alternatīvais dzīvesveids un ikdienas pretošanās alternatīvas izglītības formas
autoritāro/totalitāro režīmu vajāšanas pārdzīvojušie avangarda kultūra
avangards, neoavangards
cenzūra
cilvēki, kas apzināti atsakās no karadienesta reliģisku vai idejisku motīvu vadīti
cilvēktiesību kustība dabas aizsardzība
demokrātiskā opozīcija
emigrācija/trimda
etniskas kustības
filma filozofiskas/teorētiskas kustības
jaunatnes kultūra kritiskā zinātne
literatūra un literatūras kritika mediju māksla
miera kustības
minoritāšu kustības mūzika nacionālās kustības
neatkarīgā žurnālistika partijas disidenti
populārā kultūra
reliģisks aktīvisms
samizdats un tamizdats
sieviešu kustība sociālās kustības
studentu kustība tautas kultūra
teātris un izpildītājmākslas
tēlotājmāksla uzraudzība
vizuālā māksla
zinātniskā kritika
aprīkojums
apģērbs
artefakti
audioieraksti citi mākslas darbi
cits
filma
fotogrāfijas
gleznas
grafika
juridiska un/vai finanšu dokumentācija
karikatūras lietišķās mākslas priekšmeti manuskripti
mēbeles
mūzikas ieraksti pelēkā literatūra piemiņlietas
publikācijas
skulptūras
videoieraksti
The collection was started with the need to preserve and promote the legacy of Polish journalists and photographers who documented the social, cultural and political reality in socialist times. The members of the Association "The Road" want to show the everyday life of peasants, workers and intelligentsia in Poland on the photographs which sometimes were not shown or published due to press censorship (official censorship or self-control of the editors who decided not to publish certain materials).
In the collection of the Ideological Commission of the League of Communists of Croatia (IC LCC) (1956-1965), a number of documents illustrate the IC LCC's view of ideologically inappropriate occurrences in cultural creativity (art, literature, film), the media (the press, radio and television), education and science in Croatia. This commission had the task of monitoring, analysing and directing overall activity in these areas, issuing its directives and establishing staffs in all major institutions and organizations. In this way, it also reacted to ideological currents that did not align with the accepted direction, and it thereby became the deciding factor in cultural policy in Croatia.
The Dan Petrescu and Thérèse Culianu-Petrescu collection includes representative Western books that offer critical analyses of the communist regimes in the Soviet Union and Eastern Europe, brought semi-clandestinely into Romania and used as alternative sources of intellectual formation. An example of moral resilience in the face of communist dictatorship, this collection illustrates the cultural nonconformism of an informal grouping of young intellectuals known as the Iaşi Group, out of which, at the end of the 1980s, in a period of profound despair, the critical discourse, lucid and courageous, of Dan Petrescu made an impression through the intermediary of the Western mass-media. The story of dissidence in Iaşi, in particular that of Dan Petrescu, was until 1989 that of a confrontation between the truth of critical intellectuals and the lies of dictatorship. The dichotomous story of dissidence during communism turned after the opening of the files of the former Securitate into confrontation between each of the protagonists with the collective past of the group. Preferring marginality to stardom, Dan Petrescu and Thérèse Culianu-Petrescu are among the few heroes who did not lose this status even after the files of the secret police brought to light betrayals and complicities hitherto suspected but unproven.
