Romanian Presidency Programme V2
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Shades of Red, Shades of Grey
Proteau, Jasmine Shades of Red, Shades of Grey Shades of Red, Shades of Grey The Role of Cultural Context in Shaping Museums of Communism Jasmine Proteau Abstract In the post-communist era, Eastern-European museums face three key issues in their attempts to inter- pret the history of daily life under communism: feelings of nostalgia, representing both individual and collective histories, and ‘purposeful forgetting’. As socialism was experienced differently in each regional context, a sin- gle country or museum does not give a full comparative analysis to examine these issues. This work focuses on comparing three institutions across Eastern-Europe: the Museum of Communism in Prague, the GDR Museum in Berlin, and the Romanian Peasant Museum in Bucharest. Two central questions guided the approach of this work: how have these museums, and the countries they represent, portrayed, memorialized – or rejected – socialism in past and how do their approaches connect or diverge? Though all are faced with complex interpretive issues, each museumEastern Europe? is unique More in its specifically, approach. what issues have these museums faced in preserving a controversial and raw Keywords nostalgia, communism, museums, memory, culture Museums, as cultural institutions, are at the munist era, Eastern-European museums face three key - issues in their attempts to interpret the history of daily ty. Seeking to re-establish themselves as credible sourc- life under communism: feelings of nostalgia, presenting esforefront of culture, of redefining intellectual post-communist debate, and criticalnational analysis identi both individual and collective histories, and something of the past, their interpretation of this crucial moment I have chosen to call ‘purposeful forgetting’. -
Olimpiada Digitala 2021 (Romania)
Olimpiada Digitala 2021 (Romania) Competition statistics: 581 competitors, 410 schools Exciting prizes for this CONTEST! KIT Robot inteligent programabil KIT proiecte Arduino Carte programare Scratch Locul 1 Locul 2 Locul 3 Open, 7 and 8 y.o. 1. Chirilov Albert Andrei, Scoala Nr 85, Bucuresti, Romania, 3.35, Congratulations!, Locul 1 , Project 2. Alecu Roberto Alessandro, Tecfun Jr, Botosani, Romania, 2.96, Congratulations!, Locul 2 , Project 3. Ganea Andrei Sebastian, Liceul Teoretic Avram Iancu Cluj Napoca, Cluj Napoca, Romania, 2.93, Congratulations!, Locul 3 , Project 4. Alice Caruntu, Scoala Gimnaziala Ioan Murariu Cristinesti, Botosani, Romania, 2.92, Thank you for participating 5. Mara Malusel, Scoala nr. 23 Constantin Brancoveanu, Constanta, Romania, 2.88, Congratulations!, Scenariu exceptional ! 6. Crisan Tudor Andrei, Scoala Gimnaziala Viisoara, Campia Turzii, Romania, 2.80, Thank you for participating 7. Matei Bica, Codeland School, Curtea De Arges, Romania, 2.73, Thank you for participating 8. Decu Dumitru Damian, Scoala Gimnaziala Nr 1 Berceni, Vidra, Romania, 2.68, Thank you for participating 9. Eliza Iftime, Techfun Jr, Botosani, Romania, 2.55, Thank you for participating 10. Voica Dimitrie, Techfun Jr, Botosani, Romania, 2.32, Thank you for participating 11. Poenaru Mihai Cristian, Codeland School, Pitesti, Romania, 1.00, Thank you for participating 12. Neaga Luca, Codeland School, Pitesti, Romania, 1.00, Thank you for participating 13. Isabela Maria Paceagiu, Isabela Maria Paceagiu, Constanta, Romania, 1.00, Thank you for participating 14. Crisan Tudor Andrei, Scoala Gimnaziala Viisoara, Campia Turzii, Romania, 1.00, Thank you for participating 15. Marin Vlad Mihai, Scoala Gimnaziala Mihai Viteazul, Craiova, Romania, 1.00, Thank you for participating 16. -
103 Considerations on the Appearance And
CONSIDERATIONS ON THE APPEARANCE AND DEVELOPMENT OF HUMANITARIAN LEGISLATIVE NORMS IN THE FRAMEWORK OF INTERNATIONAL RELATIONS DURING THE MIDDLE AGES Vitalie RUSU* Abstract During the Middle Ages, war did not aim at glory, but interests, and the peace state was not considered honourable, but humiliating, as initially, the causes of a war could be: the obligation to avenge an offence or a crime, the conflicts between suzerains and vassals, the campaigns against some cities or ending rebellions. Most of the time, for kings, land owners and knights, war was the best choice to prove their power and to increase their wealth. The reason was the spoils of war. However, in all those conflicts, human people were affected, thus generating the need to develop some specific norms in order to protect them. Keywords: Humanitarian Law, war, conflict evolution, early international relations 1. Introductory Remarks At the beginning of feudalism, conquest wars and wars carried out for obtaining supremacy on vast areas were very frequent, and the ways and methods used in fights were very cruel. Later on, the problem of arguing a ―rightful‖ war became a problem. In this respect, regardless of the country, we shall not overlook the following moments: - after the period of feudal conflicts (11th - 12th centuries) an active struggle for limiting and forbidding armed conflicts began. During the same period, the rule according to which war can only be declared by the king was established; - gradually, the so called legal grounds for a ―rightful‖ war appear, among them the returning of stolen property and the country‘s defence. -
Assessing the European Union's Contribution to Heritage & The
Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / The Culture, Welsh Language and Communications Committee Ymchwiliad byr i oblygiadau ymadael â’r Undeb Ewropeaidd / Short inquiry into the implications of Brexit CWLC(5) BREXIT09 1 Ymateb gan Grŵp Amgylchedd Hanesyddol / Evidence from Historic Environment Group Assessing the European Union’s contribution to heritage & the historic environment in Wales since 2007 REPORT Researched and Compiled by Euclid TABLE OF CONTENTS Executive Summary 2 Comments on the Figures 3 Methodology 3 Summary of Amounts Allocated 6 European Structural and Investment Funds (ESIF) 7 ERDF: European Regional Development Fund 7 ESF: European Social Fund 7 EAFRD: European Agricultural Fund for Rural Development: RDP / LEADER 8 EMFF/EFF: European (Maritime &) Fisheries Fund 12 Interreg (European Territorial Co-operation) 13 Trans-National Funds 15 Creative Europe / Culture 15 Europe for Citizens 15 Erasmus+ / Lifelong Learning / Youth in Action 15 Horizon 2020 / FP7 19 APPENDIX – Additional Project Information & Descriptions 20 EU Funding 2007-2016 – Heritage & the Historic Environment in Wales – undertaken by EUCLID – July 2017 2 Executive Summary Cadw commissioned Euclid to identify EU funding for projects focused on or linked to heritage in Wales, across the last 10 years. EU funding works in 7 year cycles, so “the last 10 years” was interpreted as follows: The whole 7 years of the 2007-13 period, for which (in theory) full information is available As much of the 2014-2020 period as could be ascertained at this time – 2014-2016 being 3 years. EU funding can be split into two main categories: The European Structural & Investment Funds (ESIF), which are mostly devolved back to the member states and, in the case of the UK, then distributed separately in England, Scotland, Wales and NI. -
A Sample of Cultural Interaction in the Age of Modernism:The Representation of the Dobruja Turk in Romanian Painting
ANKARAD / AJARS ANKARA ANADOLU VE RUMELİ ARAŞTIRMALARI DERGİSİ ANKARA’ S JOURNAL OF ANATOLIA AND RUMELIA STUDIES ANKARAD, 2020; 1(2): 481-501 [email protected] e-ISSN: 2717-9052 DOI: A SAMPLE OF CULTURAL INTERACTION IN THE AGE OF MODERNISM:THE REPRESENTATION OF THE DOBRUJA TURK IN ROMANIAN PAINTING Atanas KARACOBAN* - Dalila OZBAY** Abstract: The present study attempts to bring to light an artistic experience almost unknown to the larger public, which is the repre sentation of the Turkish people of Dobruja in the Romanian painting of the first half of the twentieth century, which is the period of modernism in art promoting freedom of artistic expression, innova tion and experimentation. Among the origins of modernism, of pri mary importance stand the principles of romanticism, aestheticism, symbolism, and particularly in the case of painting, Impressionism, and the entire late nineteenth-century artistic reaction against real ism and tradition. Along with these predecessors, in the case of Ro manian artists, the rediscovery of Dobruca was another factor providing new concerns and perspectives in painting. The authors of this study are therefore also conscious of the influence of the Turkish community from Dobruja on the development of Romanian painting in the new context of territorial changes after the second Balkan War, the emphasis on which being another aim of the pre sent study. 481 Key words: Art, Painting, Modernism, Impressionism, Dobruja. MODERNİZM ÇAĞINDA KÜLTÜREL ETKİLEŞİMİN BİR ÖRNEĞİ: ROMANYA RESMİNDE DOBRUCA TÜRK’ÜNÜN BİR TASVİRİ Öz: Bu çalışma, halkın çoğunluğu tarafından bilinmeyen bir sanatsal deneyime; sanatsal dışavurum, yenilik ve deneyselliği destekleyen, sanatta bir modernleşme çağı olan yirminci yüzyılın ilk yarısındaki Romen resmindeki Dobrucalı Türklerin resmedilmesine * Öğr. -
Teaching Slavic History in Romania in 2017
Studia Slavica et Balcanica Petropolitana ББК 63.3(0)5; УДК 94(498); DOI 10.21638/11701/spbu19.2017.211 R. Mârza TEACHING SLAVIC HISTORY IN ROMANIA IN 2017 My contribution relies on my experience of more than ten years in teaching a university course of Slavic history in Romania. The course and seminar are entitled «The Slavs and Slavonism in the Medieval and Early Modern History of the Romanians» [«Slavii şi slavonismul în istoria medievală şi premodernă a românilor»]. It is a special course taught to third year students, BA level, at the History of Philosophy Faculty of the Babeş-Bolyai University in Cluj. For several years now, this teaching experience has led me to several questions regarding the opportunity of offering such a course from a didactic perspective, how it connects to the times we live in, the manner in which such a course should be prepared according to the education, expectations, and needs of our students. I continue to find answers to these questions throughout the years and on this occasion I shall attempt to formulate them. I will begin by presenting briefly the history of Slavic Studies in Romania, as an academic discipline. In Romania, scientific interest into Slavic Studies (Slavistics) dates back to the second half of the 19th century. Such interests appeared as a result of Romanian historiography, culture, and society becoming modern and mature. For almost a century (from the end of the 18th century until the mid-19th century), the historiography of the Enlightenment and of Romanticism have revealed the Latin historical and linguistic factors as fundamental, even exclusive ones in the formation of the Romanian people and language. -
Creativity and Culture: Towards a Cultural Psychology of Creativity in Folk Art
The London School of Economics and Political Science Creativity and Culture: Towards a Cultural Psychology of Creativity in Folk Art Vlad Petre Glăveanu A thesis submitted to the Institute of Social Psychology of the London School of Economics for the degree of Doctor of Philosophy, London, May 2012 Declaration I certify that the thesis I have presented for examination for the MPhil/PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 98,584 words. Vlad Glăveanu 2 Abstract The present thesis aims to explore creativity as representation, action and cultural participation in the context of a traditional folk art. It develops a cultural psychological approach to the phenomenon, one that considers creativity situated between creators, creations, audiences, and a complex background of norms and beliefs. A tetradic framework is thus formulated trying to capture the dynamic between self and other, “new” and “old” in creative production and in particular their inter-relation through processes of integration, externalisation, internalisation and social interaction. -
Unification of Art Theories (Uat) - a Long Manifesto
UNIFICATION OF ART THEORIES (UAT) - A LONG MANIFESTO - by FLORENTIN SMARANDACHE ABSTRACT. “Outer-Art” is a movement set up as a protest against, or to ridicule, the random modern art which states that everything is… art! It was initiated by Florentin Smarandache, in 1990s, who ironically called for an upside-down artwork: to do art in a way it is not supposed to be done, i.e. to make art as ugly, as silly, as wrong as possible, and generally as impossible as possible! He published three such (outer-)albums, the second one called “oUTER-aRT, the Worst Possible Art in the World!” (2002). FLORENTIN SMARANDACHE Excerpts from his (outer-)art theory: <The way of how not to write, which is an emblem of paradoxism, was later on extended to the way of how not to paint, how not to design, how to not sculpture, until the way of how not to act, or how not to sing, or how not to perform on the stage – thus: all reversed. Only negative adjectives are cumulated in the outer- art: utterly awful and uninteresting art; disgusting, execrable, failure art; garbage paintings: from crumpled, dirty, smeared, torn, ragged paper; using anti-colors and a-colors; naturalist paintings: from wick, spit, urine, feces, any waste matter; misjudged art; self-discredited, ignored, lousy, stinky, hooted, chaotic, vain, lazy, inadequate art (I had once misspelled 'rat' instead of 'art'); obscure, unremarkable, syncopal art; para-art; deriding art expressing inanity and emptiness; strange, stupid, nerd art, in-deterministic, incoherent, dull, uneven art... as made by any monkey!… the worse the better!> 2 A MANIFESTO AND ANTI-MANIFESTO FOR OUTER-ART I was curious to learn new ideas/ schools /styles/ techniques/ movements in arts and letters. -
Licitația Maeștri Ai Portretului Marți, 6 Februarie 2018, 19.30, Artmark - Palatul Cesianu - Racoviță, București
16. Mișu Teișanu, În grădină Licitația Maeștri ai Portretului marți, 6 februarie 2018, 19.30, Artmark - Palatul Cesianu - Racoviță, București 94 95 1 | Iosif Iser 2 | Hans Eder 1881, București - 1958, Bucureşti 1883, Braşov - 1955, Braşov Tătăroaice | 1939 Tătăroaică | 1947 guaşă vernisată pe hârtie, 42 × 34 cm, semnat şi datat ulei pe carton, 70 × 50 cm, semnat și datat dreapta sus, stânga sus, cu negru, „ISER, (19)39” cu negru, „HE, (19)47” € 3.000 - 5.000 € 3.000 - 5.000 96 97 3 | Carol Hübner 1902, Sighişoara - 1981, Brașov Pisica albă | 1928 ulei pe carton, 48 × 35 cm, semnat și datat dreapta jos, cu galben, în monogramă, „KH, 1928” € 700 - 1.200 4 | Nicolae Popa-Iași 1901, Ipatele, Iaşi - 1962, Iaşi Cochetărie | 1932 5 | Carol Hübner ulei pe pânză lipită pe placaj, 60 × 47 cm, semnat, datat 1902, Sighişoara - 1981, Brașov şi localizat stânga jos, cu brun, „N. Popa, Paris, (1)932” Culegătoarele de vreascuri | 1931 € 800 - 1.500 ulei pe pânză, 58 × 48,5 cm, semnat și datat dreapta jos, cu brun, Khübner, (19)31 Opera a fost pictată în cursul anului 1932, în atelierul lui € 900 - 1.500 André Lhote, pe când Nicolae Popa se afla la Paris, drept câștigător al bursei pentru studii în străinătate. Opera a participat la Salonul artiștilor moldoveni, Academia Opera a participat la expoziția retrospectivă Karl Hübner Pe verso: Portret de doamnă. de Arte Frumoase Iași, 27 decembrie 1932 - 15 ianua- (1902-1981), Muzeul de Artă Brașov, 2012 și este repro- rie 1933. dusă în catalogul expoziției la pag. 52. 98 99 Sculptor școlit în perioada interbelică, între 1930 și 1934, în cadrul Academiei de Arte Frumoase din București, Mereanu avea să debuteze în deceniul patru al sec. -
Dimitrie Cantemir Cu Privire La Paternitatea Și Valoarea Informativă a „Hronicului Lui Ureche Vornicul”
DIMITRIE CANTEMIR CU PRIVIRE LA PATERNITATEA ȘI VALOAREA INFORMATIVĂ A „HRONICULUI LUI URECHE VORNICUL” Dr. Valentina EȘANU, Institutul de Istorie, Chișinău, Republica Moldova Abstract: In the study Dimitrie Cantemir on the paternity and informative value of «The Chronicle of Ureche Vornicul», the writings of scholar prince devoted to the history of Romanians uses many European sources, from the ancient to European renaissance authors. In addition, the monarch also uses various chronicles of his homeland, and often referred to the «Chronicle of Ureche Vornicul”, which he considered to be an important historian, while his writing extremely valuable. Throughout the centuries this chronicle was attributed to various authors, including Grigore Ureche (1590–1647), while Dimitrie Cantemir assigned it to his father Nestor Ureche (1550–1618). The chronicle was not preserved in original, but survived due to copies made by various scribes, who, occasionally were making additions to the original, addings which were criticized and considered defamatory by Cantemir in relation to the origin of the Romanians topic. Keywords: Nistor Ureche, Grigore Ureche, chronic, paternity, interpolator Generații de cercetători care s-au aplecat cu multă dăruire asupra scrierilor istorice ale lui Dimitrie Cantemir au observat că învățatul principe a pus la temelia lucrărilor sale, referitoare la istoria românilor, numeroase surse istoriografice care țin atât de clasicii istoriografiei antice eline și romane, de istoriografia medievală și a renașterii europene, de numeroase cronici și istorii din lumea slavă, cât și multe din letopisețele și scrierile cărturarilor români. Dintre operele istoricilor români, și moldoveni în special, la care face referință destul de frecvent, aducând uneori întregi pasage, face parte și „hronicul lui Ureche vornicul”, adică Letopisețul Țării Moldovei, atribuit de mai multă vreme lui Grigore Ureche (n. -
Evidenţa Străzilor Din Municipiul Suceava
EVIDENTA STRĂZILOR DIN MUNICIPIUL SUCEAVA Nr.crt. Denumire drum Incepe de la Se termina la strada : strada 1 b-dul 1 Mai Ştefan cel Mare Calea Obcinilor 2 str.6 Noiembrie Mihai Viteazul Mărăşeşti 3 str. 28 Noiembrie Depoului E.Porumbescu 4 b-dul 1 Decembrie 1918 Calea Obcinilor ieşire Fălticeni 5 str. 22 Decembrie Calea Unirii ieşire Dorohoi 6 str.Alexandru cel Bun Universitatii Samoil Isopescu 7 str.Slt.Alexandru Ienceanu Vasile Bumbac Mihai Viteazul 8 str. Alexandru Vlahuţă Constantin Moraru Ep.Bucevschi 9 str.Alexandru Voievidca Aurel Vlaicu raul Suceava 10 str.Alunului cpt.Grigore Andrei str.22 Decembrie 11 str.Amurgului calea Unirii Eroilor 12 str.Ana Ipătescu Stefan cel Mare calea Unirii 13 str.Anastasie Crimca Stefan cel Mare Mihai Viteazul 14 str.Anton Holban Eugen Lovinescu Padurea Dumbrava 15 str.Apeductului calea Unirii spre Sere 16 str.Arcaşilor str.6 Noiembrie Mihai Eminescu 17 str.Armenească Vasile Alecsandri I.G.Sbiera 18 str.Aron Pumnul Muncitorului Mitocului 19 str. Arţarului Plopului Pădurea Dumbrava 20 str.Aurel Vlaicu Gr.Alex.Ghica baraj Mihoveni 21 str.Aurora Tineretului Tineretului 22 str.Aviatorului Aurel Vlaicu Raul Suceava 23 str.Avîntului Tineretului Amurgului 24 str.Avram Iancu Petru Rareş Dimitrie Dan 25 str.Baladei Calimani Rarau 26 str.Barbu Lăzăreanu Gheorghe Doja Ep.Bucevschi 27 str.Barbu St.Delavrancea Mitocului Zefirului 28 str.Bazelor calea Unirii fundatura 29 str.Bernat Andrei Gr.Alex.Ghica fundatura 30 str.Biruinţei Gheorghe Doja Mitocului 31 str.Bistriţei bd.1 Dec. 1918 Victoriei 32 str.Bogdan Vodă Zamca fundatura 33 str.Bradului Universitatii fundatura stadion 34 str.Brădetului Mitropoliei Izvoarele Cetatii 35 str.Brînduşei Amurgului Tineretului 36 str.Bujorilor calea Unirii Amurgului 37 calea Burdujeni Gheorghe Doja Cuza-Voda 38 str.Carierei Plevnei fundãturã 39 str.Castanilor Corneliu Coposu fundãturã 40 str.Călimani Mircea Damaschin Calea Burdujeni 41 str.Căprioarei Victor Babes fundatura 42 str.Cărămidarilor Mircea Septilici Tãbãcarilor 43 str.Celulozei Cãlimani Rarau 44 str.Cernăuţi Ana Ipatescu Gr.Alex.Ghica D.C. -
Greek As Ottoman? Language, Identity and Mediation of Ottoman Culture in the Early Modern Period1
Greek as Ottoman? Language, identity and mediation of Ottoman culture in the early modern period1 MICHAŁ WASIUCIONEK New Europe College Bucharest/LuxFaSS Abstract The scope of the paper is to examine the role of Greek as a conduit for the flow of cultural models between the Ottoman centre and the Christian periphery of the empire. The Danubian principalities of Moldavia and Wallachia witnessed throughout the early modern period a number of linguistic shifts, including the replacement of Slavonic literature with the one written in vernacular. Modern Romanian historiography has portrayed cultural change was a teleological one, triggered by the monetization of economy and the rise of new social classes. What this model fails to explain, though, is the partial retrenchment of vernacular as a literary medium in the eighteenth century, as it faced the stiff competition of Greek. The aim of this paper is to look at the ascendancy of Greek in the Danubian principalities and corresponding socio-economic and political changes through Ottoman lens. Rather than a departure from the developments that facilitated the victory of Romanian over Slavonic, the proliferation of Greek can be interpreted as their continuation, reflecting the growing integration of Moldavian and Wallachian elites into the fabric of the Ottoman Empire at the time when a new socio-political consensus was reaching its maturity. By its association with Ottoman-Orthodox Phanariot elites, the Greek language became an important conduit by which the provincial elites were able to integrate themselves within the larger social fabric, while also importing new models from the imperial centre. Keywords: Ottoman Empire; Danubian principalities; Greek language; Identity; Early Modern Period In 1965, a prominent Romanian medievalist Petre P.