problemele lor biogeografice-economice [ Mammals of Romania. Distribution and Biogeographic-economic Observations ]. Imprimeria Naţionalâ, Bucureşti, 103 pp (in Romanian, with a summary in German).
C orbet G. B. & H ill J. E., 1980: A World List of Mammalian Species . British Museum (Natural History), London, 226 pp.
D emânčik V. T., 2006: Obyknovennyj homâk Cricetus cricetus (Linnaeus, 1758) Zvyčajny hamâk [Common hamster Cricetus cricetus (Linnaeus, 1758)]. Pp.: 40–41. In: P aškov G. P. (ed.): Krasnaâ kniga . Respublika Belarus ’. Životnye [ Red
Landesmuseum Joanneum , Zoologie , 50 : 17–24.
C eľuch M. & Š evčík M., 2006: First record of Pipistrellus kuhlii (Chiroptera) from Slovakia. Biologia , Bratislava , 61 : 637–638.
D anko Š., 2007: Reprodukcia Hypsugo savii a Pipistrellus kuhlii na východnom Slovensku: ďalšie dôkazy o ich šírení na sever. Vespertilio , 11 : 13–14.
D ragu A., M unteanu I. & O lteanu V., 2007: First record of Pipistrellus kuhlii Kuhl, 1817 (Chiroptera: Vespertilionidae) from Dobrogea (Romania). Archives of Biological Sciences , Belgrade , 59 : 243
D. (eds.): Proceedings of the First European Symposium “ Research , Conservation and Management of Biodiversity of European Seashores ”. Acta Zoologica Bulgarica , Suppl. 11: 105–110.
B ureš I., 1922: Černomorskite ni bozajnici [Our Black Sea mammals]. Priroda , 1922 (1): 9–10 (in Bulgarian).
C alinescu R., 1931: Mammiferele Romaniei [ Mammals of Romania ]. Regia M. O. Imprimeria Natională, Bucureşti, 103 pp (in Romanian).
Č ilingirov Ŝ., 1920: Ravna Dobrudža [ Plain Dobrudža ]. Cooperative Printing House Guttenberg, Sofia, 172 pp
. & Schröngham mer S. (eds.): Jahresbericht 2017. Nationalpark Bayerischer Wald . Nationalparkverwaltung Bayerischer Wald, Grafenau, 50 pp.
B eneš B., 1988: Příspěvek k rozšíření myšivky horské ( Sicista betulina ) v Československu. Časopis Slezského Zemského Muzea , Série A – Vědy Přírodní , 37 : 45–50.
C serkész T., A czél -F ridrich Z., H egyeli Z., S ugár S., C zabán D., H orváth O. & S ramkó G., 2015: Rediscovery of the Hungarian birch mouse ( Sicista subtilis trizona ) in Transylvania (Romania) with molecular characterisation of its phylogenetic
The National Bank of Romania decided to produce some means of payment for the monetary reform of 1947 in secrecy. The Czechoslovak National Bank (NBČS) executed a perfect graphic appearance for the banknote of 100 lei based on a drawing by a Romanian painter. The bank produced printing forms for offset processing and printed 12 series from the June issue. Bucharest was provided with the watermarked banknote paper for another 30 million of bills as well as printing forms and numbering machines. Later on, the bank produced printing forms for the letter-print and delivered them together with 50 new numbering machines for the purpose of the December issue. The author is focused on various phases of this cooperation as well as on the connection among watermarks, series, numbering machines and issues of this sole Romanian banknote, in which the NBČS’ printing office was involved in a decisive way. The author mentioned also mintage of the 2-lei coin in the Kremnica mint in 1947.
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.
Péter Apor, Sándor Horváth, Tamás Scheibner and Éva Kovács
Universe, and Czech Culture Under Communism. Cambridge, Massachusetts – London: Harvard University Press, 2012. ISBN 978-0-674-06438-6.
BRUNNBAUER, Ulf a TROEBST, Stefan (ed.). Zwischen Amnesie und Nostalgie: Die Erinnerung an den Kommunismus in Sudosteuropa . Koln: Bohlau, 2007.
CARNECI, Magda. Artele plastice in Romania: 1945–1989 . Bucuresti: Meridiane, 2000.
COOK, Terry a SCHWARTZ, Joan M. Archives, Records, and Power: From (Postmodern) Theory to (Archival) Performance. Archival Science , 2002, roč. 2, č. 3–4, s. 171–185. ISSN 1389