Mediu

As everything modern, the fantastic mode, which seems to be still one of our great favorites in these last years of the modern millennium is to be defined through the series of transformations of the traditional forms of the fantastic art. In her excellent reference book

The early-20th-century major Romanian art is not a block, but a very particular construction of intertwined cultural layers. One could not affirm that the most fertile and valuable Modern cultural period of this country was characterized by a certain, homogenous Romanian

'Make your stores - they're cutting it off,' calls the bobby, pushing the entrance door ajar. And every member of the household hurries to grab a pail, a mug or any of the tinier pots and pans, dashing forward to the tap (the house is endowed with a tap -

Modernism has brought to paroxysm the need of personal mythologies, immanent to Western civilization. No wonder that some of the heroes and saints of the avant-garde came from those peripheral European territories still uncharted from a spiritual point of view. By the beginning

Presently, Adina Cezar is a name in the field of choreography, by having created for three decades a sound nucleus of Romanian contemporary dance. Dancer, choreographer and artistic manager, Adina Cezar is a genuine, tenacious and dynamic searcher. Every moment she reorders

Chapter XII. The Current [1907] Psychological Traits of the Romanian PeopleAll foreigners that visited the Romanian countries were unpleasantly struck by the negative traits of our character. They don't care, says Mr. X. Marmier, for the name of their master. What they

excerpts There are quite a few psychological complexes which seem to shape nowadays the popular, maybe even intellectual mentalities and to badly distort people's behavior, as well as their political judgments. It won't hurt pointing our finger at them, speaking

As early as my years of instruction, while at The Academy of Music in Bucharest – as part of the group of the grand and incomparable professional singer and mentor Constantin Stroescu (Enrico Caruso's partner in Boston, 1915, in Leoncavallo's Pagliacci) – destiny

With immense delicacy and great scrupulousness he [Gellu Naum] would each time talk about Victor Brauner – the friend from his youth years he had met on the occasion of an exhibition opened at Mozart Hall in Bucharest. It was 1935. The twenty-year old youth, Gellu Naum,

I can almost hear Gellu Naum saying: I fell on the pavement on account of the old tree roots which have heaved it. There was a smell of putrid leaves. And of putrid earth. I could not lift myself up. From somewhere, came a cur of a dog. 'You want grass,' I asked.

(1. 08. 1915-29. 09. 2001) Gellu Naum (1915-2001) was the only writer pertaining to the historical Romanian surrealist avant-garde who survived, rather untouched but also more or less unheard, the vicissitudes of a half a century of Communist rule. He started publishing

Those writers obsessed by the form, which they do not hesitate to convert into a norm, are too well familiar with the pain that accompanies the process of completing a page in a duly controlled, stylish, manner. Ultimately, one writes on waters, since all messages are, from