alternativní vzdělávání
alternativní životní styly a každodenní/všední odpor
avantgarda, neo-avantgarda
cenzura
demokratická opozice
divadelní a performační umění
emigrace/exil
etnická hnutí
film filosofická/teoretická hnutí
folklorní kultura
hnutí menšin
hnutí na obranu lidských práv hudba kritická/nezávislá věda
kultura mladých
literatura a literární kritika media Arts
mírová hnutí
nezávislá žurnalistika
náboženské aktivity
národní hnutí ochrana životního prostředí
odpírači vojenské služby
populární kultura
přeživší perzekuce ze strany autoritativních/totalitních režimů
samizdat sledování, dohled sociální hnutí straničtí disidenti
studentská hnutí undergroundová kultura
vizuální umění
výtvarné umění
vědecká kritika
ženské hnutí
artefakt/umělý výrobek
film
fotografie
grafika
hudební nahrávky
jiné jiný umělecký předmět
kreslené vtipy, karikatury, komiksy
nábytek
oděvy
právní a/nebo finanční dokumentace publikace předměty užitého umění rukopisy
sochy suvenýry video nahrávky vybavení
výtvarné umělecké dílo zvukové nahrávky šedá literatura
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.