45,651 matches
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the value of labor from one generation to the next becomes a common good.” The plays of the 50s and 60s, in which the new heroes of labor gain a space of expression and increasing social influence, develop a repertoire of situations and contexts which deserve a theatrical, as well as directorial, reconsideration. Read nowadays, the plays maintain their value as social and artistic documents of a period which loses significance if analyzed through the lenses of clichés. Mihaela Michailov offers
Uniți-vă! Reprezentarea muncitorilor în piesele de teatru ale anilor ’50-’60 () [Corola-website/Science/295674_a_297003]
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heroes of labor gain a space of expression and increasing social influence, develop a repertoire of situations and contexts which deserve a theatrical, as well as directorial, reconsideration. Read nowadays, the plays maintain their value as social and artistic documents of a period which loses significance if analyzed through the lenses of clichés. Mihaela Michailov offers an analysis of the context which generates these plays and of the themes and motives which they develop.
Uniți-vă! Reprezentarea muncitorilor în piesele de teatru ale anilor ’50-’60 () [Corola-website/Science/295674_a_297003]
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burghezie comprador" se referă la o parte dintr-o clasa de mijloc indigena care se aliază cu investitorii străini, corporațiile multinaționale și/sau cu băncile. [:en]by Vladan Jeremić and Rena Rädle</strong></em> The economic devastation after the break-up of Yugoslavia and almost complete deindustrialization of Șerbia that followed represent one of the crucial problems today. Everything that could be privatized în Șerbia hâș been privatized, the majority of factories and businesses have been dissolved and their estates șold. The
#034;Colectivul de muncitori#034;: Intervenție politică și artistică la Exploatarea Minieră RTB () [Corola-website/Science/295678_a_297007]
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of factories and businesses have been dissolved and their estates șold. The import lobby of domestic comprador bourgeoisie hâș been working for the last decade on abolishing the local production and placing instead of it imported products that the citizens of Șerbia should buy from credits, thus incurring more and more debt. În this hostile setting only rare companies have managed to survive the privatization or dissolution. The major part of the Mining and Smelting Basin of Bor (RTB) în east
#034;Colectivul de muncitori#034;: Intervenție politică și artistică la Exploatarea Minieră RTB () [Corola-website/Science/295678_a_297007]
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survive the privatization or dissolution. The major part of the Mining and Smelting Basin of Bor (RTB) în east Șerbia (city of Bor) is still owned by the state. The RTB hâș șo to speak “recovered” during the previous couple of year because the price of precious metals on the global market saw a significant increase during the pick of the world economic crisis. Today, the Mining and Smelting Basin of Bor is experiencing a sort of a modest economic growth
#034;Colectivul de muncitori#034;: Intervenție politică și artistică la Exploatarea Minieră RTB () [Corola-website/Science/295678_a_297007]
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privatized goods and similar concepts. Workers' Collective represents a contemporary political and artistic intervention în the very visual material, aș an artistic tool that is trying to condense the past, present and future, emphasizing the continuity of the common goal of striving - that the workers should directly manage the resources and means of production - the production and reproduction of everyday life and work. [caption id="attachment 836" align="aligncenter" width="300"] Acțiune de distribuire a publicației Colectivul de Muncitori la intrarea principala
#034;Colectivul de muncitori#034;: Intervenție politică și artistică la Exploatarea Minieră RTB () [Corola-website/Science/295678_a_297007]
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artistic intervention în the very visual material, aș an artistic tool that is trying to condense the past, present and future, emphasizing the continuity of the common goal of striving - that the workers should directly manage the resources and means of production - the production and reproduction of everyday life and work. [caption id="attachment 836" align="aligncenter" width="300"] Acțiune de distribuire a publicației Colectivul de Muncitori la intrarea principala a RTB (Întreprinderea Minieră a Bazinului Bor), ianuarie 2013/Distributing the Workers
#034;Colectivul de muncitori#034;: Intervenție politică și artistică la Exploatarea Minieră RTB () [Corola-website/Science/295678_a_297007]
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material, aș an artistic tool that is trying to condense the past, present and future, emphasizing the continuity of the common goal of striving - that the workers should directly manage the resources and means of production - the production and reproduction of everyday life and work. [caption id="attachment 836" align="aligncenter" width="300"] Acțiune de distribuire a publicației Colectivul de Muncitori la intrarea principala a RTB (Întreprinderea Minieră a Bazinului Bor), ianuarie 2013/Distributing the Workers' Collective at the main entrance of
#034;Colectivul de muncitori#034;: Intervenție politică și artistică la Exploatarea Minieră RTB () [Corola-website/Science/295678_a_297007]
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Jeremić & Rena Rädle are artists based în Belgrade, Șerbia. În thier artistic practice they research the intersection between contemporary art and social activism. Understanding the situaționist derivé în the urban landscape aș a tool to detect the burning issues of a society, they develop an artistic method combining documentary video, photo-collages and drawings into the unique installations, contextualy and spacialy designed. Currently în the focus of thier artistic research is the meaning of modernist urbanism today, history and future of
#034;Colectivul de muncitori#034;: Intervenție politică și artistică la Exploatarea Minieră RTB () [Corola-website/Science/295678_a_297007]
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a tool to detect the burning issues of a society, they develop an artistic method combining documentary video, photo-collages and drawings into the unique installations, contextualy and spacialy designed. Currently în the focus of thier artistic research is the meaning of modernist urbanism today, history and future of the socialism and situation of the migrants and the minorities în Europe such aș situation of Romă în Europe. http://raedle-jeremic.modukit.com
#034;Colectivul de muncitori#034;: Intervenție politică și artistică la Exploatarea Minieră RTB () [Corola-website/Science/295678_a_297007]
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special cei din căile ferate și minerit. Pentru o analiză foarte bună ce combină perspective de clasă, gen și etnie ale celor mai de amploare dintre ele, vezi Jaclyn J. Gier, Laurie Mercier (eds.), Mining Women: Gender în the Development of a Global Industry, 1670 to the Present, Palgrave MacMillan, 2009, part 3. [10] Societatea cu răspundere limitată a fost cu greu acceptată în viața economică a țărilor occidentale. Conform lui Ha-Joon Chang, „se credea că aceia care conduc o companie
Pe scurt, despre stat și capital () [Corola-website/Science/295682_a_297011]
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Teatrul Foarte Mic (The Very Small Theatre). She worked at the wardrobe, at dressing room maintenance, and now she’s a technical director and handles dressing room maintenance aș well. She’s very high-spirited and very observant. She’s fond of every performance and she’s very devoted to her job. When did you start working for Teatrul Foarte Mic? I was transferred here from Teatrul Mască. I hâd been working there for two years. The actors cried when I left
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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devoted to her job. When did you start working for Teatrul Foarte Mic? I was transferred here from Teatrul Mască. I hâd been working there for two years. The actors cried when I left. I came here at the end of 1998. I was pregnant. They assigned me straight to the dressing rooms, but there weren’ț aș many performances back then. There were only two or three. Teatrul Mundi were staging their plays here, they’d rented the hall. After
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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me to the wardrobe. My colleague, Petronela, fell down the stairs, at dressing room 2. She was în a hurry, she hâd work to do both upstairs and downstairs at the dressing rooms. Then Mr. Mandiuc, the one în charge of all administrative issues, called me and said: “Zoe, get dressed now and come to the dressing rooms.” It happened during the staging of Paparazzi. And I spent 11 years at the dressing rooms. Why did you leave Mască to go
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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to do both upstairs and downstairs at the dressing rooms. Then Mr. Mandiuc, the one în charge of all administrative issues, called me and said: “Zoe, get dressed now and come to the dressing rooms.” It happened during the staging of Paparazzi. And I spent 11 years at the dressing rooms. Why did you leave Mască to go to Foarte Mic? My husband was working at Mască, too - aș a technical director - and he was transferred to Foarte Mic. And he
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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did nine months of sewing at APACA. I didn’ț like it. I mean, I’m good at it, but it wasn’ț what I wanted to do. After sewing, I worked at Danubiana[1] handling the supply and demand of raw materials, and from there I left for Teatrul Mască and then for Teatrul Mic. I have about 27 years work experience and I’d like to retire here, în the theater. Did you make good money at APACA? At
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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pockets matched. I don’ț remember exactly how much I was making, but it was enough. I left Danubiana with 800 lei. It was a lot at the time. And we hâd food stamps, cold food, we hâd a lot of benefits. But it didn’ț last long. Is the money enough now? It’s not. I have to pay the bank and there’s șo much stuff to do. My husband works aș a taxi driver and it’s not
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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m în the theater union. Some withdrew and now they regret it. But there are some benefits. Like what? At Easter or Christmas we get a 100 lei voucher. And it comes în handy. What fond memories do you have of your day-to-day work? Well, when I was hired, after a screening, we would all go to a restaurant - the machinists, the people from electrics, the sound technicians. And it was șo nice! Everyone would come along, no distinctions would be
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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off for smoking when I was pregnant and she’d bring me sweets and fruit. After her, it was Mrs. Gilda Teodorescu. We shared a room on tour. Relationships change and you feel there are people who have a lt of respect for you even though they have something above you. They don’ț differentiate. It’s important to have respect în work relations. People should be people regardless of their status. Interview by Mihaela Michailov. [1] A manufacturer of tires
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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change and you feel there are people who have a lt of respect for you even though they have something above you. They don’ț differentiate. It’s important to have respect în work relations. People should be people regardless of their status. Interview by Mihaela Michailov. [1] A manufacturer of tires and rubber materials.
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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four constituent elements of the ghetto, namely, (i) stigma, (îi) constraint, (iii) spațial confinement, and (iv) instituțional parallelism. The ghetto is a social-organizational device that employs space to reconcile two antinomic functions: (1) to maximize the material profits extracted ouț of a category deemed defiled and defiling, and (2) to minimize intimate contact with its members șo aș to avert the threat of symbolic corrosion and contagion they are believed to carry. If the target population did not serve an essential
Antropologie performativă. Cazul ghetoului Pata Rât (partea I) () [Corola-website/Science/295677_a_297006]
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or expelled from it—as Jews hâd been periodically în medieval history. If that same group were not irremediably tainted, it would simply be exploited and allowed to mingle în the city în accordance with its position în the division of labor. It is the conflicting combination of economic value and symbolic danger that made handling Jews problematic and spurred the invention of the ghetto[4]. Printr-o tehnică ce se poate denumi a posteriori a antropologiei performative ce implică
Antropologie performativă. Cazul ghetoului Pata Rât (partea I) () [Corola-website/Science/295677_a_297006]
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been periodically în medieval history. If that same group were not irremediably tainted, it would simply be exploited and allowed to mingle în the city în accordance with its position în the division of labor. It is the conflicting combination of economic value and symbolic danger that made handling Jews problematic and spurred the invention of the ghetto[4]. Printr-o tehnică ce se poate denumi a posteriori a antropologiei performative ce implică activism civic, cercetare prin acțiune participativa (PAR
Antropologie performativă. Cazul ghetoului Pata Rât (partea I) () [Corola-website/Science/295677_a_297006]
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Cercetare ÎI din România în perioada octombrie 2011 - septembrie 2014.<b></b> [2] Enikő Vincze, Landfill: Space of Advanced and Racialized Urban Marginality în today’s România, http://sparexro . eu/wp-content/uploads/landfill-Cluj advanced-marginality 2012.pdf [3] Loïc Wacquant, A Janus-Faced Institution of Ethnoracial Closure: A Sociological Specification of the Ghetto, în Ray Hutchison, Bruce D. Haynes (ed.) The Ghetto. Contemporary Global Issues and Controversies, Westview Press, Boulder, 2012, p. 24. [4] Ibidem, p. 7, http://www.loicwacquant.net/assets/Papers/JANUSFACEDINSTITUTION-Proofs.pdf
Antropologie performativă. Cazul ghetoului Pata Rât (partea I) () [Corola-website/Science/295677_a_297006]
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usually rich în information about the characters, the spacial context, the world of objects and the typical attire. At the same time, the physical activities leave an indelible mark on the human body. They are indicators of the existențial status of each character and of the tense and conflictual ways în which the characters interact. The starting point of the essay is the question Is anyone working în Romanian films?. The emphasis în this question is placed on the relevance of
(Povești din) Filmul celor care muncesc () [Corola-website/Science/295669_a_296998]