Analele Universităţii „Dunărea de Jos” din Galaţi. Fascicula XXV,CercetARTE / The Annals of ”Dunarea de Jos” of Galati. Fascicle XXV, ARTSResearch

Cuprins

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Born in Galati too. Arta la feminin. Început de sec. XX. Apel la realitate vizuală

Miruna CĂRĂUȘU — Mon, 04 May 2026 12:06:32 +0300

The beginning of the 20th century offers a multitude of artistic
transformations. Categorized as an innovative period, it represents the
transition from traditionalism to modernism. The emergence of new artistic
trends such as the great revolution in painting, introduced by Impressionism,
followed by Expressionism, Cubism, and Futurism, shaped the innovative
profile of this period. Under the imprint of the research and exploration of
new innovative artistic mediums, the exhibition Born in Galati,too proposes,
through the students’works, the innovative interventions introduced by three
artists born in Galati but trained as artists in Paris or Miami at the beginning
of the 20th century.
Under the sign of an urban visual project, where people become part of the
artwork and the focus is directed from the artwork to the experience of the
public, the paintings and graphics exhibited surprise by their innovative and
authentic degree. The personal motive is based on the desire to get
acquainted with a local artistic heritage, awareness of real artistic
values’appreciationand active involvement in the visual approach. The
experience of an assumed artistic past, anchored in such a rich history, leads
to a future that is bound to be characterized by artistic experiences.

Profunzime, dramatism și sensibilitate în grafica Alinei Roșca

Constantin-Adrian CORCĂCEL — Mon, 04 May 2026 12:10:04 +0300

Through this written material I want to bring to the attention of art lovers the
work of Alina Roșca, an artist who has remained in the public’s memory as
one of the most virtuoso graphic artists in Romania. Thus, her works are
proofs of compositional mastery that attract attention through the
expressiveness of gestural lines and the description of innovative textural
structures. Also, being a good illustrator, Alina Roșca has collaborated with
several publishing houses creating illustrations and book covers for well known Romanian writers, impressing each time with the ingenious
transposition of the written idea into majestic plastic symbols. Through her
work, the artist has remained in the collective memory as an example of a
graphic artist who transposes states and feelings with force and pathos using
lines and dots.

Provocările artistului contemporan în contextul problematicilor utilizării AI în artă

Laura FLORE — Mon, 04 May 2026 12:14:11 +0300

Art is a form of human expression involving creativity, imagination and
talent, manifested in various forms, styles and interpretations. It can be
considered both an activity based on knowledge, practice, perception,
imagination and intuition, and an expression that transcends practical
functionality, aesthetics and knowledge.
In a broad sense, art can be any human activity involving these aspects. In a
narrower sense, art refers to those activities that have no immediate
functionality, but focus on aesthetics, emotion and communication of ideas or
feelings.

Raportul dintre sculptură, arhitectura țărănească în lemn și instalațiile tehnice sătești în orizontul civilizației rurale, cu o privire specială asupra spațiului românesc

Laura FLORE — Mon, 04 May 2026 12:18:08 +0300

Wood is alive, since it has played a very important role in people's lives for
thousands of years. We cannot see it as a crude, primary material. No other
material radiates as much warmth as wood. Perhaps this is the result of the
continuous influences of eternal change to which a tree is subjected from the
moment it is planted. Needing to adapt to constantly changing situations,
wood acquires a noble character.

Cultura, spațiu de rezonanță al schimbării în Europa contemporană

Tudor IOAN — Mon, 04 May 2026 12:22:59 +0300

The management of communication in an aesthetic, artistic and ethical sense
involves profound mutations, especially in our century, mutations to which
the paradigm of postmodernism suggests entirely new and revolutionary
approaches. We will refer to this in a future chapter. As we approach, from a
historical perspective, contemporary culture, its language becomes more
complex, multiplies, refines, recording as a general trend a movement from
concrete to abstract. At the same time, a new vision of the world is gaining
ground, the main dimension of which is the scientific one, generated by the
valorization of objective knowledge induced by modern science, knowledge
that retains the properties that can be represented in strictly intelligible
schemes. It is obvious that in the process of this reorientation of
contemporary man, everyday cultural language itself undergoes a
renovation. We believe that this renovation process, especially evident at the
vocabulary level, consists in its tendency to assimilate numerous terms and
phrases from specialized languages and their use within a tolerant syntax,
unconstrained by the coherence criteria specific to emergent semiotic
systems.

Recunoașterea facială.

Cristiana-Emanuela TĂRBUC — Mon, 04 May 2026 12:27:18 +0300

This article aims to highlight the role of facial expressions in contemporary
art. Facial expression primarily conveys an emotion, a message, it is a form
of non-verbal communication. Throughout this text, we will understand the
involvement of neuroscience in the process of understanding facial
recognition, the close relationship between psychology and art, psychology
and portraiture, as well as the relationship between expression, portraiture
and the digital world. Laura Swanson will propose at the end some examples
of anti-self-portraiture that emphasize the public’s reaction to a hidden face,
or the suggestion of a face that cannot be distinguished or understood.

Conceptul de mimesis și noile tehnologii digitale

Andreea Gabriela TUDOR — Mon, 04 May 2026 12:31:57 +0300

This text explores the connections and interpretative possibilities created
between mimesis — a Platonic concept broadly understood as the
representation of reality or the imitation of a model — and new visual forms
that expand and transform the concept of reproduction. The relationship
between the real and the virtual is analysed and redefined through works by
Studio Drift (founded in 2007 by Lonneke Gordijn and Ralph Nauta) that
straddle the boundaries between sculpture, performance, and installation art.
The analysed body of works transitions from pieces with an architectural
character to kinetic installations that take the structures and principles of
natural processes and transform them creatively. Consequently, mimicry is
expanded from formal imitation to a creative approach dissolving the
boundaries between art, design, and scientific research through an
innovative, multidisciplinary process.

În sala «Palade», printre îngeri și tăceri

Liviu-Adrian SANDU — Mon, 04 May 2026 12:36:43 +0300

The present work constitutes a comparative hermeneutics of the
exhibition ‘Among Angels’, presented by Liviu Șoptelea in the ‘Palade’ Hall
of the ‘Vasile Pârvan’ Museum in Bârlad. The analysis focuses on three of
the exhibited works, titled: ‘Seen-Unseen’, ‘Wandering Angel’, and ‘Of
Course, the Last Flutter Too Shall Vanish’. A thematic study of the
exhibition—particularly of these three pieces-revealed how the artist
reinterpreted angelic iconography in a contemporary key, transforming the
museum space into a site of meditation on memory, the sacred, and the human
condition. Through an approach combining art history with visual
anthropology, the dialogue between Christian tradition and postmodern
artistic languages is highlighted, underscoring Șoptelea’s distinct position in
the Romanian art scene and placing him in conversation with other great
masters of angelic representation, such as Anselm Kiefer and Marc Chagall.

Arta în epoca AI. Reciclarea

Codrin VASILOANCĂ-SMIRNOV — Mon, 04 May 2026 12:41:11 +0300

This paper examines the question of art under the sign of artificial
intelligence (AI), a topic as complex as it is contentious, as it redefines core
concepts such as creativity, authorship, and even the role of the human
being in the world.
We begin by outlining how AI – defined as a technology capable of
reproducing a wide range of human cognitive processes at superhuman
scale and speed – has emerged.
To illustrate the contrast between human and machine rationality, we
analyze the landmark 2016 AlphaGo–Lee Sedol match, often considered the
symbolic validation of modern AI. Within this framework, we compare two
iconic moves from the match as expressions of two different cognitive
backgrounds: a formal, algorithmic one and a human, unconscious one.
Lucian Blaga’s philosophy will help us distinguish between natural beauty
and artistic beauty, and to understand the unconscious background as
essential to human art and culture – while the absence of such a background
in the case of AI-generated products serves as the fundamental criterion for
evaluating them as non-art.
Ultimately, so-called AI art may be regarded as inflationary and akin to the
notions of remake or cover – thus representing a form of artistic recycling
rather than an expression of genuine, original art.

Dimensiuni multiculturale și simbolice în Turangalîla Symphonie de Olivier Messiaen

Gabriel BULANCEA — Mon, 04 May 2026 12:45:05 +0300

Through anamnesis and self-inquiry, the soul rediscovers its spiritual
roots, its essential identity, and its primordial unity - composed of those
dispersed sequences, like fragments in a mosaic. The exercise of self regeneration unfolds within the broader framework of multiculturalism. Its
risk lies in the potential loss of one’s own spiritual essence, of that which
defines us as an identity-bearing legacy; yet, at the same time, it enables
renewed interrogations and deepened understandings of one’s inner
substance. This endeavor is by no means an easy one, as the tendency is to be
seduced by the exoticism of new spiritual forms, by their novelty, frenzy, and
atavistic allure. Nevertheless, these can be integrated into a whole in which
they coexist through their specific modes of spiritual expression, without their
individuality being erased. Turangalîla-Symphonie by Olivier Messiaen
embodies this unified vision from a multicultural perspective, exploring the
vast universe of spiritual manifestations on a level where the boundaries
between them blur into a greater whole. The present essay does not propose
a narrative in the traditional sense, but rather constructs a universe of states,
symbols, and correspondences that invite contemplation. Multiculturalism
here is not merely an aesthetic pretext, but becomes the expression of a
spiritual quest aimed at integrating otherness within a horizon of unity.
Messiaen offers a musical reflection on the fundamental themes of existence
- love, death, time, and ecstasy - using a sonic language that transcends
conventional forms and aspires to a communion with mystery. This essay
proposes an analysis of the work from a symbolic and philosophical
perspective, highlighting its structure, themes, and profound meanings that
give the composition a rare evocative power within twentieth-century music.

Muzicieni franciscani din perioada clasică a polifoniei vocale

Cristian DUMEA — Mon, 04 May 2026 12:53:24 +0300

The present investigation focuses on three musicians of the Renaissance,
representatives of the Franciscan Order. They are Rufino Bartolucci,
Costanzo Porta, and Girolamo Diruta. The information is new and it shows
an effervescent musical activity in relation with this religious Order and its
contribution to the history of music from the classical period of vocal
polyphony. Also, Girolamo Diruta’s organ method proves the relations
between Transylvania and the Venetian school.

Viziunea regizorală, light design-ul, coregrafia și pregătirea muzicală a musicalului CATS:

Florin-Adrian Mărginean — Mon, 04 May 2026 13:01:16 +0300

CATS: YOUNG ACTORS’ EDITION by Andrew Lloyd Webber, based on the
“Old Possum's Book of Practical Cats” by T.S. Eliot was our choice for a full
cast of students show. With this project, we wanted to nurture the love of
musical theatre in the young generation, under the guidance of university
teachers. Apart from the beautiful and well renowned music, we chose this
musical because it requires a full artistic development (singing, dancing,
acting) and also because the costumes can be very colorful and bright. We
had teachers for all of the 3 aspects of artistic development required for this
show: Assist.Lect.(PhD) dr. Florin-Adrian Mărginean as director, conf. univ.
dr. Assoc.Prof. (PhD) Silvia-Alice Niță and asist. univ. drd. Assist.Lect. and
doctoral student Ciprian Oloi as music teachers, lect. Assist. Prof.
(PhD)Ionuț Mitrofan as scenographer and undergraduate Valentina Iumen
for the choreography.
Our vision was to portray the atmosphere of a night in the suburbs of New
York, with phosphorescent paint and other interesting elements, like contre-jour lights and screenings. The direction and the choreography were all
adapted to suggest the movements of cats.

Inovație și exotism în muzica de operă franceză.

Lorena MĂRGINEAN — Mon, 04 May 2026 13:05:27 +0300

The Orient started to fascinate France since the seventeenth century. In the
beginning of this process, operas just had exotic subjects. Only in the
nineteenth century, the french operas began to implement the exoticism in the
music also. Some of these musical characteristics are the very frequent
changes in the measure, the use of modes instead of tonality, and the use of
the augmented second.
Also, this oriental influence brings some vocal typologies into focus: the
mezzosoprano for the western influence (Spain) and the very high coloratura
soprano for eastern influence (Sri Lanka, India).
The oriental influences will be deeper analyzed through the first entrance of
the character Léïla from “Les pêcheurs de perles” opera by Georges Bizet,
in the context of my personal interpretation of this role at the “Nae Leonard”
Opera and Operetta Theatre from Galați.

Concept scenografic, decoruri și costume pentru musicalul CATS:

Ionuț MITROFAN, Florin-Adrian MĂRGINEAN — Mon, 04 May 2026 13:13:24 +0300

We wanted this show about cats, played only by students, to be full
of colors and lights, so we blended the concept of colors with the realistic
vision. The sets were designed to portray a night in the streets of New York
with realistic elements, such as: a small replica of the Gapstow bridge from
Central Park, skyscrapers drawn on black curtains, old wheels or garbage
cans. They were all “brought to life” by fluorescent paints.
All costumes had a common concept: ballet body with fur attached to it, to
create the look of a real cat. They were all individualized, as well as the make-up.
We created a vivid show with both new and traditional elements of setting.

În labirintul conștiinței: drama identității moderne și psihodinamica personajelor în Jocul ielelor de Camil Petrescu

Eugenia Tatiana BULANCEA, Sandrina MINDU — Mon, 04 May 2026 13:19:59 +0300

The unveiling of fictional structures in Camil Petrescu’s work, Jocul ielelor
(The Game of the Fairies), through the application of the psycho-critical
analytical method involves a recalibration of the reading tools specific to the
dramatic genre based on psychodynamic and philosophical-symbolic
criteria. By analyzing the main character’s inner conflict, with the tensions
between absolute values and corrupt reality, a structure of duality is
configured, with the female figure as the lost anima/animus, the projections
of the moral shadow, and the mythology of the fairies as an expression of the
unconscious. The perspective is circumscribed both as an analytical model
and as a work of modern artistic expression, in the context of interwar
Romanian theater’s evolution. It configures expressionist influences, the
critical reception of the work, and the relevance of its themes in the post-truth
era. The focus of the image on the characters through an existential lens
exposes the drama of modern identity, the radical inadequacy of
consciousness in relation to the world, and death as an extreme form of moral
coherence. The relevance of the text in the context of the moral crises of the
present is argued in order to emphasize the dramatic work’s status as a
tragedy of conscience and as an essential link in modern Romanian theater.

AI și artele performative Prezentul postumanist – perspectivă antropologică, istorică și psihologică

Victor Ioan MIHĂILESCU — Mon, 04 May 2026 13:24:38 +0300

Adopting an interdisciplinary lens that bridges anthropology, history,
psychology and performance studies, this essay traces a longue-durée
genealogy of five civilisational “revolutions” – cognitive, agricultural,
scientific, industrial, and digital – to explain how each has progressively
compressed historical time while redistributing agency between humans and
their technological milieu. For every rupture the essay sketches the cascading
shifts in mentality, social organisation and technological infrastructure,
showing how these, in turn, reconfigured theatrical conventions and the
performer–spectator relationship. The present digital revolution, defined by
ubiquitous connectivity, algorithmic mediation and planetary demography, is
framed as a liminal zone leading toward a post-human horizon in which
artificial intelligence operates not merely as instrument but as autonomous
or symbiotic co-creator. Anticipating a “post-Anthropocene theatre” situated
within a self-reflexive technosphere, the paper outlines scenarios involving
synthetic performers, mixed-reality dramaturgies and distributed authorship,
while foregrounding the ethical stakes of amplified power asymmetries,
cognitive overload and potential existential risk. The argument ultimately
positions AI-driven performing arts as both laboratory and litmus test for
negotiating embodied presence, authenticity and shared meaning in an age of
distributed agency, urging proactive governance, inclusive digital literacy
and a renewed ethics of co-creation to ensure that the next revolution becomes
a scene of collective flourishing rather than conflict

Vorbirea scenică în spectacolul de teatru imersiv

Ioana VISALON — Mon, 04 May 2026 13:28:13 +0300

Contemporary theatrical performance increasingly calls upon sophisticated
technical tools and methods, taken from cinema or the video game industry.
Whether we are talking about the inclusion of live or recorded footage, the
creation of immersive sensory environments or augmented reality, the new
challenges generated by this technological avalanche require a continuous
adaptation of the pedagogical methods and tools used in the training of future
actors. The speed with which theater incorporates the overwhelming
technical progress of recent years risks producing work situations for which
theater school graduates are not propely prepared. This article analyzes the
challenges that arise as a result of this innovative context, through the prism
of the verbo-vocal training of Acting students and the need to adapt specific
pedagogical tools to contemporary theatrical trends.