alternatyvios švietimo formos
alternatyvūs gyvenimo būdai ir pasipriešinimas kasdienybėje
atsisakiusieji tarnauti kariuomenėje dėl įsitikinimų
avangardas, neo avangardas
cenzūra
demokratinė opozicija
disidentai partijoje
emigracija/egzilis
etninis judėjimas
filmas filosofinės/ teorinės srovės gamtos apsauga
jaunimo kultūrta kritinis mokslas liaudies kultūra
literatūra ir literatūros kritika
mažumų judėjimai
medijos menas
mokslinė kritika
moterų judėjimas muzika
nepriklausoma žurnalistika pogrindinė kultūra
populiarioji kultūra
religinė veikla
samizdatas sekimas
socialiniai judėjimai
studentų judėjimas
taikos judėjimas tautiniai judėjimai
tetras ir kitos scenos meno rūšys
totalitarinių/autoritarinių režimų represijas pergyvenę asmenys
vaizduojamasis menas
vizualieji menai
žmogaus teisių judėjimas
artefaktai atmintini daiktai
audio įrašai
baldai
drabužiai
filmas
fotografijos
grafika
kitas kiti meno kūriniai
leidiniai
muzikiniai įrašai
paveikslai pilkoji literatūra rankraščiai
skulptūros taikomojo meno objektai
teisiniai ir/ar finansiniai dokumentai
video įrašai įranga
šaržai ir karikatūros
The VONS collection of Libri Prohibiti comprises of documents created by VONS – the Committee for the Defense of the Unjustly Prosecuted. The basis of the VONS collection is the archive of this organisation created mainly at the end of the 1970s and in the first half of the 1980s.
The collection reflects the variety of religious dissent in communist Romania, and illustrates the underground religious practices and overt religious oppositional activities from the late 1940s until the 1980s. The collection comprises, on the one hand, documents and other cultural artefacts created by various religious denominations and confiscated by the Securitate and, on the other hand, documents created by the secret police. The latter illustrate the intense surveillance and the repressive policies of the secret police directed towards those religious activities that opposed the policies of the communist regime in Romania.
Vasyl Stus was an iconic figure of the human rights movement in Soviet Ukraine and one of the leading Ukrainian poets of his generation. Volumes of his poetry circulated widely through samizdat in the 1960s-1980s. While conducting searches, the KGB would find his works in the homes of every writer, artist, chemist, and human rights activist, whose activities were cause for concern. As with many writers, Stus’s struggle with the Soviet regime, particularly his brutal incarceration and torture in a Soviet prison camp, which led to his death in 1985, have in many ways overshadowed his human and artistic legacy. The Vasyl Stus Collection at the T. H. Shevchenko Institute of Literature in Kyiv was donated by the Stus family after Ukrainian independence in 1991, with the aim of popularizing and making more accessible his writings. These materials include previously unknown works, volumes of Stus’s vast correspondence, as well as fragments of writings that survived his imprisonment in strict-regime hard labor camps in Mordovia and Perm.
This ad-hoc collection was separated from the fonds of judicial files concerning persons subject to political repression during the communist regime, which is currently stored in the Archive of the Intelligence and Security Service of the Republic of Moldova (formerly the KGB Archive). It focuses on the case of Viktor Koval, an engineer of Russian ethnic background who expressed ”anti-Soviet” political opinions during the late 1970s and early 1980s, when he was working at an electrical equipment factory in the city of Bălți. In August 1982, Koval was found guilty of “spreading calumnies and lies aimed at discrediting the Soviet state and social order.” However, instead of being sentenced to prison, he was sent to a special psychiatric facility of the Soviet Ministry of Internal Affairs (MVD), where he spent almost eight years before being released in May 1990. Koval’s case is a revealing example of the use of punitive psychiatry in order to suppress voices critical of the Soviet regime. His file is also significant in the context of the early 1980s, usually viewed as a period featuring few open manifestations of oppositional activity.