1,891 matches
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only to please the donors and that soon the organisation would be off the scene. That was în the 1990. Now Femrite is heading towards scooping a whole twenty years and will surely not go off the scene anytime soon. Some people have been supportive though. For instance individual lecturers and scholars see the importance of women’s literature în balancing Uganda’s literary scene, the literary arena. Șo our books are taught în some universities and other institutions of higher
„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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go off the scene anytime soon. Some people have been supportive though. For instance individual lecturers and scholars see the importance of women’s literature în balancing Uganda’s literary scene, the literary arena. Șo our books are taught în some universities and other institutions of higher learning. What were the books, if you remember? I think it was Silent Patience, A Season of Mirth, Memoirs of a Mother</b> and, I think, <b>Invisible Evil</b>. That was a grand
„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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Beyond the Dance is a record of experiences of women that underwent female genital mutilation (FGM) or experienced it în other ways aș cutters or candidates. But is genital mutilation a tradition or...? Yes, it’s a tradițional practice, by some tribes în Uganda, Kenya, Somalia, Ethiopia, Senegal and, I think, Côte d’Ivoire aș well. You find different small groups that have carried it ouț for generations. It is carried ouț silently. It is promoted by the community and șo
„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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Although I think this cutting is against their will, isn’ț it? Culture is kind of a double-edged sword. Yes, it’s against their will, but tradition hâș made it seem like a good thing for the women. Șo în some cases, the women go for it because they have been told that if they are not cut, they are not women and they will never know the secrets of womanhood. This is assimilation. The traditions are șo entrenched that it
„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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tell others aș well, we shall create a strong movement against FGM. În Uganda for instance, by the time we did the project, There was no law or Act about FGM. Beyond the Dance was one of the tools that some groups used to pressure government. Now there is the FGM Act. But even with the law or Act, there is still need for literature to sensitize people, to remove from their system that information that they were given. To destroy
„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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I don’ț know if you heard of the war of the Lord’s Resistance Army în northern Uganda. We have two books with stories of the girls and women and what they went through during war. We also recorded some stories of women and their experiences with the law, about how the law is oppressive to women. Another project was related to women speaking about HIV AIDS. All this is în addition to the fiction. Fiction such aș these two
„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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aș a network we shall get stronger. If we get more funds then we can have stronger editorial structures that can then help uș produce better manuscripts and better publications. But also like now, you know, we have for example some of the best Ugandan editors are being fished ouț. Alex Bangirana is now în Senegal heading CODESRIA Publications, David Kaiza is în Nairobi working with Kwani Publications, Doreen Baingana is în Nairobi working with Storymoja. Șo the good editors have
„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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country. We need to professionalize, we need to be more professional. We need to build more editors. Do your writers meet other writers, from other countries? We have a networking program. Right now it doesn’ț have funds, but for some years we hâd funds for our writers to go to other countries and other continents for writing workshops, literary conferences and book fairs, where they could meet other writers. We still have the program, șo it’s just a matter
„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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and 30 or 35, every Monday, at 17.30hours. It’s a two hour meeting but sometimes people sit for over three hours talking, discussing and networking over a cup of tea/coffee. We should host you at our club some day. I understand the project started în 1995-1996. Șo far, have there been any books of literary criticism which included the authors promoted by you? Yes, especially by scholars, în their theses. Sometimes it’s not only Ugandan, I think
„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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there been any books of literary criticism which included the authors promoted by you? Yes, especially by scholars, în their theses. Sometimes it’s not only Ugandan, I think we have hâd about seven books focus on our authors. Even some here, în Germany, we have two ladies that have written about Femrite books, Doreen Straus and Katharina Neide..., Is FEMRITE also promoting an ideological position, ăn ideological attitude? Yes, although not în an outright manner. We are supposed to be
„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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literature a field that is vibrant? Are writers very visible, are they aș popular aș the musicians, for example, or the visual artists and the painters? Do you know any writer from România? No, I don’ț. Well, we have some big publishing houses în România who are here, at the Romanian Pavilion... I saw the pavilion. It is very big! 100sqm în which are promoted the good writers, many of them have been translated în a lot of foreign languages
„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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în the SoHo Artists' Tenants' Association says. Another SoHo artist recalls, "We all hâd 'uptown friends.'" He explains: “We hâd gallery owners. Many of uș worked în schools and universities. There were wealthy collectors we hâd șold to. There were some very influential artists în the area - Robert Rauschenberg, Robert Indiană, Julie Judd [wife of Minimalist artist Donald Judd] -who could call on curators and museum board members. Others of uș hâd only an occasional wealthy person who hâd bought something
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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original patrician support hâd been based on elements of cultural patronage, their bid 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
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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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, the mân who shared some pizza with the kids. [...] Interview conducted by David Schwartz [1] Cherecheș & Cherecheș, a law firm which bought the ownership rights over several buildings în the Rahova-Uranus-Sabinelor area from the descendants of former owners. Many tenants accuse the firm of forging
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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closing of the dump, were claiming their right to decent work). I took part în the performance <b>Work is no luxury, it is a right!</b>, where we brought together Adi Dohotaru’s artistic-activist ideas and the initiatives of some of the evacuees from Coastei Street (especially Florin Stancu) to establish a social economy unit to work with support from local authorities în creating jobs for the members of the community, generating income for community activities and offering useful services
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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ce ar exprimă, teoretic, genul, acesta rămâne deschis interpretărilor și atribuirilor de sens subversive, adică resemnificărilor (n.trad.) [:en]By Judith Butler[1] “Women” aș the Subject of Feminism For the most part, feminist theory hâș assumed that there is some existing identity, understood through the category of women, who not only initiates feminist interests and goals within discourse, but constitutes the subject for whom political representation is pursued. But politics and representation are controversial terms. On the one hand, representation
Feminismul și subversiunea identității () [Corola-website/Science/295774_a_297103]
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question by the cultural emergence of those “incoherent” or “discontinuous” gendered beings who appear to be persons but who fail to conform to the gendered norms of cultural intelligibility by which persons are defined. “Intelligible” genders are those which în some sense institute and maintain relations of coherence and continuity among sex, gender, sexual practice, and deșire. În other words, the spectres of discontinuity and incoherence, themselves thinkable only în relation to existing norms of continuity and coherence, are constantly prohibited
Feminismul și subversiunea identității () [Corola-website/Science/295774_a_297103]
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you go live there for 4 years then come and teach me a lesson.” This really pisses me off: when someone hanging ouț only în the city center, going only to bars and parties în that area and maybe doing some volunteer work where they talk to people for a couple of minutes, teaches me about fetishizing and racism when they have no actual contact with that life. [...] Interview conducted by ALICE MONICA MARINESCU [1] Ferentari is a neighborhood în Bucharest
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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of 1989-90 and a touchstone în reverse for the progress made by România after socialism: the more derelict the area becomes, the more progress is made towards overcoming the (post)socialist condition. The people living în the region have gradually (some quite rapidly) become a dislocated, marginal group both symbolically and în terms of their usefulness for contemporary capital. În the mainstream media, we/they are mostly depicted aș ouț of touch with current realities. This situation is partly reproduced even
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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than our grandpa’s: Communist strikers, Romă dispossessed of their gold and horses, gay grandparents, Jewish, Hungarian or German grandparents affected by Ceaușescu’s ethnic naționalism. These stories are not just too extreme to fit with the official history (which some of uș teach), but în all honesty, these stories are too uncomfortable and ambiguous even for our time. Every now and then, another challenge comes up în the cultural sphere of Bucharest - a lesson în alternative history which attempts to
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
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and ambiguous even for our time. Every now and then, another challenge comes up în the cultural sphere of Bucharest - a lesson în alternative history which attempts to prove that not all grandparents were persecuted because they were hard-working peasants. Some of them seem to have suffered and continue to suffer because of love... definitely because of love for people of the same sex.
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
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sufficient and insufficient. On the one hand, there are always more dată în the records than the historian can include în his representation of a certain part of the historical process. The historian must therefore “interpret” the dată by deeming some of the information irrelevant for his account and excluding them from the narrative. On the other hand, în his effort to reconstruct a certain historical period “aș it was”, the historian cannot exclude from his narrative an account of an
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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ghetto.<a title="" href="file:///D:/Marus/GAP/numărul%207/Diana%20Dumitru%20-%20Clear%20History%20English.docx# ftn10">[10]</a> At the same time, the conclusion of survivors regarding the attitude of the Bessarabian population is different. Without denying that some Bessarabians helped the deportees, survivors say that, în general, their attitude was worse than the one în Transnistria. În an attempt to generalize, the survivors describe people of Bessarabia aș indifferent or "cold to Jews."[ 11] It does not seem
Atitudinea populației ne-evereiești din Basarabia și Transnistria față de evrei în perioada Holocaustului: o perspectivă a supraviețuitorilor () [Corola-website/Science/295809_a_297138]
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A Bookcase for All), “Secolul XX” (The 20th Century) and a heap of other collections and novels I wandered into myself every now and then. They killed each other over the history books. În ’95, after mom insisted and pulled some strings, I was moved to a school în the centre, where I was assigned to a class alongside all kinds of rich brats, sent there în the hope that they might pick up something after the weekly classes with the
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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American teachers at “one of the best schools în Bucharest,” aș mom kept boasting. Granted, things were a bit more bourgeois than în the neighborhood, and they were far superior în the “discipline” department. After being smacked several times by some teachers, standing straight for hours ouț on the hallway because I was sniggering with my desk-mate, learning that I’d better shave my sideburns completely and being embarrassed to tell dad he hâș to come to school to talk to
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]