Suchergebnisse

This article explores the emergence and development of anarchist ideas and groups in Romania in the period 1880-1945. Western revolutionary trends such as socialism had permeated, by the 1880s, the Romanian cultural-political space. Socialism has been studied extensively and it only seems reasonable to extend the scope of previous research to other revolutionary movements or ideologies of the same period that have not benefitted from much or any scholar attention. To this date, researchers in the fields of history or political science have not provided any comprehensive study on Romanian anarchism and, consequently, the aim of the following endeavor is to offer a first sketch of the history of Romanian anarchism. This article is based on information drawn from primary sources such as radical journals of the epoch discussed, documents belonging to state institutions charged with surveillance of radical political activity, as well as memoirs; it is also based on works by western scholars that have focused on European anarchism.

This article reviews the importance of national interest in the context of democratic transformations. The Republic of Moldova has to define its national interests as an opportunity to demonstrate that it has committed itself to respecting the values of freedom and tolerance, to demonstrate that it is open to bilateral and multilateral dialogue and cooperation and it tends to become a reliable security partner also by that gaining more audience and credibility. Even if the national interests of the Republic of Moldova are of a regional character, because its political and economic potential is limited, so it can not claim global roles in the world arena, the national interests synthesize the trajectories on the basis of which the Republic of Moldova conceives its present and the future. In democratic transformations, the role of state power in contemporary conditions does not diminish, but vice versa complicates and increases. Regardless of the social model that our society develops on, the state is the most important instrument for increasing people's well-being, building civical and political activity as well as strengthening the sense of citizenship. Thus, the course and results of democratic transformations are to a large extent determined by the quality of state leadership. The national interest is a well known determinant of political behaviour which motivates and stimulates different actors to develop political goals, to take actions that address both the political sphere as well as other social spheres. Starting from the premise that we are still doomed to governments formed by coalition, we consider absolutely necessary for all political formations to place on the first place the national interest, democratic transformation, sovereignty, human dignity, rights and freedoms, and not the narrow interests of the party or group.

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 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".