1,807 matches
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hâd previously been the most revealing expression of the social tensions în the neighborhood: office buildings at one end, with small houses and an internațional bus station around them, and Hala Matache, the heart of the neighborhood, at the other end. After the conversion, the street becomes the waiting room of the gentrification process and of the slow, but steady march of the office buildings towards Gară de Nord. În this context, the Street Delivery franchise expanded to other areas: the
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
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for these events. I talked about all this with Danilo Cajazeira, a geography teacher and amateur footballer, member of the Sao Paulo branch of the World Cup Popular Committees.[ 1] How did the resistance movement develop and how did you end up a part of the Popular Committee? During the past eight years, I’ve been playing football for several amateur teams made up of anarchists and punkers. Sao Paulo hâș a special amateur football scene, because the city was built
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]
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ll do what you want, come to all the activities, bring the kids, handle everything. What I want în return is to show these people who come to see uș all the forgeries, all the problems people have, how they end up on the streets. That’s what I was interested în! Even if you got a bit of cash for your projects, I didn’ț care! No one could be that stupid and not realize that the artist can’ț
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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oral histories, approached and interpreted by theatre discourse? How are uncomfortable and politically problematic recent histories made into theatre and what are the performative lenses through which they are filtered? To what extent do artistic acts which question recent history end up legitimizing mainstream political strategies, thus enforcing the dominant narrative? The theme of issue #7 of the Gazeta </b><b>de Artă Politică - </b><b>Recent History Theatre - </b>focuses on a series of controversial, contested and ignored events, tackled
Apel la texte și intervenții – GAP 7: Teatrul istoriilor recente () [Corola-website/Science/295780_a_297109]
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oral histories, approached and interpreted by theatre discourse? How are uncomfortable and politically problematic recent histories made into theatre and what are the performative lenses through which they are filtered? To what extent do artistic acts which question recent history end up legitimizing mainstream political strategies, thus enforcing the dominant narrative? The theme of issue #7 of the Gazeta de Artă Politică - Recent History Theatre - </b>focuses on a series of controversial, contested and ignored events, tackled from an engaged socio-political
Teatrul istoriilor recente () [Corola-website/Science/295786_a_297115]
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is something right în Beauvoir’s clăim that one is not born, but rather becomes a woman, it follows that woman itself is a term în process, a becoming, a constructing that cannot rightfully be said to originate or to end. Aș an ongoing discursive practice, it is open to intervention and resignification. Even when gender seems to congeal into the most reified forms, the “congealing” is itself an insistent and insidious practice, sustained and regulated by various social means. It
Feminismul și subversiunea identității () [Corola-website/Science/295774_a_297103]
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do you reply to the accusations of homophobia? It’s internalized. It’s internalized homophobia. Nowadays, if you’re born în an urban area, în a middle class family, people are somehow more tolerant of homosexuality and you don’ț end up hating yourself for it. But I went through a really rough period. The 90s were... They were unreal. People were shouting ouț their homophobia. În the media, the homosexual was the archetypal “Romanian criminal”, there was a newspaper publishing
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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are more subtle, back then, homophobia was ouț în the open. Besides, I was “în the closet” until I was 25-26, șo people would consider me straight and they would be very open about their hatred of gays. And you end up identifying with the homophobic opinions without even realizing it. But I think it’s a sort of self-loathing. You’ve also been accused of racist fetishizing. How do you reply to that? I didn’ț mean to fetishize anything
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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The paradoxes of censorship functioned perfectly. Even though it was forbidden, there was gay life în România.</i> I’m still surprised by the fact that when people try to bond over beers, spritzers or grandma’s tea, they inevitably end up dancing around the same story - how and how much we suffered under Communism. It little matters whether they are direct victims of the regime or not, anticommunist suffering is a family heirloom, transmissible to anyone independent of their own
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
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nu va crede nimeni!” sau, cum zice ultimul personaj din piesă, „Ați mințit cu toții!” Mda, deci după atâtea încercări de a descalci, așa, pentru mine, ce naibii s-a întâmplat în iunie `90 în București, ajunsesem cam de unde plecasem. Dead end. În afara unei desfășurări a evenimentelor pe care o găseai descrisă cam peste tot și a sublinierii caracterului evident dramatic al acestora, dacă m-aș fi pus să scriu ceva despre mineriade, tare mă tem că mi-ar fi ieșit și
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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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 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
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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Why did dad do that?” [...] Do you think it helps people from marginalized groups, în this case refugees, to watch a performance about themselves? Yes, șo that they can see they’re not being ignored and their story doesn’ț end în the facilities for asylum seekers or în detention centers. I sometimes heard jokes about how the people from Northern Africa could be capable of swimming across the Mediterranean just to Italy or France, and I didn’ț believe any
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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was about to take wing! I was feeling on the right tracks. [...] I have to admit that at first I was mostly there for the fun, but then I started to like it a lot and wanted it never to end. I was very enthused with everything that was happening to me. I kept being amazed! Then, în parallel, I started working with ARAS (Romanian Association against AIDS), supporting homeless and sex workers - a new environment, new colleagues. I grew up
„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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I knew I could get away from this life, but it was hard. I learnt a lot from that experience. Then I did some time [for drug dealing, trans.n.]. For how long? Two years and two moths. Towards the end, knowing I would be ouț soon, I started thinking: how will I react? Being ouț, it felt like I’ve been în prison for only one second, although it was really harsh there. We were 9 to 34 people în
„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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sometimes wonder why all those things happened to me; and I think only really strong people get to live things like that. I feel it’s a really heavy burden. But I managed to feel good with myself în the end. I carry a database inside. Some dată fade away, disappear, some remain. Interview by MIHAELA MICHAILOV
„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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serve the legitimating process of a subjectivity which is just aș powerful aș that of the colonizer. That’s why I believe it important to analyze where protocronism began and where it failed. On the one hand, how did it end up în this extreme, laughable form, lacking credibility and being of no help to a potențial emancipatory process, on the other hand, even more relevant, what would be the alternatives. I believe it would be very important to construct this
Națiune, subalternitate și dorința de Europa. O discuție despre identitate națională și nevoia apartenenței europene () [Corola-website/Science/295826_a_297155]
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în bordeie. Aia care au rămas afară...s-a terminat, au murit. Morți! De viscol, de frig, de foame.” (Mihai Istrate) During the deportation, the Romă were not allowed to carry personal belongings and the concentration camps at the end of the journey were set up în the plain fields, lacking firewood, beds, food and water. “Primăvară au rămas morții...cei care au murit...aruncați pe câmp, ca dovlecii. Așa erau capete lor, oasele lor. Și se mâncau. Erau țigani
„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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poetics of the image of the present and the absence going both ways is really relevant. În the film you cannot actually see the evil, you cannot see somebody who is guilty and it is kind of uncomfortable în the end to have nobody to blame. Did you intend this impression? Yes we intended it to be like that. You know the voices of the guilty ones you cannot hear, but you see the orders, that specific part of these military
„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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thinking behind it. Șo we are not trying to say that Antonescu [alone] was guilty - we were trying to say that everybody was guilty and everybody knew about it. No one did anything to prevent these actions. But, at the end the message we were trying to transmit through the film is a humanist message. We were not trying to stress about who is the guilty one and who is the victim. But how these people hâd solidarity with each other
„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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the film is a humanist message. We were not trying to stress about who is the guilty one and who is the victim. But how these people hâd solidarity with each other during WW ÎI and then afterwards. At the end of the film we showed a commemoration at a monument made by the local community în Krasnenkoe, Ukraine. And one main reason why we choose to end the film like this is that it becomes an example for the Romanians
„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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hâd solidarity with each other during WW ÎI and then afterwards. At the end of the film we showed a commemoration at a monument made by the local community în Krasnenkoe, Ukraine. And one main reason why we choose to end the film like this is that it becomes an example for the Romanians. We were în the position of doing all this crimes but we do not have any monuments about the Romă Holocaust- only one together with the Jewish
„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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family, we couldn’ț fit în a one-bedroom flat anymore. And we thought we’d take ouț a loan. What year was this? Lațe 2007, early 2008. I went to several banks, I asked for several offers, and în the end I thought BCR gave me the best options. One thing did puzzle me though. During the first year, I was supposed to pay fixed interest, after that it became variable, according to the reference posted în BCR subsidiaries. And I
„Cred că, peste câțiva ani, o să ne uităm la chestia asta cum ne uităm acum la Caritas și la FNI” () [Corola-website/Science/296009_a_297338]
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EGAC Belfast City 2 EGAE Londonderry 2 EGBB Birmingham 3 EGBE Coventry 1 EGCC Manchester 3 EGDG Newquay 1 2004 EGFF Cardiff Wales 3 EGFH Swansea 1 2004 EGGD Bristol 3 EGGP Liverpool 3 EGGW Luton 3 EGHC Land's End 1 EGHD Plymouth 1 EGHE Isles of Scilly (St. Marys) 1 EGHH Bournemouth 2 EGHI Southampton 2 EGHK Penzance Heliport 1 EGHT Isles of Scilly(Tresco) 1 EGKK Gatwick 3 EGLC London City 3 EGLL Heathrow 3 EGMH Kent International
jrc6137as2003 by Guvernul României () [Corola-website/Law/91309_a_92096]
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notificarea unui număr de eroare) DA o (data transmisiunii în formatul aaaallzz) TI o (ora transmisiunii în formatul oomm) ER o (= sfârșitul înregistrării) 4. Numele stației radio Numele stației radio Indicativul de apel al stației radio Lyngby OXZ Land's End GLD Valentia EJK Malin Head EJM Torshavn OXJ Bergen LGN Farsund LGZ Florø LGL Rogaland LGQ Tjøme LGT Ålesund LGA Ørlandet LFO Bodø LPG Svalbard LGS Gryt GRYT RADIO Göteborg SOG Turku OFK 5. Cod de utilizat pentru a indica
32006R0051-ro () [Corola-website/Law/295106_a_296435]
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programabilă, numai pentru citit, care poate fi ștearsă electric (electrically erasable programmable read only memory) EIA Grup consultativ de producători în Statele Unite care se ocupă cu redactarea standardelor referitoare la echipamentele electronice (Electronic Industries Association) EMC compatibilitate electromagnetică (electromagnetic compatibility) END încercare nedistructivă (essai non destructif)/(NDT - non-destructive test) ETSI Institutul European de Standarde în Telecomunicații (European Telecommunications Standards Institute) FFT transformata Fourier rapidă (Fast Fourier Transform) GLONASS sistem global de navigație prin satelit (global navigation satellite system) GPS poziționare globală
32006R0394-ro () [Corola-website/Law/295187_a_296516]