35,594 matches
-
of an unintended irony. În spițe of such close connections with the business, already în January, right after the official inauguration, hotel owners filed a request to "improve the communication strategy" immediately. Not until then was the extra million euro for communication released, în fact contrary to the original budget plan. An event of an internațional rank or aspirations, hâd not been able to cross the limits of its region communication-wise. În his radical documentary, Nicolas Burlaud shows the introduction of
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
-
communication-wise. În his radical documentary, Nicolas Burlaud shows the introduction of MP 2013, metaphorically aș the Trojan horse of capitalism, where, under the guise of culture, totally different goals are puț to life. Like Trojans, Marseillans unconsciously decorate their town for a festivity and open the gates, hoping to party. Flocks of animals enter the city: three thousand sheep, goats and horses. One of the largests spectacles within MP2013, Transhumance. În fact, that is an already receding form of shepherding, practiced
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
-
translated aș "The fete is over". But, șo aș not to remain în the domain of euphemisms, won't it be better to call it "The party's over"? It is telling, raising a concerning question: Șo what is left for uș, the inhabitants, apart from the handful of memories and several wedding-party bottles? Who and what was the party for? The next urban entertainment, the Football Cup, is coming right up, în 2016. The Stadium is ready. And the European
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
-
be better to call it "The party's over"? It is telling, raising a concerning question: Șo what is left for uș, the inhabitants, apart from the handful of memories and several wedding-party bottles? Who and what was the party for? The next urban entertainment, the Football Cup, is coming right up, în 2016. The Stadium is ready. And the European Capital of Culture will then be moved to Wroclaw - „The City of Encounters, of many cultures, of tolerance”?* * The
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
-
nbsp; * The original title: "A European Capital of Culture with a burning effigy of a Jew în the background" refers to the next în line ECC, Wroclaw, which bases its promoted identity on multiculturalism. În reality, Wroclaw hâș been criticized for years of neglecting their minorities, including Romas whose encampment was brutally evicted în 2015. The same year, during one of their many marches through the city, Polish neonazis used the Old City square to burn an effigy of a Jew
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
-
of bricks and sand?... it was amazing, such a bliss! [...] The oldest toy I can remember was a handcar; a sort of bicycle that hâd a sidecar similar to those used on motorcycles. I used to take the family dog for a ride în it. I didn't have many more toys. When I was much older, meaning eight o nine years old, I hâd something called “matador”. Similar to nowadays “lego” but much more primitive, made of wooden sticks. My
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
-
more humble entrance. You would pass through the kitchen. After climbing a few stairs we would walk through a small open terrace. The house hâd also a cellar where we kept the potatoes, carrots and other vegetables covered în sand for the wintertime. My father would take ouț his Yale key and enter through the main door. That entrance was also used by my father's clients - he was a lawyer. On the dark grey mosaic floor next to the doorstep
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
-
the same wall led to the bathroom. Here there were a toilet, a sink (with only cold water running), a bathtub and the huge boiler using wood fire. În the bathroom stood also a sofa coated în garnet-red leather, used for resting after one's bath. Surrounded by a wooden fence, the courtyard was wide and long. There were two gates în the fence: a simple one for the people and a double one that would only open în autumn to
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
-
fire. În the bathroom stood also a sofa coated în garnet-red leather, used for resting after one's bath. Surrounded by a wooden fence, the courtyard was wide and long. There were two gates în the fence: a simple one for the people and a double one that would only open în autumn to let în the traps and the necessary for heating the house în wintertime. We hâd lots of trees în the yard: a linden, pear trees, a wax
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
-
a wooden fence, the courtyard was wide and long. There were two gates în the fence: a simple one for the people and a double one that would only open în autumn to let în the traps and the necessary for heating the house în wintertime. We hâd lots of trees în the yard: a linden, pear trees, a wax cherry tree and fours plum trees. My mother would make plum jam în a big laundry cauldron that a Romă tin-man
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
-
flowers appeared în springtime. My grandmother would ask uș not to step on them. We hâd flowerbeds towards our neighbours' fence [...] It was heaven-like în summer. *This text was published în G.A.P. 14 and represents the point of departure for the theatre play Uncertain Home - A Subjective History of Housing, a project by Vârstă 4 collective, directed by David Schwartz, 2016.
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
-
reflecție nu e alienat de experiența fizică, nu se creează doar imobilizat în fața calculatorului. La fel, cred că înțeleg altfel concepte filosofice dintr-o perspectivă experiențială decât din aceea rațională și abstractă. Ca exemplu de practici similare, recomand SenseLab, laboratory for thought in motion laborator pentru gândire în mișcare, cadru inițiat de Erin Manning și Brian Massumi (filosofi canadieni din Montreal). SenseLab este o rețea internațională și multidisciplinară de artiști, profesori, filozofi, scriitori, oameni de știință, un mediu de cercetare și
”Abordez tactilitatea și corporalitatea într-o societate care le marginalizează” - Interviu cu Mădălina Dan (1) () [Corola-website/Science/296146_a_297475]
-
program politic violent.</p> TFD</spân></spân><spân style="font-family: Times New Român,șerif;"><spân style="font-size: medium;"><spân lang="ro-RO"> (</spân></spân></spân><spân style="font-family: Times New Român,șerif;"><spân style="font-size: medium;"><spân lang="ro-RO"><b>Theatre For Development/ Teatru Pentru Dezvoltare</b></spân></spân></spân><spân style="font-family: Times New Român,șerif;"><spân style="font-size: medium;"><spân lang="ro-RO">) este o metodă de teatru inspirată relativ din </spân></spân></spân><spân style="font-family: Times New Român,șerif
Auto-reprezentare prin teatru politic în contexte (de)coloniale. Nigeria, Mexic, Palestina, Peru () [Corola-website/Science/296125_a_297454]
-
Dysnomia -Cercul de lecturi feministe Profesoară universitară specializată în științe sociale, Silvia Federici este renumită pentru studiile sale interdisciplinare de filosofie, istorie și sociologie, ca și pentru activitatea de susținere a drepturilor omului, fiind, printre altele, fondatoare a organizației Committee for Academic Freedom in Africa (CAFA) și a proiectului Radical Philosophy Association, care se opune pedepsei cu moartea. Activitatea ei militantă abordează teme de actualitate, precum implicațiile deciziilor adoptate de Fondul Monetar Internațional și Banca Mondială, crizele umanitare și cele ecologice
Lansare: Caliban și vrăjitoarea, de Silvia Federici () [Corola-website/Science/296167_a_297496]
-
de scandările din Quadrophenia, un fel de voce a stăzii pe care Jason și-o asumă fără prea multa modestie: ”still some ouț there who believe în the lie of work till you die, of Sundays apple pie, death waits for every mân!” Atunci când nu e nihilist sau un înfuriat, Jason e ironic: ”Dead will fall, no one's bothered/ You’re trapped, me too/ Alienation, no one's bothered” (No one’s bothered). Bronx în a six este prima piesă
No one’s bOthered () [Corola-website/Science/296153_a_297482]
-
o metaforă mișto când vorbește despre cum se vinde forță de producție. Acesta compară ziua de lucru a muncitorului cu vinderea viselor, a sufletului dar făcând-o prin infantilizare, ca la programul unei creșe: ”We puț our souls în nursery for the day/ Pick 'em up after work, take 'em home/ Try ‘n get 'em în bed tucked up before 10 o’clock”. Într-un final suntem ”the wooden horses on wooden race courses at fairs”, pe de o parte prinși
No one’s bOthered () [Corola-website/Science/296153_a_297482]
-
din marea Britanie [:en]Dinu Gutu A couple of months ago, Sleaford Mods front mân Jason Williamson announced he was no longer allowed to vote în the UK Labor leadership election, after he called Dan Jarvis, one of the candidates for Parliament, a “posing cunt” în a public post. Williamson sings about the condition of the working classes and social inequality în England. He joined Labor to support Jeremy Corbyn. He remained involved în politics from the stage and not from
No one’s bOthered () [Corola-website/Science/296153_a_297482]
-
Deleuze, but more of the Oi! Punk sort, Williamson being a mân of the people, ăn “average blue-collar” în a world where the call center is the new factory, aș he himself describes it. The album abounds în stylistic ironies. For instance, “Live tonight” begins with a football chant, reminding uș of Quadrophenia, a sort of voice of the streets which Jason not-so-humbly appropriates: ”still some ouț there who believe în the lie of work till you die, of Sundays apple
No one’s bOthered () [Corola-website/Science/296153_a_297482]
-
begins with a football chant, reminding uș of Quadrophenia, a sort of voice of the streets which Jason not-so-humbly appropriates: ”still some ouț there who believe în the lie of work till you die, of Sundays apple pie, death waits for every mân!” When he’s not a nihilist or pissed off, Jason is ironic: ”dead will fall, no one’s bothered/ You’re trapped, me too/ Alienation, no one’s bothered” (No one’s bothered).” “Bronx în a six” is
No one’s bOthered () [Corola-website/Science/296153_a_297482]
-
no mates?/ You pretend to be proud of ya own culture/ Whilst simultaneously not giving two fucks about ya own culture/ What culture? Fuck culture”. Like a manifesto yelled into a loudspeaker, he condemns the betrayal of the working-class căușe for ”clean white tiles, a view to the garden, a room with a poo”, meaning commodification and pseudo-emancipation through consumption. The reference to “defending your culture” is probably an attack on the nationalist-conservative views on immigration and globalization. Another recurring theme
No one’s bOthered () [Corola-website/Science/296153_a_297482]
-
Jason uses an awesome metaphor when talking about how the labor force is șold. He compares the workday of a worker with selling dreams and selling our souls by putting them în a nursery: ”We puț our souls în nursery for the day/ Pick ‘em up after work, take ‘em home/ Try ‘n get ‘em în bed tucked up before 10 o’clock”. Eventually, we are ”the wooden horses on wooden race courses at fairs”, trapped like hamsters, on the one
No one’s bOthered () [Corola-website/Science/296153_a_297482]
-
work, take ‘em home/ Try ‘n get ‘em în bed tucked up before 10 o’clock”. Eventually, we are ”the wooden horses on wooden race courses at fairs”, trapped like hamsters, on the one hand, and on the other, support for the world of the “carnival, the spectacle” of those who can afford the merry-go-round and ride uș. Williamson is not a fan of “the perfect song”, of the aesthetics of the hit single, when it comes to writing lyrics. This
No one’s bOthered () [Corola-website/Science/296153_a_297482]
-
Back then, there was an unwritten rule: people used to move ouț and change tenancy în lațe April and lațe October [probably due to the fact that some families went to the countryside during the warm months, ed.n.]. There were “for rent” announcements posted on the streets, on the houses. It wasn’ț like nowadays, when we have the adverts. Our landlords would live în a house în the same courtyard or în the same small block-of-flats. În these small blocks
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
-
nowadays, when we have the adverts. Our landlords would live în a house în the same courtyard or în the same small block-of-flats. În these small blocks, each floor would have only one apartment with two-three rooms. The main condition for the tenants was to pay the rent on time. Usually, if you managed to do that, everything was all right. My parents were extremely correct în this aspect. [...] But I must add that the landlords used to raise the rent
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
-
if you managed to do that, everything was all right. My parents were extremely correct în this aspect. [...] But I must add that the landlords used to raise the rent periodically: a while after moving în, the landlord would ask for a higher rent. If we couldn’ț pay the new rent, we hâd to move ouț. That’s why we lived în 12 different houses în that period and we moved ouț 12 times! It’s said that moving ouț
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]