Suchergebnisse

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 study presents the results of focus groups conducted in December 2019 with students, professors of the Technical University "Gheorghe Asachi" in Iasi, but also with entrepreneurs working with them. He measured the satisfactions and dissatisfactions of each group compared to the other two, the needs of professionalism, collaboration, skills and competencies had and requested, entrepreneurial education, future prospects.

A common argument for the nomination of the Romanian city of Sibiu as European Capital of Culture 2007 by the European Commission is the actual local multiculturalism, which makes the city seem somehow different when regarding the more general ethnic background in Romania. The aim of this article is therefore to map the local multiculturalism and identify its limits. The conclusion is that the local context is multicultural in fact, yet some ethnic tensions are to be taken into account. These tensions are rather symbolic and still weak, and are related to the way one might conceive local public space. The findings not only confirm the initial supposition, but they could become a starting point for a future comparative analysis of ethnic contexts in Romania.

The paper provides the ideal-typical narrative of European integration manufactured by Romanian intellectuals and the official national Church (Greek-orthodox), that could be summarized as follows: in the realm of the spirit, Europe would have survived mainly in the East, shepherded by such intellectuals as the Romanian ones and by the spiritual legacy of the Orthodox Church; in political and economic terms, European Union is monitored according to secularist and relativist guidelines by the bureaucracy in Brussels. Whatever the latter, together with their Romanian counterparts, may have realized in the course of European enlargement is of little concern for the former. Both the Church and the mainstream intellectuals are engaged now in an operation that should have defined them long before the fall of state socialism: to boost intellectual non-conformity with respect to the political dominant discourse as a way of refusing the debate by taking it seriously. And they do it by means of the same narrative device that kept them silent under communism: they tell the story of the prevalence of culture and the spiritual over everything political.

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.

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.

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.

The phenomenon we have tried to approximate in our work is that of Romanian inter-war spirituality. The "protagonists" of this research belonged to the so-called "young generation" or "generation 27", that is "The Criterion group": Mircea Eliade, Emil Cioran, Constantin Noica, Mircea Vulcanescu, as well as other two representatives of a different generation: Nae Ionescu and Nichifor Crainic.
The first chapter, entitled "Steps and traps in the perception of Romanian inter-war spirituality" stipulates the topic of our research. The novelty of the approach lies in our desire of deciphering the way in which these persons had perceived themselves and their role in what we are going to refer to as the great inter-war experiment. We intend to regard reality as the sum of various images, arising from different layers of perception, coming from the respective personalities, their critics and exegetes. These images overlap to an extent that does not justify the metaphor of a "mirror broken into pieces" and reconstructed; they merely form a sort of kaleidoscope whose images are recomposed in ever changing pictures every time the object one looks through revolves. In the same time, we make a starting point in an idea suggested by social psychology, which leads to our belief that the way in which the protagonists under discussion perceived themselves was defined by their representations on the events of the time, a sort of intellectual projection of collective consciousness.
We made clear some terms such as "post-event perception": the type of cognitive reflection upon a cultural background that occurs under the circumstances imposed to the subject, situated at considerable distance in time, capable of placing him in a favorable position – as the absence of subjectivism cannot contaminate direct, synchronic perception of events; possible reiteration of the moment achieved by means of reading, an experiment possessing the supplementary cognitive charge of an anticipatory knowledge of the denouement, as well as a series of disadvantages – such as the informational deficiencies caused by the passing of time, the reality of events being an indirect, secondary one; the contamination of hypothetical decisions and post-event judgments by the bulk and value of information on the events, as well as their subsequent evaluation, jeopardizing the accuracy of perception.
Evaluating the working hypotheses we notice that there is a considerable difference between the way in which we, who were not directly involved in the events, perceive the "epoch", and the way it was perceived by the persons whose intentions we are striving to decipher, together with the ideas and attitudes they shared, the people they came into contact with, the events they took part in or carried them along a sometimes disagreeable, often ungrateful History. Our protagonists observed that whatever culture consecrates or recovers is in possession of another type of reality. It is a relatively continuous reality; even if it becomes the subject of ever renewed evaluation, it constantly perpetuates a series of values, while history is anthropophagous, swallowing in an equally inconsiderate manner both geniuses and jesters, bringing together in its terrifying ignorance both illustrious characters and the most ordinary of all people.