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Art, Religion and Resistance in (Post-)Communist RomaniaReligion Inspired Art and Politics: Neo-Orthodoxism as Neo-Traditionalism?

Art, Religion and Resistance in (Post-)Communist Romania: Religion Inspired Art and Politics:... [This chapter analyses the Neo-Byzantine (or as it is called after the fall of communism, “Neo-Orthodox”) stylistic tendencies recuperated in the post-communist Romanian cultural-political sphere. Some styles and thematic clusters of religious inspiration (of Neo-Byzantine descent) that emerged in the 1980s as a peripheral cultural phenomenon in relation to the official culture of Ceauṣescu’s national communism were recuperated and developed after the fall of the regime, becoming—for a while—a mainstream cultural phenomenon. This exploration includes a critical survey of what was called during communism “Neo-Byzantinism,” as well as its moves towards the post-communist denominations of “Neo-Orthodoxism” and “Neo-Traditionalism.” Thus, this chapter asks whether these denominations accurately reveal the Neo-Orthodox artists’ set of concerns.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Art, Religion and Resistance in (Post-)Communist RomaniaReligion Inspired Art and Politics: Neo-Orthodoxism as Neo-Traditionalism?

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Publisher
Springer International Publishing
Copyright
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2020
ISBN
978-3-030-56254-0
Pages
211 –248
DOI
10.1007/978-3-030-56255-7_8
Publisher site
See Chapter on Publisher Site

Abstract

[This chapter analyses the Neo-Byzantine (or as it is called after the fall of communism, “Neo-Orthodox”) stylistic tendencies recuperated in the post-communist Romanian cultural-political sphere. Some styles and thematic clusters of religious inspiration (of Neo-Byzantine descent) that emerged in the 1980s as a peripheral cultural phenomenon in relation to the official culture of Ceauṣescu’s national communism were recuperated and developed after the fall of the regime, becoming—for a while—a mainstream cultural phenomenon. This exploration includes a critical survey of what was called during communism “Neo-Byzantinism,” as well as its moves towards the post-communist denominations of “Neo-Orthodoxism” and “Neo-Traditionalism.” Thus, this chapter asks whether these denominations accurately reveal the Neo-Orthodox artists’ set of concerns.]

Published: Oct 23, 2020

Keywords: Neo-Orthodox artists; Neo-Byzantine artists; Prolog art group; Neo-Traditionalism; National communism’s culture

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