets, as well as the techniques, which precede the performance. The success of the hero is largely based on his skills to play the role. The drama of the novel speaks of the fragile boundary between genres in the 19th century and characterizes the new poetics of the novel.
{"title":"The Dramatic Model of the 19th Century French Novel","authors":"E. Prus","doi":"10.52603/arta.2023.32-2.09","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.09","url":null,"abstract":"The dramatic model is associated with the entire generation at the end of the 19th century, a time of “generalized staging” with a predisposition for the spectacular. The city is perceived as a scenic place. A true phantasmagorical space, the urban space dramatizes the inhabitants who are transformed, in turn, into actors. Paris, in the 19th century, was not only the place of famous world exhibitions, it became itself an object of exhibition, thus spreading its influence over people and things. All the French novelists of the 19th century experienced theatrical training, having launched certain dramatic projects (Balzac, Baudelaire, Flaubert, Zola, Daudet, Flaubert, and Goncourt). The novel of the studied period has a visible organization, dramatic pattern, and vision associated with a time that presupposes a generalized dramatization of society. The theatrical metaphor appears frequently in the 19th century novel to denounce the hypocrisy of society which hides dubious things under honest appearances. This is the leitmotif of the realist/naturalist novel, which aims at revealing and develop realities in profusion. Social relations, places, behaviors are placed under the sign of appearance, of the mask. The itinerary of the characters consists in learning the scenic regularities behind the scenes of the sets, as well as the techniques, which precede the performance. The success of the hero is largely based on his skills to play the role. The drama of the novel speaks of the fragile boundary between genres in the 19th century and characterizes the new poetics of the novel.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"87 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138992597","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.17
N. Krivulya
The paper explores the problems of manipulation and reliability of information in the visual media. Manipulation is part of their essence. Distortions in the message arise from a shift in attention from reality as such to how it’s seen by others or who and how it’s represented. The objective vision is replaced by a presentation of the vision of others in visual media. This opens up the possibility of manipulation and becomes the reason for the creation of visual falsifications. Modernity has become the era of post-truth. Visual media are increasingly shifting towards total falsification with the development of digital technologies, artificial intelligence. The generated image turns out to be more real and reliable than reality itself. This paper uses the classification of visual media images based on how they are created. An attempt is made to identify the causes of distortions in the representation of reality at different stages of the development of visual media. The article analyzes how the technologies of creating visual images affect the development of manipulative and falsifying practices that undermine the credibility of the visual message.
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Pub Date : 2023-09-01DOI: 10.52603/arta.2023.32-1.15
C. Spînu
The artistic tapestry from the first years of the third decade of the 21st century, highlights a series of particularities and valuable aesthetic valences that confirm the ascending character of the creation in the mentioned field. The natural processes of supplementing the creative potential with representatives of the new generations of plastic artists had a beneficial influence on the diversification of the thematic repertoire, the syntactic register and the methods of technological realization of textile works. As a result of some creative morphological-syntactic and technological experiments undertaken by plastic artists, the works of textile art of the examined period were endowed with aesthetic expressions and messages that mirror the areas of artistic interest and themes towards which the creators directed their attention at the time. The aesthetic values promoted by the smooth weaving technology, widely practiced by plastic artists in the previous decades, were accompanied in a new way by values coming from the symbiosis of the mentioned technology with the technique of felting, embroidery and crocheting, as a result of which, the mixed techniques of creating the image found a prominent plastic promotion in the period in question. In turn, the semantic allure generated by the textile works in the given period was ensured, on the one hand, by the stylistic-compositional, textural and chromatic way of creating the image and, on the other hand, by the associative values and the metaphorical-symbolic substrate of the work .
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Pub Date : 2023-09-01DOI: 10.52603/arta.2023.32-1.10
Ana Marian
People’s Artist of the Russian Federation, member of the Academy of Arts of the USSR, laureate of state prizes, animal sculptor Vasilii Alexeevich Vatagin (1884-1969) followed a complex and controversial creative path. His drawings and sketches, which reflect the world of animals, are especially interesting and convincing in terms of their plasticity. Two characteristics of V.A. Vatagin’s drawings emerge clearly: the harmonious compositional distribution of images on the sheet and the sketches made in a fluid line, with thickening and thinning, as well as the use of tone. V.A. Vatagin positions the appearances of animals on the same level with a person’s, assigning them the same palette of emotions. Thus, the initial period of development of the animalistic genre in the works of the sculptors of the Moldavian SSR, Naum Epelbaum and Nikolae Gabzulin, coincides with the “majestic decline” of the creativity of Vasilii Alexeevich Vatagin, and this fact suggests the familiarization of Moldavian sculptors with his creative activity. The various plastic techniques used by the sculptor V.A. Vatagin, who oscillated between realism and stylization, led to a great stylistic diversity in his creativity. His manner of modeling and study from nature became classic and were taken over by artists of the USSR, and nowadays by other world artists. The contribution of the Russian sculptor V. A. Vatagin to the development of the animalistic genre in the Republic of Moldova is undeniable, significant and invaluable.
俄罗斯联邦人民艺术家、苏联艺术学院院士、国家奖获得者、动物雕塑家瓦西里-阿列克谢耶维奇-瓦塔金（1884-1969 年）走过了一条复杂而有争议的创作道路。他的素描和速写反映了动物的世界，其可塑性特别有趣和令人信服。维-阿-瓦塔金的素描有两个明显的特点：画面在纸张上的和谐构图分布；素描采用流畅的线条，有粗有细，还有色调的运用。维-阿-瓦塔金将动物的外表与人的外表放在同一水平线上，赋予它们相同的情感调色板。因此，摩尔达维亚苏维埃社会主义共和国雕塑家纳乌姆-埃佩尔鲍姆和尼古拉-加布祖林作品中动物题材的最初发展时期与瓦西里-阿列克谢耶维奇-瓦塔金创作的 "辉煌衰落期 "相吻合，这一事实表明摩尔达维亚雕塑家熟悉瓦塔金的创作活动。雕塑家瓦西里-阿列克谢耶维奇-瓦塔金在现实主义和风格化之间摇摆不定，他所使用的各种造型技巧使他的创作呈现出巨大的风格多样性。他的造型方式和对大自然的研究成为经典，被苏联艺术家以及当今世界其他艺术家所继承。俄罗斯雕塑家 V. A. Vatagin 对摩尔多瓦共和国动物雕塑流派的发展做出了不可否认、重要和宝贵的贡献。
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