The Philology specialty (within the Faculty of History and Philology) was one of the first within the Chisinau State University, established in 1946. The Department of Moldovan Language and Literature had to respond to the requirements of the Soviet authorities and propagate a new language, distinct from Romanian - the "Moldovan language". The article presents the policies of the Soviet authorities to promote new lexical and orthographic regulations, to support the cadres enslaved to the policies of denationalization by encouraging the so-called "shantists", to marginalize philological education and the Romanian/ "Moldovan" language from social communication. Simplistic courses and poorly trained teachers were present until the end of the 60s, when the Faculty of Philology became independent and changes in attitude towards philological education occurred. Over the years, the Faculty of Philology underwent several reorganizations, and in 1995 its name was changed to the Faculty of Letters. In 2006, the Faculty of Letters comprised four specialized departments: the Department of Romanian Language, General and Romance Linguistics; the Department of Romanian Literature and Literary Theory; the Department of Classical Philology; and the Department of Russian Philology. This structure remained in place until 2016, when the Faculty merged with the Faculty of Foreign Languages and Literatures, becoming what is today the Faculty of Letters of the State University of Moldova.
The article starts from the premise that the music video is usually regarded as a derivative product of the music industry, primarily serving a promotional function, but argues that certain creations transcend this status and operate as autonomous audiovisual forms. One such case is the artistic universe associated with Mylène Farmer, particularly her collaboration with Laurent Boutonnat, in which music videos approach cinematic language through extended duration, coherent narration, dense symbolism, and a carefully controlled visual composition. The study proposes an exclusively cinematic analysis of these videos, considering them as "films of the length of a music video", constructed with prologues and epilogues, sound atmosphere, dialogue, background music, and a form of editing that does not strictly follow the tempo of the song. The paper highlights a clear break with the conventional norms of the genre - hyper-fragmented editing, obsessive synchronization, and immediate spectacle - in favor of long takes, controlled composition, and a chiaroscuro aesthetic. Through examples such as Libertine, Pourvu qu'elles soient douces, Sans logique, and Tristana, the article emphasizes thematic and visual continuity, the loyalty of the creative team, and the cinematic ambition of these productions: expansive sets, period costumes, intense atmosphere, and narrative structures capable of incorporating cultural and pictorial references (such as Goyaesque echoes). Finally, it demonstrates that although Farmer has collaborated with other directors, the aesthetic core of the Farmer-Boutonnat period remains a landmark in the evolution of the music video as a major artistic form worthy of analysis within film studies
The study addresses the question of the three testaments left to posterity by Dimitrie Cantemir. The first, the political one, formulated in the Diploma of Lutsk of 2 April 1711, contains two principal clauses: the hereditary transmission of autocratic state power in Moldavia to the Cantemir dynasty, and the recognition by Russia, in the person of Tsar Peter I, of the territorial integrity of the Principality of Moldavia through the recovery of the territories conquered by the Turks between 1484 and 1711. The second, the testament proper, drawn up by the prince on 22 September 1722, sets out how his estate accumulated in Russia was to be divided among his children and close associates, with Catherine I, Empress of Russia, as executor. The third concerns his entire scholarly legacy, elaborated throughout his life in the form of historical, philosophical, musical, literary, geographical and other treatises, which remained largely in manuscript and which, once published, entered the national and universal cultural heritage.
This paper explores how Oguega poems serve not only as spiritual tools for divination but also as oral archives preserving the community’s cosmology, moral philosophies, ecological wisdom, and social values. Drawing on ethnographic fieldwork in Esan (Edo) community, and textual analysis, the paper sightsees the thematic structures, symbolic language, and ritual contexts of Oguega performances. It unveils that, Oguega poetic expressions encode complex systems of knowledge relating to health, governance, conflict resolution, environmental stewardship, and other sociopolitical wisdom passed down from across generations. The paper posits that Oguega poems constitute an enduring medium through which the Esan (Edo) people negotiate identity, transmit ancestral wisdom, and adapt to socio-cultural change.
The article examines the creative activity of the IZM Group, one of the representative artistic groups of the 2000s, which contributed to bringing alternative art in the Republic of Moldova closer to contemporary artistic practices in the European cultural space. The projects and exhibitions of the group’s members – Alexandru Raevschi, Victor Cuzmenco, Irina Francova, Dumitru Ermurachi, Iurie Ermurachi, and Tatiana Fiodorova – are examined, highlighting their interest in experimentation, creative freedom, and the overcoming of traditional artistic conventions. The study analyzes the group’s artistic concept, focused on issues such as the crisis of values, violence, geopolitical conflicts, human vulnerability, and other challenges of contemporary society. Particular attention is paid to the use of unconventional materials and techniques, as well as installation, art objects, performance, and artistic intervention, through which the artists construct a critical discourse on reality. The group’s activity contributed to the diversification and modernization of the contemporary art scene, while the creative freedom promoted by its members influenced the younger generation of artists emerging at that time within the artistic milieu of Chișinău.
