Suchergebnisse

The survey was conducted on June 20-25, 2020 on a sample of 550 inhabitants of the commune. He measured people's opinion about central and local public administration institutions, about the main candidates for City Hall, about political parties, expectations of the future mayor, voting intentions, how the City Hall got involved in certain administrative issues, achievements and failures of the current mayor and of the main opponents.

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 unification process for the workers' movements was the final step for the communists in their effort to gain total control of the political power. The tactics of the Romanian Communist Party (PCR) were labeled "the salami tactics" because the party progressively eliminated all their enemies and used conjectural allies -such as the social democrats (PSD)- in order to reach their aim. This article describes the process whereby the organization of the PCR in alliance with the PSD obtained political power in the period 1945-1948 in the Ialomiţa county. The author focuses his analysis on two types of actions: the violent overtake of the local power (including mayors, police officers, governmental representatives, etc.) and the unification of the PCR and PSD in order to achieve a Single Workers' Party, in which the communists prevailed. As a result of the unification process, according to the official records, almost 7% of the population in this county was a member of the Single Workers' Party in February 1948. The Ialomiţa County is a very interesting, yet paradigmatic case, because in that period the region was a predominantly agricultural, with a small working class (2%), and the communists could not seize power by legal means. The study mainly relies upon local archival documents and upon the contemporary local media reports, which are carefully examined to discern between actual relevant data and their propagandistic content.

The author of the article proposes a few reflections on the Romanian fascist movement in the 30s: the originality of the Legion of the Archangel Michael, the ideological struggle between the communists and the legionnaries, the conflicts and the cooperation between the extreme right parties, the connections between the legionnaries and the German national-socialists, the electoral campain of the Iron Guard in 1937, the anti-fascist movement before World War II. The study is based on documents from the Romanian National Archives, articles published between the Wars in Romania and unique bibliography sources.

This article is a case study of the Romanian Artists' Union during the Thaw as an institution potentially capable of renewal by creatively applying the rules imposed in the totalitarian communist State. The methodology used is that of archival research through the use of the concepts of Repressive State Apparatus, Ideological State Apparatus (Althusser), dispositif (Foucault), and habitus (Bourdieu). The text shows that from 1953 until 1957, in the context of similar changes in the Soviet Union, the Union of Romanian Fine Artists underwent a gradual transformation, which culminated with the change of the Management Board and a professionalization on specific criteria of the structure. The characteristics of the modern foucauldian dispositif, that the Union acquired in the period of the Thaw, remained valid in the next period, of reideologisation (1958-1963). The conclusions are that even in conditions of totalitarianism, subjects and structures can introduce creative elements into the process of reproduction of a given order, by modifying this order.