Keywords: Romania; economic reform; Ion Iliescu; Miron Cozma; Jiu Valley; Adrian Paunescu; National Liberal Party; Eugen Nicolaescu; Emil Boc; Social Democratic Party; Radu Vasile
Romania up in arms at the possible release of the man who took up cudgels against the opposition in 1991.
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Keywords: forgetting;memory;mythology;writing;politics
L’écriture est une façon de me rebeller contre le destin et contre l’oubli», déclare Carlos Fuentes à propos de Diane ou la chasseresse solitaire. Nous nous proposons d’interroger le rôle de l’écriture,et plus spécifiquement, les dispositifs de la mythologie hollywoodienne comme rempart à l’oubl ipar le recours à l’oubli lui-même. “Writing is a way for me to rebel against destiny and forgetting” declared Carlos Fuentes in a discussion of Diane ou la chasseresse solitaire. We seek to interrogate the role of writing and more specifically the mechanisms of Hollywood mythology as a barrier to forgetting by recourse to forgetting itself.
More...Keywords: Diana de Poitier; French artistic culture; iconography;
XVI ст. було для Франції переломним. Це час, коли творилася нова історія, зароджувалася нова придворно-аристократична культура. Це епоха пануючого в „королівстві лілей” фаворитизму, яка почалася з Аньєс Сорель і тривала до XVIII ст. Мабуть, ще ніколи вельможество не було так близько до того, щоб посісти місце не ЗА троном, а ПЕРЕД ним. Французький двір - це держава в державі. Але це не просто доба фаворитизму, як можна назвати часи правління Генріха ІІІ Валуа, це доба, коли, за висловом Катерини де Медичі, „в державі справами королів керували блудниці”. Доба придворної культури у Франції створювалася переважно італійцями, а вже потім французами. Смаки диктували численні королівські фаворитки, і колорит, динаміка, характер повсякденного життя при дворі зазвичай залежали від того, хто з них посів місце біля короля і чи надовго.
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Book review
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Keywords: Count Rákóczi László; diary; hunt; game;
Contele Rákóczi László a fost unul dintre descendenții ramurii catolice a familiei Rákóczi. Jurnalul său poate fi considerat ca fiind primul din istoria bibliografiei maghiare vânătorești. El conturează imaginea vânătorului entuziast, care nu pierde nicio ocazie de a se dedica întru totul pasiunii sale. Pasiunea contelui pentru vânătoare l-a determinat să practice modalități diferite de capturare a prăzii, începând cu vânarea iepurilor cu ajutorul ogarilor și copoilor până la vânarea cu plasă și folosirea șoimilor. Cel mai adesea, contele și anturajul său vânau iepuri, căprioare, vulpi, găini de alun și prepelițe. Dintre câinii de vânătoare, în notițele lui face referiri la copoi și ogari. Contele a participat mai rar la partide organizate pe durata a câtorva zile. În jurnalul său găsim exemplificări pentru toate funcțiile vânătoriei, începând cu vânătoarea pentru asigurarea hranei necesare în alimentație, continuând cu excapade vânătorești de petrecere și relaxare, până la pregătiri pentru războaie.
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Keywords: Diana Budisavljević; Second World War; Yugoslavia; Serbia; cultural memory
The article considers how the narrative about Diana Budisavljević (1891–1978) waschanged after the Second World War. Budisavljević was the originator and coordinator ofthe rescue of Serbian children from Ustashe camps during the war. The authors scrutinizehow the memory of her actions was shaped first in socialist Yugoslavia and, after itscollapse, in Serbia. Today, Budisavljević is the subject of increased interest in both Serbianand Croatian national culture. Our analysis of the book by Boško Lomović Knjiga o DijaniBudisavljević (Book about Diana Budisavljević, 2013) and a museum narrative devotedto Budisavljević in the exhibition Najveća akcija spašavanja dece u Drugom svetskomratu – Dijanina deca (The Largest Operation to Save Children During the Second WorldWar: Diana’s Children, Belgrade, 2018) lead the authors to conclude that, as a figure,Budisavljević is used instrumentally and for short-term political purposes in the modernSerbian culture of remembrance.
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The book consists of 14 studies arranged according to the chronological order of the publication of the 14 letter-writing manuals discussed in them, which appeared between the 1830s and the 1870s.
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Keywords: hybrids; waste; plants; Wasteplants; atlas; teratology; anthropocene;
The article is an interpretation of Diana Lelonek's projects: the Center for the Living Things and the Wasteplants Atlas accompanying the activities of this para-institution. It is an attempt to understand the botanical and artifactual entities, as they are presented in the Atlas, as hybrids, primarily in the context of history and criticism of modern reason (with emphasis on the role of compendia, atlases and cabinets of curiosities). The author analyses the formula of the atlas from the perspective of Georges Didi-Huberman's thought (“Atlas, or the Anxious Gay Science”). He assumes that the practice of the Center of Living Things characterizes a tension defined by Didi-Huberman after Aby Warburg’s notions astra and monstra. Diana Lelonek's initiatives are seen here as an attempt to broaden awareness, and perhaps even a preliminary sketch of knowledge (astra) about the anthropocenic reality. The artist's desire to question the distinction of culture/nature is also interpreted in the context of Alexander von Humbotdt's pioneering holistic view of nature - from this perspective Center for Living Things may be seen as an artistic update of Humboldt's postulates in the Anthropocene era.
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Published on the occasion of the 55th anniversary of the “Sofia Music Weeks” International Music Festival, the book is a result of Diana Danova-Damyanova’s long-time research on the history, model of functioning, and program strategies of the festival, along with the Bulgarian and foreign performers participating in it as well as the critical reflections on this most prestigious music forum in the capital. Drawing from extensive research, the book provides the first in-depth study of the festival since its inception in 1970 through its most recent editions. The work is divided into four main sections. The first examines the historical development and institutional evolution of the festival. The second outlines its distinctive features, while the third explores the consolidation of its international prestige. Finally, the fourth section focuses on the role and representation of Bulgarian music within the festival’s repertoire. This highly informative historiographical study is based on a wide range of documents and sources. Its text is open for future analytical readings. At the same time, being highly dialogical, it provokes the interest of both professional readers and participants in the festival (performers and organisers) as well as the numerous fans of “Sofia Music Weeks”. The book was realised under a project of the “Sofia Music Weeks” International Festival Foundation, with financial support from the National Culture Fund.
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Keywords: Argentina; BAYS; sacred eroticism;
am grateful for the opportunity to be here, to share with you what we really do at Buenos Aires Yoga School - BAYS from now on - the ideas we study, and how the investigation and application of these ideas have changed my life forever. It would take us hours to detail BAYS’ contributions to society. Over the past 40 years, BAYS has strongly promoted the development of our skills and encouraged us to develop new ones. As a result, we have produced a large number of works, including books, cultural interest conferences, an opera, ballets, and a symphony, thousands of songs, art exhibitions, and much more. Today, I’d like to highlight the driving force behind the creation of so many works: our founder and Master, Juan, whose guidance has empowered us, the students, to achieve so much. I’ll also share some personal experiences to illustrate how my life has been radically improved. My name is Diana. I’m a philosopher, and have been a student at BAYS for over 30 years
More...Keywords: DRAMA; THEORY;
La estructura del libro está dividida en dos partes, sin mencionar el clarificativo Prólogo: una parte teórica y otra que contiene algunos textos preceptivos que sirven para ejemplificar el contenido de la primera. Esta primera parte contiene cuatro capítulos, cada uno con sus subcapítulos: Drama. Etimología, definición, evolución, El texto teatral. La organización textual, Teorías dramáticas (Aristóteles, Horacio, Bartolomé Torres Naharro, Lope de Vega, Corneille, Boileau).
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