2,104 matches
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what we call ”clean evictions”. That is, the transported the people with minibuses to a school where everything was prepared: there was a playground for the children, and social offices where they got guidance, and a regional office that handed ouț decisions of leaving the country for those who hâd not been legally registered. The ones that were confirmed for relocation were puț în another bus and taken to their new home. Social housing? Violene: Not necessarily. The majority of them
(English) Racism, Evictions and Organizing for the Housing Rights of Roma Migrants in France (part III) () [Corola-website/Science/296123_a_297452]
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evicted, because the police hadn ț given them any legal notice. Shortly after we got there, the neighbors came to tell uș that they won ț accept Romă people there etc. and then came the police and the threw uș ouț once more after two hours. From there we went to an ex-squat where some comrades of mine used to live, which was abandoned at that moment, yet still habitable, at least for a short while. The family settled în until
(English) Racism, Evictions and Organizing for the Housing Rights of Roma Migrants in France (part III) () [Corola-website/Science/296123_a_297452]
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the group aims to enable the Romă people to act aș the main figures în the fight for their rights: “We also wish, without turning it into a masquerade, to let the voices of those discriminated against and those left ouț be heard, especially those of the Romă, and act, aș best possible, alongside them and not în their place. La Pătate Chaude organizes itself starting from the Romă voices and operates în close connection with informal settlements, squats, detention facilities
(English) Racism, Evictions and Organizing for the Housing Rights of Roma Migrants in France (part I) () [Corola-website/Science/296121_a_297450]
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a very serious action, it lasts for quite a long time and it is not something that protects you. The only real option is to leave the moment he first becomes violent, because nothing helps, you just have to get ouț of there. But women and mothers primarily think of their children and I think that most women accept it mainly because of that, because they have nowhere to go and nobody helps them the moment they need help, and not
(English) ” I was living in a sealed concrete cube, there was no way out” - Interview with a domestic violence survivor (part II) () [Corola-website/Science/296120_a_297449]
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growing and I hâd come to a point when I couldn’ț sleep at night, I couldn’ț go to work anymore, I understood the situation was really serious. Simona from the foundation was constantly telling me I should get ouț of there, I still didn’ț want to leave my home and she taught me what to do, what were the steps, how to protect myself and what were the steps I hâd to take șo that we would be
(English) ” I was living in a sealed concrete cube, there was no way out” - Interview with a domestic violence survivor (part II) () [Corola-website/Science/296120_a_297449]
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manage to be included în their program. I am not really good at recounting, it seems to me I am being incoherent, I don’ț really remember the events în their chronological sequence because I am constantly trying to wipe ouț and forget this part of my life. There was a time I couldn’ț even speak about it, nor remember facts, believe me that even now, it is still very painful. I was going to therapy once a week, once
(English) ” I was living in a sealed concrete cube, there was no way out” - Interview with a domestic violence survivor (part II) () [Corola-website/Science/296120_a_297449]
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only be understood by one who hâș gone through this. I simply didn’ț know where to go, I simply felt like I was living în a cage. I was living în a sealed concrete cube, there was no way ouț. Even though I am an intelligent woman, I simply didn’ț see the way ouț, I didn’ț know how to proceed, I hâd to ask for help from someone else. Until Simona managed to make me speak, to make
(English) ” I was living in a sealed concrete cube, there was no way out” - Interview with a domestic violence survivor (part II) () [Corola-website/Science/296120_a_297449]
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where to go, I simply felt like I was living în a cage. I was living în a sealed concrete cube, there was no way ouț. Even though I am an intelligent woman, I simply didn’ț see the way ouț, I didn’ț know how to proceed, I hâd to ask for help from someone else. Until Simona managed to make me speak, to make me open my heart, it took a while, and then she showed me the exact
(English) ” I was living in a sealed concrete cube, there was no way out” - Interview with a domestic violence survivor (part II) () [Corola-website/Science/296120_a_297449]
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papers în a safe place, save some money, just în case, and some clothes into a bag ready, the keys within reach. At any time, the situation can get worse, until you manage to move away. Because you cannot move ouț of the blue, after you hâd a fight, after he beat you - you cannot just grab your bag and go, you simply can’ț. I don’ț even have relatives în Bucharest, I only hâd a few friends, and all
(English) ” I was living in a sealed concrete cube, there was no way out” - Interview with a domestic violence survivor (part II) () [Corola-website/Science/296120_a_297449]
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that he keeps you enslaved, under his control, șo that you cannot escape: having no money, no freedom, having all the responsibilities upon yourself, not having time for anything else. I began reading a lot of psychology books to figure ouț how the human mind works and how was it that I got into this situation, being educated and all - was it just love that got me blind? No, there are things that all alcoholics do, things that you don’ț
(English) ” I was living in a sealed concrete cube, there was no way out” - Interview with a domestic violence survivor (part II) () [Corola-website/Science/296120_a_297449]
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discussion panels, a lot of fuss and many hopes aroused. All according to the guidelines. A nicely and modern packed Pandora box, labelled with a shining slogan close to the hearts of many: Culture. It was soon to be found ouț, however, that the participation of bottom-up organisations and associations was to be fake: everybody got their lollipop to calm down, while the biggest cakes remained shut în the fridge. A lack of a wider paricipation în major decision-making, a lack
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
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or she starts their local travels: a walk around the elegant, state-of-the-art Mucem - the Museum of the Civilisation of Europe and the Mediterranean, at 1 pm each Sunday - that is what is trendy! Mucem, inseparably associated with MP2013, was founded ouț of the need to create spectacular objects, which you can inaugurate and clăim: "Marseilles is not only the city of criminals and Kalashnikov rounds. Here we have culture, aș here we have Mucem!" Nevermind that Mucem hâd stood empty for
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
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only give books aș presents - never shirts or shoes. That was the rule. Șo with eight or nine years old I hâd my own small library; and a football “no. 2” - which meant it was very small. When I moved ouț I took with me the desk, my books and the football. [caption id="attachment 3628" align="aligncenter" width="580"] Photo: Marc Teuscher[/caption] Dorotea Weissbuch I lived în my parents' house which was privately owned. It was a big place with
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
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the kitchen. After climbing a few stairs we would walk through a small open terrace. The house hâd also a cellar where we kept the potatoes, carrots and other vegetables covered în sand for the wintertime. My father would take ouț his Yale key and enter through the main door. That entrance was also used by my father's clients - he was a lawyer. On the dark grey mosaic floor next to the doorstep laid three burgundy letters “J B I
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
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chairs. The walls were embellished with two impressive paintings. One was an oil painting of a child biting into an apple. The second one, very original, long and narrow, showed an ostrich with one wing made of fabric prominently coming ouț of the picture frame. [...] My parents' bedroom was spacious. The main furniture consisted of two large beds placed next to each other [...] and a black piano, actually a pianino, that my mother and some guests used to play. There were
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
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p> Albumul abundă în ironii stilistice. De exemplu, ”Live tonight” începe cu un cântec de galerie, ce amintește de scandările din Quadrophenia, un fel de voce a stăzii pe care Jason și-o asumă fără prea multa modestie: ”still some ouț there who believe în the lie of work till you die, of Sundays apple pie, death waits for every mân!” Atunci când nu e nihilist sau un înfuriat, Jason e ironic: ”Dead will fall, no one's bothered/ You’re trapped
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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neutralizării politice absolute a culturii pop. </spân></spân><spân style="font-size: medium;"> Desprinderea de pozitivismul și spiritul </spân><spân style="font-size: medium;"><i>catchy</i></spân><spân style="font-size: medium;"> al brit-popului nu este doar stilistica ci și personală: ”Spitting ouț fine cheese made by the tool from Blur<a class="sdfootnoteanc" href="#sdfootnote3sym" name="sdfootnote3anc"><sup>3</sup></a>/ Even the drummers a fucking MP<a class="sdfootnoteanc" href="#sdfootnote4sym" name="sdfootnote4anc"><sup>4</sup></a></spân><spân style="color
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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boys are more or less a post-punk band, considering their avant-garde spirit and politically-charged caustic lyrics. The lyrics are laced with the ambiguity of a beatnik talking to a neighborhood lad; Jason cusses heavily and it’s hard to make ouț how privileged his position actually is. His stream-of-consciousness type lyrics require listening multiple times, first because of his Midlands slang and accent, and second because he switches abruptly between tropes. Key Markets is, nonetheless, consistent and can be summed up
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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the new factory, aș he himself describes it. The album abounds în stylistic ironies. For instance, “Live tonight” begins with a football chant, reminding uș of Quadrophenia, a sort of voice of the streets which Jason not-so-humbly appropriates: ”still some ouț there who believe în the lie of work till you die, of Sundays apple pie, death waits for every mân!” When he’s not a nihilist or pissed off, Jason is ironic: ”dead will fall, no one’s bothered/ You
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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at the lack of relevant topics în media distribution, at the embourgeoisement and political neutralization of pop culture. Breaking free from the positivism and catchy spirit of brit-pop is not just a stylistic choice, but also a personal one: ”Spitting ouț fine cheese made by the tool from Blur/ Even the drummers a fucking MP, fuck off you cunt, șir/ Die trying whilst the others just live lying/ Rife all polish, no strife” (Rupert Trousers). One of the few critical points
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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a three room flat and we sublet the third room în order to manage paying the rent. We lived în a basemen apartment, în the attic, în shared flats. Back then, there was an unwritten rule: people used to move ouț and change tenancy în lațe April and lațe October [probably due to the fact that some families went to the countryside during the warm months, ed.n.]. There were “for rent” announcements posted on the streets, on the houses. It wasn
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
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this aspect. [...] But I must add that the landlords used to raise the rent periodically: a while after moving în, the landlord would ask for a higher rent. If we couldn’ț pay the new rent, we hâd to move ouț. That’s why we lived în 12 different houses în that period and we moved ouț 12 times! It’s said that moving ouț three times produces losses and damages equal to a house fire. [...] The first house I remember
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
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while after moving în, the landlord would ask for a higher rent. If we couldn’ț pay the new rent, we hâd to move ouț. That’s why we lived în 12 different houses în that period and we moved ouț 12 times! It’s said that moving ouț three times produces losses and damages equal to a house fire. [...] The first house I remember - must have been around the year 1920. It hâd a 40-50 metres long yard with a
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
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for a higher rent. If we couldn’ț pay the new rent, we hâd to move ouț. That’s why we lived în 12 different houses în that period and we moved ouț 12 times! It’s said that moving ouț three times produces losses and damages equal to a house fire. [...] The first house I remember - must have been around the year 1920. It hâd a 40-50 metres long yard with a wooden fence. În the backyard there was an
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
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to make fire and keep warm [...]. În front of the house, there was a gas lantern. Every night a mân working for the town hall would come to light up the lantern. Every morning, he would come to puț it ouț. That’s how street lighting worked back în those days. The house address was 7 Golești Street. During winters, our main problem was how not to freeze. Aș there was no stove în the bedroom, we would use many blankets
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]