Mari-Isabella Stan, Cosmin Filip, Dragoş-Florian Vintilă and Diana-Doina Ţenea
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Andreas Farwick, Heike Hanhörster, Isabel Ramos Lobato and Wiebke Striemer
of such support is given within a group, pointing to the currently underestimated importance of bonding ties for transferring ‘getting-ahead’ resources. In certain situations, it would seem that contacts within a group ‘fit’ better, being able to transfer more relevant information and resources in the sense of getting ahead.
“The other neighbours also come from Romania, they work together with my husband, at the same company. As lorry drivers. […] They got to know each other at work [a previous job as a construction worker].”
Interviewer: “How did he find the
Tatjana Fischer, Paul Himmelbauer and Markus Jobst
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Will EU Cohesion Policy Deliver on the Lisbon Strategy?
John Bachtler and Irene McMaster
employment. European convergence is an overarching goal in the case of the EU12 NSRFs, while national convergence is an important aim in the strategies for Germany, Italy and Portugal. Other development objectives stated are:
quality of life and/or territorial attractiveness (Bulgaria, Czech Republic, Hungary, Malta, and also in Austria, Finland, Germany, Sweden and the UK);
development of human capital and more general societal modernisation (Bulgaria, Czech Republic, Denmark, France, Germany, Greece, Italy, Latvia, Malta, Poland, Romania, Slovenia and Spain
The article employs concepts of time lag, inspired by Ernst Bloch, and ghost and haunting, borrowed from Jacques Derrida. It also draws on Svetlana Boym’s and Vilém Flusser’s vision of the émigré and on Dominick LaCapra’s and Slavoj Žižek’s interpretations of trauma. The analysis is also informed by Karen Jürs-Munby’s and Cathy Caruth’s views on trauma and its representation in theatre.
This critical apparatus is put into motion in the particular context of BANDIT: a theatre project developed in the UK by two Romanian émigré theatre-makers. The main focus is on exposing links between the references to trauma contained in the theatre piece BANDIT and the makers’ self-imposed artistic exile in the UK. The article seeks to answer the following question: what has pushed us, the makers of BANDIT, to leave our native country and what is our (new) role (as artists) in the country of emigration? The discussion is carried out within the wider context of the vast waves of Romanian emigration to Western Europe (after the fall of the Iron Curtain). The article critiques the troublesome relation of the contemporary Romanian society to its Communist past and the apparent inability and/or unwillingness to deal with the repressed/traumatic memories of that past. Analysis of BANDIT as performance of lingering trauma also references the historical Percentages agreement between Stalin and Churchill—the informal agreement that established spheres of influence in Europe at the end of the Second World War. Identifying the Iron Curtain as the epicentre of traumatic memory for Eastern Europeans, the discussion about BANDIT also makes a reference to Communist crimes against political prisoners committed in Romanian prisons in 1951–1952, put in parallel with the toxic EU referendum campaign in the UK in 2016. Underpinned by Derrida’s thinking, the article explains how the Romanian émigré-artist (as a paragon of the Romanian / Eastern European émigré in general) has to fashion herself into a ghost that haunts the adoptive culture, using artistic exile as a platform for processing the traumatic memories of an unresolved past.
de Proiectare si calcul C107-2002
. Horia Necula, Adian Badea (2013) „ Surse regenerabile de energie ”, Editura Agir
. Daniela Enz, Robert Hastings (2012), Constructii innovative de pereti , Editura Matrixrom
. Stefanescu Dan (2012), Manual de proiectare higrotermica a cladirilor , Ed Societatii academice „Matei-teiu Botez”
. Draghici Gabriela, Cazacu Brandusa-Gabriela, Maican Ana Maria