Romani

excerptsDEATHDeath, whom some mistake for Samodiva, Sila Samodiva or Salea Samodiva, is the invisible spirit that takes away any man's soul, irrespective of the fact that the latter is old or young, rich or poor, happy or unhappy with his life, at the moment when it

excerptsTHE LIFE OF MANDeath. The Signs of DeathDeath is no longer visible to people and dying men no longer are aware of their time like once; still, there exist certain premonitory signs that show one the moment has come to embark upon the journey with no return. Not everybody

Myth as a source of folkloric artistic manifestations continually delineates new territories waiting to be re-discovered. In the moments of mythological reconstruction a process of sifting the essences is kindled, which fascinates and re-sizes the participants in a meta-real

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

In the true spirit, these three concentric spaces – the village border, the village margin and the household enclosure – are in harmony with each other and with the cosmic order as well.  Romanian Folk Culture, 1999 by Nicolae Constantinescu

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

The essential resemblance between the legend recorded by Bandinus in 1647 and the folk legends about the Flood, collected at two and a half centuries' distance (around 1900), is conspicuous. In all these variants (but especially in the one chronicled by Bandinus) some

To the achievement of literary impact, Argeş Monastery comes up with a simple and ingenious solution: the absolute contrast between the soft and caressed tenderness of form, on the one side, and the wild graveness of the underlying tragedy, on the other. In the style 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

Downstream on the wideArgesh River's sideNegru Voda's riding;Ten men go beside him:Masons, craftsmen fine, Masterbuilders – nine;Manoli makes ten,The greatest craftsman. Down this dale, they're boundTo erect and foundA monastery hall,A memorial. There, as

Like an Egyptian pharaoh, who built a pyramid to be the abode of his body, with a view to future life, the powerful Romanian princes built monasteries to rest and keep their bones till Doomsday. Their unflinching faith in the immortality of the soul drove them to these pious

  Joy usually produces beauty and beauty produces communication. . . , as Horia Bernea once said. That is also the dominant impression that I had after having visited the Romanian Peasant Museum. Beauty and joy are being offered to the Romanian or foreign visitor, whether