The Evolution of the Milicier Film Genre in Communist Romania

In order to observe the manner in which the image of the Romanian militiaman is perpetuated throughout the movies produced during Nicolae  Ceauşescu’s regime (1965-1989) we will analyze the most important detective films of that period. This will allow us to recognize a series of characterological  and professional attributes present in the protagonists of these narratives which claimed to have come from reality. All of these heroes  are shrewd, tenacious and well-intentioned because the official propaganda wanted to deliver a certain beautified image of the Romanian agent, about  whom these films suggested having the mental and physical capabilities to be successful against any kind of villain and therefore being able to protect his  country with a great sense of duty and commitment

Staging Molière in Communist Romania. A Quantitative Diorama

This paper accompanies a dataset containing information regarding the stagings of Molière’s plays during the 42 years of the communist regime inRomania, from 1948 to 1989. It offers a quantitative overlook of 120 productions, through statistics and visualizations, in an attempt to make sense of the data and find trends and directions otherwise difficult to detect. The data was collected from a public repertory database, supplemented by information from the theaters’ archives and reviews from period magazines and newspapers. We have strived to let the data ‘speak,’ minimizing speculative commentary to where we felt it was needed to add colour or emphasize certain possible patterns. For network graphing and analysis, we used Gephi 0.9 software, and for the analysis and visualization of geospatial data, QGIS 3. Data processing and graph generation were carried out using Microsoft Excel

Unwritten Truths: Performance review

Performance review: Surpriza vieții [The Surprises of Life], presented within the 1st edition of the “Ziua Grănicerului” [The Border Guard’s Day] event, 11.09.2019, Năsăud, Romania. Cast: Sofia Ceciuleac, Dorel Timiș, Andrei Carafa, Macedon Marte, Ionela Timiș, Ancuța Filipo

On the Clark-alpha model of turbulence: global regularity and long--time dynamics

In this paper we study a well-known three--dimensional turbulence model, the filtered Clark model, or Clark-alpha model. This is Large Eddy Simulation (LES) tensor-diffusivity model of turbulent flows with an additional spatial filter of width alpha ($\alpha$). We show the global well-posedness of this model with constant Navier-Stokes (eddy) viscosity. Moreover, we establish the existence of a finite dimensional global attractor for this dissipative evolution system, and we provide an anaytical estimate for its fractal and Hausdorff dimensions. Our estimate is proportional to $(L/l_d)^3$, where $L$ is the integral spatial scale and $l_d$ is the viscous dissipation length scale. This explicit bound is consistent with the physical estimate for the number of degrees of freedom based on heuristic arguments. Using semi-rigorous physical arguments we show that the inertial range of the energy spectrum for the Clark-$\aa$ model has the usual $k^{-5/3}$ Kolmogorov power law for wave numbers $k\aa \ll 1$ and $k^{-3}$ decay power law for $k\aa \gg 1.$ This is evidence that the Clark$-\alpha$ model parameterizes efficiently the large wave numbers within the inertial range, $k\aa \gg 1$, so that they contain much less translational kinetic energy than their counterparts in the Navier-Stokes equations.Comment: 11 pages, no figures, submitted to J of Turbulenc

Traces of Old Visual Patterns in the Romanian Modern Painting

The contribution intents to stretch out the way certain visual sequences of old Romanian or Byzantine art are brought back to life in the Romanian modern age. Some study cases reveal specific ways of using and understanding the cultural tradition. In the first two decades of the 20th century the artistic research regarding the past is connected to the concept of national identity. One of the pioneers in this field was the theorist artist Apcar Baltazar, well-known for his attempts to construct a “national style” on the basis of Romanian folk elements and the post-Byzantine style. His viewpoint on a modern national style established upon past decorative patterns, indebted to Symbolism and the international style Art Nouveau, represents a start in developing spiritualized forms inspired from archaic arts. The discourse on history, in the manner of eclectic quotations from the painting of Baltazar, was exceeded by history itself. The First World War changed life and art, increasing the dramatism of image, the harsh simplicity of line, the flattening of color present in the entire production of the generation of artists grouped in 1920 around the association Arta Română (Romanian Art). Artists like Tonitza, Dimitrescu, Sion, Șirato reinterpreted and adapted the aesthetics of Romanian old mural painting and rustic elements to the modern artistic language. The Byzantine tradition, a long-lasting paradigm (in the situation in which artists accepted commands of the Christian Orthodox Church as a way of living), was lightly assimilated by strong personalities, but tangible in the propaganda discourse of the Neo-Orthodox movement

Intellectual Property, Globalization, and Left-Libertarianism

Intellectual property has become the apple of discord in today’s moral and political debates. Although it has been approached from many different perspectives, a final conclusion has not been reached. In this paper I will offer a new way of thinking about intellectual property rights (IPRs), from a left-libertarian perspective. My thesis is that IPRs are not (natural) original rights, aprioric rights, as it is usually argued. They are derived rights hence any claim for intellectual property is weaker than the correlative duties attached to self-ownership and world-ownership rights, which are of crucial importance in any left-libertarian view. Moreover, IPRs lack priority in front of these two original rights and should be overridden by stronger claims of justice. Thus, as derived rights, IPRs should not benefit of strong enforcement like any original rights especially if it could be in the latters’ detriment

Søren Kierkegaard’s Repetition. Existence in Motion

This article tries to make sense of the concept of repetition in Søren Kierkegaard’s works. According to Kierkegaard repetition is a temporal movement of existence. What is repetition and what is its meaning for human existence? In answering this question the Danish philosopher depicts repetition by comparing three different approaches to life. Throughout the article I try to develop a coherent argument on ‘the new philosophical category’by analysing the three types of repetition and their corresponding human prototypes. I consider repetition a key concept in summarizing Kierkegaard’s theory of existence, where existence pictures the becoming of the human-self that follows several stages. Constantin Constantius’s repetition is an unsuccessful attempt, an aesthetic expression of human-life. The young lover’s repetition is spiritual, albeit not yet authentic, religious, but more poetic, even if he regains his self. Only Job’s repetition is an authentic movement of existence, an expression of a spiritual trial and of genuine faith