Suchergebnisse

The article investigates the political mechanisms specific to contemporary Romanian politics and political parties, as well as those social representations related to gender roles and the
definition of family that have contributed to maintaining a low level of women participation in
Romanian politics after 1989. In a first part, it sets the conceptual context through a review of the
main theoretical approaches for the political representation of women, with an emphasis on
gender studies' cognitive dimension. Second, it connects a quantitative evaluation of women's
presence in the Romanian post communist parliament with a qualitative analysis of public (i.e.
mass media) discourse of the rejected legislative proposal to introduce gender quotas in various
political and social processes. The author finds that, beyond the dynamics of political elites'
recruitment and the functioning of the political "game", the ideological options and social
representations that emphasize the differences between men and women, as well the central role
of family in building gender roles play an essential part in maintaining a low number of women
within the Parliament.

The paper analyzes the institutional transformation of cultural policies in postcommunist Romania and the correspondent emergence of an art market in Romania. The case studies considered show that both artists and policy makers adapted to extraneous expectations and patterns rather than promoting new visions and models. The "triangle metaphor" forged by Magda Cârneci, representing the relationship between artists, the state and the Union of Visual Artists (UAP), offers the basis for analysing the game of continuity and change after the fall of Romanian communism.

This article discusses the case of Ion Grigorescu, and of his ambiguous relationship with the communist regime, which he registered through a form of "documentary realism". Through his "realgrams" Grigorescu documented real life experiences in an innovatory approach to the majority of Romanian artists of the time using photographs of his everyday environment, and being inspired by his social and political context. Grigorescu is thus an artist committed to the public space and assuming a critical stance without it being discursive, pedant or moralizing. The approach of this study is descriptive, based on the artists' artworks and self-descriptions, and seeking to situate Grigorescu's approach in the context of the communist regime and its transformation after 1990 into a democratic regime. The conclusions show that Grigorescu's artworks are anti-system, criticizing any establishment, no matter in which regime he finds himself. His contestation is specific to a committed artist that chooses to express his freedom of expression beyond his own studio.

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 try to observe if some concepts which was used in order to explain the changes in the western party systems can be use for the Romanian case too. We concentrate our analyze on the concept of "cartel party" and his emergence in the Romanian political space. The Democratic Party was chose as a study case because we think that this political organization illustrate very well our hypothesis that in the last years, in Romania we pass from a model of mass parties to catch-all parties and cartel parties. We must clarified that this concept of "cartel party" can be understood only if we have in mind that the hole party system is subjected to the same cartelization logic. The author focuses his analysis on the evolution of the Democratic Party between the two electoral moments of 2000 and 2004, whit a special attention on the modalities for establishing the lists of candidates, the discussion about the internal reforms and organization. An important part of the article is dedicated to the political migration of the members of Democratic Party, a very often practice for the Romanian political system.

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 Church-State relationships in EU Member States are in a process of a radical transformation. This is the result of a rapid political integration and also of the major transformations of the modernity. Religion is still part of the European public space even if, according to modernity premises, it should be only a private matter. According to Max Weber and other authors, secularization diminishes the role of the religion in society. However, these theories are being contested in recent years, due to the interpretation of statistical data and to the emergence of fundamentalist religious movements spreading around the world. Consequently, secularization is a tendency and not an "iron law". As regards the current role of the religion, Silvio Ferrari developed the theory according to which there is a common European model. This model does not exist yet, but certainly we live in an era defined by the continuous searching of such a model. There is no European identity without common values. Some of these values, like toleration, do have a profound religious foundation. European integration is based on the action of different actors, including interest groups located in Brussels. The Churches and the religious organizations are also part of this category of actors and they try to be part of a process by which a common space for consultation will emerge.

At the end of the Second World War, on the Romanian Communist Party's agenda two major points were highlighted: massive industrialization and the recruitment of party members. The article explores the role and functions of the socialist enterprise in communist Romania, a place where the interaction between party and society was strongly emphasized. Focusing on the first two decades of communist rule, I have chosen as a case study an enterprise with an old tradition, created at the end of the XIXth century: The Hunedoara Integrated Iron and Steel Works. In the confined space of the socialist enterprise the political, economical and social objectives of the communist regime were put in practice. In this context, the socialist enterprise became one of the most important places of propaganda, domination and control.

This article compares the ideas of two political thinkers representative for their time and region - Kautilya (of ancient India) and Machiavelli (of modern Europe). The analysis reveals important similarities and differences, and offers potential explanations for the findings. Most significantly, the similarities between Kautyla's Arthasastra and Machiavelli's Prince are visible particularly when it comes to their treatment of war, 'state' administration, diplomacy, monarchy and the features of a good leader. Such similarities suggest that the development of modern European philosophy has been influenced by other cultural spaces, including Ancient India.

At the begining of the 19th century, the political authorities of Wallachia were using two apparently different approches, but in complementary, regarding the beggars, namely social care and repression. Their common denominator is that they intended to unconditionally forbid begging. By examining public archive documents, we intend to present the theoretical organization of a new public social care institution (the beggars' institute) and the way it practically functioned. The beggars' institute was an establishment with a double mission: care and repression. Different records and documents about the institute's functioning (administrative correspondence, demands of confinement or releasing, etc.) allowed us to examine the beneficiaries of this type of social care and the confinement procedures; the institute's internal organization (its security or its curative capacities); the abuses authorities sometimes committed when hasting to keep beggars away from the public space; releasing conditions from the institute; perceptions (of ordinary people or of authorities) on the institute and the beggars.

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 article surveys the various stances taken in interwar Romania towards the contemporary international - particularly French - trends of legal and political theory meant at counteracting the shortcomings manifested by the legislative patterns of Napoleonic provenance when confronted with the exigencies of expanding associational life and the need of growing state intervention in the sphere of the relations between economic factors. The crisscrossing visions of federalist syndicalism and, respectively, juridical socialism - exposed most conspicuously by the legal philosophers Léon Duguit and Emmanuel Lévy - are shown to receive various evaluations in the local milieu, from the part of authors connected with the leading journal of the Romanian Social Institute and otherwise (and always by reference to the predicament of social reform in the national space). It is highlighted that the impact of the ideas involved in the debate was broader and more diffuse than one could assume when taking into consideration only the outspoken - and partly obsolete - objectives and premises of the argumentations in question.

This article presents the relation of East European artists with the Secret Police
institutions. While focused on the Romanian case, several examples from
Poland, Czechoslovakia and Bulgaria help place the topic in a regional context.
The analysis includes both the viewpoint of the Secret Police on the artistic
world as such, as well as the gazes of artists on the reality of their time. The
conceptualization of artistic surveillance includes three types of examples: the
deconstruction of the officially fabricated reality, the focus on the details of the
everyday life forbidden by official propaganda, and the reflection of artists on the
secret police apparatus. The conclusions of this study show that the investigation
of artistic artifacts together with the secret police archives can help bring a new
perspective on the limits of domination exerted by the communist regime.