Intersection of Tradition and Need of Change in Romanian Child Protection System

The reconstruction of the child protection system in the post-communist period so as to meet professional standards while responding to the needs of children is an enormous task. In order to understand the features of the current stage of the development of the Romanian child protection system and to evaluate its trends towards change, Roth-Szamoskozi analysed data from scientific literature and collected statistics to document the evolution of the child-protection structure. Empirical data collection using qualitative methods (content analysis of documents and interviews with staff) were designed to reflect the degree to which child welfare laws correspond to internationally accepted regulations and to analyse the attitudes of those working in the field at different decision-making levels. An experiment with a group of 12 students showed that there have been basic changes in the legal framework of Romanian child welfare. Students could see that the required principles exist in the new Romanian child protection law, but also identified areas which are still inadequately represented. 61 staff members working in child welfare agencies (both state and non-governmental) were also interviewed, using a systematic, circular interview. Using the criteria of competence and the existence of specific social goals, professionalism in solving social problems and respect for social-work values, the 30 non-governmental organisations were divided into three categories. The first (7 organisations) are active in the area, know the law and are fairly professional, the second (5) are motivated in their work with specific problems, but with no great competence. The 18 organisations in the third group have no competence in the social field and in issues concerning children and do only charitable work. The state agencies are still dominated by routine, but there were many staff members who were developing reform and strategic roles and were actively directing the system towards change. Many staff members in both governmental and non-governmental organisations were directing the system towards a stress on intervention in the interests of the child in the context of its family. Roth-Szamoskozi found that staff members felt the need of a more accurate evaluation system which would enable them to show their results more clearly.

Russian Opera as Cultural Text (The Golden Cockerel by N.A. Rimsky-Korsakov)

This project entailed a detailed study and analysis of the literary and musical text of Rimsky-Korsakov's opera The Golden Cockerel, involving source study, philological and musical-historical analysis, etc. Goryachikh studied the process of the creation of the opera, paying particular attention to its genre, that of a character fable, which was innovative for its time. He considered both the opera's folklore sources and the influences of the 'conditional theatre' aesthetics of the early 20th century. This culture-based approach made it possible to trace the numerous sources of the plot and its literary and musical text back to professional and folk cultures of Russia and other countries. A comparative study of the vocabulary, style and poetics of the libretto and the poetic system of Pushkin's Tale of the Golden Cockerel revealed much in common between the two. Goryachikh concluded that The Golden Cockerel was intended to be a specific form of 'dialogue' between the author, the preceding cultural tradition, and that of the time when the opera was written. He proposed a new definition of The Golden Cockerel as an 'inversed opera' and studied its structure and essence, its beginnings in the 'laughing culture' and the deflection of its forms and composition in a cultural language. He identified the constructive technique of Rimsky-Korsakov's writing at each level of musical unity and noted its influence on Stravinsky and Prokoviev, also finding anticipations of musical phenomena of the 20th century. He concluded by formulating a research model of Russian classical opera as cultural text and suggested further uses for it in musicology.

Women's Dress as an Expression of Social Development in Bohemia in the Years 1850-1950"

The nature of Czech fashion was shaped both by the social environment - not particularly wealthy, modest, influenced by the Protestant tradition - and by efforts towards women's emancipation. This resulted in a rejection of unnecessarily quirky elements in fashion as early as the 1870s. As far as style was concerned, Czech fashion followed the Viennese, German and French, and from the 1890s also the English models, and also found inspiration in contemporary aesthetic principles. National political ambitions appeared in inspiration drawn from folk costume. Feminist struggles and sports paved the way for the acceptance of reformist and practical dress, in which Czech designers took an active part. These trends reached a peak around 1929, with the design of a complete "civilised" women's apparel, based on trouser suits. The peak periods in the development of Czech fashion were the 1920s and 1930s, when a number of top fashion houses were established and both fashion and society magazines with original fashion designs, photographs and articles were published. These produced a specifically Czech fashion, showing French inspiration but opting rather for an English style, which was artistically advanced, practical, luxurious and democratic. After 1948, fashion too fell under the centralised control of the communist regime.