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The "unofficial site of the Romanian-Hungarian dialogue". Gordian is a collection of translations of Hungarian political essays, opinion polls about inter-ethnic relationship.
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The "unofficial site of the Romanian-Hungarian dialogue". Gordian is a collection of translations of Hungarian political essays, opinion polls about inter-ethnic relationship.
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The article is meant to be less polemic, but rather to elucidate a misunderstanding, to shed some light over a few issues. The context are the discussions about the collaborationism in the Romanian society in the Ceauşescu years, and the author's explanation, as well as the article published by Ştefan Agopian in "Academia Caţavencu" get a larger social relevance, becoming symptomatic for the context and for the actors. Provincia publishes this text as an invitation to debatewhat was, what is and what can be the collaborationism withe the communist regime and its secret police.
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Letter to Ovidiu Pecican from an "acquaintance from Bucharest" (Sabin Gherman). The letter referrs to the existence (and non-existence) of ethnic relationships.
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Sabin Gherman writes to the Editorial Board of "Provincia" regarding articles written in "Provincia" (and in other media), that he regards as "attacks" to "proTRANSILVANIA", to the "Transilvania-Banat League" or himself personally.
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Sümegen találkoztunk utoljára. Mint nyaranta az elmúlt húsz esztendôben mindig, a körülményektôl függôen hol Ócsán, hol Budán vagy Esztergomban, a Schola Hungarica lemezfelvételét készítettük – de most mindenki elôre tudta, hogy ez lesz az utolsó. A zárónapon, a felvétel elôtti próbán ki is mondta a várt mondatot, hogy a Scholának vége, majd folytatta persze a próbát; este pedig olyan elôadásokat vezényelt, amelyek nem felidézték a fénykort, hanem érezhettük: történjék bármi, ez maga a fénykor.
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Szokás szerint éjjelente fekszem az ágyban, és alszom, ha bírok. Szokás szerint reggelente fölkelek, és reggelizem. Régebben kávét ittam reggelire, mostanság gyenge teát iszom. A szokások megváltoznak, lassan vagy hirtelen, maguktól vagy kényszerûen. A szokás szerint azt jelenti: többnyire történik valami, normál esetben, de vannak kivételek, véletlenek, balesetek. A teáscsésze fölborul. A tea a nadrágomra csorog. Ijedtemben felkiáltok. Kiáltásom felriasztja a többieket. Valami történt: Hannes üvölt, valami történt. Mi történt? Kiömlött a tea. Semmi egyéb? Semmi. Akkor mért kell így üvölteni?
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A csillag- és csillagzatnevek a magyarban a tulajdonnevek közé tartoznak, s érdekes disztribúciót mutatnak: az intézménynevekhez, egyes földrajzi nevekhez, egyes mûcímekhez, a hónapnevekhez, a hét napjainak elnevezéseihez hasonlóan viselkednek (Barabás et al. 1977). A népi csillagnevek általában a szókincs periferiális, labilis rétegei közé tartoznak, meglehetôsen hajlamosak a változásra. A csillagnevek között sajátos helyet foglalnak el a csillagképekéi. Az égbolton egymás közelében látszó, fényes csillagok csoportjait az ókortól kezdve úgy tekintették, hogy azok valami alakzatot, képet alkotnak.
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The debate the author introduces here is the question of form and content. Taking as starting points two articles signed by Nicolae Manolescu in the "Romania Literara" no 33 and Irina Mavordin in the 34th issue of the magazine"22", Mr. Solomon Marcus debates in his article the paradigm of form, analyzes "structure and symbol as allies and enemies of the aestethic", prizes the practical aspects of "the beautiful form". He brings into discussion the subject of Romanian learning system; still prisoner of old patterns, and in the end he reveals some "anti-globalization aspects in Romanian culture". Globalization in culture is in the author's view opposed to sterile mono focused interests of intellectuals, scientists and experts.
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The author recalls the interwar Bucharest with its' numerous conference places each of them with a diversity of people coming to attend a diversity of speakers on various topics, (political, philosophical, social.) Famous figures of that period in Romania and even from abroad are brought into memory by a few words on their way of behaving or their deeds but mostly by their speeches.
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The article is an essay expressing a genuine opinion on the conveniences of adopting a hypocrite behavior. The author uses this manner to criticize this attitude that seems to have became of common usage in the society; she ironically replaces hypocrisy with generosity pretending that it's only generous to pretend instead of being sincere.
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The paper reviews some etymologic and paradigmatic issues in defining the field of the ethnological knowledge in Bulgaria till the mid of the 20th century. There are competing defi - nitions of “ethnology” and “ethnography” and the paper attempts at following the polysemy of their ways of use. Based upon the differences in the contents of the terms “ethnology” and “ethnography” as comprehended by different scientists, a conclusion could be drawn regarding the relativity in the object delimitations of ethnological knowledge. The relativity seems to be displayed by several approaches, fruitfully competing with each other. The following approaches are clearly outlined: anthropological, ethno-genetic, cultural-historical and philological.
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The paper investigates the transformation which is taking place in the Bulgarian urban landscape during the last 20 years. The research interest is concentrated on the migration and stabilization of a former informal market-place in Sofia as an example of the phenomenon. That process is seen as a result of a deep change in the role of the citizen and of the formation of new politico-economic elites. Being itself a liminal phenomenon, the marketplace engenders a set of myths about its origins, organization and material culture. Those myths make visible a rupture in the experience of the past. We argue that there is a symbolic displacement of the marketplace within its physical one. So, it is simultaneously legalized and hidden in the city periphery.
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Sixteen years after the fall of the communist regime in Bulgaria, there is yet no national policy on the memory and heritage of the regime in operation. The public discourse on communism and its legacies seems only now to be coming out of the deadlock it had been trapped into for more than a decade. The main thesis of this article is that in terms of mastering the communist past, with all the reservations the term entails, Bulgaria is considerably lagging behind its fellow former Soviet Block countries, most of which have already established specifi c national agencies dealing with the issues of national memory, museums of the history of communism, and national memorials dedicated to the victims of the regime. The article looks into the possible interpretations of the long protracted deadlock in the debate on the politics of memory in Bulgaria, placed in a comparative European perspective. The research focus of my attention is turned particularly towards a number of projects from the recent years that make an explicit attempt to face the ghosts of the communist past that have haunted the society all the way through the years of transition.
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The text explores the cultural and historical situation, still marginally reflected, of contemporary visual arts in Bulgaria. It takes as its springboard the chaotic terminological fi eld of the language used to discuss contemporary art, seeking solid grounds for an analysis of the problems of identity and lack of institutional support for contemporary art. Unlike other countries of the former Eastern Bloc, Bulgaria had no alternative structures to oppose the regime. The change in art discourse and representation following 1989 came from “within”, from the structure itself. This, in turn, is the cause for the antinomical way in which contemporary art becomes integrated and alters the inherited aesthetic views and perceptions. The text examines the possibilities and non-possibilities for the formation of contemporary art context in the situation outlined through analysis of the specifi cities of art’s subject position before and after the fall of communism.These problems are reviewed through an emphasis on the reconstructed debate over the “avant-garde” of the early 1990s.
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One hundred years ago a war began that swept away imperial institutions and national powers that had appeared to be permanent, irremovable and deeply rooted structures of European life. To take the most dramatic example, the Habsburg, Hohenzollern and Romanov dynasties – with all their aristocratic associations and bureaucratic stability – were defeated in war and soon afterwards more or less evaporated.
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