Suchergebnisse

The study investigates the history of prisons in general. In particular, the author outlines how this process has been developed in Romania. The study is conceived and analysed taking into consideration the historical evolution of humanity, firstly the appearance of prisons is approached and afterwards their evolution until the XVIIIth ce ntury. Later on the reform process of the punitive feudal systems until the establishment of modern prisons is analysed. The study pays special attention to the penitentiary system under the communist regime (in particular, the author analyses the penitentiary system in communist Romania). At the end of the study, the penitentiary system in the post-communist period is analysed, suggesting some prospective visions on the future of penitentiaries.

An insightful look through the history of punishment and prisons offers a new perspective on the changes that have been undergone or would occur in the Romanian penitentiary system. In the last instance the Romanian punishment and prisons have not displayed the same functions from their origin till now. The study of documents, old chronics and writings of various historians unveil huge differences in thinking the punishment and the role of prison in different historic ages. There were times when the prisons were situated either in the center of society (in country's Principe or boyars' courts) or times when they were placed at society's periphery. The execution was public or hidden. A trip in the history of the Romanian detention system opens a wide window toward the future of this social system.

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.

In the mid- to late-1930s, while he was a student at the Gregorian University in Rome, Bernard Lonergan wrote a series of eight essays on the philosophy and theology of history. These essays foreshadow a number of the major themes in his life's work. The significance of these essays is enormous, not only for an understanding of the later trajectory of Lonergan's own work but also for the development of a contemporary systematic theology. In an important entry from 1965 in his archival papers, Lonergan wrote that the "mediated object" of systematics is Geschichte or the history that is lived and written about. In the same entry, he stated that the "doctrines" that this systematic theology would attempt to understand are focused on "redemption." The seeds of such a theology are planted in the current volume, where the formulae that are so pronounced in his later work first appear. Students of Lonergan's work will find their understanding of his philosophy profoundly affected by the essays in this volume