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This study submits to our attention some qualitative and quantitative aspects related to urban and semi urban habitat from the former Arad County in the eighteenth century. If in 1715 there were 6 market towns, at the end of the century were already 15. Based on the conscriptions, urbariums and census, I have tried to detect the evolution of market towns during the entire eighteenth century. Reform policy of the Habsburg absolutism has determined even an economic and demographic increase in the market towns of Arad County. Between those 15 market towns of the county existing in 1787 only Arad had obvious urban characteristics. Here was concentrated 6.15% of the county population. By comparison with other counties from Transylvania and Hungary, I have pursued to dignify and quantify different aspects of the urbanization degree in the Arad County registered in the eighteenth century. The development of market towns in Arad County has had the same evolution with those of Central and Eastern Europe, because the agrarian character of these localities was predominant. The evolution towards urbanization was evident along the eighteenth century both in terms of population growth and a great social mobility and also in light of the economic and municipal development. The transformations in the direction of modernization registered during the eighteenth century were the basement of the future process of urbanization of Arad County in the century that has followed.

The survey was conducted between March 30 and April 11, 2021 on a national sample of 1420 subjects. He measured the state of religiosity of the citizens with the help of several indicators: faith in God, frequency of prayers, church, fasting, confession, observance of holidays, reading the Bible, etc. The survey also measured attitudes toward teaching religion in schools, same-sex marriages, faith in the horoscope, trust in priests, attitudes toward abortion, the pandemic, politicians, and voting intentions.

The present paper wishes to be an inventory of the historical-demographical writings within Romanian landscape. We were able to identify preoccupation for demographic phenomena even since late 19th century, that have grown once with the creation of a discipline of historical demography in the post-war period, especially after the changes that Romania was put througt after Revolution in 1989.

Pierre Manent is viewed as a French thinker that develops in modern times the liberal tradition of political thinking. One of the most important issues of Manent's thinking that was not enough underlined it is the relationship between religion an politics and how this evolved from the beginning of Christianity until the main consequences of modernity. Manent view on religion and politics is the core of this paper analysis. The main contributions of Manent, such as Naissances de la politique moderne. Machiavel, Hobbes, Rousseau (1977), Histoire intellectuelle du lib.ralisme (1987) La cit. de l'homme (1994), Cours familier de philosophie politique (2001), La raison des nations. R.flections sur la d.mocratie en Europe (2006) are analyzed from this perspective. Our conclusion is that in the way Manent deals with the relationship between politics and religion there are some constants that may be found in all his work. These are: the relationship between the Church and the different forms of political organization in Europe (Civitas, Imperium, monarchy); the fact that Christianity is one of the few current relevant concepts for political, due to the failure of totalitarian ideologies; the idea that secularization in Europe is not irreversible; we live in "an age of separations", and Church-State is one of these separations; we witness the religion transformation process and the .tat la.que cannot survive to .tat-nation; the role of Islam in modern societies and his perpetual finding of a political form; the relationship between Judaism, state and nation; the issue of the Christian identity of Europe.

This article is a case study of the Romanian Artists' Union during the Thaw as an institution potentially capable of renewal by creatively applying the rules imposed in the totalitarian communist State. The methodology used is that of archival research through the use of the concepts of Repressive State Apparatus, Ideological State Apparatus (Althusser), dispositif (Foucault), and habitus (Bourdieu). The text shows that from 1953 until 1957, in the context of similar changes in the Soviet Union, the Union of Romanian Fine Artists underwent a gradual transformation, which culminated with the change of the Management Board and a professionalization on specific criteria of the structure. The characteristics of the modern foucauldian dispositif, that the Union acquired in the period of the Thaw, remained valid in the next period, of reideologisation (1958-1963). The conclusions are that even in conditions of totalitarianism, subjects and structures can introduce creative elements into the process of reproduction of a given order, by modifying this order.

The two documents which are the subject of the present study, made to share property in the event of divorce, help to form an image on various aspects of daily life, poorly known from other sources: household size, land property, earnings in marriage furniture, tools, animals, prices, food, secular and religious involvement of the private life etc. In addition to legal information, both inventories, which stood at the base of documents on which the property was to be divided, reveal another perspective on social history of Arad in the late eighteenth century.

This article deals with the emergence of a new type of crime prevention in
interwar Romania. Inspired by the Italian school of criminal law and by the
Italian Criminal Code "Rocco" (1930), the Romanian Criminal Code "King Carol
II" (1936) formulates a new type of criminal sanctions, explicitly designed to
address and combat the social dangerousness. Regarded as a major challenge to
the classic criminal system based on free will and guilt, the "security measures"
were formalizing new types of offenders defined as such not by their criminal
acts but by their criminal potential, redefining the scope and the goal of the
criminal prevention. Major debates in the epoch reveal the possible threats this
new type of criminal sanctions and of a criminal policy orientated towards risk
prevention, seen as closely connected with authoritarian tendencies, carried for
individual freedom and the rule of law. The legal issues discussed in the epoch prove significant for the current debates regarding the negative consequences the
preventive War on Terror have for individual freedom and the rule of law.

Starting from the case of Ion Irimescu, this article discusses the issue of continuity among Romanian visual artists before and after 1944. In this study, I argue that it was essential for the visual artists' survival and establishment as artists during the communist regime to enter into a clientpatron relationship. The existence of this relationship meant access for the artists to financial funds, promotion within the UAP, and protection from the measures, which the Securitate could have taken against them. This article is divided into four sections. Every section examines an episode from the life of Ion Irimescu. His interwar biography is presented in the first section, and his adaptation to the communist regime is the subject of the second part of this study. The last two parts analyse the factors which facilitated his confirmation and promotion as a state artist after 1944 and the relation of the artist with the Securitate.

The article takes issue with the deeply entrenched historical conception about the shaping of social policies in pre-communist Romania, which indicates socialist politics and socialist-enlisted worker trade-unionism as the only significant agents of change, also depicting the non-socialist political forces of the time as participating to the process by merely employing the strategy of stern resistance and piecemeal concessions. The alternative view offered stresses the pivotal roles performed in the context by the ideological trend of socially-minded liberalism, by the movements of professional representation with petty entrepreneurial and white-collar constituencies and by the corporatist design for the representation of professional interests. The successive stages of the inquiry leading to the formulation of such interpretative theses - and inaugurated as a research on the relation between fascist modernism and the corporatist vision of rapid economic growth under an authoritarian political cover in the local milieu - are disclosed all throughout.

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.