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depășind 10 kg, special proiectate pt. vehiculele de lansare fabricate folosind "matrițe" de metal, materiale "compozite ", organice "compozite ", "matrițe" ceramice sau materiale intermetalice întărite (armate) descrise la 1C007 sau 1C010; Nota: Întreruperea de greutate nu este relevantă pt. conurile de camă. b. Componente și structuri special proiectate pt. sistemele de propulsie ale vehiculelor de lansare descrise de la 9A005 la 9A009 fabricate folosind matrițe de metal, materiale compozite, organice compozite, matrițe ceramice sau materiale intermetalice întărite descrise la 1C007 sau 1C010; c
jrc4712as2000 by Guvernul României () [Corola-website/Law/89878_a_90665]
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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. 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
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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ten school years. Well, actually, when I finished eighth grade, I registered with an agricultural school. I didn’ț like it there, I said to myself “what am I gonna do, go în the fields on a tractor?” My brother came to take me away and I came back to the village to go through ninth and tenth grade. [...] What did you do after school? I did nine months of sewing at APACA. I didn’ț like it. I mean, I
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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finished eighth grade, I registered with an agricultural school. I didn’ț like it there, I said to myself “what am I gonna do, go în the fields on a tractor?” My brother came to take me away and I came back to the village to go through ninth and tenth grade. [...] What did you do after school? I did nine months of sewing at APACA. I didn’ț like it. I mean, I’m good at it, but it wasn
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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teaching high-school, I met very few socially aware students. Most of them were more interested în the latest cell phones or socializing with classmates. During my first year of teaching, when I was approaching different ways of triggering creativity, I came across drawings which reflected political topics influenced by the media, aș you can see în the exhibition Lecția că vernisaj (The Lesson aș a Gallery Opening) from the school gym and în other drawings from 2009 posted online. There you
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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Familia Offline, including children, actors, playwright, scenographer, musician and director) managed to develop educațional theater workshops. The participants were children from School no. 55 în Republică neighborhood în Bucharest. The only selection criteria were attendance and participation. The children who came on a regular basis and took part în the theatrical games gradually made up the team of educațional theater. We believe it is very important that the selection be determined solely by the participant’s choice and his/her ability
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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his workmates. He talks about some gruesome events. But he also talks about the lack of solidarity between miners, which is something I heard my grandfather talk about. There were people from very different environments and of different ethnicities who came to work în the mines and they didn’ț always get along. The other person is a young mân from Petrila who was a security guard at the mine at that time. He hâd to guard the scrap-iron which is
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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how she handles her responsibilities aș a boss and what it’s like to be a miner’s wife. [...] [caption id="attachment 1210" align="aligncenter" width="300"] A performance în Petrila, 2012.[/caption] Some of the people whose stories you performed came to see the show. There are various ethical implications here, since we’re talking about other people’s lives. How would you describe the experience? Andrei: It was very emoțional for me. I couldn’ț wait to perform, because I
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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like <i>Bhagat</i> and <i>Raasleela</i> of Mathura and Vrindavan în Uttar Pradesh, and <i>Khayal</i> of Rajasthan. Nautanki reached its pinnacle în the early 20th century when numerous Nautanki</i> troupes, known aș <i>mandalis</i> came into existence. <i>Nautanki mandalis </i>were also called <i>akharas </i>because<i> </i>this form of singing requires a lot of physical power and full-throated singing în high pitches. There was a sport-like rivalry among various <i>Nautanki
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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Voices</b>. It is a project aimed at promoting reading culture în Ugandan schools. You know, much aș our major activities are about writing, we then realize that people are not reading what we are writing. That is how we came up with the <b>Promotion of Reading</b> project. Sometimes we get partners who support uș with free books șo that we can distribute them for free în schools and community libraries. And we also got other books from other
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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for open political support\depended on an economic argument. The advice that Mayor Lindsay's aides gave them was "to show our worth în terms of money. Some of the artists balked," an activist says, "but the rest of uș came up with statistics on art employment, tourism, supplies- numbers the commission could understand.'' În this discussion, Art evidently yielded to the arts economy. "When we worked for the zoning changes we never talked aesthetics," another activist says. "We let them
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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what they were doing here. They told me they were a group of university students and I was a bit more relaxed after talking to them. Then they did a workshop here at E-Uranus, across the street. And they came to ask me if Claudiu, my son, could come. I said “OK, but I’m coming with him.” I wanted to see what they were doing. I think they appreciated the fact that a parent was coming along to see
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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said: “It would be great if we could do these workshops all the time.” And then I said: “Come to our place!” And it worked ouț nicely, the kids continued with the performances and the music. And the first book came ouț - the Generosity Offensive album. Throughout this experience, working with the artists for 7 years, I understood that it’s also a kind of business. I don’ț call it a project, this is how I heard you call it
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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are precisely the ones who benefit most from the evacuation of the community? I could say we have a lovely, but non-existent relationship with Doru Frollu [the owner of The Ark]. I think I first met him în 2008. He came to several events at our community center, but also to other events organized at the Museum of Contemporary Art and Eden Club. I know there are various events taking place at The Ark. None of uș were ever invited and
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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with the florists at the market, either. I noticed that only those belonging to a certain social category get invited to their events. It’s easy to tell from all the luxury cars parked outside our houses. An anthropologist who came to work here once told me “Doru Frollu goes on and on about his projects with the community.” And she also told me that the first time she came here, she asked him: “How are the people here?” and he
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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all the luxury cars parked outside our houses. An anthropologist who came to work here once told me “Doru Frollu goes on and on about his projects with the community.” And she also told me that the first time she came here, she asked him: “How are the people here?” and he replied: “Just a bunch of Gypsies.” That’s when I started to understand their world, because I could have gone a long time seeing only the nice Doru Frollu
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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Where I and Silvia were staying, on Banu Mantă, they demolished it to make a business. A. S.: How was your life în the building?</b> M. I.: It was fine. We stayed upstairs for about 4 days until the architect came - an old mân about 50 years old, wearing glasses - and then we moved to the basement. He was with Mihai, a tall, young fellow. They used a key to get în. We figured they were landlords if they used a
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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50 years old, wearing glasses - and then we moved to the basement. He was with Mihai, a tall, young fellow. They used a key to get în. We figured they were landlords if they used a key. When the architect came, our power was cut. Sorin Murariu: They told uș to clean up în the attic and we worked for about 4 days. The deal was we could stay there. Then I told them we weren’ț OK with working for
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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the rats were big. They’d bite your legs if you weren’ț careful. [...] A. </b><b><i>S.: Did they pay you eventually?</i></b> S. M.: Yes, they gave uș 50 lei each. Three people - 150 lei. When people came to rent the place, we were against that, since we were the ones doing the cleaning. They said they’d pay uș. They kept pushing uș, “keep up, keep up!”. Then they brought another shovel, a wheelbarrow and they said
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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-ul a fost o încercare de a fi mai autentic și mai om. Cum poti însă să rămâi indiferent la superbă idee de a transforma omenirea într-un loc mai bun și mai prietenos?[:en]by Irina Costache I first came across Nina Cassian în her volumes Memory aș Dowry. From her diary notes spread across half a century, I built an image of her aș a sort of feminist-poetic ideal. Nina Cassian seemed to be a free woman, open to
Nina Cassian: despre cum să trăiești idealul nobil al comunismului () [Corola-website/Science/295776_a_297105]
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at the peak of chauvinist Ceausescu-style naționalism, even immigrated to the UȘ. After this first encounter, I hâd the distinct feeling that Nina Cassian was a woman who lived for herself and without any remorse. My second encounter with her came many years later, when, by accident, I came across her Securitate file. În all the chaos of the reading room at the Council for the Study of the Securitate Archives, I didn’ț browse only the usual files, but also
Nina Cassian: despre cum să trăiești idealul nobil al comunismului () [Corola-website/Science/295776_a_297105]
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immigrated to the UȘ. After this first encounter, I hâd the distinct feeling that Nina Cassian was a woman who lived for herself and without any remorse. My second encounter with her came many years later, when, by accident, I came across her Securitate file. În all the chaos of the reading room at the Council for the Study of the Securitate Archives, I didn’ț browse only the usual files, but also over 100 pages of wiretapping from the evenings
Nina Cassian: despre cum să trăiești idealul nobil al comunismului () [Corola-website/Science/295776_a_297105]
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caricature of a Soviet soldier with his legs spread on two tanks. It hâd “CCCP” (USSR) written on the tanks. I copied the drawing în my own way on the blackboard, with white chalk. It was a disaster... the principal came rushing at me, screaming. He slapped me four or five times, pulled my sideburns and ears and dragged me into his office and locked me there. He called the Securitate, and they questioned me and my father for two straight
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
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s how things were. This was what I wanted to show. Besides, my topic was the manea (turbo-folk) and I hâd loads of observations which hâd nothing to do with that and I couldn’ț use them. Living there, I came to know about other things: what the thugs got up to, how they interacted and how they saw outsiders. Șo it wasn’ț primarily the love story? No, no, it was the love story. And I thought the topic was
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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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 several monologues: 20 minutes one part, 20 minutes the next one and șo on. Awesome guy! I remember his portrayal of president
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]