Suchergebnisse

This article is based on three hypotheses. First, the legal requirements for
establishing political parties in Romania are among the most restrictive in Europe.
Second, electoral participation decreased globaly during the last two decades;
however, when a party succeeded in registering and endorsed a non-ideological
position, the electoral participation slightly increased; so, if the legal requirements
will be relaxed, new parties might emerge and a greater participation to the
elections might be taken into consideration. Third, the current legal procedure
for registering political parties contradicts the constitutional provisions on the
freedom of association and the right to be elected. In the light of this findings, the
article suggest a revision of the current legislation.

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.

The article presents the way the first Associations and Foundations are set up in Romania, focusing on the tight circle of people dedicated to the domain and specialized on the road, staying forever in the NGO sector, moving from one organization to another or working for more than one at the same time. From lack of legislation to unclear regulations, NGOs struggle on their path with logistical issues which influenced their performance, public image, their projects and mostly their results. The author identifies the outcome as determined by the struggle to access grants, the NGO agenda versus financer's agenda, the absence of grants for a specific type of issues, the shortage of the professionalized staff, the challenge of working with volunteers, the compulsory annual reports and financial reports to the Government authorities.

Although many institutions were involved in the cultural diplomacy of the Romanian communist regime, a very consistent part of the artistic exchanges with the East and the West were mediated by the Union of Artists. This paper would like to highlight the important role the Union played in framing the artistic exchanges with several "capitalist countries" and "popular democracies", by looking at several agreements of collaboration between Unions or similar institutions. More precisely, we will look at the variations regarding the form and the quantity of exchanges that were established through such official documents and which referred mainly to exchanges of persons, informations or exhibitions. We will also look at the way these were organized in practice: the study of the travel reports, informative notes or daily programs that were produced on such occasions shows that these exchanges were systematically surveilled and politically motivated. A preliminary analysis of these allows us to observe the Union's interests regarding the East and the West and suggests that the Romanian Union of Artists contributed to the expansion, the regulation and at the same time the control of the cultural contacts with foreign countries.

The erosion of media trust raises concerns about the ways in which the conduit of political information could undermine citizens' trust in democracy. While a large body of research in western democracies shows that media trust is contingent on specific media-system, political and cultural factors pertaining to national contexts, little is known about the sources of media trust in the new democracies from Central and Eastern Europe. Based on statistical analyses of public opinion surveys, this research tests if levels of trust in various traditional (television, radio, written press) and alternative mediums (Internet and online social networks) are differentiated along political party lines and depending on media consumption patterns in post-communist Romania. The results reveal a stronger association between trust in political parties and trust in traditional mediums, while trust in online media is more strongly linked to consumption patterns. These findings have practical, theoretical and normative implications for the functioning of democracy in post-communist societies.

The article submit to the multidimensional analysis of the degree of security sector reform, its modernization according to the requirements of the European structures, the level of the civic control of the security bodies. The same context is attributed to the analysis of national risks and vulnerabilities, of the potential of the state's investment in security institutions and the interest of political power, that is, of the governing parties to control the security institutions, the improvement of the crisis management mechanism, the realistic risk assessment. It is certain that, due to the external conditionality, in order to fulfill the requirements of the Association Agreement with the EU, the national security system of the Republic of Moldova is in a continuous transformation through reform and modernization both vertically, related to the subordination of the national security bodies and the extension of functional competences, as well as horizontally, referring to internal institutional restructuring and the limitation of the opening of these institutions to civil society.

The image of the European culture is given by the association of the concepts people – culture – history – territory, which provides certain local features. From this relation, we identify a cultural area with local, regional and national features beyond a certain European culture. Thus, we identify at least two cultural identity constructions on the European level: a culture of cultures, that is a cultural area with a particular, local, regional and national strong identity, or a cultural archipelago, that is a common yet disrupted cultural area. Whatever the perspective, the existence of a European cultural area cannot be denied, although one may speak of diversity or of "disrupted continuity".
The paper is a survey on the European cultural space in two aspects: 1. Europe with internal cultural border areas; 2. Europe as external cultural-identity border area. From a methodological point of view, we have to point out that despite the two-levelled approach the two conceptual constructions do not exclude each other: the concept of "culture of cultures" designs both a particular and a general identity area. The specific of the European culture is provided precisely by diversity and multiculturalism as means of expression on local, regional, or national levels. Consequently, the European cultural area is an area with a strong identity on both particular and general levels.