3,804 matches
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account of an event or series of events for which there isn’ț enough dată to allow a plausible explanation. This means the historian hâș to “interpret” the material by filling the gaps în research through speculation and inference.[ 1] But on what criteria would such a selection be based? Don’ț the ideological demands of the present have any say în it? Who benefits from such an interpretation? And how is this interpretation perceived by various social groups? Aș a
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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understand why the past would be usable at all. The question which the proponents of this model ask themselves is “what does the past do for uș?”[5] This type of conceptualizing doesn’ț differ much from the first one, but its underlying principles are funcționalist: history, a sense of the past, tradition, collective memory, all are used to define identities and instill morality în them. Besides “what we do with the past” and “what the past does for uș”, there
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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funcțional. This perspective asks the question “what does the past do to uș?” and aims to discuss the way certain communities and social groups refer to traumatic events în the past. The three approaches mentioned here are not mutually exclusive, but complementary [...] According to Henri Wald, ‘the theatre is faithful to its essence only if it is critical towards contemporary life. Photography, cinema and television have spared theatre the obligation of reflecting life and compensating it with stories. It can, at
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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a local context where the idea of “art” is associated with imperviousness to everyday issues, apolitical behavior and “harmlessness” în shaping the public agenda.[ 7] These productions do not necessarily represent an ethos of Romanian independent theatre aș a whole, but I estimate they are a reaction to two post-socialist directions în the theatre which could hardly have occurred elsewhere. First of all, “running away from the present” în state-funded theatres - meaning a rejection of contemporary texts and revolving around the
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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believe today that being a classic of modernity [...] becomes the attribute of performatively active modernism. And we forget or simply do not know it yet: în the theatrical concept of modern, the present of direct experience plays a meaningful role. But Romanian theatre nowadays is running away from this present!” Marian Popescu, Oglindă spartă. Teatrul românesc după 1989, (București: Unitext, 1997), quoted în Ț. C. Popescu, Surplus</b>..., p. 35, footnote 63.
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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and instituțional practice these în recent years - from anti-Roma 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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în paralel cu nevoia de migranți pentru dezvoltarea economiei capitaliste, nevoia de refugiu, dreptul de a călători că drept fundamental al tuturor, instrumentalizarea „străinului” că țap ispășitor pentru problemele sociale și economice. “Exile is strangely compelling to think about, but terrible to experience. It is the unhealable rift force between a human being and a 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
Nu ne-am născut în locul potrivit: despre refugiu și neapartenență () [Corola-website/Science/295802_a_297131]
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the capitalist economy grows, the need for asylum, the right to travel aș the fundamental right of every individual and the instrumentalization of “the foreigner” aș a scapegoat for social and economic issues. “Exile is strangely compelling to think about, but terrible to experience. It is the unhealable rift force between a human being and a 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
Nu ne-am născut în locul potrivit: despre refugiu și neapartenență () [Corola-website/Science/295802_a_297131]
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crippling sorrow of estrangement. The achievements of exile are permanently undermined by the loss of something left behind forever.” (Edward Said, Reflections on Exile) People used to be hopeful about the future, believing that modernity will bring progress and development. But “the future” brought with it more warfare, more divisiveness, more technology and less solidarity, replacing human interactions with the bureaucracy of hierarchical systems. Few people believe they were born în the right place and the age we live în is
Nu ne-am născut în locul potrivit: despre refugiu și neapartenență () [Corola-website/Science/295802_a_297131]
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în is one of uprooted peoples, massive migration and human tragedy. People have tested their limits by creating destructive mechanisms, be they military, conceptual or symbolic: guns and armies, propagandă, racism, xenophobia, ethnic divisions, borders of all sorts and, last but not least, nation-states - an umbrella for all these manifestations of “civilization.” Migrants are the implicit result of this context, a vague concept attempting to define an inaccurate reality and contain an entity which is unmeasurable, a group which everyone hâș
Nu ne-am născut în locul potrivit: despre refugiu și neapartenență () [Corola-website/Science/295802_a_297131]
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citizen. Only I cannot votes. I never go back to Iraq. War destroy everything there. Nothing remaining of Iraq!” European directives aim to offer equal rights to EU citizens, their family members and persons benefitting from a form of protection. But reality is never reflected în the directives, and neither are the directives a mirror of everyday life. Poorer states of the EU - România being one of them - offer refugees the right to live în the country, to work, to study
Nu ne-am născut în locul potrivit: despre refugiu și neapartenență () [Corola-website/Science/295802_a_297131]
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and neither are the directives a mirror of everyday life. Poorer states of the EU - România being one of them - offer refugees the right to live în the country, to work, to study and to settle down with their families, but fail to support them în achieving these rights. Aș soon aș they receive a form of protection, they are on their own în a poor society, where people speak a different language and are not taught to understand their situation
Nu ne-am născut în locul potrivit: despre refugiu și neapartenență () [Corola-website/Science/295802_a_297131]
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Marus/GAP/numărul%207/Diana%20Dumitru%20-%20Clear%20History%20English.docx# ftn7">[7]</a> A Jew deported from Bukovina to Moghilev expresses the following opinion on the population of Transnistria: "They were nice. They were aș poor aș we were, but they gave uș food when they could (afford it)."<a title="" href="file:///D:/Marus/GAP/numărul%207/Diana%20Dumitru%20-%20Clear%20History%20English.docx# ftn8">[8]</a> An interesting perspective is offered by a survivor originating from Orhei (Bessarabia
Atitudinea populației ne-evereiești din Basarabia și Transnistria față de evrei în perioada Holocaustului: o perspectivă a supraviețuitorilor () [Corola-website/Science/295809_a_297138]
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split the family assets and went their separate ways. They divided, în aș civilized a way aș they could, the house, the car and whatever cash or personal expenses they might have hâd. Again, it might seem hard to believe, but the toughest negotiations concerned the truckload of books they hâd puț up all along the inside walls. They eventually reached an agreement: after each of them kept the volumes relating to their fields of activity, mom took the art albums
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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that distinct way of speaking... and Miron Cozma (the leader of the miners) was saying some funny nonsense. That was pretty much it. These two were the ones I recognized from television. I don’ț know who the others were, but they were saying some things about June 1990 which at the time seemed to be a bit far-fetched. Like în sensationalist news reports, only worse. Not to mention the fact that, even though they were all talking about the same
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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the interviews these guys hâd taken for the performance. All în all, roughly 25 hours în which those people talk about mind-boggling things. For the final cut, they’d only chosen parts of them and maybe edited ouț some commas, but all those things about the Securitate, the Piața Universității phenomenon (University Square), FSN (Național Salvation Front), dark-skinned people and people wearing dark, prisons în Măgurele, vicious beatings and hatred on both sides, they were all there în the interviews. Word
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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image hâș changed. The image hâș become a name. Not only have commodity fetishism and capital turned image made the image the main social elevator (replacing school), the main instrument of planning reality and the essence of the social world, but human language itself names through images - and this is happening the world of words, no less. [...] Which are the possible ways of progress, liberation or reproduction of the “alternative” spaces, the positive potențial of the “service sector” or of “independent
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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their success, when they finally become aware that they are saying the truth, that they are doing something important, when they gain a certain amount of legitimacy or when the critical diagnosis appears to be confirmed not just by reality, but also by an audience. Maybe the obstacle în the path of the generalization of the message is precisely the lack of a symbolic / hermetic / fetishist / magic half în their language. [caption id="attachment 1743" align="aligncenter" width="600"] Independent Moldova . Erratum
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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does not ignore the hermetic dimension or the duality of communication, would be necessary în order to capture the context of the relations between externalities, to whom we should be grateful for allowing uș to observe paradigmatic shifts, unlike inherences. But multiple external and internal influences, be they implicit or explicit, are never translated în a linear fashion or în a single environment. This is part of the reason why the social history of the transition period is written at Teatrul
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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Venice. Robots and space-ships were very popular back then, because of Star Wars</b>. He rented a cameră and we made a film and our group won an award. I told my dad I wanted to be an Art student, but he wouldn’ț hear it. În high-school I loved writing and my Arabic teacher told me I was gifted and it would be a shame if I didn’ț become a writer. Dad said “no” again. And I’ve been
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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didn’ț become a writer. Dad said “no” again. And I’ve been yearning to do something related to art ever since. My secret plan was to come to România and apply to IATC (The Institute of Theater and Cinema), but the tuition fee was 750$ a month, three times that of Medical School. I wanted to study film directing. I couldn’ț do it. I tried to get în touch with my uncle from the States and go there. I
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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thrilled, because my story could be told by someone other than myself, someone who listened to me and took notes. When I was talking to you guys, I was very careful to highlight certain things, certain values which should exist, but actually don’ț. What was your impression when you heard the text for the first time? During my story, I would close my eyes and try to relive those moments. The only thing was Alex’s accent. He hadn’ț
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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the text for the first time? During my story, I would close my eyes and try to relive those moments. The only thing was Alex’s accent. He hadn’ț met me yet and his Romanian was worse than mine, but he really worked hard and managed to... how should I say it...not live the part, but live a part of my life - my life story. Translating the text into Arabic really helped me and when it was time to
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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relive those moments. The only thing was Alex’s accent. He hadn’ț met me yet and his Romanian was worse than mine, but he really worked hard and managed to... how should I say it...not live the part, but live a part of my life - my life story. Translating the text into Arabic really helped me and when it was time to choose a name for my character, I chose Selim. I wanted to pay tribute to a person
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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to talk about the war. I’ve lived with war all my life. And that’s why I won’ț keep quiet. I want to talk about how terrible war is, how it destroys not just a person’s life, but an entire people. I’ve always said: “May God never allow another country to go through what my country did!” It was a very dirty war. I told you that my grandfather was born în 1892 and lived through the
„Trebuie să ducem povestea mai departe” () [Corola-website/Science/295731_a_297060]