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In history, the diurnal has always been a distorted image of the nocturnal. In daylight, events are the way we want to see, feel, and understand them. The nocturnal rejects such a compromise for the tranquility of crowds. It has existed next to us since the dawn of history,

Photo: Mihai Duţescu I'm reading an article written by Roberto Segre about the architecture intended for the working class, an architecture that has changed the landscape of the towns only in the twentieth century. Until then, poverty did not have such a great influence

The house at 8, Visarion St. In recent years, many owners of monument mansions have deliberately left them to decay, or have set fire to them in order to be able to demolish them – Assan’s mill devastated by suspicious fire.  Culture Minister Adrian Iorgulescu has

Coreógrafa En cada lenguaje de gestos confiados al escenario hay una retórica, que funciona gracias a la alternancia de un texto cerrado y un texto abierto, según senalarían Dubois, Edelin o Minguet o al estructurar el baile como una «obra abierta», según teoretizaba

El Festival George Enescu ha llegado a ser en la vida de muchos de nosotros un punto de referencia de mayor importancia. Esperado siempre con impaciencia, nos reúne, nos suscita el sentido estético, nos incita a comparaciones o evaluaciones, nos implica y nos compromete

Me sucedió en esta vida la cosa más triste posible: de poeta he llegado a ser autor. Creo que fui un poeta verdadero alguna vez, en mi adolescencia, cuando aún no había publicado – y, salvo mi diario íntimo, tampoco había escrito – nada. Es mi estado ideal, perdido

The 1900 Crisis The Break By 1900, no more bets. Pessimism. Denial of progress, return of the cyclic history. Social conflicts. Revolutions. Decline of the West and the yellow peril. Anti-utopia. The Great War. Abstract art. Earthquakes. Halley's comet. The end of the

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

Einem gelang es – er hob den Schleier Goettin zu Sais. . . Novalis I One morning in the autumn of 1934, a messenger brought me a rather strange letter, adding he was waiting for an answer right then and there. The letter was from a lady, Mrs. Zerlendi, whose name I had

Ceci est un fait-divers atroce. Les Mémoires du Bal-Mabille There are dreams we seem to have lived sometime long ago, somewhere, as well as things we lived about which we ask whether they were not a dream. That's what I was thinking of yesterday evening when, rummaging

I certainly am neither the first, nor the only person to notice that the fantastic appears as a distinctive feature of Nordic, non-Latin peoples, rather than of the meridional spirit. The solar, mercantile, skeptical-rationalist South, and the sanguine, outgoing, relativistic

Architecture represents a means of interrogating history. Rather ominous, it is to be feared, when the question applies to the Romanian capital. Why so? The way Bucharest has been subjected to transformations in the last century accounts for the living changes affecting