European

The dancing tea partyGuţă Mereuţă was indeed waiting, sad, with a proboscidean long nose. He couldn't dance. He had nothing in appearance or in speech that could have attracted a woman. His eyes pushed aside, towards the temples, by the broad root of the olfactory

I once saw a wounded crane, dying, on the edge of a forest where he had fallen while his friends were dashing away to the horizon, like a black arrow. The bright eye that ripped the horizon was shaded little by little, his long, powerful legs were sinking into the dust,

excerpts Chapter XV. Scenes of Social Life The beautiful autumn days of the year 1817 had already flitted along with the joys they bring to pass for the inhabitants of Romania. Winter had made quite an early appearance and the western wind had by now started to blow in

excerpt Nothing, says Mr. N. , in an witty critique of Iaşi society, nothing is more boring than Iaşi for a foreign traveler whose name does not include the rewarding of particle, and whose only concern is to do business and not entertain the little civilized inhabitants

For well over one year, since I and the retiring actor Stelian Nistor marketed our tee-vees to see the magazine Everybody's Cuisine through the press, our peers, notably those at The Catzavencu Academy, never fail to cheek me: You meatball-journalist, recipe commentator,

excerpt Olgutza and Monica had forgotten the size and duration of a Romanian banquet. Compared with French meals, the Romanian ones are like a trip in a carriage versus a precise urban taxi ride. When you have finally reached the last course – incidentally, in Romania,

European travelers such as Antonio Maria del Chiaro were struck long time ago by the uncommon abundance of woolen carpets in each Romanian home, be it aristocratic, bourgeois or peasant. Carpets were laid mainly onto the walls of the rooms, but they also covered the beds,

In the field of iconography the rhetoric of the end manifested itself initially as a history of silences, the absence of the motif being possibly equally significant as its presence since, as Michel Vovelle demonstrated, images interest us as expression of a selective, oblique

Corneliu Bucur has been the manager of the ASTRA Museum of Traditional Folk Civilization since 1990. In 1965, he graduated the Babes Bolyai Faculty of History and Philosophy in Cluj. In 1981 he presented his doctoral thesis, with the following theme: Introduction in the

We have been acquainted with the fundamental myths of Romanian spirituality in Mircea Eliade's view and read his comments on the legend of Master Manole, the legend which, according to Eliade, certifies that myth is essential to the process of artistic creation, and

excerpts1. Participation and RepetitionPerhaps the most significant difference between modern man and archaic man consists in this: for archaic man, a thing or an act acquires significance only in as much as it participates in a prototype, or in as much as it reiterates

In his opening speech at the inauguration of the Village Museum, Professor D. Gusti said: …We did not have the example of open air museums from the northern countries, such as Skansen, Bigdo or Lillehammer. They convey us too much romantic and ethnographical merit, focusing