REPERE ALE UNEI CULTURI A LOCUIRII EXPOZIŢIA MINUNATA LUME NOUĂ – CASE ALE MIGRANŢILOR ROMÂNI

Sâmbătă, 1 iulie 2017, la Muzeul Etnografic al Transilvaniei din Cluj-Napoca a avut loc vernisajul expoziției Minunata lume nouă – case ale migranților români. Expoziția curatoriată de Beate Wild și Raluca Buțincu Betea își începe, în acest fel, un turneu prin orașele României, după ce a fost vernisată, cu succes, în perioada noiembrie 2015 – iunie 2016, la Muzeul Culturilor Europene din Berlin și la Collaboratorium Berlin. Proiectul comun al Departamentului Europa Centrală și de Sud-Est din cadrul Muzeului Culturilor Europene din Berlin și al Institutului Cultural Român din Berlin, realizat în parteneriat cu Muzeul Etnografic al Transilvaniei și cu Centrul pentru Studiul Comparat al Migrației, a fost finanțat de Die Beauftragte der Bundesregierung für Kultur und Medien și Institutul Cultural Român din București

REPREZENTĂRI ICONOGRAFICE ALE MORȚII ȘI ECOURILE LOR ÎN IMAGINARUL CULTURII TRADIȚIONALE ROMÂNEȘTI

Iconographic Representations of Death and Their Echo in the Romanian Traditional Culture Imaginary. The present research focuses on a few elements that define the unrepresentable figure of Death, introduced in the Romanian cultural space by the traditional books and taken over by iconography; later, these elements had an echo in folklore adaptations or popular beliefs. We started from the conclusions of our research on the Romanian eschatological imaginary built on the idea of posthumous salvation. The travelling soul makes the posthumous journey – difficult and full of tests – successfully, almost without exception. It reaches a wealthy rest place, God’s Kingdom, due to the multiple salvation opportunities. We observed a few motifs present in the eschatological iconography, which are part of the images’ inventory of Death: the righteous’ death and the sinner’s death, the old man’s Aesopic dialogue with Death, Death’s arsenal, the deadly glass, the motif of Dance Macabre. Our research conclusion is that the iconography of Death was a privileged support of knowledge transmission toward the village world and the transmitted knowledge was interesting and available to anyone, without exception. That’s why, as an answer to a European cultural current, the representation of Death entered the iconography of the Romanian area from where it lent motifs to folklore (death’s glass, good death and bad death, scythe and the other instruments); at the same time, it left an equally strong belief in posthumous salvation or maybe it increased – through its unwanted and horrific presence – the more involved participation in the rituals of the deceased soul’s salvation

ELEMENTE DE ARHITECTURĂ TRADIȚIONALĂ ÎNTR-UN FOND DOCUMENTAR INEDIT: RĂSPUNSURILE LA CHESTIONARUL II. CASA AL MUZEULUI LIMBII ROMÂNE

Elements of Traditional Architecture in a Unique Documentary Fund: The Replies to The Romanian Language Museum’s 2nd Questionnaire. The House. The present paper’s aim is to demonstrate the scientific importance of the traditional architecture elements preserved in the documentary fund created during the inter-war period at the Romanian Language Museum; the fund is the result of the indirect linguistic survey led by Sextil Pușcariu. The survey included eight thematic questionnaires, the second of which – called The House – recorded the entire vocabulary and knowledge about the culture of building and housing. As the most complex, the 2nd Questionnaire. The House had 489 questions, from the general ones regarding social aspects of housing, to the most detailed ones about the choosing of the site and a minute description of each of the building stages and techniques used by the community. Tributary to „Wörter und Sachen” („Words and Things”) German methodology at the beginning of the 20th century, which claimed that the study of words – to establish their etymology and history – should be done in close connection to the study of artefacts and their cultural lives, Sextil Pușcariu encouraged the correspondents to the Museum’s surveys to illustrate their replies, offering, thus not only linguistic information, but also drawings, no matter how primitive. The 439 replies to the 2nd Questionnaire. The House coming from all the Romania’s regions after Great Union gathered graphical representations of the housing which were and are at the same time ethnographical proof from the beginning of the 20th century, unique through their genuine expressiveness. Thus, the manuscripts include over 2500 graphical representations among which numerous well-done drawings illustrating the most spread house type in the village, but also gates or wells. At the same time, certain drawings minutely show techniques of vernacular construction, systems used for the closing of doors and windows, or whole traditional households with all their elements, from the main buildings to the outbuildings, fences, gates, fountains, fodder storehouses or livestock. This paper demonstrates these unique documents’ importance to the understanding of the housing universe and rural architecture during the inter-war period, emphasizing their value as a useful resource for the contemporary specialists from various domains, from linguists – for whom the documentary fund was created – to anthropologists and ethnographers, but also to specialists from landscape architecture, creative industry or engineering focused on the knowledge of traditional building techniques

COMPOZIȚIILE ICONOGRAFICE PE TEMA APOCALIPSEI ALE PICTORULUI ȘTEFAN DIN ȘIȘEȘTI

The Iconographic Compositions on the Apocalypse Theme Realized by Painter Ștefan from Șișești. Using the iconological method introduced in the iconography research by Erwin Panofski, our paper proposes an iconographic analysis of two compositions on the Apocalypse theme by the painter Ștefan from Șișești. These two compositions were painted in the UNESCO World Heritage wooden churches in two neighboring villages, Șurdești and Plopiș, Maramureș County. We aim to highlight their quality of signifiers in the communities in which their realization was possible, proving social reactions appropriate to a harmonious social coexistence, and individual attitudes marked by care for posthumous destiny. The approach we propose in this paper is an interdisciplinary one, using methods and concepts specific to the history of art and some to the fields of ethnography and anthropology. The scientific motivation of the present paper is that these iconographic compositions were not given the attention they deserve, both from the stylistic perspective and from the importance they have in identifying social and affective attitudes articulated in the community where these works of art were possible, and, above all, their placement on the trilobate vault and on the western wall of the nave of the wooden church in Plopiș, and on the vault of the nave and in the altar in the case of the wooden church in Șurdești. In both compositions, in the center of the nave vault, the Holy Trinity in Western writing is represented; on the midline of the nave vault, towards the altar, The Mother of Lord Orantă, and towards the pronaos, The Lamb of God in the wooden church in Șurdești and Archangel Michael at Plopiș are represented. In the four corners of the vault, the four evangelists are represented. In these compositions, there appear also apocalyptic angels, the image of John, The Woman dressed in the Sun, The Apocalyptic Beast and the Council of the twenty-four Elders. The two iconographic compositions on the theme of Apocalypse are devoid of dynamism. The characters are represented as an inventory, static, but highlighting all the action potential they have. Although the painter respects the norms of the Post-Byzantine tradition, under Baroque’s influence, the representations claim their space stretching towards infinity, and the figures are humanized, with gentle faces, with big and expressive eyes and costumes that are lost in folds. The inclusion of the Apocalypse theme by Ștefan from Șișești in the iconographic program of the two churches and the painting of characters reminiscent of the world’s end with all its implications, in the nave of the church, and in one case with extension towards the altar, shows us not only the painter’s but also the community’s special interest in this theme, as a desire to cause social reactions appropriate to a harmonious coexistence and to individual attitudes marked by the care for the posthumous destiny

Paris-Bucarest : itinéraires roumains en 1848

Pas de résumé disponible actuellementNo abstract available by no

Le grand incendie de Bucarest du 23 mars-4 avril 1847

Pas de résumé disponible actuellementNo abstract available by no

Les quarante-huitards roumains en exil

La répression, à l'automne 1848, de la révolution roumaine écrasée par les interventions militaires extérieures russes et ottomanes a conduit les révolutionnaires à l'exil dans toute l'Europe et même en Asie Mineure. Mais la patrie des exilés reste bien entendu la France, même si l'Empire met fin aux espérances républicaines. Certains révolutionnaires roumains participent d'ailleurs à la résistance intérieure comme Jean C. Bratianu, un des membres du complot de l'Hippodrome. La proscription roumaine connaît comme d'autres les divisions et les difficultés financières. Mais c'est surtout la situation extérieure, et notamment la guerre de Crimée, qui infléchit la politique des révolutionnaires vers un dialogue avec les gouvernements occidentaux. Au terme de dix années d'absence, la plupart d'entre eux font un retour triomphal et marquent, par leurs luttes, un épisode majeur de fondation de la nation roumaine.The Romanian Forty-Eighters in exile The crushing of the Romanian revolution by the Russian and Ottoman military campaigns in fall 1848 caused revolutionaries throughout Europe, and even in Asia Minor to retreat into exile. But the homeland of the exiles remained without question France, although the Empire had dashed all republican hopes. Some Romanian revolutionaries were actively involved in resistance against Louis-Napoléon Bonaparte. For example, Jean C. Bratianu was involved in the "Hippodrome" plot. Romanian exiles, like all refugees, experienced financial hardships and divisions. But it was the home situation, and especially the Crimean War, that caused the revolutionaries to modify their policy, and move towards a dialogue with the Western governments. After an absence of ten years, most of them made a triumphant return and their struggles marked a major episode in the foundation of the Romanian nation

Geomorphosites and geotourism in Bucharest city center (Romania)

The present paper aims at inventorying the geomophosites in Bucharest as well as introducing geotouristic itineraries that take into account the long-time developed high value cultural heritage of the area. The process included several stages: studying Bucharest’s relief and cultural- historical elements with tourist value from existing bibliography, cartographic methods (aerial photos and different editions of topographic maps), as well as the information gathered from field investigations; identifying and inventorying geomorphosites, assessing the population’s opinion about geoheritage (geomorphosites) and its capitalization in tourism activities, 100 questionnaires were applied; creating geotouristic itineraries and later promoting them. The most valuable and representative geomorphosites identified are: on Colentina Valley (the Plumbuita, Ostrov, Dobroeşti and Pantelimon hills) (aren’t located in the study area), on Dâmboviței Valley (Cotroceni, Șerban Vodă, Mitropoliei, Spirii, Filaret and Arsenal hills, Țăcăliei, Procopoaiei, University terraces, Dâmbovița Meadow). The authors suggest two geotouristic itineraries that emphasize the relationship between the scientific, cultural, and historic elements as well as the human-nature report within the urban area