45,651 matches
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so to speak, was already considered a result of the dynamics of socio-economic change, of mutations in the Socialist conscience of the masses, of the effects of mass-media, all of which allegedly led to a steady rise in the demands of performers and viewers alike. The desire to transmit and receive is dominated by the imperative of “more, stronger, deeper.” Dancing in and of itself was not enough, it had to be part of a “wider collective effort” and subordinated to
„Mulțumim pentru copilăria noastră fericită”: Spectacolul cu copii în România anilor 1980 () [Corola-website/Science/295691_a_297020]
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whom the politically imperfect adults owed the functioning of the “multilaterally developed Socialist society.” The child-performance disciplines subjectivity and always lurks in the shadows (but also in the lime light or on the silver screen), able to correct the errors of ideological zombiefication and perform the mandatory cultivation of Socialist reproduction.
„Mulțumim pentru copilăria noastră fericită”: Spectacolul cu copii în România anilor 1980 () [Corola-website/Science/295691_a_297020]
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în 1970, într-un context politic evident diferit. Dar rămîne în suspensie întrebarea dacă un discurs centralist și segregaționist n-ar fi fost adoptat oricum, la un moment dat, într-o Românie evident înapoiată cultural. Cartea lui Stark reconstruiește making of-ul unei anchete de televiziune pusă în serviciul propagandei, prin ceea ce ar fi trebuit să fie receptarea sa ideală din punct de vedere politic. A te pune în serviciul propagandei, spune ea, nu este propagandă : prin urmare televiziunea își urmează
“Arbeit macht frei”: eliberează omul nou din tine () [Corola-website/Science/295695_a_297024]
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trying to stimulate local children’s literature, which hâș been overwhelmed by translations after 1990. Publishing houses refuse to take a chance on Romanian authors, although there are writers with realist approaches interested în this field. There is a heap of criticism levelled at the phrase “literatura pentru copii” </b>(“literature for children” - the translation of “children’s literature” into Romanian, trans. note). <b><i>Could we use it în such a way, given the fact that books meant for children
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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that writing children’s literature is essentially a political act. Do you agree?</b> I’m not completely familiar with the context în which he asserted this, but I fully agree. It is a deeply subversive act. If we think of Lewis Carroll, his literature dynamited all the strict Victorian standards. His stories of Alice have a subversive nature not just at a social level, but also linguistically and logically. The logic everyone adhered to was turned upside down, language was
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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b> I’m not completely familiar with the context în which he asserted this, but I fully agree. It is a deeply subversive act. If we think of Lewis Carroll, his literature dynamited all the strict Victorian standards. His stories of Alice have a subversive nature not just at a social level, but also linguistically and logically. The logic everyone adhered to was turned upside down, language was explored from the perspective of ambiguity, words with multiple meanings were delivered to
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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din mână în mână pentru ca elevii să pună note profesorilor. Interviu realizat de David Schwartz</strong>[:en]<b>Interview with Lauren</b><b>ț</b><b>iu Ridichie</b> Tell me a little bit about your experience aș a teacher of visual education. I’m interested most of all în your goals, the way în which children react to your teaching approach and also to you aș an artist</b>. There is a hierarchy în schools between ars liberalis and ars
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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pună note profesorilor. Interviu realizat de David Schwartz</strong>[:en]<b>Interview with Lauren</b><b>ț</b><b>iu Ridichie</b> Tell me a little bit about your experience aș a teacher of visual education. I’m interested most of all în your goals, the way în which children react to your teaching approach and also to you aș an artist</b>. There is a hierarchy în schools between ars liberalis and ars mechanica</i> which seems aș if it
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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seems aș if it hâș been maintained since the Renaissance. The last place în this hierarchy belongs to visual education, right behind musical education. This subject is looked upon aș something laughable, kept alive mostly to fill the teaching norms of tenured teachers în case some of them are left without any classes because of drop-outs. Whenever I receive classes, I feel they’re offered to me ouț of pity. Such classes are usually held by the principals, Math, Biology, Music
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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maintained since the Renaissance. The last place în this hierarchy belongs to visual education, right behind musical education. This subject is looked upon aș something laughable, kept alive mostly to fill the teaching norms of tenured teachers în case some of them are left without any classes because of drop-outs. Whenever I receive classes, I feel they’re offered to me ouț of pity. Such classes are usually held by the principals, Math, Biology, Music teachers etc., șo that visual education
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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upon aș something laughable, kept alive mostly to fill the teaching norms of tenured teachers în case some of them are left without any classes because of drop-outs. Whenever I receive classes, I feel they’re offered to me ouț of pity. Such classes are usually held by the principals, Math, Biology, Music teachers etc., șo that visual education classes have virtually disappeared. În the past five years, I’ve taught at eleven schools, most of them on the outskirts of
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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re offered to me ouț of pity. Such classes are usually held by the principals, Math, Biology, Music teachers etc., șo that visual education classes have virtually disappeared. În the past five years, I’ve taught at eleven schools, most of them on the outskirts of Cluj or în nearby villages. It’s very difficult to work în such schools because I’m constantly looking to innovate my methods and students tend not to pay attention for more than a couple
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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of pity. Such classes are usually held by the principals, Math, Biology, Music teachers etc., șo that visual education classes have virtually disappeared. În the past five years, I’ve taught at eleven schools, most of them on the outskirts of Cluj or în nearby villages. It’s very difficult to work în such schools because I’m constantly looking to innovate my methods and students tend not to pay attention for more than a couple of minutes. Therefore, I have
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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them on the outskirts of Cluj or în nearby villages. It’s very difficult to work în such schools because I’m constantly looking to innovate my methods and students tend not to pay attention for more than a couple of minutes. Therefore, I have to keep the teaching to a minimum of several simple phrases. Their unfocused participation maleș their works look like sketches, but that doesn’ț bother me (it does bother the principals, who would like to decorate
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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very difficult to work în such schools because I’m constantly looking to innovate my methods and students tend not to pay attention for more than a couple of minutes. Therefore, I have to keep the teaching to a minimum of several simple phrases. Their unfocused participation maleș their works look like sketches, but that doesn’ț bother me (it does bother the principals, who would like to decorate the school walls with them). However, their refusal to do anything else
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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get them to think about other areas, such aș the political and social ones or the public sphere, șo that they can at some point take a critical (or non-critical) stând through creative visual means. [...] From my more limited experience of working with high-school students, I noticed that many of them are more aware of the current socio-political issues than I was at their age. At the same time, there seems to be a general apathy - we know everything’s a
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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and Russia at that time. Those drawings hâd a significant impact on me and were a major influence în my teaching approach. For about four years I’ve been teaching grades 5 to 8. I took advantage of students’ lack of respect for teachers and their subsequent freedom of expression and introduced them to topics that might remove them from the tradițional sphere they hâd been used to (painting Easter eggs, Christmas etc.). These new topics functioned aș creative and reflective
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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în Schools, Save Roșia Montană, Animal Freedom, CCTV Cameras în Schools, A Day în the Life of the President </b>etc. This is where the idea for <b>The School of Activist Painting </b>în Cluj originated; aș an awakening of both artistic and activist consciences, by creating banners behind the scenes at the protests în 2012. The intention was an ironic opposition to the school of bourgeois painting în Cluj, tucked away în workshops, galleries and museums at that time
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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be protest placards. Their creativity, at a conceptual level, is amazing, due to the relaxed relation they have with the discipline. After they were finished, some students refused to show their drawings, maybe because of certain fears or a lack of confidence în their work stemming from their exposure to tradițional models. They threw them în the trash can and I hâd to pick them up from there. [caption id="attachment 1037" align="aligncenter" width="186"] Monument for Annoying Teachers[/caption]
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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educație. Tema numărului 5 va fi Artă și gentrificarea.[:en][caption id="attachment 1192" align="aligncenter" width="290"]</a> Mike Alewitz & co. An Injury to One Is an Injury to All, Los Angeles, 1991.[/caption] The theme of issue 4 of G.A.P. is Art with/for Excluded Groups and it is comprised of a series of articles, interviews and theoretical texts which analyze the ways în which excluded/marginal communities, groups and individuals take part and are (re)presented în
Arta categoriilor excluse () [Corola-website/Science/295714_a_297043]
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align="aligncenter" width="290"]</a> Mike Alewitz & co. An Injury to One Is an Injury to All, Los Angeles, 1991.[/caption] The theme of issue 4 of G.A.P. is Art with/for Excluded Groups and it is comprised of a series of articles, interviews and theoretical texts which analyze the ways în which excluded/marginal communities, groups and individuals take part and are (re)presented în various artistic forms în the public sphere. Hence, we propose identifying and debating
Arta categoriilor excluse () [Corola-website/Science/295714_a_297043]
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290"]</a> Mike Alewitz & co. An Injury to One Is an Injury to All, Los Angeles, 1991.[/caption] The theme of issue 4 of G.A.P. is Art with/for Excluded Groups and it is comprised of a series of articles, interviews and theoretical texts which analyze the ways în which excluded/marginal communities, groups and individuals take part and are (re)presented în various artistic forms în the public sphere. Hence, we propose identifying and debating forms of participatory
Arta categoriilor excluse () [Corola-website/Science/295714_a_297043]
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series of articles, interviews and theoretical texts which analyze the ways în which excluded/marginal communities, groups and individuals take part and are (re)presented în various artistic forms în the public sphere. Hence, we propose identifying and debating forms of participatory and documentary art - în România, aș well aș în the Republic of Moldova, Hungary, the UȘ, Kenya, Uganda - which address issues confronting ignored social groups. Such socio-political acts trigger a process of translation from “the center” towards “the margins
Arta categoriilor excluse () [Corola-website/Science/295714_a_297043]
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Hence, we propose identifying and debating forms of participatory and documentary art - în România, aș well aș în the Republic of Moldova, Hungary, the UȘ, Kenya, Uganda - which address issues confronting ignored social groups. Such socio-political acts trigger a process of translation from “the center” towards “the margins”, from art for a middle-class, “refined”, “tasteful” audience (usually treated aș mere passive consumers) towards that “invisible” audience which is usually denied access to, and involvement în, the artistic process. We attempt to
Arta categoriilor excluse () [Corola-website/Science/295714_a_297043]
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a middle-class, “refined”, “tasteful” audience (usually treated aș mere passive consumers) towards that “invisible” audience which is usually denied access to, and involvement în, the artistic process. We attempt to track the changes which take place within certain artistic projects of observation and analysis of everyday life which are based on several working directions: - actors’ experiences with an audience which is usually denied access to the theater; - the perspective of people în vulnerable situations who see their own life stories enacted
Arta categoriilor excluse () [Corola-website/Science/295714_a_297043]