COURAGE

gyűjtemények hálózata

After listening in November 1987 to the news broadcast by Radio Free Europe (RFE) about the anti-communist revolt of the workers in the factories of the city of Braşov, Doina Cornea openly displayed her solidarity with the protesters. On 18 November 1987, she drafted 160 manifestos, which were spread with the help of her son Leontin Horaţiu Iuhas in several public spaces in Cluj (Cornea 2009, 194–195). Consequently, on 19 November 1987, she and her son were arrested by the Securitate after a detailed home search (Cornea 2006, 203). During home searches on 19 and 23 November 1987, the Securitate confiscated many documents from Cornea’s private dwelling, including all the drafts of her letters to RFE.

Among these documents, the Securitate confiscated the handwritten draft of the first letter she sent to RFE entitled: “Letter to those from home who have not given up thinking with their heads.” According to interviews granted by Doina Cornea, this letter was drafted by Cornea and her daughter Ariadna Combes in July 1982 (Cornea 2009, 169-170). The document was smuggled to the West and sent to RFE with the help of her daughter, who chose to remain in France in 1976 and visited her mother in July 1982 (ACNSAS, FI 000 666, vol. 2, f. 11). In August 1982, the letter was broadcast by RFE during the radio programme “Talking with RFE listeners.” It was the first letter in a series of twenty open letters sent by Doina Cornea to RFE in the period from 1982 to 1989, through which she asserted herself as one of the most prominent Romanian dissidents (Cornea 2009, 195–196). The open letters sent by Doina Cornea to RFE intensified the surveillance and repressive actions of the Securitate, which had already been monitoring her closely since 1981. Due to the fact that the strict surveillance in communist Romania did not allow the development of a samizdat and tamizdat milieu, RFE played a key role in conveying the messages of Romanian dissidents to their fellow citizens (Petrescu 2013, 277).

The letter starts with a reference to radio programmes of RFE that had been previously broadcast. During these radio programmes, journalists specialising in East European issues had dealt with the crisis that affected communist Romania during 1980s and identified political and economic factors as the immediate causes. Instead of these causes, Doina Cornea emphasises in her letter causes relating to moral and cultural values. By idealising interwar Romania, she brings into discussion the destruction of the Romanian intellectual elite during the first two decades of communist rule and the decay of the educational system. In Cornea’s opinion, this “spiritual crisis” is illustrated by the everyday “compromises” and “lies” that citizens living under a communist dictatorship have to “accept and circulate” (ACNSAS, P 000 014, vol. 2, f.1). Her argumentation in this respect is similar to that developed by Vaclav Havel’s essays and epitomised by his principle of “living in truth” (Havel 1990). Cornea argues that “the people is fed only with slogans,” which stifle all openness towards “truth, revival, and creativity” (ACNSAS, P 000 014, vol. 2, ff. 2–3). She criticises the conformism of Romanian intellectuals and state policies which limit theoretical education (especially the humanities) and promote technical education in order to fill the need for cadres in the rapidly growing heavy industry.

She concludes her text by asking for a reform in the educational system and encourages those working in this field at least to take advantage of the limited possibilities available to them to promote what she considers to be authentic cultural and moral values. According to Cornea, those working with students should not teach them “things in which they themselves do not believe” and they should “encourage the creativity of young people and not be afraid to say what they think” (ACNSAS, P 000 014, vol. 2, ff. 4–5). At the end of the letter, Doina Cornea inserted her name with the mention: “for the messengers of RFE listeners” (ACNSAS, P 000 014, vol. 2, f. 5). She did not intend to reveal her real identity to the listeners of RFE, but just to prove the authenticity of the document to the editors of the radio programme. Due to a misunderstanding, her real identity was revealed during the radio show.

In November 1987, after the draft of this document was confiscated by the Securitate, the secret police used it as an argument of accusation during Cornea’s interrogation. This focused especially on the channels used by Cornea to send the letter to RFE. Although she did not mention it during the interrogation, the Securitate suspected that her daughter Ariadna Combes had helped her in this respect. For this reason, Cornea’s daughter thereafter did not receive a permit to enter the country to visit her family until the fall of the communist regime.

The photograph represents Cornel Chiriac during one of his broadcasts at the Romanian desk of Radio Free Europe (RFE). Taken in 1970, it was sent together with a letter to his mother in Pitești. Unfortunately, the Securitate confiscated the letter and the photograph and thus they never reached their destination. The picture is very telling for Cornel Chiriac’s passion for music and his rebellious nature. He is smiling to the camera as he is about to play one of the many vinyl records on his desk. His broadcasts at RFE enjoyed huge popularity among Romanian young people. This popularity was partly due to his passion for music, his vast knowledge about it, and the dedication with which he performed his job as radio producer at RFE. The photograph also showed the same rebellious Cornel Chiriac with long hair and beard, and a lit cigarette placed on an ashtray. The outfit, a long-sleeved striped shirt and a jacket on a hook on the wall, complete his rebellious outlook specific to the period. It is interesting to note that, although Cornel Chiriac was the idol of an entire generation, many people were not at all familiar with his face. It is from this photograph in the Securitate files that many discovered the image of their hero after 1989: “The great majority of us did not even know what our hero looked like, but he had become a lively presence, our close-faraway comrade, the protector of our sounding utopia. In a Romania, which was more and more isolated in its unhappiness, the music that Cornel Chiriac offered us represented one of the few open horizons, one of the few breaths of hope” (Jurnalul 2008). Today, the photograph confiscated by the secret police is his most widely circulated image, and it was selected by his fans to illustrate the Facebook page which keeps alive his memory (https://www.facebook.com/Metronom-In-amintirea-lui-Cornel-Chiriac).

Members of the Eighth Day Theatre have been very open and vocal about their criticism of the socialist reality in the 1970s in Poland. Their contestation of the regime became even more clear when they got engaged in the activities of the Workers' Defence Committee (KOR). In response, the authorities started to obstruct activities of the Eighths. Members of the theatre collective were regularly denied passports and means to produce new shows. Mentioning the Eighths in the official press was banned. This part of the collection consists of the official letter exchanges between the Theatre of the Eighth Day members and the Ministry of Culture and Art and local authorities of the city of Poznań. These documents are a unique testimony of how the negotiations of the position of alternative art in the socialist cultural field looked like.  

In May 1989, Dr Sorin Costina decided to sum up on paper the principal steps by which his passion for collecting art had developed. The result of this effort of memory is an eleven-page text, typed single-spaced, in which are mentioned the most important landmarks of an unusual and spectacular passion. “Also in the years 1962 to 1963 I had my first contacts (as Paul Neagu puts it) with the visual, or the visual arts. A first shock, an exhibition from the Dresden Galleries seen at the Museum of the Republic (I still remember the reviews, my favourite magazine in those years: second-rate works and rather weak with the exception of Titian’s Lady in White). For what I was then, it was a great festive event,” recalls Sorin Costina, speaking of one of his first encounters with the visual arts. He places his first encounter with contemporary art two years later: “Finally, my first contacts with contemporary art took place in Iaşi in 1965.” According to his notes, on 16 August 1969 he bought his first picture, The Bridge of the Turk, a scene in the old town of Sibiu by Ferdinand Mazanek. The price was 138 lei.  His records of his purchases of items of visual art were kept in detail until 1989. According to this unpublished document, Sorin Costina bought most of the works that today make up his private art collection from galleries and studios in Bucharest. The last sentence of this testimony is particularly relevant for the way in which Sorin Costina conceived his own collection: “The marginalisation of all that is best in Romanian culture explains my ability to approach these figures of great value while unfortunately not rising to their level.” Small extracts from this document (which is also an account of the life of Dr Sorin Costina) have been cited  in various texts about Sorin Costina’s life or within several autobiographical texts by the author himself. The text has never been published in its entirety. The manuscript is to be found in Sorin Costina’s private collection.

The court documentation in the collection shows that Kiš defended himself by explaining that his book was created as a gesture of a "legitimate and necessary defense, as a value greater than the prosecutor's honor: [a gesture] of my literary existence and my literary approach, as well as generally, as a fundamental defense against fatal and destructive judgements of a layman". In court, Kiš took the view that he was a writer and had the right to defend himself, using literature, against unfounded attacks on his work.

In a written statement delivered to the court, Kiš wrote: "The particular polemic sharpness of my book was, in addition, dictated not only by rough challenge and polemic fervour, but also by the literary genre itself: traditionally, polemic uses irony, sarcasm, ridicule, because it is a form of literary struggle." Kiš claimed further that polemics is a category of literature which an author can legitimately use and cannot be subject to claims of defamation. He listed a series of polemic writers and literature to try to defend his right to artistic expression. He also advocated for the view that literary controversy is actually a kind of public debate and is subject only to public judgment and literary history, not to be interfered with by the court.

In the end, the court accepted Kiš’s view, and acquitted him of the three counts of defamation. The court ruled that Kiš's response to Golubović in The Anatomy Lesson represents a "personal and subjective view to the prosecutor's conduct, and that this does not amount to facts serving to prove the truth, and thus it cannot be accepted as a charge for defamation.” The court also called for observing the broader context in which the book was created, which was in Kiš’s favour. However in 1979, after the lawsuit, Kiš left Yugoslavia embarrassed and disappointed.