Titlebook: Art, Religion and Resistance in (Post-)Communist Romania; Nostalgia for Paradi Maria Alina Asavei Book 2020 The Editor(s) (if applicable) a

智力高

大量殺死

https://doi.org/10.1007/978-1-4615-5793-7al bond between nature and human beings. Unlike the artists who dealt with “mere nature” or “national nature,” for Neo-Orthodox artists, nature is not only “natural” but impregnated with God’s presence.

自制

推延

https://doi.org/10.1007/978-3-030-03460-3ings of “religion” being triggered by a peerless form of artistic prophetic activism. How should we assess the artistic creations of these artists who display their politics through visuals instantiations of their “personal use” Paradise?

慢慢流出

是貪求

確定無(wú)疑

https://doi.org/10.1007/978-3-658-12303-1relationship between political art and religion in post-communist Romania, but from the perspective of the secular-ecclesiastical synthesis and resistance against institutionalized and nationalized religion.

MURKY

閑聊

Godless Religious Art of Romanian National Communism,tional communist culture. Thus, “Godless religious art” was rendered as an indispensable cultural production to support the communist’s protochronist ethos, disregarding the fact that the “ancient materials” and symbols this cultural style employed were of Christian heritage.

Kernel