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Publicul ceh are acum ocazia să citească în limba cehă încă două titluri din operele scriitorilor români: Viaţa pe un peron, de Octavian Paler şi Numărul de aur – Rituri şi ritmuri pitagorice în dezvoltarea civilizaţiilor occidentale, de Matila C. Ghyka.

Un medalion şi un grupaj de traduceri din poemele Ninei Cassian au fost publicate în numărul 246 (aprilie-mai 2009) al revistei literare italiene L'immaginazione. Este pentru prima dată când în Italia apar traduceri din poezia Ninei Cassian, ca efect al întâlnirii

Romanian bravery is neither a musketeer's, nor itinerant (like the Western knights'), or quixotic; it does not take initiatives: a typical example is [Mircea the Elder's battle against the Turks at] Nikopol. I do not attack, I defend myself; I do not tease,

Centrul Român de Informare de la Bruxelles împreună cu European Artists Management, cu sprijinul Institutului Cultural Român prezintă duminică 26 aprilie 2009, la Bruxelles, în cadrul programului Un Dimanche Matin. Rencontres avec des musiciens roumains et leurs invités,

Foreword The few words that I put as motto at the beginning of this book can be translated like this: God must have had a hidden plan for this people that the western states rediscovered on the banks of the Danube and adopted like Pharaoh's daughter adopted Moses.

Toward the end of the Middle Ages, the Romanians, until then living in their traditional peasant autonomies, which stand for an entire, complete political order with archaic roots, arrived, after the abolition of anarchy, at their boundaries and, on one side, because of

Beauty runs dry,But wisdom grows high. BecauseWhen teeth in the mouth were few,My brains were scarce too.  Because Man cannot possibly have both youth and wisdom. But One is young among the young, and old among the old. AndHe who has no old people should buy some.  1852-1853,

The only self-relying public dance company in Romania, the Oleg Danovski Ballet Theater carries out an extremely complex and sustained activity mirrored in the diversity of its productions and projects. In 1999 the company opened its gates to the personalities of the Romanian

Significant and flamboyant, this success reaped by the Ballet Ensemble of the Fantasio Theatre in Constanţa: a corps which has made the proof of less common technical virtues and that of an exceptional graphical grace in maintaining a new (and viable) language derived from

If to the ordinary Romanian ballet aficionado the name Judith Turos doesn't ring a bell, to the German press she is die Turos, just like Italians say la Fracci. Born in Baia Mare, she attended the Choreography High School in Cluj and graduated from the Moscow Ballet

I met Ioan Tugearu in Constanţa at the Oleg Danovski Ballet Theater where he spent days on end staging Kurosawa, Mon Amour, on a collage of traditional Japanese music, with stage decoration by Ion Codrescu. The show premiered early in September. With a tape-recorder in

The International Dance Festival in Constanţa presented in the final gala a special guest: Simona Noja, prima ballerina of the Vienna State Opera, another Romanian who, having left her native country for 10 years, has built a successful career on the world's stages.