3,149 matches
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I lived în Ferentari, I didn’ț quite know what I got from it and it seemed like a shame to “capitalize” the experience only în a PhD dissertation. The academic discourse doesn’ț suit me, I find it much more difficult to engage în it. You need to have references, you can’ț speculate too much. And I hâd ideas which I couldn’ț fully argue, but I hâd a gut feeling that’s how things were. This was what
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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în this - making heaps of money - but the entire Romanian society is after money. Just like the whole bragging thing. În fact, all Romanians are now centered on showing off, conspicuous consumption and in-your-face display, except they take different forms, more hypocritical ones. I mean, în the rest of society, the middle class, things happen în a more subtle way - people show off în such a way aș to avoid looking like show-offs. [...] Aș a gay mân, do you feel the
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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whole bragging thing. În fact, all Romanians are now centered on showing off, conspicuous consumption and in-your-face display, except they take different forms, more hypocritical ones. I mean, în the rest of society, the middle class, things happen în a more subtle way - people show off în such a way aș to avoid looking like show-offs. [...] Aș a gay mân, do you feel the pressure to be more masculine, more macho? Yeah, you do, it’s somehow... There’s a sort
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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mean, în the rest of society, the middle class, things happen în a more subtle way - people show off în such a way aș to avoid looking like show-offs. [...] Aș a gay mân, do you feel the pressure to be more masculine, more macho? Yeah, you do, it’s somehow... There’s a sort of masculinity complex în gay environments. First of all, it’s how society sees you, like a sort of woman în disguise. Second of all, maybe you
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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the rest of society, the middle class, things happen în a more subtle way - people show off în such a way aș to avoid looking like show-offs. [...] Aș a gay mân, do you feel the pressure to be more masculine, more macho? Yeah, you do, it’s somehow... There’s a sort of masculinity complex în gay environments. First of all, it’s how society sees you, like a sort of woman în disguise. Second of all, maybe you identify more
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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more macho? Yeah, you do, it’s somehow... There’s a sort of masculinity complex în gay environments. First of all, it’s how society sees you, like a sort of woman în disguise. Second of all, maybe you identify more easily with the image of women (without necessarily being into the whole drag thing or whatever) and all this leads you to somehow think “I gotta be a mân, what the hell? Șo what if I fuck other men? Can
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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ț be a proper mân if I fuck other men?” There is a sort of masculinity complex within the culture, aș well. I mean, if you’re too effeminate, it’s harder to find a date than if you were more macho. Șo many play the macho card, especially after a certain age. When you’re young and handsome, it’s easier to be more girlish, but after a certain age, you’re just physically unable to pull it off anymore
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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if you’re too effeminate, it’s harder to find a date than if you were more macho. Șo many play the macho card, especially after a certain age. When you’re young and handsome, it’s easier to be more girlish, but after a certain age, you’re just physically unable to pull it off anymore. And it’s a world where physical appearance matters a lot. I feel it’s a lot tougher than în the straight world, where
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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doesn’ț matter anymore, you can get fâț, you can... When you have no family, no nothing, you have to be fit all the time and look young. If you start losing your touch, you try to compensate by acting more macho. But beyond this, there still is a sort of macho complex which I also have and I think many în this world have. And I tried to get over this complex în the novel and said “Fuck it, my
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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and can’ț trust their masculinity. Șo how do you reply to the accusations of homophobia? It’s internalized. It’s internalized homophobia. Nowadays, if you’re born în an urban area, în a middle class family, people are somehow more tolerant of homosexuality and you don’ț end up hating yourself for it. But I went through a really rough period. The 90s were... They were unreal. People were shouting ouț their homophobia. În the media, the homosexual was the
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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a newspaper publishing all sorts of dubious stuff, it was made-up news. Homosexuality was criminalized back then, it was considered something extremely deviant. Gays were seen aș leaches clinging to your dick. Those days are over, however. Now things are more subtle, back then, homophobia was ouț în the open. Besides, I was “în the closet” until I was 25-26, șo people would consider me straight and they would be very open about their hatred of gays. And you end up
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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familiarity; not șo much a spațial one aș one of historical temporality marked by change. A sort of cliché symbol for the regime change of 1989-90 and a touchstone în reverse for the progress made by România after socialism: the more derelict the area becomes, the more progress is made towards overcoming the (post)socialist condition. The people living în the region have gradually (some quite rapidly) become a dislocated, marginal group both symbolically and în terms of their usefulness for
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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one aș one of historical temporality marked by change. A sort of cliché symbol for the regime change of 1989-90 and a touchstone în reverse for the progress made by România after socialism: the more derelict the area becomes, the more progress is made towards overcoming the (post)socialist condition. The people living în the region have gradually (some quite rapidly) become a dislocated, marginal group both symbolically and în terms of their usefulness for contemporary capital. În the mainstream media
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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a dislocated, marginal group both symbolically and în terms of their usefulness for contemporary capital. În the mainstream media, we/they are mostly depicted aș ouț of touch with current realities. This situation is partly reproduced even în smaller, allegedly more progressive, circles. Aș my interest for the Jiu Valley communities gradually became one of research, aș well, I actively sought ouț academic, journalistic or documentary inițiative where I could find at least a part of the reality I knew. Projects
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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Aș my interest for the Jiu Valley communities gradually became one of research, aș well, I actively sought ouț academic, journalistic or documentary inițiative where I could find at least a part of the reality I knew. Projects interested în more than just the static stereotype of the miner and of the “mining” community or în the folklore of the momârlani (the original inhabitants of the Valley, living mostly în rural areas) are harder to find. Theater Underground - The Jiu Valley
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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complexity of recent history în the Jiu Valley. Performing the inhabitants’ narratives using the actors’ bodies, the words of the people, movement, gestures and a minimal decorum charges the stories emotionally. The affective vibrations embedded în the stories make them more powerful, more memorable and therefore more resistant to erasure from memory. The need for a structure to coagulate all the stories meaningfully poses obvious problems, but framing them aș part of a museum is somewhat questionable. The life of the
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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recent history în the Jiu Valley. Performing the inhabitants’ narratives using the actors’ bodies, the words of the people, movement, gestures and a minimal decorum charges the stories emotionally. The affective vibrations embedded în the stories make them more powerful, more memorable and therefore more resistant to erasure from memory. The need for a structure to coagulate all the stories meaningfully poses obvious problems, but framing them aș part of a museum is somewhat questionable. The life of the locals hâș
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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Jiu Valley. Performing the inhabitants’ narratives using the actors’ bodies, the words of the people, movement, gestures and a minimal decorum charges the stories emotionally. The affective vibrations embedded în the stories make them more powerful, more memorable and therefore more resistant to erasure from memory. The need for a structure to coagulate all the stories meaningfully poses obvious problems, but framing them aș part of a museum is somewhat questionable. The life of the locals hâș no doubt been shaped
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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alcohol-induced fever, discussions about politics and the future (yours, ours, that of the future couple, the company or the country). The routine “grandpa went to jail, he was a well-off peasant, but he was hard-working and he hâd a bit more land” is well-known, we tell it again and again to every curious stranger, we tell it to each other simulating compassion and letting everyone know we’re the good guys. Yes, those of uș with “hard-working peasant grandparents persecuted under
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
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we do. We can’ț take the resignation of the losers of the transition, either, and neither do we care about the projects of the radicals. Even worse, we have no patience to listen to those carrying stories of persecution more horrid than our grandpa’s: Communist strikers, Romă dispossessed of their gold and horses, gay grandparents, Jewish, Hungarian or German grandparents affected by Ceaușescu’s ethnic naționalism. These stories are not just too extreme to fit with the official history
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
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ex. Activiștii mărunți. Istorii de viață</b>, București: Curtea Veche, 2007). [:en]by Marius Bogdan Tudor [...] Interpretation is key to any historical narrative. This is because official records are both sufficient and insufficient. On the one hand, there are always more dată în the records than the historian can include în his representation of a certain part of the historical process. The historian must therefore “interpret” the dată by deeming some of the information irrelevant for his account and excluding them
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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interpreted” aș irrelevant for historicization according to the dominant ideology of the respective period (the discipline of history serving the formation and evolution of the idea of nation-state throughout the 19<sup>th</sup> and 20<sup>th</sup> century more than any other). The second way of relating to the past considers this instrumentalist, presentist approach (“what we do with the past”) to be insufficient. Collective memory, clăim those who criticize this approach, hâș proven relatively immune to attempts at
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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meaning a rejection of contemporary texts and revolving around the same symbols of the classics - hâș facilitated the unproblematic reproduction of the institution and of the artists’ status, thus fueling the alienation of theatre practitioners who were aiming for “riskier”, more lively topics which reflected the present and the ways în which that present hâd come to be.[8] Secondly, the unilateral and shallow approaches - în public discourse and instituțional practice - of issues such aș the social effects of privatization, migration
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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violence to the stigmatization of entire social categories such aș “the poor” and “the pensioners” The analysis of these dynamics is not and should not be only the object of historians, but of all those concerned with building a fairer, more equal society.
Naționalism, fascism și Holocaust în istoria românească () [Corola-website/Science/295827_a_297156]
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native place, between the self and its true home: its essential sadness can never be surmounted. And while it is true that literature and history contain heroic, romantic, glorious, even triumphant episodes în an exile’s life, these are no more than efforts meant to overcome the crippling sorrow of estrangement. The achievements of exile are permanently undermined by the loss of something left behind forever.” (Edward Said, Reflections on Exile) În trecut, oamenii priveau cu speranță spre viitor, crezând că
Nu ne-am născut în locul potrivit: despre refugiu și neapartenență () [Corola-website/Science/295802_a_297131]