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Following the general problematics of reformulating the concepts of “discourse” and “narrative” and treating cinematic products as textual objects, with incursions into the 21st century cinema as a realist-expositional medium of the social problems of the Other, the present paper aims, by contextualizing the film Aferim! (2015) by Radu Jude, to analyze the relationship between language, language and race, racialization, and representation. In short, it aims to analyze the position of linguistic racism in the admitted “realistic” and artistic presentation of the process of marginalization. Such academic analyses have become present internationally, especially with the development of the linguistic dimension of postcolonial studies and the emergence and expansion of the concept of political correctness and/or cultural sensitivity in the contemporary socio-cultural discourse, especially in direct relation to language, language, and visual media of artistic transposition. We must be remembered, however, that Roma people occupy a marginal place even in postcolonial analysis of otherness. In the Romanian space, with a strong intertextual character, Aferim! occupies a privileged place precisely because of the primacy given to the theme: the Roma slavery in the 19th century Wallachia, during the year 1853, which is a key-year, considering that the formal abolition of slavery took place only three years later, in 1856, in Wallachia. Intentionally subversive, Jude takes the historical form of the popular films from the communist period and turns it against itself, while also adding the American-inspired aesthetic of Westerns. The multiplicity of perspectives is present, but the „intimacy” belongs to the white, oppressive characters, putting the viewer in an uncomfortable position that belongs to them historically. Following the results of the quantitative study of the present work, where the most often used word is „cocoane” [lord] in all its declined versions, Aferim! is thus a film about power dynamics, a dynamic in which the Roma are the Other. [ABSTRACT FROM AUTHOR]

The aim of this paper is to present 27 coins in the collection of the "Octavian Moescu" Municipal Museum in Râmnicu Sărat, received as donations or purchased between the years 1980-1995 and 2016. The series presented consists of: Roman and Byzantine coins (6 ex.), issues of the kings of Hungary (5 ex.), Polish-Lithuanian Union (6 ex.), Wallachia (1 ex.), the Ottoman Empire (1 ex.), Habsburg Empire (4 ex.), the Principality of Brandenburg - Ansbach (1 ex.) and "Sadagura" (3 ex.), the oldest being a denarius issued by Vespasianus (69-71), and the latest ones being from the turn of the 18th-19th centuries. [ABSTRACT FROM AUTHOR]

The artistic and photographic work of Carol Szathmári (1812-1887) is generally well known, the Transylvanian artist being appreciated both by his photographic work, having the initiative to record the first photographic images during the Crimean War, and by his long artistic activity, enjoying by the status of official photographer and artist of the princely court. On the occasion of the events dedicated to the 200th anniversary of Carol Szathmári's birth, it was considered that his artistic and photographic work is well known and studied and that there would be no surprises regarding his creation. However, during the research on the battle of Dealul Spirii, on September 13, 1848, a series of extremely interesting images emerged, made by Carol Szathmári in the autumn of 1848, at the beginning of his career in the Romanian principalities, which represented types by Ottoman soldiers, depicted in different attitudes, in Bucharest and its surroundings. These Ottoman soldiers, who belonged to units of the Ottoman Imperial Guard, were part of the sultan's troops who had entered Bucharest on the occasion of the suppression of the revolutionary movement in 1848, in Wallachia and who participated in the confrontation with the Romanian troops at the barracks in Dealul Spirii, of September 13, 1848. The 25 watercolors made by Carol Szathmári, completely unknown until now, are kept in the collection of The State Hermitage Museum, in St. Petersburg, being probably made at the request of a high-ranking officer of the tsarist troops, who arrived in the Romanian principalities to put end of the Revolution of 1848. These works, very well done from an artistic point of view, give extremely valuable information about the uniforms, insignia of rank, equipment and armament of the Ottoman troops of that period. The paper analyzes in detail the respective drawings, both from an artistic point of view and from the information they provide. By the fact this artwork is made by an important Romanian artist and it depicts, even in the background, aspects of the Wallachian capital and its surroundings around the events of 1848, the set of watercolor paintings by Carol Szathmári is an extremely valuable historical-documentary source. [ABSTRACT FROM AUTHOR]

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"The Phanariote Century", the period between 1711 / 1716-1821, in which the principalities of Wallachia and Moldavia were ruled by ethnic Greeks, loyal subjects of the sultan, from the rich Phanar district of Istanbul, was considered a period of decline characterized by the degradation of social life, by the accentuated impoverishment of a predominantly rural population, by the prosperity of the nobility, by the exacerbation of taxation and, last but not least, by the increase of corruption at all institutional levels in the two principalities. This paper is an analysis, based on documentary sources and historiographical studies, of the mechanisms of operation of local and central state institutions to determine the extent to which the facts we associate today with acts of corruption have significantly influenced, in a negative way, the Romanian society of that period. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babeș-Bolyai, Historia Artium is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the relationship between banditry and revolution during the troubled events that captured Wallachia and Moldavia in 1821. While not neglected in Romanian historiography, the topic is rarely approached in an analytical and critical manner, the bandits associated with the uprising led by Tudor Vladimirescu always being portrayed as champions of the social and national ideals promoted by the revolutionary programme, although no concrete evidence is given in this sense. Therefore, the research questions posed here are the following: do the bandits participating in the uprising assume its ideology? Or are they just selfish opportunists on the look for plunder? If they do assume an ideology, is it progressive or conservative? Or do they join the uprising in order to obtain amnesty for their pre-revolutionary crimes, in case the uprising succeeds? [ABSTRACT FROM AUTHOR]