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Essays on Romanian History brings together a lifetime of studies on Romanian history and culture by one of the leading American scholars on the history of Romania, Radu R. Florescu. While each chapter is a separate study, in their totality, they form a vision of Romanian history, dealing with issues from ancient times to the present day. Among the studies included in this volume: The Formation of a Nation from the Earliest Times to Burebista; The Struggle between Decebal and Trajan; Prince Negru — Founder of the First Romanian Principality; The Search for Dracula; Vlad Dracul II (1436-1442, 1443-1447); Vlad III The Impaler (or Dracula) (1448, 1456-1462, 1476) — Tactician of Terror or National Hero; The Origins of the Dragon Symbol; Dracula in the Romanian Literature; The Dracula Image in Folklore; Captain John Smith and Romania (1580-1631); Michael the Brave (1593-1601); Dimitrie Cantemir and the Battle of Stanile?ti (1710-1711); The Uniate Church; The Phanariot Regime; Horea, Clo?ca, and Cri?an: Peasants in Arms: 1784-1785; General Ion Emanoil Florescu: Father of the Romanian Army 1817-1893; Elena Cuza: Neglected Woman and Wife (1825-1909); Dumitru Florescu: A Forgotten Pioneer in the History of Romanian Music (1827-1875); Diplomatic and Military Preparation for the War of 1877-1878; An Intimate View; King Carol and Lupescu; and Mircea Eliade’s Contribution to History. The author, Radu R. Florescu, was a professor of history at Boston College. He is the author of The Struggle against Russia in the Romanian Principalities, Dracula: Prince of Many Faces, and In Search of Dracula.
This is not an ordinary history book. As readers will realise quite early on, Neagu Djuvara has the audacity to tackle some of the most delicate and controversial issues in Romanian history under the guise of light storytelling. With the addition of illustrations, the book becomes better and easier to understand: we are offered the chance to see how ancient artefacts discovered by archaeologists actually look like, or catch a glimpse of the world of barbarians and medieval warriors depicted in wonderful illuminated manuscripts. As we get nearer to the modern age, the imagery becomes even richer and we get to know Romania's princes and monarchs, their allies and their enemies, the politicians – good and bad – their triumphs, tribulations or even tragedies; and sometimes even the common people going about their daily lives. The photographic discourse focuses on the most important documents, even if their condition is not optimal. You will also find images of pottery, jewellery and weaponry, some of them from unexpected sources, often unknown to the public, accompanied by detailed captions that complement the information provided in the text itself. Together, the story and illustrations intertwine to form a new, enhanced historical account - and hopefully, one not lacking in originality.
This volume comprises a series of studies on Romanian history by Romanian and foreign historians of Romania dedicated to the memory of the distinguished Romanian historian Constantin C. Giurescu.
The theoretical analyses and interpretations contained in the studies of this volume focus on key-concepts such as: politics, politician, democracy, Europe, liberalism, constitution, property, progress, kinship, nation, national character and specificity, homeland, patriotism, education, totalitarianism, democracy, democratic, democratization, transition. The essays unveil specific aspects belonging to Romania?s past and present. They also offer alternative perspectives on the Romanian culture through the relationship between the elite and society, and novel reflections on the delayed and unfinished modernization processes within the society and the state. The editors articulate the results coming from various sciences, such as history, linguistics, sociology, political sciences, and philosophy with the aim that the past and present profiles of Romania are better understood.
Over the last decade, audiences worldwide have become familiar with highly acclaimed films from the Romanian New Wave such as 4 Months, 3 Weeks and 2 Days (2007), The Death of Mr. Lazarescu (2005), and 12:08 East of Bucharest (2006). However, the hundred or so years of Romanian cinema leading to these accomplishments have been largely overlooked. This book is the first to provide in-depth analyses of essential works ranging from the silent period to contemporary productions. In addition to relevant information on historical and cultural factors influencing contemporary Romanian cinema, this volume covers the careers of daring filmmakers who approached various genres despite fifty years of Communist censorship. An important chapter is dedicated to Lucian Pintilie, whose seminal work, Reconstruction (1969), strongly inspired Romania's 21st-century innovative output. The book's second half closely examines both the 'minimalist' trend (Cristian Mungiu, Cristi Puiu, Corneliu Porumboiu, Radu Muntean) and the younger, but no less inspired, directors who have chosen to go beyond the 1989 revolution paradigm by dealing with the complexities of contemporary Romania.
Based on the idea that there is a considerable difference between reality and discourse, the author points out that history is constantly reconstructed, adapted and sometimes mythicized from the perspectives of the present day, present states of mind and ideologies. He closely examines historical culture and conscience in nineteenth and twentieth century Romania, particularly concentrating on the impact of the national ideology on history. Boia's innovative analysis identifies several key mythical configurations and shows how Romanians have reconstituted their own highly ideologized history over the last two centuries. The strength of History and Myth in Romanian Consciousness lies in the author's ability to fully deconstruct the entire Romanian historiographic system and demonstrate the increasing acuteness of national problems in general, and in particular the exploitation of history to support national ideology.
A collection of 14 scholarly papers on the life and times of the historical Dracula. This impressive research deserves much better than the wretched package containing it. The book production (Romanian) is by far the worst we've seen in decades. Acidic paper is the least of the book's blemishes. Annotation copyrighted by Book News, Inc., Portland, OR
On the centenary of the Romanian-Japanese diplomacy, I remember the years spent in Japan, 2012–2016 with the end of my diplomatic career achievements and a shadow of amnesia as far as a part of the bilateral relations history before the Second World War is concerned. The inertness of the last three decades kept quiet names and events worthy of a novel, which I try to bring back to light, through this book, after searches of almost four years. I give to the reader some of the unjustly forgotten pages, confining myself to the remarkable Romanian presences in Japan at that time. From Anatolie Tihai to Gheorghe Băgulescu, with the Xenopol interlude, a plethora of Romanian personalities experienced living in the archipelago, longer or shorter periods, recounting their missions and adventures, or delegating others to share them, as was the case of Prince Carol. Rich in events, the interval of bilateral history 1872–1943 is still waiting to develop under the layers of palimpsest. I hope that this volume will reproduce a fragment of the brilliance of this period and, especially, increase the interest of students and researchers for a topic that will become, in the coming years, useful for the Romanian-Japanese strategic dialogue, not only in the area of history and literature. In the latest bilateral anthologies, the names of some great Romanians from that period have been intently minimized. Each of them could be a novel hero through his biography, through his relating to the Japanese culture and civilization and, especially, through contributing to the popularity of Romania in the archipelago. During my documentation, I identified interwoven threads of the 14 heroes’ destinies, more or less known, some obvious, others just suspected. Xenopol and Timuș, for example, followed the same route from Iași to Tokyo, at the same time, but with different goals and different comfort, and they did not know each other. Bufnea, along with Găvănescul in various photographs, was charged by Cădere to repatriate the remains of the former ambassador, Xenopol. Prince Carol granted audience to Cădere to get a report on the repatriation of Romanian volunteers; Cornel Cozmuță appears among the Romanian volunteers repatriated through Japan, and his ex-wife, Otilia de Cozmuță, after documenting in Japan, introduced Brâncuși to Rodin. Why Brâncuși? To the pilgrim heroes through the archipelago a virtual presence is added, Constantin Brâncuși, imposed by the notoriety of his work in the Japanese artistic space like no other Romanian artist’s, even if he, personally, had never visited Japan. His disciple, Isamu Noguchi, managed to increase his notoriety, spreading sculptural reverberations in the artistic space of his country. I let myself be carried away in a parallel world. Gradually, as I wrote, I became Tihai, Assan, Ghika, etc. I got into character and, reconstituting the places visited, I tried to turn back the clock. The photographs of the era helped me, as well as the writings of those Romanians fascinated by the exoticism of Japan. In addition to the 14 personalities evoked in this volume, other Romanians who visited Japan before the Second World War can be named, including the plethora of diplomats, but I avoid detailed references to them, so as not to be suspected of using the archives of the Ministry of Foreign Affairs. However, it is worth mentioning two of the first occasional visitors to Japan at the end of the 19th century, Nicolae Russel and Iuliu Popper. It’s just that Russel was not a real Romanian, but a Russian, born Nikolai Konstantinovich Sudzilovsky, and Popper lost his Romanian citizenship. Nonetheless, their incidental visits did not leave written records or photographs, but they remind us that their names appear in some studies, as the first Romanians to visit Japan. I hope I’m not mistaken if I place this book under the sign of the “ronin,” a word that in Japanese means “vagabond,” and in our country it has been translated as “wandering samurai” as well. Directly, Pope Pius XI had called Vladimir Ghika an “apostolic vagabond” because of his frequent trips abroad. All the Romanians in this book are vagabonds, in a positive sense, in one way or another. I would call them “ronins” for their courage and for their association with the Japanese audacity. Just as the ronins were fortuitously separated from their masters, some of these Romanians parted from their country, more or less fortuitously, and in addition to the courage of the ronins, they carry in them the symbol of a lasting harmony: Romania-Nippon, abbreviated RO-⁠NI. Radu Șerban