STOICA

Romanian Performing Arts. Perspectives - CuprinsIrina Ionescu IntroAlice Georgescu An Alternative View of Alternative TheatreIulia Popovici Stage Politics in Contemporary Romanian TheatreMonica Andronescu Independent Theatre in Bucharest Entertainment beats ExperimentLudmila

Sumar nr. 91RetrospectiveWarren Breckman – Puterea și golul: democrația radicală, postmarxismul și momentul MachiavelliDialog Esprit – Robert Morrissey: Napoleon și legitimitatea politică modernăKeith Gessen – Necugetatul întemeietor al formalismuluiArte vizualeColm

SUMAR Nr. 90 Retrospective Michael Walzer – Evrei imaginari Rodica Binder – Europa și „țiganii”: între clișee, prejudecăți și realități Philippe Videlier – Supraviețuitorul de pe Potemkin Thanassis Valtinos – Nevoie urgentă de un(t)delemn Benjamin

SUMAR Nr. 89 Retrospective Adam Hochschild – Orwell: Omagiu „Omagiului” Patrick Leigh Fermor – București Rodica Binder – Rãzboiul și meterezele memoriei Karim Saab – Belgia în 1914, un tablou Thomas Atenga – O traiectorie intelectualã în Camerun Arte

Jurnalul Naţional, 24 noiembrie 2009 Autor: Costin Anghel Cântecul românesc s-a făcut auzit serile trecute în inima Timocului sârbesc, la Bor. România a trimis la fraţii ei mai mici pe unul dintre cei mai de seamă interpreţi ai ţării, pe maestrul Tudor Gheorghe.

Historian The National Village Museum in Bucharest is the kind of museum in which the traditional exhibition halls are replaced by authentic households, consisting of dwellings and their extensions, technical devices, churches and triptychs transplanted from their places

excerpts The carriage was hardly making any progress along the muddy road. The field was oozing with water. Night was creeping down and the cold turned the clods numb and stiff, while the small pools of water around gained a thin crust of ice, which made it even more difficult

Writing an oral history of a ten-year-old child may seem like a perfectly absurd enterprise any day of the week. The social experience of an individual of ten would not recommend an approach of this kind. With such a person it cannot be a matter of immediate memory. Hence

click here to see trailer Present-day Romanian film lives a new childhood, if we consider at least the representatives of the New Wave, who are young and very young film directors with ages between 20 and 30. That is why their films are naïve, very close to childhood or

THE CLASS TEACH' You don't fool me, Ghiţulescu! You've got Kents, bless your wallet! Throw one over, 'cause I'm poor, my mother's unemployed and keeps me only on shots of glucose, she has no food to give me. Come ooooooon, please! Ghiţulescu

excerpts Abroad. An incredibly large number of young people have gone abroad. To study, to work. The ego of those living in the countryside is much bigger. On entering Sarinasuf, there is only the sign marking the exit from the village. The sign that marks the entrance

Where do I come from? I come from my childhood. I come from my childhood as from a country. Antoine de Saint-Exupery Is fascination with childhood a convention? No, inasmuch as, for most of us, childhood was filled with wonderful things and games, fairy tales and ingenuity,