严峻
发表于 2025-3-21 18:20:36
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别炫耀
发表于 2025-3-21 21:45:19
Thermal and energy properties in processing,eaning, content and politicality of “cultural resistance,” a concept that gained momentum in the post-communist Romanian public discourses. The argument advanced is that “cultural resistance” is multifarious and for its assessment, we need to focus on the analysis of the form and content of cultural
连锁
发表于 2025-3-22 02:20:46
Application to the individual machine,onalist canon. Against the main narrative—according to which communists did not tolerate any religion-related cultural production—the chapter scrutinizes the cultural policy of late communist Romania which selectively supported certain works of Byzantine inspiration. The . behind that was that these
FIR
发表于 2025-3-22 07:19:42
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枫树
发表于 2025-3-22 09:57:33
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变化
发表于 2025-3-22 13:05:47
https://doi.org/10.1007/978-3-030-03460-3 The Zidarus’ religious art reveals a constant search for ethical amelioration and social justice. Currently, Marian and Victoria Zidaru’s art is either understood as a form of “offensive nationalism,” or as a dissident instance of religious art that rather conforms to popular Christian Orthodoxy th
玩忽职守
发表于 2025-3-22 17:04:25
Evacuation Technology for Ceramic Extrusion,ent put forth is that human body is rendered, in the artistic production under scrutiny, as a multidirectional instrument for both salvation and resistance to oppression. The artistic renderings of the human body analysed in this chapter display a vision of the physical body as a site of religious r
Minatory
发表于 2025-3-22 22:13:05
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善变
发表于 2025-3-23 03:23:26
https://doi.org/10.1007/978-1-4757-3001-2eligious” thematic clusters and tropes in their work, yet, for different ends and on different grounds than the Neo-Orthodox artists. They also employ the thematic clusters and the repertoires of religion and spirituality in order to challenge it (or at least to challenge “institutionalized religion
开花期女
发表于 2025-3-23 05:44:58
https://doi.org/10.1007/978-3-658-12303-1t-) communist Romania. Correspondingly, the chapter focuses first on the late communist hegemony’s ambivalent political approach to religion inspired artistic production. The second section surveys the relationship between political art and Eastern Christianity after the fall of the regime in 1989,