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Filmul istoric românesc în proiectul construcţiei "naţiunii socialiste": 1965-1989
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 6, Heft 3, S. 683-709
Cinematography was deliberately organized, financed and oriented towards the purposes of the system and consequently became the most effective element of political and cultural pedagogy. The synchronic correlation between word and image, the power of visual suggestibility, empathy as an emotional response to the actors' performance - all these had immediate effects on the collective imaginary, on the perception of reality as a social and identity-forging project determined by the emergence of the ideological discourse. The Romanian socialist cinematography from the time of Ceauşescu synthesized and systemized a coherent and explicit system of values wherein it integrated the message of literary and other artistic works, of variegated forms of cultural expression, so that Romanian cultural axiology could find new possibilities to stand out in strict dependence to the institutional and optional structures of mass culture. The cinema per se thus became a sort of pedagogy for universal use, rendering the past heroic, as it exacerbated the national ego via the instruments of entertainment. Highly permeated ideologically and quasi entirely subordinated to the Communist cultural policies, the cinema production, carried out because of the appeal to emotions and collective memory, thus became part of the official discourse and orientated its issues, especially after the 11th Congress of RCP, according with the political and ideological interests of the national Communist project. The analysis focuses on the Romanian historical films with subjects and episodes relevant for the ancient and mediaeval history, in relation with the efforts of identity reconstruction, coordinated during the Communist regime in relationship with the project of the socialist nation's building and, after 1989, in relationship with the attempt of reconsolidating, sometimes from a radical perspective, the nationalist mythologies. Socialist patriotism thus incorporated many stereotypes drawn out from the ante-bellum, as well as from the inter-bellum Romanian spirit: the lyric of self-identification expressed by the film soundtrack and by the majestic character of the heroic gestures, the heroic epic obvious in the popular ballad pattern of pre-modern nature, the activist pedagogy specific to all forms of identitarianism. Despite all this ideological infusion, the mythology of Romanian historical films during the Communist nationalist times remains one of a sadistic-masochistic nature, cultivating the fear towards the Other, fatalism, expectation and obedience, all chronic and historicized.
Femeile, Marele Război şi metamorfozarea civilizaţiei franceze (1914-1918)
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 11, Heft 3, S. 423-445
The present study investigates the participation of French women at war as reflected in documents, media, diaries. Women emancipation, pacifism, socialism, feminism, are but a few issues introduced with this study. The main purpose was to analyze the impact of interventionist state policies on women life in France, and to reveal its social, political and cultural outcomes that altogether generated the upheaval of the French Civilization.
Artă în spațiul public sau artă pentru sine: ipostaze ale artistului Ion Grigorescu în epoca comunistă și posttotalitară
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 17, Heft 3, S. 399-415
This article discusses the case of Ion Grigorescu, and of his ambiguous relationship with the communist regime, which he registered through a form of "documentary realism". Through his "realgrams" Grigorescu documented real life experiences in an innovatory approach to the majority of Romanian artists of the time using photographs of his everyday environment, and being inspired by his social and political context. Grigorescu is thus an artist committed to the public space and assuming a critical stance without it being discursive, pedant or moralizing. The approach of this study is descriptive, based on the artists' artworks and self-descriptions, and seeking to situate Grigorescu's approach in the context of the communist regime and its transformation after 1990 into a democratic regime. The conclusions show that Grigorescu's artworks are anti-system, criticizing any establishment, no matter in which regime he finds himself. His contestation is specific to a committed artist that chooses to express his freedom of expression beyond his own studio.
Antireformă şi reformă în şcoală, la căderea regimului comunist
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 8, Heft 4, S. 849-868
The present study investigates the major problems and challenges faced by the Romanian educational system during the last years of Nicolae Ceauşescu's regime. My main focus is on the so-called "polytechnic" education as a mean to reform and improve the system, and the debates it generated starting with the late 1970s. Consequently, the paper also examines the evolution of the debate and the top-down and bottom-up projects and initiatives to reform the educational system during the first decade following the collapse of the communist regime in Romania in December 1989. The aim is to present the clashing visions of different actors over the idea of reform and the urge to implement it, nonetheless to reveal the long term deadlock generated by this situation within the Romanian educational system.
Arta fotografică românească în perioada 1968-1978: evoluţia revistei fotografia
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 17, Heft 3, S. 313-336
During the communist regime, photography was a popular activity due to the existence of the Association of Photographic Artists. Its members weren't professional artists, but mostly people with technical backgrounds, and who transformed their hobby into a job. The lack of interest of Romanian artists in photography (except for a few particular cases such as Ion Grigorescu or Ștefan Bertalan) can be explained by the fact that there were no photo-video departments within the art universities and the Romanian Artists' Union (UAP), the only form of institutional organization of the Romanian artists, had no special photography department. Therefore, the photographic practice in communist Romania was linked to the Association of Photographic Artists and not to the Romanian Artists' Union. The evolution of its activity in the period between 1968 and 1978, and the impact that politics had on it transpire very well from the evolution of the Fotografia magazine, the only photo periodical of that era. This article shows that even in a creative field, which was overlooked by the Communist Party, the echoes of the official political discourse were felt, mainly after 1975. We have outlined two aesthetic trends in the mid-1970s. One was the photograph obtained by laboratory procedures, supported by a depoliticized discourse and the second was a pseudo reportage photography, namely the communist propaganda photography.
Statul actual: un hibrid post-managerialist sau neoweberian? Remarci liminare
International audience ; The article questions, in a skeptical and prospective way, the institutional outcomes of this major trans-national trend of administrative reformism known as "New Public Management". In our view, the main cross-border legacy of the process of acclimatizing NPM precepts and recipes to various national configurations consists essentially in institutional rearrangements and in a repertoire of managerial tools and recipes, embedded into different institutional orders and hybridized with many other key features of various administrative cultures. Backing up major administrative reforms started several decades ago, the NPM rhetoric claimed to furnish the universal cure for the "bureaucratic" disease which was supposedly affecting the developed states at the end of the 1970s. From then on and although it never acquired the inner coherence of a real doctrine, it spread all over the world at the point of becoming both a "policy paradigm" and a "praxeologic". However, once implemented and in order to endure, the NPM-inspired logics, instruments, and methods have fatally begun to suffer a process of routinization which transformed them significantly. Hence, far from achieving their initial goal of "de-bureaucratizing" the state, NPM reformism became part of the endless processes of bureaucratic reproduction inescapably affecting modern states and ensuring their resilience.
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Statul actual: un hibrid post-managerialist sau neoweberian?; remarci liminare
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 10, Heft 3, S. 413-423
The article questions, in a sceptical and prospective way, the institutional outcomes of this major trans-national trend of administrative reformism known as "New Public Management". In our view, the main cross-border legacy of the process of acclimatizing NPM precepts and recipes to various national configurations consists essentially in institutional rearrangements and in a repertoire of managerial tools and recipes, embedded into different institutional orders and hybridized with many other key features of various administrative cultures. Backing up major administrative reforms started several decades ago, the NPM rhetoric claimed to furnish the universal cure for the "bureaucratic" disease which was supposedly affecting the developed states at the end of the 1970s. From then on and although it never acquired the inner coherence of a real doctrine, it spread all over the world at the point of becoming both a "policy paradigm" and a "praxeologic". However, once implemented and in order to endure, the NPM-inspired logics, instruments and methods have fatally begun to suffer a process of routinisation which transformed them significantly. Hence, far from achieving their initial goal of "de-bureaucratizing" the state, NPM reformism became part of the endless processes of bureaucratic reproduction inescapably affecting modern states and ensuring their resilience.