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"In this collection, Cătălina Florina Florescu focuses on several contemporary Romanian female playwrights with residencies in Europe and the U.S. In their bold works, written by female playwrights who are academics, activists, and performers, we are invited to discover variations in the modus operandi of the dramatic language itself from metaphorical to matter-of-fact approaches. Furthermore, while all these playwrights speak Romanian, they also think and operate in various other languages, such as Romani, German, French, Italian, and American English. This book facilitates scholars and students to discover contemporary issues related to Romanian society as presented heavily from a feminine angle and to reveal intersectional issues as seen and applied to dramatic characters in a post-communist country from some authors who experienced communism first hand. The book is also an invitation to reinvent how we teach dramatic literature by offering 20 interactive, exploratory activities"--

This book, Applied Social Sciences: Communication Studies, is a collection of essays specific to the field of Verbal and Non-verbal Communication. It contains essays on the role of communication in the academic library (interculturality), IT (collaborative web, digitalisation), literary fiction (folktale, Romanian drama), management (conflict management, election campaign discourse, public relations, terrorism risk), marketing (advertising, brand, cultural events), mass-media (censorship, glo

The article offers an in-depth discussion of Radu Jude's 2016 film Scarred Hearts, adapted from Max Blecher's autobiographical novel with the same title (1937), as well as other of his writings. The article is structured in four parts. The first references André Bazin's celebrated essay on Robert Bresson's Diary of a Country Priest, bringing it to bear on a discussion of the unorthodox relation between Jude's film and its literary sources. The second section of the article discusses Jude's decision to foreground the protagonist's—and the novelist's—Jewish identity. Set far from home, in France, in an isolated sanatorium for tuberculosis, Blecher's novel was unconcerned with public events such as the rise of the anti-Semitic far right all over Europe; they didn't intrude—not even as background noise. Transposing the story to a Romanian sanatorium, Jude decided to have the young Jewish protagonist go through his experiences with terminal sickness and literature, with love and friendship, against an implied background of rising anti-Semitism, of increasingly widespread support for the local Iron Guard, as well as for Hitler. In its third section, the article discusses Radu Jude's approach to period drama, analyzing his mix of period detail and anachronism. The fourth section discusses Jude's intermedial game-playing and general artistic playfulness.

The ethnic structure of this region has been heavily influenced by the evolution of the various historico-geographical factors and policies. Most of this structure, however, is linked to the evolution of the denominational structure. Ethnicity in this case is closely related to religion. The political reality, the events with political overtones that occurred during these centurieshad a direct influence regarding the conduct of processes and phenomena related to the ethno-confessional evolution of the area subject to our research. In this period the region is part of the Austrian state (before 1867), Austro-Hungarian Empire (1867 to 1918), Hungary (1940-1944) and Romania (1918-1940, 1944 - present). This space is located in the western area and it is mainly inhabited by Romanians. The continuous presence of Romanians here is documented ever since its formation. The ethnic group of Romanians has been facing a considerable demographic pressure that came from the Hungarians (the neighbouring ethnic group) or from groups or immigrants settled in this space (we refer in this case mainly to the Germans, Slovaks, Gypsies and Jews).
Major geopolitical changes of the twentieth century and political decisions, especially extremist dictatorial regimes (Horthyst-Hungarian and communist-Romanian) led to significant changes in the ethnic structure of the region northwest Transylvania. Policy decisions, especially those taken during the dictatorial political and extremist regimes during the twentieth centurywere able to seriously affect ethno-religious realities of the Romanian space, especially in Transylvania. Be it the Hungarian or Romanian authorities during the two world wars or the communist dictatorship, decisions were taken that changed the ethnic map of the Romanian space. Suffice it to recall the drama of the Jewish community of the Second World War or the "sale" of the Germans and the Jews by the Communists in the postwar period.

My generation in Eastern Europe was caught in the middle of two revolutions (1944 and 1989), which instead of moving history ahead pushed it backward. We thus at first made a U-turn-a tortuous one, to be sure-from underdeveloped capitalism to underdeveloped socialism, but because socialism and underdevelopment are strange bedfellows,we have since discovered we were on the wrong path and are trying now to return to where we started. The drama of that generation is what this book is about.

Abstract
The present article aims at presenting features specific to translating dramatic texts, the peculiarities of the genre and how these can be tackled in the process of translating. The case study comprises an analysis of the translation and adaptation for radio broadcasting of Samuel Beckett's Krapp's Last Tape. Theoreticians have constantly pointed out that drama translators should always focus on the performability, speakability, gestural and aural dimensions of the text, given that the final product has to be playable in front of an audience. The ultimate goal is to obtain a text that sounds natural and is easily understood, where the aural and gestural dimensions fit and work together. In order to make the translated text performable in another medium, certain changes are necessary. In the present case study – adapting a play for radio broadcasting –, everything visual becomes aural, and in this process stage directions are the most challenging to be handled. Adding, omitting or rephrasing are options that the translator has to constantly consider.

The subject of this PhD dissertation is the historical reconstructions films produced in Romania under communist rule and more precisely between 1960 and 1989. It analyses the social and cultural significance of the representation of national past but also the social and political aspects involved in the production process. In order to understand these research objectives our approach we stress first various logics which chairing the state action towards the culture and in particular towards the cinematography. We intend to analyze the economic, political and ideological conditions of the film production, the directives concerning the general thematic and the orientation that the party tries to induce to the cinema. To complete the picture of social relationships, this study tries to emphasize the stand taken by the creators and the bureaucrats towards different policies, the resistances, the liking, the collaborations. Second, this study envisages the restoration of the sociocultural processes that gave birth to the historic movies. We try to understand the internal conception process of every work, the social dynamics, the ideological positions of the party, the artists, the bureaucrats or the historians and the decision-making mechanisms. We try to correlate the vision of the creators with the position of the historians and the party through a targeted focus at the various levels of film writing as well as at the operations of subterranean negotiations in order to defend a vision or another. Finally, the third level of analysis, is interested in the deciphering of the movie as a complex artistic product combining three forms of expression (image, language and sound) aiming at reveal the political and cultural meanings of past reconstruction. We study the film representations of the historic myths, their evolution from the 1960 to 1980s and the specific contribution of the cinema in their reproduction. ; Cette thèse porte sur le film de reconstitution historique réalisé en Roumanie pendant la période ...

The subject of this PhD dissertation is the historical reconstructions films produced in Romania under communist rule and more precisely between 1960 and 1989. It analyses the social and cultural significance of the representation of national past but also the social and political aspects involved in the production process. In order to understand these research objectives our approach we stress first various logics which chairing the state action towards the culture and in particular towards the cinematography. We intend to analyze the economic, political and ideological conditions of the film production, the directives concerning the general thematic and the orientation that the party tries to induce to the cinema. To complete the picture of social relationships, this study tries to emphasize the stand taken by the creators and the bureaucrats towards different policies, the resistances, the liking, the collaborations. Second, this study envisages the restoration of the sociocultural processes that gave birth to the historic movies. We try to understand the internal conception process of every work, the social dynamics, the ideological positions of the party, the artists, the bureaucrats or the historians and the decision-making mechanisms. We try to correlate the vision of the creators with the position of the historians and the party through a targeted focus at the various levels of film writing as well as at the operations of subterranean negotiations in order to defend a vision or another. Finally, the third level of analysis, is interested in the deciphering of the movie as a complex artistic product combining three forms of expression (image, language and sound) aiming at reveal the political and cultural meanings of past reconstruction. We study the film representations of the historic myths, their evolution from the 1960 to 1980s and the specific contribution of the cinema in their reproduction. ; Cette thèse porte sur le film de reconstitution historique réalisé en Roumanie pendant la période ...

The subject of this PhD dissertation is the historical reconstructions films produced in Romania under communist rule and more precisely between 1960 and 1989. It analyses the social and cultural significance of the representation of national past but also the social and political aspects involved in the production process. In order to understand these research objectives our approach we stress first various logics which chairing the state action towards the culture and in particular towards the cinematography. We intend to analyze the economic, political and ideological conditions of the film production, the directives concerning the general thematic and the orientation that the party tries to induce to the cinema. To complete the picture of social relationships, this study tries to emphasize the stand taken by the creators and the bureaucrats towards different policies, the resistances, the liking, the collaborations. Second, this study envisages the restoration of the sociocultural processes that gave birth to the historic movies. We try to understand the internal conception process of every work, the social dynamics, the ideological positions of the party, the artists, the bureaucrats or the historians and the decision-making mechanisms. We try to correlate the vision of the creators with the position of the historians and the party through a targeted focus at the various levels of film writing as well as at the operations of subterranean negotiations in order to defend a vision or another. Finally, the third level of analysis, is interested in the deciphering of the movie as a complex artistic product combining three forms of expression (image, language and sound) aiming at reveal the political and cultural meanings of past reconstruction. We study the film representations of the historic myths, their evolution from the 1960 to 1980s and the specific contribution of the cinema in their reproduction. ; Cette thèse porte sur le film de reconstitution historique réalisé en Roumanie pendant la période ...

Introduction -- Narratives of discord: misinformation, dissimulation, truth -- Voices from Below. Propaganda and Petitioning Power in Late Socialist Romania (Mioara Anton) -- The Great Discursive Divide in Communist Romania (Veronica Manole) -- "Words that Must Not Be Named": Narratives of Language, Power, and Identity in Communist Romania (Réka Lugossy) -- Compromise or Survival. Adapting the Religious Discourse and the Topics Covered in Publications of the Romanian Orthodox Church during the Communist Regime (Călin Emilian Cira) -- The Founding Texts of a Revolution. Romania 1989 (Kazimierz Jurczak) -- Words at war: expressive forms of resistance, dissidence and protest -- The Language of Inner Freedom for Dissent: Müller and Liiceanu before and after the Revolution (Jonathan Lahey Dronsfield) -- The Rhetoric of Albanian Insurgency: Communism and Anti- Communism in Kosovo (Henrique Schneider) -- The Change of Worlds and Words. The Language of Protest during and after the Romanian Revolution in 1989 (Dina Vîlcu) -- Written, spoken, performed: archiving the memory of (post-)communism -- Humility and Hatred, Forgiveness and Hope. A Linguistic Approach on the Subjective Literary Experiences in the Romanian Communist Society (Maria-Zoica Eugenia Balaban) -- Retrieving Memory via Desk-Drawer Literature: from Reality Escapism in Stories about Cadmav to Contemporary Reflective Writing in With My Woman's Mind (Ioana Mudure-Iacob) -- Surviving the Change, Adjusting the Language. Romanian Writers in the Cultural Media, December 1989-1990 (Magdalena Răduță, Oana Fotache) -- The December 1989 Revolution in Post-Communist Romanian Drama (Anca Hațiegan) -- Staging Communism in Romania: Language, Propaganda, Memory in Caryl Churchill's Mad Forest and Matei Vișniec's How to Explain the History of Communism to Mental Patients (Alina Cojocaru) -- The Language of the Velvet Revolution versus the Anti-Language of Post- Communist Crime. A Sociolinguistic Analysis of Contemporary Czech Crime Historical Television Series (Luboš Ptáček) -- Surprising Silence? Possible Reasons for Scarcity of Representation of the Velvet Revolution in Czech Film Adaptations in the 1990s (Radoslav Horák) -- Comparing the Portrayal of the Fall of the Berlin Wall in Two Spanish Newspapers: A Multimodal Analysis (Samira Allani, Silvia Molina-Plaza) -- Borghesia and Laibach against the Socialist Regime of Yugoslavia: Insights from a Socio-Linguistic Analysis (Mitja Stefancic) -- Conclusions.

Invited comparative essay about two major figures in Hungarian and Romanian playwriting, discussing their work in a transnational context. This chapter focuses on two renowned playwrights who started their careers in the 1980s and came to prominence after the fall of the Iron Curtain in attempting to offer snapshot of the current Romanian and Hungarian theatre scenes, therefore, the blurring of boundaries is key. 'Barrack Dramaturgy' attempts to foreground deeply ingrained cultural memories, or memories that are not personal to us yet still attached to us, and reconfigure these as if they were our own. Visky taps into personal and collective memory to evoke the past, and although inspired by local events, his plays contain a global dimension that transcends geographical and cultural boundaries. Coming to prominence precisely in the period of transition from a socialist to a market-oriented regime, both playwrights show awareness of the complexities inherent in economic as well as political and cultural change. The play explores a gradual deployment of menace that blurs the boundaries between actual and imaginary situations, and is among Visniec's works.

The article reflects on the issues of European social, political and ethical disintegration by looking at two plays which represent both geographic and mental migration of European citizens. Zinnie Harris's play dramatizes a journey by an energetic businesswoman from the state of seeming success to the condition of collapse of the entire continent. Masłowska's drama tells the story of a couple who have lost their geographic but also existential bearings after a prolonged bout of drug abuse and partying. The article aims at presenting the European continent as a space of alienated social and personal experience, as a community of people in permanent exile from both the private space and the public ideologies. The two plays offer a reflection on the condition of pre-Brexit Europe with the power of capturing representative lives of those individuals who have lost the sense of the common cause. ; Artykuł ukazuje społeczną, polityczną i etyczną dezintegrację koncepcji wspólnej Europy na przykładzie dwóch dramatów opowiadających historie geograficznej i tożsamościowej migracji Europejczyków. Sztuka Zinnie Harris przedstawia podróż z Wielkiej Brytanii do Aleksandrii, której towarzyszy finansowy i instytucjonalny upadek europejskich struktur państwowych. W dramacie Masłowskiej ukazana zostaje historia dwóch podróżujących osób, które straciły zarówno tożsamość, jak i kontrolę nad własnym losem i kierunkiem podróży. W obu utworach Europa jawi się jako miejsce alienacji, jako wspólnota poszukująca tożsamości i doświadczająca wykluczenia. Autorki opowiadają o kryzysie tożsamości, który widoczny był w okresie przed brexitem, a który obecnie stanowi główne wyzwanie kontynentu poszukującego nowej idei wspólnotowej.