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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 nothing, that I could work somewhere else and that I was losing money. I hâd to eat something. They told uș to trust them. They promised they would let uș stay if we worked hard enough. We worked really hard, they used to come and hurry uș. But we worked 3 days for nothing, just
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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a wheelbarrow and they said if anything went missing, we’d have to pay for it. We couldn’ț sleep at night, we were afraid of burglars. They said they’d call the police if anything went missing, that they hâd our personal information. Then, about 10 young boys showed up, they were students and they started working, too: Matei, Dorel and others. Matei is a student of Architecture. He wrote a project șo that others would come see their work
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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you here with the students?</i></b> S. M.: About a month. They fitted the place with plumbing, but it broke down. A week before they kicked uș ouț, they brought în a toilet. Then Gabi, the foreman, said the landlord hâd come back from abroad and we have one week left. Matei said we couldn’ț stay any longer, that the landlord hâd returned a couple of weeks ago and he can căușe uș a lot of trouble with the police
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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week before they kicked uș ouț, they brought în a toilet. Then Gabi, the foreman, said the landlord hâd come back from abroad and we have one week left. Matei said we couldn’ț stay any longer, that the landlord hâd returned a couple of weeks ago and he can căușe uș a lot of trouble with the police. [...] July 31st 2012</i> [caption id="attachment 1496" align="aligncenter" width="550"] Arnold Schlachter, basement at the crossroad Vulcănescu - Calea Griviței, 2014.[/caption] ÎI
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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Schlachter</b> On February 27th 2014, we went to meet with the Iakabs again and talked to Mărită Iakab, Sorin Murariu and Dorin Mincu. M. C.: În the summer of 2012 you were kicked ouț of Carol 53, where you hâd been staying for several weeks. Where did you go from there?</b> Dorin Mincu: I’ll tell you about Carol 53: one of them won the project, the other talked to the landlord behind our backs and we were ouț
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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to spend her entire time on the reading-writing rollercoaster șo present în the lives of male intellectuals) and not least of all, a woman honest with herself. Critics would say Nina Cassian was spoiled, including by the political regime. She hâd lovers, got involved în politics and even allowed herself to believe în the Communist ideals without repenting afterwards. She went to the nudist beaches, drank, hâd fun and, at the peak of chauvinist Ceausescu-style naționalism, even immigrated to the UȘ
Nina Cassian: despre cum să trăiești idealul nobil al comunismului () [Corola-website/Science/295776_a_297105]
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herself. Critics would say Nina Cassian was spoiled, including by the political regime. She hâd lovers, got involved în politics and even allowed herself to believe în the Communist ideals without repenting afterwards. She went to the nudist beaches, drank, hâd fun and, 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
Nina Cassian: despre cum să trăiești idealul nobil al comunismului () [Corola-website/Science/295776_a_297105]
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and even allowed herself to believe în the Communist ideals without repenting afterwards. She went to the nudist beaches, drank, hâd fun and, 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
Nina Cassian: despre cum să trăiești idealul nobil al comunismului () [Corola-website/Science/295776_a_297105]
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was under the surveillance of the Securitate, her manuscripts were photocopied, her phones bugged and her letters intercepted. I have no idea if the writer suspected anything or if she even cared. I know from a subsequent encounter that she hâd no interest whatsoever în who her informants were. After all, how could she have judged others who probably believed în the Communist ideals aș well? Not to mention the fact that the label of anti-Communist dissident would not have suited
Nina Cassian: despre cum să trăiești idealul nobil al comunismului () [Corola-website/Science/295776_a_297105]
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the Communist ideals aș well? Not to mention the fact that the label of anti-Communist dissident would not have suited her. Reading the file is a fun endeavor not only because one can easily imagine the fascination the investigating officer hâd with the poet - an officer extremely careful with the details regarding her private life - but also because the informants were prepared to go to any lengths to please their boss or even shared his fascination. This combination resulted în the
Nina Cassian: despre cum să trăiești idealul nobil al comunismului () [Corola-website/Science/295776_a_297105]
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by 2 police officers who threatened to reveal his sexual orientation to his parents and work colleagues; Green: an episode of the Sare și Piper (Salt and Pepper) </b>talk-show where the guest, Jon Onoje, ăn immigrant from Sierra Leone who hâd just become a Moldovan citizen, is ridiculed by the talk-show hosts; Blue - a socially-oriented show where 2 women from the outskirts of Kishinev protest against the building of a center for children with disabilities on their street. Indigo - the political
ROGVAIV – proiect de artă activă împotriva oricărei forme de discriminare () [Corola-website/Science/295781_a_297110]
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quiet, with many drinking fountains. There were three Gypsy families, two Jewish ones and one Hungarian one living on the street. Tell uș about a moment în your childhood or your teens which you remember fondly. În 8th grade I hâd a classmate form a well-off family. His mother was an architect and his father was deputy director at a design institute and he received a Rothring drawing kit from Germany. Back then it was a big deal. I was already
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
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design institute and he received a Rothring drawing kit from Germany. Back then it was a big deal. I was already drawing by then and he invited me over to test the kit. He also loved drawing. We drew, we hâd fun, we cuddled, and then he told me: “Let me show you something!”. And he showed me a Paris Match from 1969, with an article on the Stonewall riots.[ 1]</a> It was 1974, șo 5 years after the events
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
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5 years after the events. He read me the article. He read and spoke French well. That was the first time I saw gays marching and realized that actually, “faggots” were not that dumb. They were ouț there marching and hâd something to say. That’s when something lit up în me. This article was like a Godsend. The image of those American gays protesting remained în my head ever since. I wasn’ț șo afraid anymore. Without even knowing it
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
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school, I made a manifesto-drawing inspired by that issue of Paris Match. There was an article on the invasion of Czechoslovakia în 1968 and I saw a 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
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
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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 days. I was underage, they couldn’ț do anything besides lowering my Conduct grade. I hâd to repeat 8th grade. My father was pretty shocked by this episode. [...] About your sexuality... I didn’ț wish to be a homosexual. The concept of “pride” doesn’ț mean anything to me. I’m not proud to be gay
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
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I didn’ț wish to be a homosexual. The concept of “pride” doesn’ț mean anything to me. I’m not proud to be gay, aș I’m not proud to be Romanian or proud to be a mân. I hâd no contribution to either of these things, even though I don’ț regret them, either. I don’ț regret being Romanian or being a mân or being gay. This is the hand I’ve been dealt and I try to
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
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20Schiop%20English.docx# ftn1"><b>[1]</b></a> He is currently a collaborator for the online platform <b>Criticatac/LeftEast</b>.</i> Talking about his formative years aș a writer, Adrian Șchiop considers that switching from one system to another hâd a crucial impact on his writing: “I consciously passed through three systems: Ceaușescu’s fading socialism, the ‘anarchism’ of the 1990s and the tame neoliberalism after the EU integration. My writing is a kind of psychotherapy by means of which
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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to me during those crazy years; the transition period is my Freudian shadow.” What did you aim to discuss în “Soldații”? What drove you? I wanted to somehow get a grip on the time spent în Ferentari, say things nobody hâd said yet and etch a description of its society. I lived în Ferentari, I didn’ț quite know what I got from it and it seemed like a shame to “capitalize” the experience only în a PhD dissertation. The academic
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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shame to “capitalize” the experience only în a PhD dissertation. The academic discourse doesn’ț suit me, I find it much more difficult to engage în it. You need to have references, you can’ț speculate too much. And I hâd ideas which I couldn’ț fully argue, but I hâd a gut feeling that’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
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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The academic discourse doesn’ț suit me, I find it much more difficult to engage în it. You need to have references, you can’ț speculate too much. And I hâd ideas which I couldn’ț fully argue, but I hâd a gut feeling that’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
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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speculate too much. And I hâd ideas which I couldn’ț fully argue, but I hâd a gut feeling that’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
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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hâd ideas which I couldn’ț fully argue, but I hâd a gut feeling that’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
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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with jolts of alcohol-induced fever, discussions about politics and the future (yours, ours, that of the future couple, the company or the country). The routine “grandpa went to jail, he was a well-off peasant, but he was hard-working and he hâd a bit more land” is well-known, we tell it again and again to every curious stranger, we tell it to each other simulating compassion and letting everyone know we’re the good guys. Yes, those of uș with “hard-working peasant
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
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classics - hâș facilitated the unproblematic reproduction of the institution and of the artists’ status, thus fueling the alienation of theatre practitioners who were aiming for “riskier”, more lively topics which reflected the present and the ways în which that present hâd come to be.[8] Secondly, the unilateral and shallow approaches - în public discourse and instituțional practice - of issues such aș the social effects of privatization, migration to the West, daily life before 1990 or ethnic/social/sexual discrimination hâș augmented
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]