descriptif du fournisseur
Horea Poenar, « A World to Win. But in Whose Image? »
I. The Challenge of Community
Simon Harel, « Face aux littératures des Premières Nations » ;
Florin Poenaru, « We, the People!: Community, Populism and the Crisis of Political representation » ;
Alex Cistelecan, « Community Building in Post-historical Times » ;
Vladimir Bortun, « The EU is Naked: The Progressive Clothes of a Capitalist Project » ;
Horea Poenar, « Bad New World. The (Relative) Rebirth of the Commons » ;
Calina Parau, « Community and Togetherness after the Non-sharable » ;
Alexandru Matei, « De la métaphysique du "commun" au "comment vivre ensemble". Jean-Luc Nancy et Roland Barthes sur la communauté » ;
Aura Poenar, « Reconstructing Communities. ln Spite of all Machinery of Disimagination » ;
Corin Braga, « L'attaque contre l'individualité dans les antiutopies totalitaires modernes » ;
Diana I. Santiago, « Slaves and Slavery in the 19th Century Puerto Rican Literature » ;
Laura T. llea, « lnch'Allah : La honte et la "géographie de l'affect" » ;
Emmanuela Pustan, « On the Artistic Propensity of Pathology: Georges Didi-Huberman and the Invent ion of Hysteria ».
II. Communities at Work
Ioan Pop-Curseu, « Can Art (Re)build a Community? The Rosia Montana Case, between Past and Future » ;
Ruxandra Cesereanu, « Political Escapes from Prisons and Camps in the 20th Century: Antisystemic Mentalities » ;
Marius Lazar, « What Can Be Seen. Documenting the Transition Between Telling and Showing » ;
Carmen Borbély, « Communities under Erasure in Seamus Deane's Reading in the Dark » ;
Petronia Popa Petrar, « Written Com munit ies: lmagining Connection in Virginia Woolf's Novels » ;
Monica Alina Toma, « Dystopian Community in Lois Lowry's Novel The Giver » ;
Amalia Cotoi, « Mircea Nedelciu's Community of Tratament fabulatoriu » ;
Rare Moldovan, « The State of Play: Geektopia in Ready Player One » ;
Doru Pop, « Deterritorialized Cinema, Dislocated Spaces and Disembodied Characters in Bogdan Mirica's Câini » ;
Mihaiela llea, « Niche Structures in Television. Video PoetryVisually Reading the Reality » ;
Razvan Cîmpean, « Kafeidoscopic History. Visually Representing Community in Tarkovsky's The Mirror » ;
Cristina Popescu, « The Woman as a Misfit in Michefangelo Antonioni's Tetralogy » ;
Cristina Diamant, « Stranger(s') Voices at Home. The Many Faces of Cillian Murphy as the Misfit » ;
lulia Radac, « The Stance of the Writer in aTeenager's Book: Mircea Eliade's Romanul Adolescent ului Miop ».
