Suchergebnisse

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.

Monografia jest rezultatem wysiłku intelektualnego, którego podjęli się wspólnie naukowcy z Mołdawii, Niemiec, Polski, Rumunii, Stanów Zjednoczonych Ameryki i Ukrainy podczas Międzynarodowej Konferencji Naukowej "Wspólne dziedzictwo kulturowe i językowe" w Jastrowiu w czerwcu 2019 roku. Na publikację składają się poszerzone wersje wypowiedzi zaprezentowanych podczas tego spotkania. Tom, który oddajemy do rąk Czytelnika, pomyślany jest jako zbiór zróżnicowanych spojrzeń na problematykę dziedzictwa. Języki i kultury Bukowiny stały się inspiracją dla analiz wychodzących poza tematykę tego regionu. Autorzy tekstów reprezentują różne perspektywy i dyscypliny naukowe: językoznawstwo, kulturoznawstwo, literaturoznawstwo, historię, politologię, socjologię, etnologię i historię sztuki. Do tomu zaproszono doświadczonych naukowców i młodych badaczy zajmujących się bogactwem językowym i kulturowym historycznej Bukowiny, obszaru karpackiego oraz Europy Środkowej. Książka składa się z trzech części. Część pierwsza obejmuje teksty poświęcone językowi rozumianemu jako dziedzictwo kulturowe. Część druga poświęcona jest pamięci dziedzictwa. Kolejna część prezentuje dziedzictwo kulturowe w działaniach społecznych i aktywności twórczej. ; This collective monograph comes as a result of intellectual work undertaken jointly by the American, German, Moldovan, Polish, Romanian and Ukrainian scholars who participated in the international conference entitled "Bukowina: Wspólne dziedzictwo kulturowe i językowe" (Bukovina: Common Cultural and Linguistic Heritage), held in Jastrowie, Poland, in June 2019. The present volume, which contains extended versions of their papers, is conceived as a collection providing different perspectives on the issue of cultural heritage. The cultures and languages of Bukovina have also inspired contributions which go beyond the issues of the region but are related to it in the geographical or cultural sense. The invited authors represent various perspectives and fields of study: linguistics, cultural studies, literary studies, history, political studies, sociology, ethnology and art history. The list of contributors includes experienced scholars and young promising researchers studying the cultural and linguistic richness of the historical Bukovina, the Carpathian region and Central Europe. The volume consists of three parts. The first one includes contributions on language as cultural heritage. The second part is devoted to the memory of heritage. Part three presents cultural heritage in social and creative activity. ; Publikacja przygotowana w ramach zadania: "Międzynarodowa konferencja naukowa Wspólne dziedzictwo kulturowe i językowe" – zadanie finansowane w ramach umowy 570/P-DUN/2019 ze środków Ministra Nauki i Szkolnictwa Wyższego przeznaczonych na działalność upowszechniającą naukę. ; The work has been prepared in fulfilment of the task "Common Cultural and Linguistic Heritage – an international conference", financed under contract no. 570/P-DUN/2019 from the funds of the Minister of Science and Higher Education allocated for the dissemination of science.

Cultural heritage represents an essential component of human identity, and as a part of of the contemporary world, it has both symbolic and economic value. Cultural heritage is finite and non-renewable though, being endangered due to recent conflicts and due to the way it is perceived. This article analyses how different political regimes have influenced the way Iraqi and Syrian cultural heritage has been perceived, preserved, protected and even destroyed, starting with internal laws, institutions responsible of heritage administration and the people who led them, in the attempt of demonstrating that continuous attempt to impose a cultural unity can have unwanted consequences.

The author examines the creation and functioning of the Romanian propaganda office at the General Commission of Romania for the New York World's Fair (1939-1940). He analyses two previously unpublished documents from the Archives of the Ministry of Foreign Affairs, relevant to the topic under scrutiny. The activity of the office was coordinated by the diplomat Andrei Popovici. His subordinates were the press attach. from the Romanian Legation in the USA, Horia Babeş, Paul Sterian, economic councillor, and Petre Neagoe, writer. The monthly budget was 750 $ (the rate of those years) for the daily expenses and salaries. The propaganda office started its activity in January 1939. It used to publish a bulletin, to help issuing stamps, to prepare propaganda posters, to publish and translate brochures. It also used to send presentations of Romania to journals, such as Cleveland News , Chicago Tribune, Detroit Free Press, New York World Telegram etc., and articles on Romania to newspapers (Annalist, Journal of Commerce etc.), or to occasional publications (Going to the Fair, a Preview, International Guide etc.). The images the propaganda office used to handle were reproducing usual elements of the domestic and foreign official discourse of Charles II: Romania was a totally new country, based on a new social contract ("the royal revolution"), that was looking persistently towards "tomorrow's world" (the slogan of the American fair); this future was build with Romanian resources and strengths, mobilized by "the king of young people and of the peasants".

This article explores a number of the themes that late researcher and professor Alexandru Duţu treated in his the articles, book reviews and interviews published in the Romanian cultural and opinion press between 1990 and 1998 (Arc. Litere. Arte & Meşteşuguri, Cotidianul. Litere Arte. Idei, Dilema, Secolul XX, Transilvania, Viaţa Românească etc.). As some of these themes are covered also in his scientific works, the study contributes thus to an inventory of the historical premises for Duţu's ideas on the formal and contradictory duality of the modern world, including the duality of "organic" and "organized solidarities", as well as the Janus-like nature of liberty or of liberties. Furthermore, it investigates his view on the reconstitution within the orthodox space of the Romanian cultural and political tradition, "ravaged" by the rationalism of the 19th century modernization efforts. This "aggression" led to the emergence of a new image of tradition, in folkloric tones, that has stubbornly endured also throughout the protochronism preached by the communist regime. Finally, the article approaches the sensitive theme of human condition during communism and the Duţu's self- professed "inner exile", as well as on his reactions as a citizen of the polis. All these stem from this long scholarly history of dual worlds, particularly the condition of the individual for more than three centuries: that of a relentless search for the lost harmony between the "world within" and the "world outside"), as well as from the internalization of his personal development.

At the end of World War I, Germany was neither politically, nor culturally
"attendable", for most of the European countries. In this context, one of the main
cultural aims of the Weimar Republic will be the resumption of the cultural and
academic relations with other countries. The foreign students were invested with a
major role in this respect. The Weimar Republic has taken institutional and financial
steps in order to intensify the student migration and to repopulate its universities
with foreign students, measures that have paid off in the mid 20s. In 1925, the
percentage of foreign students in Germany reached again the pre-war level. The
groups of foreign students best represented in the German universities were the
Romanians, the Bulgarians and the Polish. The paper also takes a look at the
evolution of the foreign students in Germany during 1918-1933, focusing on their
country of origin, the preferred institutions of higher education and fields of study,
as well as on the presence of female students from foreign countries in Germany.

The paper analyzes the institutional transformation of cultural policies in postcommunist Romania and the correspondent emergence of an art market in Romania. The case studies considered show that both artists and policy makers adapted to extraneous expectations and patterns rather than promoting new visions and models. The "triangle metaphor" forged by Magda Cârneci, representing the relationship between artists, the state and the Union of Visual Artists (UAP), offers the basis for analysing the game of continuity and change after the fall of Romanian communism.

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.

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.

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.

In the conservative imaginary, at least in the cases of Constantin N. Brăiloiu and Alexandru N. Lahovary, France was not deemed a functioning political model (i.e., a political or constitutional regime) that Romania should have followed. Compared with the English political model (or rather with the Anglo-Saxon one, since the reference sometimes included the United States of America) and with the Belgian regime, France was certainly a less favoured option. However, without exception and despite all discursive artifice, in the perspective of these two politicians, who were evidently Francophile, both by education and by cultural affinities, France undeniably remained a landmark of civilization or administrative and economic efficiency, and sometimes a beacon of legal inspiration. It must be said that the latter perception was in no way related to Constantin N. Brăiloiu and Alexandru N. Lahovary's conservative convictions. It was commonplace in the local cultural imaginary, which, regardless of one's political, social or cultural affiliation, repeated the encomiastic mantra dedicated to imperial France, to whom the Romanians were convinced that they owed the existence of their nation. In fact, one should not overlook another typical belief of this political imaginary, which is illustrated in our case by Alexandru N. Lahovary: the Romanian politicians were persuaded that the ideals included in the Declaration of the Rights of Man and of the Citizen were exclusively due to the France of 1789.

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.

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.