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The common ways of art and theology reunite in a universe specific for both of them, a universe of the interdependence of the sacred ad the profane. Eventually, the aesthetic emotion is granted not by the subject itself approached by Bartolomeu, but by the modality in which it is presented, by the shape of the discourse proposed by Anania. What determines the tonality specific for the essayistic discourse is related to the unlimited love the author feels for the national specificity. The common link for all the topics approached in the volume is tradition. Were we to relate to the theory of the aesthetic value, we should have to mention the fact that for Bartolomeu, the icon is seen both religiously and artistically, which is the maximum compromise his status as a theologian could admit.
An important moment of the Liturgy is called anamnesis or the prayer of remembranceand consists in recalling the path of our Lord Jesus Christ, from the Embodiment to the LastSupper, the Passions, the death, and the Resurrection. The inner process of re-cognition throughremembrance and experience through the spirit during the rite of anamnesis must have had a profoundeffect on the views and practice of a poet who was also a priest. This transforming perceptionas part of his spiritual experience probably needs to be supported by theory; we have tried to offer atheoretical dimension to the interpretation by performing a simultaneous reading of the poetic imageand the hermeneutic image. The text on the theology of the icons in Cerurile Oltului by ValeriuAnania offers a complex answer to this issue. Shibboleth authentication is only available to registered institutions.