712 matches
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i></b> Bashar Al-Kishawi is a medical school graduate and a journalist. He left Kuwait when he was 18. He is Palestinian and for this reason, his right to benefit from higher education was denied în Kuwait. În 1990 he came to România to study medicine. Due to the Romanian legislation, Bashar hâd to choose reskilling after graduation. He became a journalist and currently works for Radio România. He is one of the five “voices of migration” from the performance Born
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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at the Students’ House and at the Children’s Palace. That’s when I got a passion for photography and it’s the reason I signed up for a class on media and journalism after I graduated. And when you came along, I was thrilled, because my story could be told by someone other than myself, someone who listened to me and took notes. When I was talking to you guys, I was very careful to highlight certain things, certain values
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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lui povestesc, ca să rămână amintirea. Trebuie să ducem povestea mai departe. Interviu realizat de Katia Pascariu și Alice Monica Marinescu[:en]<i>Interview with Valentina Ivanov</i></b> Valentina Ivanov left Șerbia because of the Yugoslav Wars. În 2000, she came to România together with her husband and two children. After three years of struggle and lawsuits, Valentina and her family acquired refugee status. Ten years after arriving în România, Valentina and her two children became Romanian citizens. Her story inspired
„Trebuie să ducem povestea mai departe” () [Corola-website/Science/295731_a_297060]
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I was little, my mother used to talk to me about the partisans, the Germans, about killing, about fear. Grandpa didn’ț know how to avoid the accusations of collaborating with the enemy. He always talked about how the Russians came. And when I was about 10, it started în school, too: war this, war that. I studied Marxism, which taught uș about Socialism, Communism, Karl Marx, and afterwards, on TV, only war films. Partisans against Germans, all my life. În
„Trebuie să ducem povestea mai departe” () [Corola-website/Science/295731_a_297060]
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gonna be a war. Because the tensions between the republics became more evident. Yugoslavia hâd 6 republics and 2 autonomous provinces. Dad used to say: “Shut up, what do you know?”, and I said: “You’ll see.” And that day came. When Slovenia split, there were no problems, the Yugoslav army simply retreated. But în Bosnia it was terrible, the Croats fought the Muslims and the Serbs; and the Muslims fought the Croats and uș, and also each other, because there
„Trebuie să ducem povestea mai departe” () [Corola-website/Science/295731_a_297060]
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because there were different kinds of Muslims. Everything was șo mixed up, nobody knew who was killing who. I lost an uncle, he was a Muslim. He was shot în the front yard, în front of his family. When I came to Bucharest and went to the dormitory (The Center for Accommodation and Legal Procedures for Asylum Seekers), at Tudor Gociu, there were 4 floors filled with asylum seekers. We received a room, we shared a kitchen and 4 bathrooms with
„Trebuie să ducem povestea mai departe” () [Corola-website/Science/295731_a_297060]
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where we hâd come from. He told me: “We are Romanians.” I told him: “No, we’re not Romanians, we’re from Șerbia.” “Ok, mom...”. He knew even then we would stay în România. It was very crowded when we came, în 2000-2001. It was a full house until România was admitted to the EU, then people started leaving. Those who hâd their refugee status left the country and we remained there. [caption id="attachment 1243" align="aligncenter" width="225"] Valentina Ivanov
„Trebuie să ducem povestea mai departe” () [Corola-website/Science/295731_a_297060]
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your experience with CasaM<i>. How did you get to perform în those venues and how did your first encounter with the audience go?</i></b> The performance is funded by the OSCE[1] and they were the ones who came up with the story and with the proposition for the performance. We staged it three times în a row at Ginta Latină, because they wanted a large venue. The OSCE also suggested we stage it în the countryside. I hadn
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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organized, în the sense that people knew what they were coming to see. The people from “Amicul” talked to the local social workers, who în turn talked to the people there and the audience was somehow prepared. Even if mothers came with their children, they knew what the performance was about. The performances funded by the OSCE were relatively well-organized at first, but I’m sorry to say that it gradually became just another activity to get through aș quickly aș
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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performance was about. The performances funded by the OSCE were relatively well-organized at first, but I’m sorry to say that it gradually became just another activity to get through aș quickly aș possible. One time, 2nd and 3rd graders came to the performance, and Luminița asked them what they were there for and they said they came to the concert. Șo the organizers didn’ț even bother to tell people that the performance was not suitable for children. The OSCE
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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sorry to say that it gradually became just another activity to get through aș quickly aș possible. One time, 2nd and 3rd graders came to the performance, and Luminița asked them what they were there for and they said they came to the concert. Șo the organizers didn’ț even bother to tell people that the performance was not suitable for children. The OSCE was basically checking another box on their activity roster. They receive some funds and they have to
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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i></b> I’m a child of the 90s, my Sex Ed consisting of sneak peeks into Bravo magazine, because it was “shameful.” I don’ț really know how, but I was struck by a bolț of feminism. I first came across The Vagina Monologues - a text already famous în the UȘ at that time - when I was 17 or 18, on the long since decommissioned station Acasă. Back then, TV still hâd the occasional outburst of life. Or maybe the
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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retrospective negative projections? It would reflect nothing genuine. The two distinct readings would just assault each other until they created a deconstructionist hotchpotch for the sake of deconstruction. Șo I’d rather say it aș it is: The Vagina Monologues came at the right time. Total mindfuck: they’re talking about the first period on TV, about the rapes în Bosnia, about all the screws and sprockets which make up the vulva, about the words that never appear în subtitles. About
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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students from that cast were underage. And also: this was the same high-school where the scandal of the 2013 LGBTQIA Pride erupted. These are two cases with similar backgrounds: religious fanatics versus activism for acceptance and inclusion. But the shock came on a different level: that of diverging opinions. Me: “It’s OK to talk about those things în a text, în the theater, în the public sphere.” Them: “How can you talk about sex, masturbation, homosexuality and râpe în a
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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local artist, but rather that of the Western middle class. This local class emerges together with the intensifying of publishing activities, the development of media outlets, architecture studios or advertising agencies, art galleries and contemporary art spaces. These creative spaces came to meet the propagandă needs of the new market economy and implicitly of the “culturalization” of the working classes, aș well aș the reskilling needs of the former upper class. By culturalization I mean the reliance of the new economy
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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about where I was staying. I lived on the street since I was six and a half years old, until I was 17. At first, there was that feeling of total freedom, that nobody was bothering me about when I came în, when I went ouț, where I ațe. I was a kid and you know how it is: when you are a kid, everything seems great or somehow you always manage to find joy. Of course there were also many
„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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at me, I was watching them... Something was growing inside me, I was no longer a child. But I was dirty, and I was feeling dirty... And little by little I hâd to wish for a change, and that change came. I started going to a day centre around Dristor neighbourhood. You would go there during the day, wash your clothes, eat, there was a schedule, a psychologist and a social worker trying to assist you to integrate, to go to
„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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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 cooking, cleaning, walking around
„Nu aș mai face niciodată credit ipotecar” () [Corola-website/Science/296064_a_297393]
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son hâd died, he brought him back to the country and thought about decorating his grave with the most beautiful headstone possible. And șo he remembered the two Chinese. They were the only ones who could do it. Șo he came to the câmp and told the new commanding officer of his wish. They both went to the workshop and called the two Chinese workers. Zlătescu talked to them. Less superior, but still patronizing. ‘Chinks, I’m here to ask you
Zile de lagăr () [Corola-website/Science/295839_a_297168]
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which militated for a bi-national (Jewish-Arab) state în Palestine. [caption id="attachment 1916" align="aligncenter" width="600"] Leon Misosniky, artist and antifascist militant, no title, 93 x 65, marker[/caption] Liviu Beris: [...] On July 5, 1941, Romanian troops entered Herta. Someone came and told my father that the Romanian troops are on the outskirts of the city. My father, who hâd fought în the Romanian army, told me “come on, let’s greet our men! We won’ț be deported to Siberia
„Holocaustul este referitor la evrei, dar există pericolul peste tot – pentru toată lumea.” () [Corola-website/Science/295840_a_297169]
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Third Generation Buchenwald” and researchers from the UȘ Holocaust Memorial Museum, which took place în Cluj în October 2014. We thank Andrea Julika Ghiță for facilitating this discussion.</i> Most of the Romanian prisoners from Buchenwald and its adjacent camps came from Northern Transylvania. Petru Mureșan was born în 1917 în Corbu village, Renee Davidovici în 1925 în Matei village, Kallos în 1926 în Oradea, Nuszbaum în 1929 în Turda, Szekely în 1929 în Cluj. They were all of Jewish descent
„Cred că nu e numai ţelul nostru, e interesul umanităţii.” Supravieţuitori români ai lagărului de concentrare Buchenwald () [Corola-website/Science/295842_a_297171]
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de David Schwartz MOTTO: First they came for the COMMUNISTS...[1]</a></i></b> O semnificație importantă a poemului lui Martin Niemoeller, dincolo de mesajul de solidarizare fundamental în orice confruntare cu nedreptatea, este dată chiar de pri-ma să frază, enunțarea de fapt a unui adevăr valabil pentru
Persecutarea activistelor și activiștilor de stânga în România înainte de 1945 () [Corola-website/Science/295829_a_297158]
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against the social order.” Nicolae Causescu himself was sentenced to 3 years în prison în August 1939 on the basis of that provision.”[ 1] A harrowing personal history is that of Communist militant Hâia Lifșiț from Kishinev. Immediately after Bessarabia came under Romanian administration, Hâia Lifșiț, a school teacher, was arrested for Communist activity and was stripped of her teaching rights. She got a job aș an unskilled laborer în a factory Throughout the 1920s, she was arrested several times for
Persecutarea activistelor și activiștilor de stânga în România înainte de 1945 () [Corola-website/Science/295829_a_297158]
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Naționalism, fascism and the Holocaust în Romanian History - a critical approach” the movie was screened and the following interview with Mihai Andrei Leaha was taken. Mihai, what was your motivation of doing this film? Before speaking about my motivation, which came honestly on the way, I first have to say that I did not know about this subject. My generation was not taught about the Holocaust în school. Antonescu was like a național hero - who struggled for the național unity ideal
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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not taught about the Holocaust în school. Antonescu was like a național hero - who struggled for the național unity ideal. We hâd no clue about that ugly part of history. For me at first it was surprising and the motivation came with the wish to learn more about this subject. Șo, basically when the Institute for Studying the Problems of Național Minorities (ISPMN)“ launched the program I was very happy that my colleague Iulia said, we should do a film about
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]