Suchergebnisse

Thanks to theoretical advances in the natural sciences and the decreased cost of computer technology, computational modeling is becoming an increasingly popular tool in the social sciences. Due to its relative novelty and somewhat marginal position in most disciplines, however, research of this kind has primarily focused on methodological challenges posed by applications to social phenomena. By contrast, the method's theoretical foundations are still relatively poorly understood and many theoretical possibilities remain unexplored by computational scholars. At the same time, social theorists, following in the footsteps of Georg Simmel's pioneering contributions a century ago, have developed a process-based research tradition that anticipates the scientific practices of today's computer-based research. In short, if the sociological process theorists have been computational modelers avant la lettre, the latter can be seen as process theorists "après la lettre".

Although many institutions were involved in the cultural diplomacy of the Romanian communist regime, a very consistent part of the artistic exchanges with the East and the West were mediated by the Union of Artists. This paper would like to highlight the important role the Union played in framing the artistic exchanges with several "capitalist countries" and "popular democracies", by looking at several agreements of collaboration between Unions or similar institutions. More precisely, we will look at the variations regarding the form and the quantity of exchanges that were established through such official documents and which referred mainly to exchanges of persons, informations or exhibitions. We will also look at the way these were organized in practice: the study of the travel reports, informative notes or daily programs that were produced on such occasions shows that these exchanges were systematically surveilled and politically motivated. A preliminary analysis of these allows us to observe the Union's interests regarding the East and the West and suggests that the Romanian Union of Artists contributed to the expansion, the regulation and at the same time the control of the cultural contacts with foreign countries.

The article explores the rationale of the Romanian political community as defined by its successive constitutional layouts, since the first fundamental law of 1866, including the Communist constitutional settings, and concluding with the post-communist constitutional design. This consistency of the political community is tested by means of an analytical distinction between the Nation-State and the National State. The former is understood as the institutional underpinning of a community bearing a political project. The latter is seen as the institutional outcome of an ethnic group and the warrant of its political integrity. Such an examination of the Romanian constitutional production sheds light on the historical and unambiguous predominance of the National State, while the Nation State emerged briefly and warily in the Romanian setting in the form of the socialist nation state. By the same token, this approach questions the adequacy between democracy and this rationale of the Romanian political community. While the socialist Nation State, as it was constitutionally designed, failed to guarantee the effectiveness of popular democracy, the Romanian National State, as it was shaped by the successive constitutional texts, pre-communist and post-communist, was always unable to accommodate completely with democracy.

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 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.

This study depicts the biography of a young communist (Ion Călin) who volunteered for the International Brigades in Spain, and thus it features - within the historiography of the topic -
the destinies of the antifascist Romanian combatants. Since the vast majority of these combatants was composed of members and supporters of PCdR, the regime of popular democracy honored
and glorified them after March 6, 1945, in the same vein as those Communist inlanders who were
repressed by the "bourgeois regime". The Romanian Communists who fought in the French Resistance received a similar follow-up. After 1989, the names of the Romanian volunteers who had joined the Spanish Republicans' cause went in the shadow due to their political affiliation to a party utterly compromised in the eye of the public.
This study also deals with a broader context, including international politics, the reasons
behind such an enthusiasm binding young people to go abroad to a front at over 2.000 km, the social
strata they derived from, PCdR's efforts to organize and send combatants across the borders, Ion Călin's clandestine journey to the Iberian peninsula (via Czechoslovakia, Austria, Switzerland, or France), as well as aspects and details of the fights of which he was a part of during the war.

This study depicts the biography of a young communist (Ion Călin) who volunteered for the International Brigades in Spain, and thus it features – within the historiography of the topic – the destinies of the antifascist Romanian combatants. Since the vast majority of these combatants was composed of members and supporters of PCdR, the regime of popular democracy honored and glorified them after March 6, 1945, in the same vein as those Communist inlanders who were repressed by the "bourgeois regime". The Romanian Communists who fought in the French Resistance received a similar treatment. After 1989, the names of the Romanian volunteers who had joined the cause of the Spanish Republicans went in the shadow due to their political affiliation to a party utterly compromised in the eye of the public. This study also deals with a broader context, including international politics, the reasons behind such an enthusiasm binding young people to go abroad to a front at over 2.000 km, the social strata they derived from, PCdR's efforts to organize and send combatants across the borders, Ion Călin's clandestine journey to the Iberian peninsula (via Czechoslovakia, Austria, Switzerland and France), as well as details of the fights of which he was a part of during the war.

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.

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.