DOCSLIB.ORG

Лука Ћеловић Требињац Ćelović Trebinjac Plaquette /109

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ЗАДУЖБИНАР /1/ THE ENDOWER Задужбинар THE ENDOWER Издавач Publisher Универзитет у Београду The University of Belgrade Студентски трг 1, Београд Studentski trg 1, Belgrade www.bg.ac.rs www.bg.ac.rs За издавача For the publisher Владимир Бумбаширевић, Vladimir Bumbaširević, ректор Универзитета у Београду Rector of the University of Belgrade Главни и одговорни уредник Editor-in-chief Живан Лазовић, Živan Lazović, проректор Универзитета у Београду Vice rector of the University of Belgrade Заменик главног уредника Deputy Chief Editor Маја Маринковић, Maja Marinković, руководилац Сектора за инвестиције Head of the Investment Sector и управљање имовином Универзитета for the Management of University Property и универзитетских задужбина и фондација and University Foundations and Funds Аутори текстова Authors of the texts Владимир Бумбаширевић Vladimir Bumbaširević Марица Шупут Marica Šuput Мира Софронијевић Mira Sofronijević Лепосава Шелмић Leposava Šelmić Татјана С. Брзуловић Станисављевић Tatjana S. Brzulović Stanisavljević Превод Translator Grainne Boyle Orlić Grainne Boyle Orlić Лектура и коректура Editor and proofreader Биљана Ђорђевић Biljana Djordjević Фотографије Photographs Милан Симић Milan Simić Веселин Милуновић Veselin Milunović Душан Петровић Dušan Petrović Народни музеј у Београду National Museum in Belgrade Универзитетска библиотека University Library „Светозар Марковић“ “Svetozar Marković” Дизајн Design Драгана Лацмановић Dragana Lacmanović Тираж 600 Circulation 600 Излази двогодишње Published biennially Штампа Print Alta Nova Alta Nova Захваљујемо се на помоћи и сарадњи Народном музеју We would like to thank the National Museum in Begrade у Београду и Галерији Матице српске у Новом Саду and The Matica Srpska Gallery in Novi Sad for their help and collaboration 6 Универзитет у Београду // The University of Belgrade Задужбинар THE ENDOWER 6 Београд 2018 // Belgrade 2018 ЗАДУЖБИНАР /4/ THE BENEFACTOR САДРЖАЈ / CONTENTS Свечаност поводом постављања The Ceremony on the occasion of портрета Луке Ћеловића the hanging of the portrait of Luka Требињца у Свечану салу Ćelović Trebinjac in the Ceremonial Универзитета у Београду hall of the University of Belgrade /6/ Обраћање ректора Владимира A word from the rector Vladimir Бумбаширевића Bumbaširević /7/ Марица Шупут, Повратак Marica Šuput, Portrait of Luka портрета Луке Ћеловића Ćelović Trebinjac back at the Требињца на Универзитет у University of Belgrade Београду /11/ Мира Софронијевић, Лука Ћеловић Mira Sofronijević, Luka Ćelović Требињац. Највећи добротвор Trebinjac. The Greatest Benefactor Универзитета у Београду of the University of Belgrade /17/ Лепосава Шелмић, Збирка Leposava Šelmić, The Joca Vujić Јоце Вујића Collection /45/ Татјана С. Брзуловић Tatjana S. Brzulović Stanisavljević, Станисављевић, Јоца Joca Vujić, a Great Benefactor of the Вујић, велики добротвор University of Belgrade Универзитета у Београду /79/ Дан задужбинара и Плакета Benefactors’ Day and The Luka Лука Ћеловић Требињац Ćelović Trebinjac plaquette /109/ Фондација Нови добротвори The Foundation New Benefactors of Универзитета у Београду the University of Belgrade /111/ Мапа задужбина Map of the legacies /113/ // СВЕЧАНОСТ ПОВОДОМ ПОСТАВЉАЊА ПОРТРЕТА ЛУКЕ ЋЕЛОВИЋА ТРЕБИЊЦА У СВЕЧАНУ САЛУ УНИВЕРЗИТЕТА У БЕОГРАДУ, 26. ФЕБРУАРА 2016. // THE CEREMONY ON THE OCCASION OF THE HANGING OF THE PORTRAIT OF LUKA ĆELOVIĆ TREBINJAC IN THE CEREMONIAL HALL OF THE UNIVERSITY OF BELGRADE ON 26TH FEBRUARY 2016 ЗАДУЖБИНАР /7/ THE ENDOWER Обраћање ректора A word from the rector Владимира Vladimir Бумбаширевића Bumbaširević Поштоване колегинице и колеге, уважени Dear Colleagues, Distinguished Guests, гости, драги пријатељи, даме и господо, Friends, Ladies and Gentlemen, Изузетно ми је задовољство и посебна It is my great pleasure and a special priv- привилегија што могу вечерас да вам се ilege to address you this evening and to обратим и захвалим што сте дошли на thank you for attending this modest cer- ову скромну свечаност, да заједно обе- emony to mark together the return of the лежимо повратак портрета Луке Ћело- portrait of Luka Ćelović to the ceremonial вића у Свечану салу Ректората. hall in the Rectorate. Ово је и прилика да се подсетимо да је This is also an opportunity to remember захваљујући великом броју задужби- that thanks to a large number of benefac- нара, од којих је Лука Ћеловић један од tors, of which Luka Ćelović was among one највећих, Универзитет у Београду уочи of the most generous, prior to the Second Другог светског рата био један од нај- World War the University of Belgrade was богатијих у Европи. one of the richest in Europe. Ово је истовремено и обавеза да ове за- It is also our obligation to respect these дужбине поштујемо и да се трудимо да legacies and to try to ensure that those still оне које то нису буду враћене Универзи- not in the possession of the University of тету у Београду. Belgrade be returned. Враћање портрета Луке Ћеловића на Above all, the return of the portrait of Универзитет у Београду, иако се не- Luka Ćelović to the University of Belgrade, оспорно ради о вредном уметничко although undoubtedly a valuable work of делу познате српске сликарке Бете Ву- the famous Serbian painter Beta Vukano- кановић, има пре свега моралну димен- vić, was our moral duty. As I have already зију. Као што сам већ поменуо, реч је о mentioned, this is about the greatest ben- највећем дародавцу Универзитета у Бе- efactor of the University of Belgrade, who ограду, који је тестаментом оставио left all of his property to our university, ЗАДУЖБИНАР /8/ THE ENDOWER сву своју имовину нашем универзитету, amounting to over 50 million dinars at што је износило преко 50 милиона он- that time. дашњих динара. Luka Ćelović Trebinjac was one of the rich- Лука Ћеловић Требињац био је међу нај- est and most influential people in Serbia at богатијим и најутицајнијим људима у Ср- the end of the 19th and the beginning of the бији крајeм 19. и почетком 20. века. Један 20th century. He was one of the founders of је од оснивача Београдске задруге и њен the Belgrade Cooperative and remained its председник до своје смрти. Иако је имао president until his death. Although he had завршену само основну школу у Требињу, only completed primary school in Trebinje, добро је разумео значај образовања за he had a deep understanding of the impor- развој једног народа, што је и потврдио tance of education for the development of својим тестаментом оставаљајући сву the nation, which he confirmed by leaving своју покретну и непокретну имовину all his movable and immovable property ЗАДУЖБИНАР /9/ THE ENDOWER Универзитету у Београду за научне по- to the University of Belgrade for scientific требе и циљеве Универзитета. needs and achievements. Нажалост, после Другог светског рата Unfortunately, after the Second World War al- готово сва дарована имовина била је на- most all of the donated property was nation- ционализована, тако да данас Универзи- alised, and so today the University of Belgrade тет у Београду покушава да врати оду- is trying to return the seized property and re- зету имовину и обнови рад задужбина уз store the work of the legacies in accordance поштовање воље својих задужбинара. with the wishes of their benefactors. Универзитет у Београду 1931. године на- In 1931, the University of Belgrade commis- ручује портрет Луке Ћеловића који је из- sioned a portrait of Luka Ćelović, which was радила Бета Вукановић и који је стајао done by Beta Vukanović and hung in the у Свечаној сали Ректората до 1944. го- Ceremonial hall of the Rectorate until 1944, дине, када му се губи траг. Захваљујући, when all track was lost of its whereabouts. пре свега др Марици Шупут, професору Thanks first of all to Dr Marica Šuput, a pro- Филозофског факултета, портрету се fessor at the Faculty of Philosophy, who, on ушло у траг када се појавио у једној бе- the trail of the painting, located it when it оградског аукцијској кући. Због компли- appeared at a Belgrade auction house. Due кованих административних процедура, to complicated administrative procedures, Универзитет није био у могућности да the university was unable to respond in a благовремено реагује и откупи портрет timely manner and buy the portrait of Luka Луке Ћеловића. Како би спречили да пор- Ćelović. In order to prevent the portrait from трет буде продат непознатом купцу, being sold to an unknown customer, twelve дванаесторо грађана, од којих су десет people, ten of whom are professors at the професори Универзитета у Београду, University of Belgrade, decided to buy the доноси одлуку да откупе портрет и да portrait and donate it to the University. га поклоне Универзитету. By returning the portrait of Luka Ćelović to Повратак портрета Луке Ћеловића у the Ceremonial hall of the Rectorate, due Свечану салу Ректората омогућио је да respect can once again be paid to the per- се очува дужно поштовање према чове- son who the University of Belgrade is truly ку који је свакако значајно задужио Уни- indebted to. верзитет у Београду. ЗАДУЖБИНАР /10/ THE ENDOWER // // Бета Вукановић, Портрет Луке Ћеловића Beta Vukanović, Portrait of Luka Ćelović Требињца, 1931. Trebinjac, 1931 ЗАДУЖБИНАР /11/ THE ENDOWER Повратак портрета Луке Portrait of Luka Ćelović Ћеловића Требињца на Trebinjac back at the Универзитет у Београду University of Belgrade Марица Шупут Marica Šuput Недавно се навршило осамдесет пет годи- It was only recently that the eighty-fifth на од када је сликарка Бета Вукановић, по anniversary was marked since the artist, избору Комисије Одбора Задужбине Луке Beta Vukanović, having been selected by Ћеловића Требињца, окончала сликање the Committee Board of the Luka Ćelović његовог портрета, а председник Одбора, Trebinjac Foundation, completed his portrait. ректор Универзитета, Владимир Митровић The committee chairman, the rector of the обавестио Одбор да ће портрет бити по- University, Vladimir Mitrović, informed the стављен у Свечаној сали. У њој је био из- board that the portrait would be hung in ложен до 1944. године, када су Немци, по- the Ceremonial hall. It remained there until влачећи се из Београда, запалили Капетан 1944 when the Germans, retreating from Мишино здање, седиште Београдског уни- Belgrade, set fire to Captain Miša’s edifice, верзитета.
Recommended publications
  • Red History Museum Antoneta Alamat Kusijanović

    Red History Museum Antoneta Alamat Kusijanović

    Welcome to Dubrovnik / Dobro došli u Dubrovnik 2O2O Welcome GRATIS Broj /Number Antoneta Alamat Red History “Dubrovnik, Kusijanović Museum a Scarred City” 32 Intervju - Interview Muzej Crvene povijesti Izložba - Exhibition AMAZING MOMENTS OF LIFE Sadržaj / Contents Nakladnik / Publisher: ANTONETA ALAMAT Znameniti Dubrovčani KUSIJANOVIĆ Notable Figures in Dubrovnik History Napisala / By Sandra Lacković ................................................ ANTUN PUŠIĆ 6 Tel. / Phone: +385(0)20/323-887 Napisao / By Damir Račić .................................................. 66 323-889, 323-907 sv. Vlaho / St. Blaise Fax: +385(0)/323-725 Maestro ÐELO JUSIĆ www.tzdubrovnik.hr Napisala / By Maja Nodari .................................................. 11 [email protected] Napisala / By Gabrijela Bijelić ............................................. 60 Sunakladnik / Co-Publisher: Tiramole Alfa-2 Traditional clotheslines Dubrovački dizajneri tel. +385 20 418 453 Napisala / By Lorita Vierda ................................................ 14 Dubrovnik Designers fax. + 385 20 418 454 e-mail: [email protected] IDA ALEKSIĆ FILIPOVIĆ web: www.alfa-2.hr GAME OF THRONES Napisala / By Lidija Crnčević .............................................. 64 Glavna urednica / Editor-in-chief: Lidija Crnčević Napisala / By Ivana Radić ................................................... 18 Serpentine Srđa Uredničko vijeće / Editorial Board: Srđ Mountain Trail Tilda Bogdanović, Izložba / Exhibition Aida Cvjetković, “Dubrovnik, a Scarred City” Napisala / By
  • Radovi Instituta Za Povijest Umjetnosti 35 UDK 7.0/77 Zagreb, 2011

    Radovi Instituta Za Povijest Umjetnosti 35 UDK 7.0/77 Zagreb, 2011

    Radovi Instituta za povijest umjetnosti 35 UDK 7.0/77 Zagreb, 2011. ISSN 0350-3437 Radovi Instituta za povijest umjetnosti 35 Journal of the Institute of Art History, Zagreb Rad. Inst. povij. umjet., sv. 35, Zagreb, 2011., str. 1–308 Rad. Inst. povij. umjet. 35/2011. (269–276) Ivana Nina Unković: O restauriranju pokretnih umjetnina u Dalmaciji pod vodstvom Lj. Karamana Ivana Nina Unković Hrvatski restauratorski zavod, Odjel u Splitu O restauriranju pokretnih umjetnina u Dalmaciji pod vodstvom Ljube Karamana Prethodno priopćenje – Preliminary communication Predano 13. 8. 2011. – Prihvaćeno 30. 9. 2011. UDK: 7.025.4(497.5 Dalmacija)“1925/1932“ Sažetak Pokrajinski Konservatorijalni Ured za Dalmaciju nakon sloma Mo- nom, s kojim njeguje dugogodišnju plodnu suradnju do 1932. godine. narhije 1918. godine gubi kontakte s tehničkim i pomoćnim osobljem Naglasak priloga je na korespondenciji Karamana, Stelèa, Goglie i Ster- bivšeg središnjeg Povjerenstva za proučavanje i održavanje umjetničkih nena, iz koje saznajemo mnogo o restauriranju umjetnina s područja i povijesnih spomenika u Beču. Osim arhitekata, Uredu je potreban i Dalmacije (o organizatorskim, trgovačkim, strukovnim elementima i strukovno izobraženi kadar restauratora starih slika i drvenih rezbarija odabiru prioriteta u restauriranju). Prvi put se donose podaci iz arhiva te popravljača crkvenog ruha. U pronalasku rješenja Bulić i Karaman Konzervatorskog zavoda u Splitu koji pokazuju da je Karaman imao započinju inventarizirati pokretne spomenike radi evidencije stanja ne samo nadzornu i organizatorsku ulogu u restauratorskim poslovi- oštećenih umjetnina u crkvama i privatnim zbirkama. Godine 1925. ma, nego je i sam pokušavao bolje upoznati restauratorske postupke. Karaman prvo ugovara restauratorske poslove s restauratorom Ferdom Zahvaljujući temeljitom terenskom radu i upornosti u angažmanu Gogliom iz Zagreba, koji ubrzo odustaje od suradnje postavši profe- restauratora, Karaman je sačuvao veći fundus pokretne baštine u sorom u gimnaziji.
  • Serbian Wine Routes

    Serbian Wine Routes

    Serbian wine routes Вина са песка Wines from Sands Пут вина - Палић Palić Wine Route History of the Region’s Wines The entire Palić region lies on sandy terrain left tiles. These tanks have a total capacity of by the prehistoric Pannonian Sea. That's why between 33,000 and 67,000 liters. Locals say wines from this area are commonly referred to as that the biggest tank, which is as large as a small sand wines. The sandy soil, a moderate continen- dance hall, was used for parties hosted by Count tal climate and top grape varieties yield very Lederer, the cellar’s founder. appealing wines. The Subotica-Horgoš area has a winemaking tradition that goes back well over The Palić Cellar, founded in 1896, was built where 2,000 years. an agricultural school once stood. It preserved the ancient winemaking heritage of the In the Bačka region winemaking flourished after Subotica-Horgoš sandy heath. Today the WOW the phylloxera epidemic destroyed much of Winery continues the tradition. Europe’s viticulture.. At this time three wine cellars were founded in the vicinity of Palić , Čoka The Muscat Croquant grapevine variety was and in Biserno Ostrvo near Novi Bečej. These planted by count Lipot Rohonczi in Biserno cellars remain the backbone of the region's Ostrvo, where he built a small castle with a wine viticulture. cellar that still exists . The wine made from those grapes was sold in Budapest, London and other The Čoka Cellar, established in 1903, is among the European markets. rare and magnificent monuments of a great wine tradition.
  • 1 Lenki I Relji, Mojim Unucima

    1 Lenki I Relji, Mojim Unucima

    Lenki i Relji, mojim unucima 1 2 Feliks Pašić MUCI Ljubomir Draškić ili živeti u pozorištu 3 4 Ulaz u vilu »Nada« u Omišlju na ostrvu Krku 5 6 Mladom Svetozaru Cvetkoviću, tek pristiglom u Atelje 212, činio se kao ka- kav veliki lutan, očiju dubokih i crnih, sa podočnjacima koji su s godinama posta- jali sve tamniji i dublji. Mira Stupica pamti jedno štrkljasto i visoko dete, krakato, okato, nosato i pomalo dremljivo, koje je kapke imalo uvek napola spuštene, kao roletne. I u sećanju Aleksandra–Luja Todorovića javlja se u istoj slici: visok, štrkljast, šiljat, neopisivo mršav. Vojislavu Kostiću je, tako visok i mršav, sa šišanom bradom, ličio na Don Kihota. Ivana Dimić je imala dvanaest godina kad ga je prvi put videla, na slavi na koju je došla s roditeljima. Među gostima se izdvajao visok, mršav, duhovit čovek koji je psovao. Ogroman, tamnog lica i brade, izgledao joj je kao neki Azijat. Aleksandar–Saša Gruden seća ga se kao klinca koji je s majkom došao kod očeve rodbine u Užice. Prilog opštem utisku: štkljast, nosat, s ogromnim kolenima. Kad su ga upitali kako je, odgovorio je: »Zaštopal mi se nosek.« Posle je objašnjavao da je imao jezički problem: »Govorio sam hrvatski.« Dolasku u Užice 1941. godine prethodi prva velika životna avantura. Od ranih dana naučio je da svet i ljude vidi u slikama. U slikama Zadra, u koji se porodica 1939. seli iz Zagreba, kada je otac Sreten postavljen za vicekonzula Kraljevskog konzulata, prelamaju se, između ostalih, prizori ogromnog stana u kome, po jednom dugačkom hodniku, vozi bicikl.
  • Works by MIRJANA BOBA STOJADINOVIĆ Spatial Interventions, Installations, Projects CONTENTS

    Works by MIRJANA BOBA STOJADINOVIĆ Spatial Interventions, Installations, Projects CONTENTS

    Works by MIRJANA BOBA STOJADINOVIĆ spatial interventions, installations, projects CONTENTS ••• Artist statement ••• Biography SECTION 1 - storyplace 1. MIDWINTER DREAM OR REFRACTING THE WORLD, 2016 2. STORYPLACE, ˝2012 3. LIBRARY, object, 2012 4. URBAN METAMORPHOSES and INCISION, two exhibitions, 2011-2012 5. GUIDE THROUGH EXHIBITIONS AND CITIES, audio intervention in space, 2010 6. APARTMENT, month-long event, 2009 SECTION 2 - HEMA/HEMA 7. A HoLE IN THE WHOLE, installation, 2008 8. FROM FROM TO TO, object, 2012 9. FLAG, photograph-object-text, 2008-2011 SECTION 3 - earlier work 10. GALLERY and ENTRANCE, two exhibitions, 2005-2006 SECTION 4 - projects 11. ACTOPOLIS˝, 2015-2017 12. ARTIST AS AUDIENCE, forum and book, 2010-ongoing ••• CV ARTIST STATEMENT Shaped in a distabilized society, my works do not function within a pre-given or self-understood backdrop, but they propell questions on a miriad of relations. Through work I am interested in negotiating space and the ways it interacts with and enables BIOGRAPHY creative, social and political frequencies of everyday life; I use space as means of expression and intervention, often operating with non-gallery environments. I search for context Mirjana Boba Stojadinović (Belgrade, 1977) specificity, idiosincractic human experience of graduated and postgraduated at the Faculty of immediate surroundings and ways of shaping Visual Arts in Belgrade (2006). She also holds and sharing all aforementioned. a MFA Piet Zwart Institute, Rotterdam (NL) in At a cross-section of different mediums, key collaboration with the University Plymouth (UK) agencies in my work incorporate photography, (2008). text, sound, voice and light and their sculptural qualities resourcing situations in space.
  • Churches in Serbia and Germany in Dialogue

    Churches in Serbia and Germany in Dialogue

    TOWARD THE HEALING OF MEMORIES AND CHANGING OF PERCEPTIONS: CHURCHES IN SERBIA AND GERMANY IN DIALOGUE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy By Angela V. Ilić MAY 2012 Dissertation Committee: Dr. Leonard J. Swidler, Advisory Chair, Department of Religion Dr. Terry Rey, Department of Religion Dr. John C. Raines, Department of Religion Dr. Paul B. Mojzes, Rosemont College Dr. Kyriakos M. Kontopoulos, External Reader, Department of Sociology © by Angela Valeria Ilić 2012 All Rights Reserved ii ABSTRACT This dissertation examines a series of interchurch consultations that took place between 1999 and 2009 with the participation of the Evangelical Church in Germany, the Roman Catholic German Bishops’ Conference and the Serbian Orthodox Church. The Protestant-Catholic-Orthodox ecumenical encounters began in the immediate aftermath of the Kosovo crisis, and aimed to support Serbia’s democratization and European integration. At a total of nine meetings, delegates from the participating churches, together with politicians, representatives of non-governmental organizations, and scholars from various fields, discussed the role of churches and religion in the two countries. The meetings provided a forum for exchanging knowledge and addressing the challenges confronting the churches and their social organizations. Through lectures, discussions, and meetings in working groups, the consultations focused on theological, legal, political, and social topics, such as church and state relations in Serbia, the role of churches in secularized society, Serbia’s relationship to the rest of Europe, reconciliation, and the healing of memories. Focusing on the content and the outcomes of the consultations, the author places them into the broader ecumenical, social and political context in which they took place.
  • Memorinmotion

    Memorinmotion

    english memorInmotion pedagogical tool on culture of remembrance manual dvd second supplemented edition MemorInmotion Pedagogical Tool on Culture of Remembrance Second supplemented edition Manual DVD Sarajevo, 2016 Publication Title: Consultants: MemorInmotion - Pedagogical Tool on Culture of Suad Alić Remembrance Andrea Baotić Second supplemented edition Judith Brand Elma Hašimbegović Authors: Adis Hukanović Laura Boerhout Alma Mašić Ana Čigon Nerkez Opačin Bojana Dujković-Blagojević Christian Pfeifer Melisa Forić Soraja Zagić Senada Jusić Muhamed Kafedžić Muha Editor-in-chief: Larisa Kasumagić-Kafedžić Michele Parente Vjollca Krasniqi Nita Luci Project Coordinators: Nicolas Moll Michele Parente, forumZFD Michele Parente Melisa Forić, EUROCLIO HIP BiH Wouter Reitsema Laura Boerhout, Anne Frank House (Netherlands) Students of the PI Gymnasium Obala, Sarajevo CIP - Katalogizacija u publikaciji Nacionalna i univerzitetska biblioteka Bosne i Hercegovine, Sarajevo 791.5:725.94(497) MEMORLNMOTION : pedagogical tool on culture of remembrance : manual / [authors Melisa Forić ... [et al.] ; translators Lejla Efendić, Gordana Lonco]. - 2nd supplemented ed. - Sarajevo : Forum Ziviler Friedensdienste e.V. (forumZFD), 2016. - 101 str. : ilustr. ; 20 x 20 cm + [1] DVD Prijevod djela: Sjećanje u pokretu. - The authors: str. 93-96. - Bibliografija: str. 97-100 ISBN 978-9958-0399-6-6 1. Forić, Melisa COBISS.BH-ID 23297286 contents I. Manual 1.0. Introduction 1.1. Memorlnmotion - Pedagogical Tool on Culture of Remembrance 7 2.0. Essay: how to create an active culture of remembrance in our societies? 2.1. Challenging young people to reflect on monuments and their meaning 11 3.0. The pedagogical modules with lesson plans 3.1. Module I: Start-up 3.1.1. Lesson Plan 1: Who am I? 17 3.2.
  • MIROSLAV KRLEŽA U SRPSKOJ KNJIŽEVNOSTI Problem Književnosti Kao Identiteta U Srpskoj I Hrvatskoj Kulturi XX Stoljeća

    MIROSLAV KRLEŽA U SRPSKOJ KNJIŽEVNOSTI Problem Književnosti Kao Identiteta U Srpskoj I Hrvatskoj Kulturi XX Stoljeća

    UNIVERZITET U NOVOM SADU FILOZOFSKI FAKULTET ODSEK ZA SRPSKU KNJIŽEVNOST MIROSLAV KRLEŽA U SRPSKOJ KNJIŽEVNOSTI Problem književnosti kao identiteta u srpskoj i hrvatskoj kulturi XX stoljeća DOKTORSKA DISERTACIJA Mentori: prof. dr Gojko Tešić Kandidat: mr Vlaho Bogišić prof. dr Ivana Živančević Sekeruš Novi Sad, 2016. godine UNIVERZITET U NOVOM SADU FILOZOFSKI FAKULTET KLJUČNA DOKUMENTACIJSKA INFORMACIJA Redni broj: RBR Identifikacioni broj: IBR Tip dokumentacije: Monografska dokumentacija TD Tip zapisa: Tekstualni štampani materijal TZ Vrsta rada (dipl., mag., dokt.): Doktorska disertacija VR Ime i prezime autora: Vlaho Bogišić AU Mentor (titula, ime, prezime, zvanje): Prof. dr Gojko Tešić, redovni profesor Filozofskog MN fakulteta u Novom Sadu prof. dr Ivana Živančević Sekeruš, redovni profesor Filozofskog fakulteta u Novom Sadu Naslov rada: Miroslav Krleža u srpskoj književnosti – Problem NR književnosti kao identiteta u srpskoj i hrvatskoj kulturi XX stoljeća Jezik publikacije: Hrvatski JP Jezik izvoda: srp. / eng. JI Zemlja publikovanja: Srbija ZP Uže geografsko područje: Vojvodina UGP Godina: 2016. GO Izdavač: Autorski reprint IZ Mesto i adresa: Filozofski fakultet, 21000 Novi Sad, Dr Zorana MA Đinđića 2 1 Fizički opis rada: (broj poglavlja 10 / stranica 300 / slika 0 / grafikona FO 0 / referenci 629 / priloga 0) Naučna oblast: Srpska književnost XX veka NO Naučna disciplina: Historija književnosti ND Predmetna odrednica, ključne reči: Srpska književnost, hrvatska književnost, identitet, PO Krleža UDK Čuva se: Biblioteka Odseka za srpsku književnost, Filozofski ČU fakultet, Univerzitet u Novom Sadu Važna napomena: VN Izvod: Doktorska disertacija Miroslav Krleža u srpskoj IZ književnosti izrađena je na temelju istraživanja zasnovanog na proučavanju književnih tekstova, arhivske građe i dokumentacije koja reflektira pripadni kulturni kontekst.
  • Iz Istorije Kulture I Arhitekture

    Iz Istorije Kulture I Arhitekture

    Vladimir Mitrović Iz istorije kulture i arhitekture Zapisi jednog istraživača (1994−2014) Vladimir Mitrović • Iz istorije kulture i arhitekture MUZEJ SAVREMENE UMETNOSTI VOJVODINE Vladimir mitroViĆ IZ ISTORIJE KULTURE I ARHITEKTURE Zapisi jednog istražiVača (1994−2014) Aleksandar Kelemen Sadržaj: Uvodne napomene Iz istorije arhitekture XX veka Konkurs za gradnju pozorišta u Novom Sadu iz 1928/29. godine………………………….....…13 Primeri industrijske arhitekture novosadskih modernista………………………………........……21 Građevinarstvo i ekonomija između dva svetska rata……………………………………........……23 Arhitekta Juraj Najdhart i Novi Sad…………………………………………………………….........……….27 Prilog istoriji arhitekture socijalističkog šopinga: Samoposluga, robna kuća, buvljak, megamarket.….........................................................29 Staklo u novoj arhitekturi Bulevara oslobođenja u Novom Sadu: Zid i antizid………………….33 Novosadska arhitektura devedesetih godina: Kroz granje nebo……………………………………37 Efekat kanjona: O stambenoj izgradnji u Novom Sadu prvih godina nakon 2000……….45 Arhitektura u Vojvodini na početku XXI veka: Zaobilazne strategije………………………………47 Nova arhitektura porodičnih vila u Srbiji………………………………………………………….........….58 Kuća kao živa skulptura………………………………………………………………………...................………62 Arhitekta je (i) umetnik……………………………………………………………………..................………….65 Soliteri Srbije Prilozi za istoriju srpskih solitera (I): Život i smrt srpskih solitera - Potkivanje žabe….....73 Prilozi za istoriju srpskih solitera (II): Soliteri u ravnici…………………………………………….....78
  • Introduction

    Introduction

    Introduction Speaking in Ljubljana in 1913, the Slovene poet Ivan Cankar called for a political union of the South Slavs, lamenting the historical circumstances that had brought about the cultural estrangement of the “Yugoslav tribe”: “By blood we are brothers, by language cousins, by culture -- which is the fruit of centuries of separate upbringing -- we are less familiar with one another than the Upper Carniolan peasant is with the Tyrolean, or the Gorizian vintner with the Friulian” (Cankar 2009). The postulate of cultural separation, or “separate upbringing” as Cankar eloquently expressed it, is built on the premise that ethnic and national features are forged over the longue durée, through centuries of constant and unwavering exposure to one cultural model or civilization. The national predispositions and inclinations thus acquired are believed to supersede evident commonalities such as language and local custom -- as in the case of the Serbs and Croats, who are bound by language but separated by confessional and perceived historical allegiances. This premise is central to the narratives of the Balkan nationalisms. Thus, according to Croatian nationalists and historians such as Ivo Banac, Franjo Tuđman, and Branimir Anzulović, the Orthodox Serbs, whose medieval principalities bordered the Byzantine Empire until their destruction by the Ottomans in the fifteenth century, had over the centuries developed different habits and worldviews from the Catholic Croats. Their cultural origins, these authors claimed, lie in the Byzantine civilization (Banac 1984: 65 et passim; Tuđman, cit. in Bellamy 2003: 68; Anzulović 1999: 17 et passim). Many nationalists in Serbia would agree with the assessment that the Byzantine civilization left a deep imprint on the formation of their culture and identity (Perica 2002: 6-9).
  • Creating the Past: the Palace Complex of the Karađorđević Dynasty in the Light of Reviving the Middle Ages

    Creating the Past: the Palace Complex of the Karađorđević Dynasty in the Light of Reviving the Middle Ages

    III BYZANTINE HERITAGE AND SERBIAN ART III BYZANTINE HERITAGE AND SERBIAN ART BYZANTINE HERITAGE IMAGINING THE PAST THE RECEPTION OF THE MIDDLE AGES IN SERBIAN ART FROM THE 18TH TO THE 21ST CENTURY BYZANTINE HERITAGE AND SERBIAN ART III BYZANTINE HERITAGE AND SERBIAN ART I–III Editors-in-Chief LJUBOMIR MAKSIMOVIć JELENA TRIVAN Edited by DANICA POPOVić DraGAN VOJVODić Editorial Board VESNA BIKIć LIDIJA MERENIK DANICA POPOVić ZoraN raKIć MIODraG MARKOVić VlADIMIR SIMić IGOR BOROZAN DraGAN VOJVODić Editorial Secretaries MARka TOMić ĐURić MILOš ŽIVKOVIć Reviewed by VALENTINO PACE ElIZABETA DIMITROVA MARKO POPOVić MIROSLAV TIMOTIJEVIć VUJADIN IVANIšEVić The Serbian National Committee of Byzantine Studies P.E. Službeni glasnik Institute for Byzantine Studies, Serbian Academy of Sciences and Arts IMAGINING THE PAST THE RECEPTION OF THE MIDDLE AGES IN SERBIAN ART FROM THE 18TH TO THE 21ST CENTURY Editors LIDIJA MERENIK VlADIMIR SIMić IGOR BOROZAN BELGRADE, 2016 PUBLished ON THE OCCasiON OF THE 23RD InternatiOnaL COngress OF Byzantine STUdies This book has been published with the support of the Ministry of Education, Science and Technological Development of the Republic of Serbia P.U.C. “Pogrebne usluge” – Belgrade CONTENTS I. FROM TRADITION TO HISTORY: MAPPING THE PAST IN 18TH CENTURY ART THE IMAGE OF THE PAST AS A HISTORICAL ARGUMENT. THE RECEPTION OF THE MIDDLE AGES IN SERBIAN BAROQUE ART. 11 Vladimir Simić ON OLD WINE IN NEW WINESKINS. TRADITIONAL PAINTING AMONG THE SERBS IN THE LATE 17TH AND EARLY 18TH CENTURY . 25 Ljiljana Stošić OLD ICON PAINTING AND THE RELIGIOUS REVIVAL IN THE ‘KINGDOM OF SERBIA’ DURING AUSTRIAN RULE 1718–1739. 33 Ana Milošević THE RECEPTION OF TRADITIONAL THEMES ON THE EARLY BAROQUE ICONOSTASES IN SLAVONIA.
  • Remaking History: Tracing Politics in Urban Space

    Remaking History: Tracing Politics in Urban Space

    Remaking History: Tracing Politics in Urban Space Lejla Odobašić Novo & Aleksandar Obradović International Burch University Sarajevo 2021 Authors: Lejla Odobašić Novo & Aleksandar Obradović Publishing: International Burch University Critcal Review: Nerma Prnjavorac Cridge & Vladimir Dulović Proofreading: Adrian Pecotić Project Logo Design: Mina Stanimirović Book Layout Mina Stanimirović & Lejla Odobašić Novo EBook (URL): http://remakinghistory.philopolitics.org/index.html Date and Place: February 2021, Sarajevo Copyrights: International Burch University & Philopolitics Reproduction of this publication for educational or other non-commercial purposes is authorized without permission from the copyright holder. Repro- duction for resale or other commercial purposes is prohibited without prior written permission of the copyright holder. Disclaimer: While every effort has been made to ensure the accuracy of information contained in this publication, the publisher will not assume liability for writing and any use made of the proceedings, and the presentation of the participating organizations concerning the legal status of any country, territo- ry, or area, or of its authorities, or concerning the delimitation of its frontiers or boundaries. CIP zapis je dostupan u elektronskom katalogu Nacionalne i univerzitetske biblioteke Bosne i Hercegovine pod brojem COBISS.BH-ID 42832902 ISBN 978-9958-834-67-7 TABLE OF CONTENTS PREFACE Critical Review by Nerma Prnjavorac Cridge... ..................1 Critical Review by Vladimir Dulović .................