Suchergebnisse

Blicke auf die erhabene bestimmung des Militar-Standes und seiner Siegeszeichen, (.) / von Demetrius Kaian = Predică despre statul milităresc şi semnele lui de învingere, (.). - [Blaj] : [s.n.], 1827. - 44 p. ; 18,5 cm. Text paralel în limbile germană şi română.

Volume contains the proceedings of the VII International Conference Jean Monnet (13 to 14 May 2011, Iasi), co-funded by the European Commission Jean Monnet Centre of Excellence Program in European Studies. Events held under the auspices and promoted by the Center for European Studies, every year, Europe Day, the present edition of the conference Romania and the European Union. Dynamics of the integration process and not only expose the general public, a number of issues facing European economies against the backdrop of the crisis. The volume was prepared with the assistance of several researchers, teachers, specialists in European studies from major universities of the country and the Republic of Moldova. Communications were made around three themes: Where does Europe stand?, Economic Challenges in Romania and EU During the crisis and The dynamics of structural changes and perspectives of integration process.

The last years of World War II have brought, per ensemble, complex problems for the "Regele Ferdinand I" University, which, after the Vienna Treaty of 1940, has been functioning in exile from Sibiu and Timişoara. From 1944 the model of the modern University of Cluj was brutally converted to an instrument of propaganda for a communist ideology, far fetched from its original nationalistic vocation. The period of transition from democracy to totalitarianism, 1944-1947, was marked by a series of events such as: the beginning of the process of politicization within the University of Cluj, the problems related to the foundation of "Bolyai" University, the return in 1945 of the University to its original sight from Cluj, the students strikes in January-June 1946, the university repression generally speaking, and particularly the repressions of students, and, last but not least, the debates of the University Senate concerning the politicization of the academic environment and the dismissal of some "compromised" members of the teaching staff. After 1944, the communists were interested in eliminating all political rivals, therefore the dismissal threats, followed by the contractions within the Departments of the University of Cluj, became a cruel reality between 1944-1948. Like all the other Romanian universities, the Cluj University began compiling "expurgation" dossiers for the so called "fascist" university professors, and substituting the old rectors and deans with new ones from amongst those who had adapted to the "new age". The public stand of the academics has gradually declined after 1944, when their life and activity has been brought to challenge, the changing values after March 1945 favouring the devotion towards the new regime, and praising less and less the academic fulfilment. On the background of "democratic" reforms, the new regime authorities have intensified the brutal isolation, especially of scholars among which a great number of university professors, by means of massive arrests. The most invoked reasons were: denigration of the power of the state, opposition to the construction of socialism, or the need to re-educate the "hostile" elements from within the Popular Republic of Romania.

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.