45,651 matches
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the attitude of the population în Bessarabia and Transnistria towards the Jews, we must take into account the issue of identity. În Bessarabia, the problem of național loyalty - deeply connected to the identification, aș incomplete aș it may have been, of Moldovans with the Romanian nation - placed the compassion towards the victim and general human solidarity în a complex relation. În Transnistria, any act of charity towards the Jews could be justified both individually and socially, being depicted aș an act
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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problem of național loyalty - deeply connected to the identification, aș incomplete aș it may have been, of Moldovans with the Romanian nation - placed the compassion towards the victim and general human solidarity în a complex relation. În Transnistria, any act of charity towards the Jews could be justified both individually and socially, being depicted aș an act of resistance against the occupiers. This last hypothesis was less appealing - and therefore less politically motivating - for Moldovans, either în the sense of helping
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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Moldovans with the Romanian nation - placed the compassion towards the victim and general human solidarity în a complex relation. În Transnistria, any act of charity towards the Jews could be justified both individually and socially, being depicted aș an act of resistance against the occupiers. This last hypothesis was less appealing - and therefore less politically motivating - for Moldovans, either în the sense of helping the Jews or în expressing critical opinions towards the actions of the government. [1] Interview 51: Sară
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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pe care le-au învățat de-a lungul anilor pe de rost din presa culturală respectabila și, pe ascuns, de la televizor — știi, alea cu „Vrem democrație și piața ca-n Vest!”, „Anti-Iliescu”, „Să vină studenții!”, cântece, voie bună, a pinch of naționalism, investitori serioși, alea, alea. Probabil printre puținele chestii proletare de p-acolo erau gusturile mele, de care am facut mișto mai târziu la o bere, după ce ne-am întors acasă din Control</b>, în seara aia când i-au
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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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, several foreign authors, the new books from Humanitas Publishing, aș well aș the entire collection of Cioran, Eliade and the rest of the figures I could never take more seriously than I did Kurt
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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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, several foreign authors, the new books from Humanitas Publishing, aș well aș the entire collection of Cioran, Eliade and the rest of the figures I could never take more seriously than I did Kurt Cobain, while dad settled for the rest: “Bibliotecă pentru toți” (A Bookcase for All), “Secolul XX” (The 20th Century) and a heap
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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Cioran, Eliade and the rest of the figures I could never take more seriously than I did Kurt Cobain, while dad settled for the rest: “Bibliotecă pentru toți” (A Bookcase for All), “Secolul XX” (The 20th Century) and a heap of other collections and novels I wandered into myself every now and then. They killed each other over the history books. În ’95, after mom insisted and pulled some strings, I was moved to a school în the centre, where I
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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în the 1990s). They’d worked really hard, interviewed a lot of people and now they wanted to do a theatre performance using all this material. The idea was that, în the beginning of the performance, they’d screen fragments of our interviews, the ones who were very young or inexistent în the ‘90s. Since we were inevitably ignorant on the subject, the research and staging efforts were depicted aș having a pedagogical value, aș well. A good idea, from my
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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Photo: Monica Marinescu[/caption] It didn’ț matter that much, anyway. I was edited ouț without any particular reason, since those who made it on film were saying the exact same things I was. I liked the performance: the combination of independent theatre staged în an improvised location and the very credible acting rubbed me the right way. I remember I only came to my senses when I realized the whole thing was performed by a single actor and consisted of
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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whole thing was performed by a single actor and consisted of several monologues: 20 minutes one part, 20 minutes the next one and șo on. Awesome guy! I remember his portrayal of president Iliescu was really funny - 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
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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to learn more about the topic. Imagine my surprise when I found ouț later that, Iliescu’s accent notwithstanding, all those unbelievable things those people were talking about were for real. And that convoluted, grotesque, yet dramatic story, made up of pieces that didn’ț match, was mostly true. I say ”mostly” because each of those people remembered things differently and hâd obviously left some bits ouț, just like I have în my story. For about two weeks I watched on
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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about two weeks I watched on youtube all 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
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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nbsp; [1] Marat Guelman, (n. 1960, Chișinău) Artist plecat la Moscova în 1990, unde a fondat una dintre primele galerii de artă contemporană postsovietice, [2] Marc Verlan, (n. 1963, Cocieri, Dubăsari) Artist contemporan moldovean. [:en]by Ovidiu Țichindeleanu The city of Kishinev is a massive construction site. În the Eastern European public spaces, one of the asymmetrical struggles of the transition period was fought between the concrete of the common housing blocks and the digitally processed images of the commercial billboards
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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ugly.” T-shirts displaying colorful logos în English (like “Sexy”) started cropping up everywhere and men started wearing the tracksuit with mother-of-pearl (-ish) lining. It was an uneven battle. Concrete obviously lost. The digital visual order clearly defeated the planned order of concrete. After two decades, the blocks themselves began to dress în computer-generated “pastel” colors. Behind their walls, în the apartments - the site of the popular history of the transition - the great “evro-remont” hâd already taken place. Today, în Bucharest, Budapest
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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to dress în computer-generated “pastel” colors. Behind their walls, în the apartments - the site of the popular history of the transition - the great “evro-remont” hâd already taken place. Today, în Bucharest, Budapest and other Eastern European cities, the tragic end of this transition is marked by the eviction of the people living în the apartments.[...] În the paradise of commercial billboards, strong colors, direct messages and perfect contours talk incessantly about a totality beyond any imagination. The relation between word and
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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of the transition - the great “evro-remont” hâd already taken place. Today, în Bucharest, Budapest and other Eastern European cities, the tragic end of this transition is marked by the eviction of the people living în the apartments.[...] În the paradise of commercial billboards, strong colors, direct messages and perfect contours talk incessantly about a totality beyond any imagination. The relation between word and image hâș changed. The image hâș become a name. Not only have commodity fetishism and capital turned image
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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a totality beyond any imagination. The relation between word and 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
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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or reproduction of the “alternative” spaces, the positive potențial of the “service sector” or of “independent” culture and politics before they are swallowed by the world of consumption and the current establishment? The independent sector, with all its infinite margin of internal difference and nuances, is based on the embodiment of a critical dimension. Aș a result, its language usually tries to be transparent, to tell the truth, even when it projects itself on “the outside” and aims to be subversive
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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Aș a result, its language usually tries to be transparent, to tell the truth, even when it projects itself on “the outside” and aims to be subversive. This is why independent institutions tend to wither away precisely at the height of 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
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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subversive. This is why independent institutions tend to wither away precisely at the height of 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
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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precisely the lack of a symbolic / hermetic / fetishist / magic half în their language. [caption id="attachment 1743" align="aligncenter" width="600"] Independent Moldova . Erratum. Photo: Teatru-Spălătorie, 2014.[/caption] A social justice reading of the current social, political and/or cultural context of Moldova, of its recent history, one which 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
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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why the social history of the transition period is written at Teatrul Spălătorie / Theatre Washroom (the mass migration of the labor force, both eastward and westward; the succession of naționalist and Western ideologies; the oral history of the Holocaust or of LGBT daily life etc.), the history of the public space at Chioșcul din Apartamentul Deschis / The Boutique în the Open Apartment and the Central Market is the most important institution of free time. All these, however, are parallel worlds.
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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character” I became friends with, I tried to find ouț more about him during the time we worked together. It wasn’ț very difficult, because Bashar is very generous when it comes to his life experience. His stories are clippings of real life, never simple, always ironic, sometimes shocking. It’s the story of a stateless person. While getting to know him, I learned that many of the things we take for granted, like the right to an education în a
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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during the time we worked together. It wasn’ț very difficult, because Bashar is very generous when it comes to his life experience. His stories are clippings of real life, never simple, always ironic, sometimes shocking. It’s the story of a stateless person. While getting to know him, I learned that many of the things we take for granted, like the right to an education în a country you can call your own or the right to see your parents
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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own or the right to see your parents, are not always guaranteed. (Alex Fifea)</i> [caption id="attachment 1217" align="aligncenter" width="300"] Bashar al-Kishawi. Photo: Personal archive, 2012.[/caption] What motivated you to share your life story with a bunch of people you didn’ț know? It all starts with my father, honestly. I was în Kuwait, I was a 4th grader and singing în the school choir, and I got a taste for classical music. Our choir ended up winning
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]