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Cultura de masă în "Epoca de Aur": cîntarea României & Cenaclul Flacăra
In: Ceauşescu's dictatorship 1965-1989
In: History dustbin collection
Sub semnul istoriei: de la debut spre consacrare: lucrările Sesiunii Naţionale de Comunicări Ştiinţifice Studenţeşti "Anul 2008 la o Triplă Aniversare: 160 de Ani de la Revoluţia Paşoptistă, 130 de Ani de la Câştigarea Independenţei, 90 de Ani de la Marea Unire", Cluj-Napoca, 15 - 18 mai 2008
Intersektionaler Feminismus in Rumänien
Rumänische Exilliteratur 1945-1989 und ihre Integration heute: Beiträge des Deutsch-Rumänischen Symposions der Südosteuropa-Gesellschaft und der Fundatia Culturala Romana in Freiburg, 26./27. Oktober 1998
In: Aus der Südosteuropa-Forschung, 11
World Affairs Online
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Continuităţi şi contraste în spaţiul artistic postcomunist românesc
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 11, Heft 4, S. 687-699
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.
Uniunea Artiștilor Plastici din România, mediator al dialogului artistic cu Estul și Vestul în anii 1950-1980
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 17, Heft 3, S. 293-312
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.
Biografii transideologice: cazul sculptorului Ion Irimescu
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 17, Heft 3, S. 417-434
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.
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.
World Affairs Online
Ipostaze ale întreprinderii socialiste în anii '80: studiu de caz; combinatul Siderurgic Călăraşi
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 11, Heft 2, S. 286-308
In this paper, we analyze the role and functions of the socialist enterprise, a place in which the interaction between power and society is strongly emphasized. Focusing on the last decade of communist rule, we have chosen as a case study an enterprise created in the late 70's: the Călăraşi Integrated Iron and Steel Works. We were interested in how the Romanian Communist Party was organized inside the enterprise and the duties of party organizations. Recruiting new party members, mobilizing workers were only two of the party organizations tasks within enterprises. These topics were, in many occasions, the focus points of the Party organizations reports. An important part of this study was devoted to activities organized within the socialist enterprise. Socialist emulation, cultural and artistic activities, sports occupied a central place in everyday life of the industrial workers. Especially in the last decade of communist domination, any event is a cause for celebration, this phenomenon being in contrast to the austerity imposed by the regime. In communist Romania, the socialist enterprise was, above all, one of the most important places of propaganda, domination and control.