45,651 matches
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the 1970s (în New York). The mechanism was usually simple: gentrification occurred în a neighborhood eyed by realtors and inhabited by vulnerable or simply “undesirable” social groups în the colonial logic of the capitalist real estate market. One or more groups of artists find the area attractive (low rents, “inspiration”) and are allowed a couple of years to settle în. Slowly, but surely, the area becomes interesting for the middle class. Artist owned galleries, bars and “bohemian” cafes crop up and suddenly
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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eyed by realtors and inhabited by vulnerable or simply “undesirable” social groups în the colonial logic of the capitalist real estate market. One or more groups of artists find the area attractive (low rents, “inspiration”) and are allowed a couple of years to settle în. Slowly, but surely, the area becomes interesting for the middle class. Artist owned galleries, bars and “bohemian” cafes crop up and suddenly property values surge. The inițial inhabitants can no longer afford the new rents and
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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internațional level, big cultural events (mostly sports-related) with their implicit massive construction work have also been and still are pretexts for the acceleration of gentrification processes. The Winter Olympics în Sochi (2014), the World Cup 2014 and the Summer Olympics of 2016 în Brazil are the most recent examples of this sort. The low-income population în certain areas of interest for realtors is forcefully evicted and driven away under the pretext of construction work for mega-events. În the context of Romanian
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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are pretexts for the acceleration of gentrification processes. The Winter Olympics în Sochi (2014), the World Cup 2014 and the Summer Olympics of 2016 în Brazil are the most recent examples of this sort. The low-income population în certain areas of interest for realtors is forcefully evicted and driven away under the pretext of construction work for mega-events. În the context of Romanian post-socialism, especially în Bucharest and Cluj, gentrification hâș often been accompanied by direct aggression aimed at forcing the
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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Olympics of 2016 în Brazil are the most recent examples of this sort. The low-income population în certain areas of interest for realtors is forcefully evicted and driven away under the pretext of construction work for mega-events. În the context of Romanian post-socialism, especially în Bucharest and Cluj, gentrification hâș often been accompanied by direct aggression aimed at forcing the eviction of “undesirables” - forced evictions under various pretexts, from property returned to its pre-socialist owners (real or fabricated) to urban landscape
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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for realtors is forcefully evicted and driven away under the pretext of construction work for mega-events. În the context of Romanian post-socialism, especially în Bucharest and Cluj, gentrification hâș often been accompanied by direct aggression aimed at forcing the eviction of “undesirables” - forced evictions under various pretexts, from property returned to its pre-socialist owners (real or fabricated) to urban landscape changes. The cultural-artistic environment în România hâș hâd various positions, most of them ambiguous and sometimes în cahoots with the agents
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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accompanied by direct aggression aimed at forcing the eviction of “undesirables” - forced evictions under various pretexts, from property returned to its pre-socialist owners (real or fabricated) to urban landscape changes. The cultural-artistic environment în România hâș hâd various positions, most of them ambiguous and sometimes în cahoots with the agents of these processes. Issue 5 of Gazeta de Artă Politică investigates some of these scenarios, especially those connected with the local, Romanian context, but also with the European one (Poland and
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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undesirables” - forced evictions under various pretexts, from property returned to its pre-socialist owners (real or fabricated) to urban landscape changes. The cultural-artistic environment în România hâș hâd various positions, most of them ambiguous and sometimes în cahoots with the agents of these processes. Issue 5 of Gazeta de Artă Politică investigates some of these scenarios, especially those connected with the local, Romanian context, but also with the European one (Poland and Portugal) and the internațional one (Brazil). The texts and interviews
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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pretexts, from property returned to its pre-socialist owners (real or fabricated) to urban landscape changes. The cultural-artistic environment în România hâș hâd various positions, most of them ambiguous and sometimes în cahoots with the agents of these processes. Issue 5 of Gazeta de Artă Politică investigates some of these scenarios, especially those connected with the local, Romanian context, but also with the European one (Poland and Portugal) and the internațional one (Brazil). The texts and interviews are structured în several directions
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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for profound aesthetic and political reflections upon extremely vulnerable realities, upon the world of fragile “undesirables” whose self-representation is usually shunned by the art with capital A. <strong>Acasă</strong> was created by director Radu Apostol together with a group of homeless children and two professional actresses, after six months of collective work. Through the play, “the children of concrete and dreams” were talking to the children and adults în the public about abused “under-childhoods”, about childhoods lived în the airways
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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em> project, you received social housing.</em></strong> Yes, and I stayed în the apartment for about seven years. At first, we were six people în the flat, and then 4 were left, then only 2. I brought a lot of people from the neighbourhood to the theatre. People who only went to the theatre when they were kids, to see Snow White, and haven’ț been there since. I would tell them: come to see how it’s like! Leaving
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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his soles with a club? a kid sleeping în the subway, barefoot, dressed only with ragged trousers and a blouse, when it was deadly cold. How could he hit like that? That was too much for me! This is one of those things... forever imprinted în your flesh! This is the maximum evil! A mân with a club beating the hell ouț of you because he can! I was picked up by policemen many times on the street. They would take
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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Konstantina Kouneva Cum arată toate acestea în practică? În discuțiile dintre noi am identificat ca front principal împotriva capitalismului colonial, luptele comune ale muncitorilor/oarelor migranți/te și locali/ e. Poate cel mai cunoscut astfel de exemplu este campania Mall of Shame din Berlin. Însă aici vreau să prezint pe scurt un alt exemplu: lupta Konstantinei Kouneva și a colegelor ei. Konstantina Kouneva vine din Bulgaria și a lucrat în Atena ca femeie de serviciu. Era secretară la PEKOP, sindicat de la
Să punem critica colonială în aplicare () [Corola-website/Science/296073_a_297402]
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de clasă între muncitori migranți și locali, între muncitoare și muncitori. Astfel, Konstantina - muncitoare migrantă, mamă și sindicalistă de la bază - a devenit un simbol al mișcărilor anarhistă și de stânga. Să construim o mișcare anarhistă decolonială Atât în cazul Mall of Shame cât și în cel al Konstantinei Kouneva anarhiștii/ele au fost aceia/lea care au dus lupta comună cu muncitorii/oarele migranți/te împotriva capitalului și a statului în modul cel mai radical și mai militant. Asta ne arată
Să punem critica colonială în aplicare () [Corola-website/Science/296073_a_297402]
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2000 3 Pentru conceptele de diferența coloniala și diferența imperiala vezi Walter Mignolo, The Darker Side of Western Modernity: Global Futures, Decolonial Options, Duke University Press, 2011 4 Pentru conceptul de Orientalism intern, vezi Milica Bakić-Hayden, Nesting Orientalisms: The Case of Former Yugoslavia, Slavic Review, Vol. 54, Iarna 1995 de MANUELA BOATCĂ
Mai multe Europe. De la mistica uniunii la (geo)politica diferențelor () [Corola-website/Science/296076_a_297405]
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have to have a calling for teaching. [caption id="attachment 3846" align="aligncenter" width="1024"] Photo: Bogdan Rusu[/caption] Șo, I worked aș an engineer at Danubiana în 1998 and 99. I did my internship, aș it were, until the summer of 1999. Then I worked for Sintofarm, where I was actually în my field, I started taking on responsibilities there. I also worked for SC Chimopar, even before I graduated, aș a chemical operator. I did the low-brow labor aș well
„Nu aș mai face niciodată credit ipotecar” () [Corola-website/Science/296064_a_297393]
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still low. Now I don’ț think you can make aliving off of unemployment benefits, the cost of living is șo expensive. I was always behind on my utilities, but at least managed to pay them eventually. În the fall of 2001, I got a job aș a teacher for the Alexandra Cultural Foundation, where they hâd a high-school and a 3-year college, where I also met my second wife, who hâd graduated library studies there. But you know how it
„Nu aș mai face niciodată credit ipotecar” () [Corola-website/Science/296064_a_297393]
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Not loan-sharks, just a regular, legal contract. I hâd to, for my mother’s tests, medication, radiotherapy. Some of these are free of charge, but if you wait for these...the appointments take long and they’re always running ouț of supplies, like cobalt isotopes. You have to go to the private hospitals șo you can get swift and proper treatment. I hâd to pay back 8000 euro for the 6000 I borrowed. All of it hâd been spent on medication
„Nu aș mai face niciodată credit ipotecar” () [Corola-website/Science/296064_a_297393]
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became paralyzed, then passed away. Back to my mother, she died on May 24 2008, despite the efforts and the treatments. On her 72nd birthday, December 6 2007, she was în Constantă. I hâd last seen her în the summer of 2007, when she came from Constantă, where she was living with her brother. He also became homeless after his wife left to work în Italy. What I wanted to say was that my mother was still very active - she was
„Nu aș mai face niciodată credit ipotecar” () [Corola-website/Science/296064_a_297393]
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not making the wisest decisions. Șo that’s when I took ouț that mortgage loan. After her death I hâd to straighten ouț my life, to see how I’d deal with everything, including the financial issues. Until the fall of 2008, I was paying the installments without any problems, until the recession began to creep în. My last year aș a high-school teacher started with a pay cut, and then the number of students decreased. During the second semester, the
„Nu aș mai face niciodată credit ipotecar” () [Corola-website/Science/296064_a_297393]
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Ceea ce am descoperit este foarte promițător și în tratamentul targetat al cancerului sau al altor boli.” Echipa de cercetători l-a inclus și pe profesorul Daniel Anderson, inginer chimist și membru al Institutului Koch pentru cercetarea cancerului de la Massachusets Institute of Technology, precum și cercetători de la spitalul de copii din Boston. Cercetătorii au creat o matriță sferică din chitosan, material obținut din cochiliile crabilor și ale creveților. În toată masa acestei matrițe sunt dispersate nanocapsule realizate dintr-un polimer poros ce conține
Eliberarea controlata de insulina cu ajutorul unui „burete inteligent” [Corola-website/Science/92002_a_92497]
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deja că nu recunosc rezultatele alegerilor. [:en]Interview with David Schwartz Independent Moldova. Erratum By: Ion Borș, David Schwartz, Dumitru Stegărescu, Doriana Talmazan, Irina Vacarciuc</b> Production: Teatrul-Spălătorie în Kishinev, Moldova The performance constructs a subjective history of the Republic of Moldova which functions aș an addendum and a correction of official history. It is the unwritten, untaught history of the perspectives of ordinary people on the political and economic changes. The performance combines the anti-heroic representation of the main public
„Despre aceste lucruri nu se vorbește nici acolo, nici aici.” () [Corola-website/Science/295807_a_297136]
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on the political and economic changes. The performance combines the anti-heroic representation of the main public events with the voices of those who never make it into the history textbooks except aș statistics. În a context where political leaders, agents of capital and public intellectuals join forces against the citizens, the performance suggests several necessary errata to the official history, which is unsurprisingly written by the powerful and used aș an instrument of power. David, let’s start by talking about
„Despre aceste lucruri nu se vorbește nici acolo, nici aici.” () [Corola-website/Science/295807_a_297136]
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statistics. În a context where political leaders, agents of capital and public intellectuals join forces against the citizens, the performance suggests several necessary errata to the official history, which is unsurprisingly written by the powerful and used aș an instrument of power. David, let’s start by talking about the aspects of Moldovan history which made you approach the topics în this way. The topic is very vast. We aimed for a subjective, truncated approach. This was the idea: to have
„Despre aceste lucruri nu se vorbește nici acolo, nici aici.” () [Corola-website/Science/295807_a_297136]
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public intellectuals join forces against the citizens, the performance suggests several necessary errata to the official history, which is unsurprisingly written by the powerful and used aș an instrument of power. David, let’s start by talking about the aspects of Moldovan history which made you approach the topics în this way. The topic is very vast. We aimed for a subjective, truncated approach. This was the idea: to have a contrast between the perspective of the average person and the
„Despre aceste lucruri nu se vorbește nici acolo, nici aici.” () [Corola-website/Science/295807_a_297136]