Humboldt Universität zu Berlin | Centre Marc Bloch

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- by alina popescu
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- 7
  Eastern Europe, Soviet History, Romanian History, Romanian Studies

Lucian Pintilie started his career as a stage and film director in the 1960s, but made only four films during three decades of Communism, one of which was made abroad. His talent was unanimously acclaimed from the very beginning, but he... more

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- by alina popescu
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- 4
  Censorship, Romanian Studies, Censorship (History), Film Censorship

Cette recherche retrace l’évolution de la cinématographie roumaine depuis la 2de Guerre Mondiale jusqu’à la chute du régime communiste par le prisme de la censure, en s’attardant en particulier sur « l’époque Nicolae Ceaușescu »... more

………………………………………………………………………………………p.6 Liste des abréviations …………………………………………………………………..……p.7 Introduction…………………………………………………………………………………p.12

The establishment of communist regimes in Eastern Europe brought for the visual arts, the establishment of the “state artist” (Haraszti). Artworks were commissioned by the state, which offered extensive rewards for the artists, obliged to... more

The establishment of communist regimes in Eastern Europe brought for the visual arts, the establishment of the “state artist” (Haraszti). Artworks were commissioned by the state, which offered extensive rewards for the artists, obliged to comply with the political and ideological rigors of the regime. As part of the research project “From the “state artist” to the artist dependent on the state: the case of the Union of Visual Artists (1950-2010) – the Bucharest branch”, this conference seeks to explore the different transformations that the artists underwent in order to comply with the extensive role assumed by the totalitarian state in the arts. We invite contributions on the broad topic announced, that of the state artist in Romania and Eastern Europe with a specific focus on visual arts, but we are also interested to discuss other instances of collaboration with the regimes in place (1950s-1990). The conference aims to discuss the state artist in the context of communist regimes from multiple points of views. The topics discussed could be, but are not limited to:

− How was the new artist shaped by the communist regimes?
− Were artists able to integrate Socialist Realism as a mandatory style? If not, which were the limits of this mandatory style or the national specificities?
− Which were the types of resistance to the model of the state artist?
− How did Socialist Realism translate in different visual practices?
− What role did the Union of Visual Artists of Romania play? How does it compare to other unions in the East?
− What are the transformations of the unions of artists after 1990?

Those interested in presenting a paper should send an abstract of 500 words as well as a short CV (including a short list of publications) to caterinapreda@gmail.com until the 15th of May 2016. A selection of conference presentations will be published in a volume, thus the accepted participants must send their contributions 1 month in advance (1st of October 2016). The contributions must address the topic of the state artist, and must have 8.000 words including footnotes with a separate list of references. Organizing committee: Caterina Preda, Alina Popescu, Dan Drăghia. Place: The Institute for Political Research, Faculty of Political Science, University of Bucharest. The languages of the conferences are Romanian, English, French.

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- by Caterina Preda and +1
  alina popescu
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- 20
  Cultural Studies, Eastern European Studies, Political Philosophy, Art History

Ce colloque international se propose de mettre en perspective les évolutions des rapports des différentes démocraties populaires avec l'URSS par le biais de la culture.

We invite researchers working on the topic of the USSR and the popular democracies to debate on the topic of cultural exchanges in theatre, literature, music, visual arts, architecture or cinematography

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- by lucia Dragomir and +1
  alina popescu
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- 18
  Cultural History, Eastern European Studies, Music History, Art History

Uniunea Artiștilor Plastici (UAP) din România a fost înființată de autoritățile comuniste în 1950 prin preluarea patrimoniului Sindicatului de Arte Frumoase (1921) și beneficiind de sprijinul Fondului Plastic fondat în 1949. Această... more

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- by Caterina Preda and +4
  Draghia Dan
  Dumitru Lacatusu
  alina popescu
  Cristina Stoenescu
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- 8
  Cultural Studies, Comparative Politics, Art History, Romanian History

Reproducerea integrală sau parţială, multiplicarea prin orice mijloace şi sub orice formă, cum ar fi xeroxarea, scanarea, transpunerea în format electronic sau audio, punerea la dispoziţia publică, inclusiv prin internet sau prin reţele... more

This article brings forward an overview of the Romanian-URSS coproductions, in an attempt to explain how film functioned as an instrument of cultural diplomacy between the two countries and between the East and the West. While Romania has... more

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- by alina popescu
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- Culture in the Soviet Union

The role played by the USSR in the popular democracies in Central and Eastern Europe is both overestimated and underestimated in current works. It is overestimated in numerous studies, which consider the imposing force of the “Soviet... more

Although many institutions were involved in the cultural diplomacy of the Romanian communist regime, a very consistent part of the artistic exchanges with the East and the West were mediated by the Union of Artists. This paper would like... more

Désigné comme mot de l’année 2017 par le dictionnaire Collins, l’expression « fake news » semble connaitre une popularité et des développements sans borne chez les acteurs médiatiques et politiques dominants et, à la faveur notamment de... more

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- by Julien GIRY and +2
  alina popescu
  Diana Margarit
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- 7
  Media Studies, Conspiracy Theories, Information / Disinformation, Climate change denial

The CFP is open to those interested in contributing from a theoretical point of view to the analysis of the main theme of the Triennale: HOME|any|more|? Regardless of the geographical origin or the theoretical background of the authors,... more

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- by Estelle Ferrarese
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- 2
  Critical Theory, Civil disobedience

Because contemporary theories of recognition all use the motif of struggle which they tend to posit as a self-evidence, I felt compelled to undertake a multidisciplinary study, bringing together philosophers and sociologists (Nancy... more

Because contemporary theories of recognition all use the motif of struggle which they tend to posit as a self-evidence, I felt compelled to undertake a multidisciplinary study, bringing together philosophers and sociologists (Nancy Fraser, David Owen, Robin Celikates, Joan Stavo-Debauge, Olivier Voirol, Solange Chavel and Sandra Laugier) to reflect on what, precisely, is meant by struggling for recognition.
This book identifies the specificity of struggles for recognition, whether they involve gender, international migrations, or the political community and belonging. It shows how they aim less at preserving some atomistic self than at establishing mutual relations. It also underscores that the struggle is not the instrument of a purpose external to it (i.e., recognition) but that it is what defines this purpose, gives a substance. The book identifies the mechanisms through which conflict is actualised, its power to shape experience, its constraints and its conditions of possibility — from the existence of a common ground, to the admission by both parties that they are in conflict. The book also attempts to identify why struggle frequently emerges as a necessary condition of true recognition, and what this teaches us about recognition: it presupposes resistance.
The book establishes both a theory of conflict and a diagnosis of what constrains and shapes it in contemporary democracies. It observes a particularly widespread grammar of protest, that of recognition, while simultaneously highlighting the way it is caught between ideology and reification on the one hand, and inaudibility on the other. In this way, it provides a reflection on the conditions of a truly emancipatory antagonism. From this perspective, it explores the forms that struggles for recognition take (they are actualised through violence, argumentation, their staging in the public sphere), their potential recourse to material, symbolic or passive force. The study shows what forms do to content. Also, towards this end, it analyses the place and meaning of institutions in acts of recognition, as a privileged addressee of expectations and demands, but also in the context of social relations of mutual recognition.

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- by Estelle Ferrarese
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- 2
  Critical Theory, Politics of Recognition

This book is the first French introduction to the sociology of Niklas Luhmann, whose work remains largely untranslated. It firstly endeavours to show the various sources and influences of this very iconoclastic writer. These include... more

This book is the first French introduction to the sociology of Niklas Luhmann, whose work remains largely untranslated. It firstly endeavours to show the various sources and influences of this very iconoclastic writer. These include Maturana and Varela’s biology of cognition, Parsons’s sociology, Spencer Brown’s theory of logic, Saussure’s linguistics, Bateson’s communication theory, Husserl’s phenomenology and Derrida’s deconstruction theory. They all meld into a theoretical project that can be summed up as an attempt to strip the world as it is of its obviousness. Luhmann endeavours to reveal the place of contingency and disorder in social mechanisms.
I also reconstruct Luhmann’s extremely consistent theory of society, which describes modern society as a system, made up not of human beings but of communication. In other words, the social system does not bind human beings together, it does not constrain them, it does not subsume them, it is not the sum of them — rather, it expels them. It is also differentiated into functional subsystems, self-contained via specialised codes: the political, economic, religious, artistic, legal systems, etc. Lacking any centre, this (always-already global) modern society constantly observes itself, in the vain attempt to try to derive a knowledge of itself, but it is incapable (a characteristic which also applies to its political subsystem) of giving itself any kind of direction. As for human beings — who are placed at the periphery of the system and are as unfathomable to themselves individually as to one another — both their attribute of rationality and their status of subject are reduced to mere fictions.
The final section of the book attends to the political and normative implications of Luhmann’s model, although he claims that thinking in value terms is pointless. I show, in particular through an analysis of his controversy with Jürgen Habermas, or of his defense of ecology, that he considers ontological categories as endowed with a force of exclusion, if not a totalitarian pretension, and views his own work as an attempt to empty out these categories.

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- by Estelle Ferrarese
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- 2
  Political Theory, Social Systems Theory

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