Top Lista Nadrealista / Topliste Des Surrealismus
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History and Development of the Communication Regulatory
HISTORY AND DEVELOPMENT OF THE COMMUNICATION REGULATORY AGENCY IN BOSNIA AND HERZEGOVINA 1998 – 2005 A thesis presented to the faculty of the College of Communication of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Adin Sadic March 2006 2 This thesis entitled HISTORY AND DEVELOPMENT OF THE COMMUNICATION REGULATORY AGENCY IN BOSNIA AND HERZEGOVINA 1998 – 2005 by ADIN SADIC has been approved for the School of Telecommunications and the College of Communication by __________________________________________ Gregory Newton Associate Professor of Telecommunications __________________________________________ Gregory Shepherd Interim Dean, College of Communication 3 SADIC, ADIN. M.A. March 2006. Communication Studies History and Development of the Communication Regulatory Agency in Bosnia and Herzegovina 1998 – 2005 (247 pp.) Director of Thesis: Gregory Newton During the war against Bosnia and Herzegovina (B&H) over 250,000 people were killed, and countless others were injured and lost loved ones. Almost half of the B&H population was forced from their homes. The ethnic map of the country was changed drastically and overall damage was estimated at US $100 billion. Experts agree that misuse of the media was largely responsible for the events that triggered the war and kept it going despite all attempts at peace. This study examines and follows the efforts of the international community to regulate the broadcast media environment in postwar B&H. One of the greatest challenges for the international community in B&H was the elimination of hate language in the media. There was constant resistance from the local ethnocentric political parties in the establishment of the independent media regulatory body and implementation of new standards. -
SVEZAME, OTVORI SE! ~Itanka Za 9. Razred Devetogodi{Nje Osnovne {Kole SVEZAME, OTVORI SE! ~Itanka Za 9
SVEZAME, OTVORI SE! ~itanka za 9. razred devetogodi{nje osnovne {kole SVEZAME, OTVORI SE! ~itanka za 9. razred devetogodi{nje osnovne {kole Autorice i autori: Nenad Veli~kovi} Nada Gaši} (Dobri vojak Švejk) Namir Ibrahimovi} Sanja Juri} Karmen Lon~arek (wikipedia) @eljko Malinovi} Klaudija Mlaki} Vukovi} Dijana Pupi} Azra Rizvanbegovi} Amer Tikve{a Recenzentice i recenzent: Alma Balagija Radojka Had`iselimovi} Halida Kurtovi} Nusret Omerika Marica Petrovi} Superrecenzentice i superrecenzent: Ned`ad Ibrahimovi} (izdvojeno mišljenje) Edina Nizi} Ljubica [anti}. Jezi~ki savjetnik: Sr|an Arko{ Ilustracija na naslovnoj strani: Dobrosav Bob @ivkoviæ Dizajn: Asim \elilovi} DTP: Bori{a Gavrilovi} Izdava~: NIK “Sezam“ d.o.o. Jovana Bijeli}a 8 71000 Sarajevo Za izdava~a: Emir Vu~ijak Sarajevo, 2013. Ova ~itanka nije odobrena za upotrebu u {kolama prema Odluci o postupku pripremanja i odobravanja ud`benika, radnih ud`benika i drugih nastavnih sredstava za osnovne i srednje {kole Koordinacije kantonalnih ministara obrazovanja i nauke. Svezame, otvori se! ~itanka za 9. razred devetogodi{nje osnovne {kole ^itanka je podijeljena u vi{e poglav- lja, tako da tekstove u njima pove- zuju zajedni~ke teme, o kojima se na ~asu mo`e razgovarati ili pisati. Knji`evna djela uvijek su nastajala u nekoj zajednici i u nekom vremenu, i uvijek su iskazivala ~ovjekov (umjetnikov) odnos prema `ivotu. (A `ivot je u svemu, i sve je u `ivo- tu: ljubav i mr`nja, sre}a i nesre}a, pravda i nepravda... pa ~ak i smrt.) Poglavlja ~esto po~inju ilustracijama koje na prvi pogled nemaju mnogo veze ni s knji`evno{}u ni sa samom najavljenom temom. -
Low Blows: Martin Krpan, Top Lista Nadrealista, and Equalizing Satire
This text is due to be published in Crack Up, Crack Down, a book edited by the Slavs and Tatars collective for the Ljubljana Biennial of Graphic Art, 2019. This is the penultimate draft; please only cite the published version. Author contact: [email protected] (29 October 2019) Low Blows: Martin Krpan, Top Lista Nadrealista, and Equalizing Satire Vid Simoniti “I meant to take my leave without a word. But since you have delayed my departure yourself, do not now be upset that I’ve told you a few harsh ones. You surely know what the late Jerry from the village of Golo used to say: ‘Should I feed sweetmeats to the man I’m quarrelling with? Whichever spice stings him most, that’s what I serve him!’ And now good-bye, and stay in good health!” – Martin Krpan to the Emperor, in Frank Levstik’s Martin Krpan1 I used to have a Swedish dentist. Like all dentists, he relished the pleasure peculiar to their profession—to converse with a person whom they have just rendered incapable of answering back. While thus engaged, this dentist also enjoyed the odd dig at my expense. He once told me of a journey through Yugoslavia, which he took as a younger man. He did not spare me sarcastic comments on the broken- down socialist trains, corrupt policemen, beautiful women keen to marry a Westerner, etc. Of course I had to repay him somehow. So after I was finally allowed to spit out that abominable mixture of mouthwash and blood, I told him the following anecdote: !1 “You describe my people rather well,” I said, “but, of course, we ex-Yugoslavs have also travelled to Sweden, mostly as immigrants, rather than as tourists. -
Inheriting the Yugoslav Century: Art, History, and Generation
Inheriting the Yugoslav Century: Art, History, and Generation by Ivana Bago Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Mark Hansen ___________________________ Fredric Jameson ___________________________ Branislav Jakovljević ___________________________ Neil McWilliam Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2018 ABSTRACT Inheriting the Yugoslav Century: Art, History, and Generation by Ivana Bago Department of Art, Art History and Visual Studies Duke University ___________________________ Kristine Stiles, Supervisor ___________________________ Mark Hansen ___________________________ Fredric Jameson ___________________________ Branislav Jakovljević ___________________________ Neil McWilliam An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2018 Copyright by Ivana Bago 2018 Abstract The dissertation examines the work contemporary artists, curators, and scholars who have, in the last two decades, addressed urgent political and economic questions by revisiting the legacies of the Yugoslav twentieth century: multinationalism, socialist self-management, non- alignment, and -
Emir Kusturica and the No Smoking Orchestra
07-14 Kusturica:Gp 3.qxt 6/30/10 10:50 AM Page 1 Sponsor Welcome to Lincoln Center Festival 2010. We have searched the world to bring you some of the best the performing arts have to offer. Over the 18 days of this month’s Festival, we present 45 performances by artists and ensembles from 12 countries, and expand our venues to include a new site on Governors Island. The Lincoln Center Festival opened with the wel come back the Bill T. Jones/Arnie Zane North American premiere of Musashi , a lavish Dance Company. Bill has never been one to shy Noh-inspired drama. Yukio Ninagawa directed away from difficult subjects, and his Fondly Do the late Hisashi Inoue’s reworking and revital - We Hope… Fervently Do We Pray is an inspiring ization of a traditional Japanese tale based on and emotionally wrenching work. Dancer and the life of a real samurai warrior. choreographer Saburo Teshigawara, who made his Lincoln Center Festival debut in 2006, brings If we had a musical survivors series, it would back his laser-like focus for the compelling one- undoubtedly include three groups making man tour-de-force Miroku , and Pichet Klunchun Festival debuts this month: The Blind Boys of brings his brilliant company from Bangkok for Alabama, Orchestre Poly-Rythmo de Cotonou, Chui Chai . The title, meaning “transformation,” and Emir Kusturica and The No Smoking is as much a metaphor for Pichet’s own mod - Orchestra. The Blind Boys have inspired musi - ernization of Thai classical dance as it is a cians and music lovers of all tastes for decades, description of the Ramayana, an Indian epic on and over three nights we’ll celebrate their con - which it is based. -
The Political in Bosnia and Herzegovina
Hunger & Fury: The Political in Bosnia and Herzegovina Jasmin Mujanović A Dissertation Submitted to the Faculty of Graduate Studies in Partial Fulfilment of the Re- quirements for the Degree of Doctor of Philosophy Graduate Program in Political Science York University Toronto, ON May 2016 © Jasmin Mujanović, 2016 Abstract This text is an attempt to (re)approach the process of political and social transfor- mation in Bosnia-Herzegovina (BiH) over the past century and a half through the prism of popular agency. The primary research question of this dissertation asks why given nearly uni- formly catastrophic social indicators across virtually all socio-economic categories there are so few instances of overt popular dissatisfaction (e.g. protests and/or energetic voter turnout) with the prevailing political order in BiH? In addressing this question through an analysis that straddles political theory, international relations, and political economy literatures I focus on the role played by the specific local variant(s) of the nation-state form in essentially depoliti- cizing the majority of the population in this polity. My central argument is that rather than creating the conditions for rational-legal public administration and multi-party competition, the state in BiH has historically served to deny political agency to would-be citizens. The state in BiH has actively sought to eliminate civil society, in other words, and that therefore the de- fining political and social crises in contemporary BiH must be understood in the context of nearly two centuries of this particular and peculiar state (and nation) formation process. I ar- gue that the historic evolution of the BiH polity has been characterized by a form of elastic authoritarianism; the process of seemingly persistent ideological mutation contrasted by static political and economic patterns. -
Slav S223 Introduction to Balkan and South Slavic Cultures
Introduction to Balkan and South Slavic Cultures Instructor: Marina Antić Office hours: MW 10:30 - 11:30, GISB 4042 Contact: [email protected] This course is an interdisciplinary introduction to Balkan and South Slavic cultures, primarily those of former Yugoslavia (Bosnia and Herzegovina, Croatia, Kosovo, Macedonia, Montenegro, Serbia, and Slovenia). When most people think of this region today, images of the most recent wars, devastation, and chaos of postcommunist times come to mind. However, hidden behind these images is a region rich in history and culture: Viennese cafe culture meets the best of Southern Europe; Adriatic beaches rival those of Southern France; Western, Byzantine, and Islamic influences come together; while contemporary art, architecture, literature, film, and music are some of the best the world has to offer. We will explore the turbulent history of this region, the cross-cultural interactions, common traditions and tropes in literature, film, art, and music, as well as the shared cultural customs of everyday life. Assignments will include films, literature, animation, popular culture, music, culinary traditions, and much more. The course will conclude with a South Slavic festival - a celebration of all that we've learned and come to appreciate about this fascinating corner of the world. Learning objectives: At the end of this course, students will be able to: - recognize and evaluate major trends in Balkan and South Slavic cultures in the modern period - identify and discuss the historical and social context for a range -
CRACK DOWN Crack up – Crack Down 7Exhibition Guide U– Jazdowski We Live in Sour Times
U– jazdowski CRACK UP CRACK DOWN Crack Up – Crack Down 7Exhibition guide We live in sour times. But sour times require sweet-and-sour U– jazdowski 19/06 — 11/10/2020 methods. With the rise of populism around the globe (not exhibition to mention reductive and revanchist forms of identity poli- tics), there has been vigorous debate over who constitutes 2Crack Up – Crack Down ‘the people.’ For more than a millennium, satire has been Curators a particularly contested genre through which to explore such 1Slavs and Tatars questions, via varying degrees of serious invective or jocular Curatorial collaboration teasing. Is each joke, as George Orwell maintained, a tiny rev- 1Michał Grzegorzek olution? Or does laughter and satire deflate the pressures and Artists tension that could otherwise lead to political upheaval? 1Lawrence Abu Hamdan , Hamja Ahsan, Pablo Bronstein, Cevdet Erek, Arthur Fournier 4A many -headed creature, satire has been considered by and Raphael Koenig, Martine Gutierrez, Flaka Haliti, turns a form of popular philosophy, biting critique, and Stane Jagodič, Zhanna Kadyrova, Sachiko Kazama, a conservative genre given its moralising inclinations. It Dozie Kanu, KRIWET, Ella Kruglyanskaya, Tala Madani, Marlie Mul, Woody De Othello, Alenka Pirman thrives in periods of authoritarian rule: from the rich tradi- and KULA, Amanda Ross-Ho, Lin May Saeed, tion of Communist humour in Central and Eastern Europe, Top lista nadrealista Endre Tot Anna Uddenberg , , , to the many examples from the Middle East. Today, Martina Vacheva, Nicole Wermers, Giorgi Xaniashvili, XIYADIE, Honza Zamojski the return of strong-man rule in the West has witnessed a boom in comedy and satire. -
The Music of the National Liberation Struggle and Social Engagement
Partisan Resistance Today? The Music of the National Liberation Struggle and Social Engagement Ana Hofman and Martin Pogačar They kept trying to smother the songs of resistance, but they did not smother them, ever, nor the spark of resistance, which was constantly smouldering here and there and burst into a flame of rebellion. (Hercigonja and Karakljajić 1962) Any interpretation of the past can only be a dissonant and dynamic, always political and without doubt a performative process. This spurs the emergence of and competition between alternative interpretations of the past that may also be understood as acts of opposition and even resistance to dominant and/or competing narratives. This is particu- larly clear when references to particular historical periods or events are problematised in daily political struggles and media discourses: recourse to alternate histories or the search for alternative visions of the past can thus be regarded as an attempt to devise a potential con- ceptual framework within which an articulation of alternative politics 21 (visions of the future) is possible. This carries with it certain (political) connotations that in the post-Yugoslav context are powered by the his- torical experience and perpetual reinterpretations of the national lib- eration struggle and antifascist resistance, as well as the entire period of socialist Yugoslavia – these periods have notably defined Yugoslav and contemporary social, (pop) cultural and political milieux, and the responses to it. In this essay, we discuss the shifting meanings and ascribed in- terpretations of the historical experience of the Yugoslav antifascist resistance as expressed through music. In an attempt to encourage this reflection on the musical expressions of the partisan resistance from a historical perspective, we primarily analyse scholarly works and media discourses and combine historical, musicological and cultural studies approaches. -
A Conversation with Miško Šuvaković Spaceship Yugoslavia Crew Spaceship Yugoslavia / Arbeitsgruppe Raumschiff Jugoslawien
Raumschiff Jugoslawien Die Aufhebung der Zeit Spaceship Yugoslavia The The Suspension of Time Raumschiff Jugoslawien/ Spaceship Yugoslavia Naomi Hennig, Jovana Komnenić, Arman Kulašić, Dejan Marković, Arnela Mujkanović, Katja Sudec, Anita Šurkić Wir, die Generation deren Erinnerung an ein sozialistisches Jugoslawien in der Zeit unserer Kindheit angesiedelt ist, fragen uns, inwieweit wir überhaupt eine reale Möglichkeit haben, an eine kritische Referenz anzuknüpfen aus der wir konstruktive Erfahrungen herausziehen können. Auch stammen wir nicht aus einem geregelten System, d.h. unsere Erfahrungen sind unabänderlich an einen Transitionsprozess gekoppelt. Wir können uns weder nach hinten noch nach vorne teleportieren. Wir laufen auf der Erde (und in vielen Ländern), haben aber keinen festen Boden unter den Füßen. Unser gemeinsames Erbe, unsere kulturelle Anbindung ist eine aufgelöste Geschichte, ein schwebender Raum ... ein Raumschiff, auf den Namen Jugoslawien getauft. We ask ourselves—a generation whose childhood memories are anchored in a socialist Yugoslavia— if it is indeed possible to latch onto a critical nexus from which we may have constructive experiences. We did not grow up in an orderly system, causing our experiences to be irrevocably linked with a transition process. We cannot be transported backward or forward in time. We walk this earth in different countries, but have no fixed ground under our feet. Our common inheritence, our cultural connection, is a disintegrated history, a tentative space; it is a spaceship named Yugoslavia. -
YU-Tube – Musik Im Sozialistischen Jugoslawien | Norient.Com 27 Sep 2021 02:08:02
YU-Tube – Musik im sozialistischen Jugoslawien | norient.com 27 Sep 2021 02:08:02 YU-Tube – Musik im sozialistischen Jugoslawien by Jan Dutoit Das sozialistische Jugoslawien lebt auf YouTube mindestens musikalisch weiter. Das Internet-Videoportal bietet deshalb fast alles, um eine musikalische Reise durch den Staat, den es nicht mehr gibt, zu unternehmen. Eine Reise auf YouTube ist jedoch wie jede Reise: An einem Ort bleibt man zu lange, andere mag man nicht sehen, oft verirrt man sich, an gewissen Städten fährt man vorbei und liest erst später in Büchern von verpasster Schönheit. Die folgende Reise beginnt in den 50ern und endet um 1990. Bewusst schliesst sie gewisse Genres aus und hebt andere hervor. Die Jugomexikaner Mexikanische Musik war im Jugoslawien der 50er und 60er Jahre extrem in Mode. Es gab sogar eine eigene Genrebezeichnung: YU-Mex. Und auch die Sänger besassen einen Namen: Jugomexikaner (Jugomeksikanci). Manche https://norient.com/stories/jugoslawien Page 1 of 7 YU-Tube – Musik im sozialistischen Jugoslawien | norient.com 27 Sep 2021 02:08:02 Jugomexikaner, die auf Spanisch aber vorwiegend auf Serbokroatisch sangen, lebten ihre Leidenschaft vollkommen – man beachte neben der Musik auch ihre jugomexikanische Tracht: Es gibt mehrere Theorien, weshalb diese Liebe zur mexikanischen Musik entbrannte. Eine nachgewiesene Spur führt zum 1950 gedrehten Film Un día de vida (Jedan dan života, Ein Tag des Lebens) von Emilio Fernández. Über die tragische Geschichte zweier Freunde, der eine Offizier und der andere Revolutionär, weinte angeblich ganz Jugoslawien. Der stolze Revolutionär ist zum Tode verurteilt. Durch die Hilfe des Offiziers kann er aber noch einmal seine Mutter, die nichts von dem Schicksal ihres Sohnes weiss, an ihrem Geburtstag besuchen. -
““Death to Fascism Isn''t in the Catechism””: Legacies of Socialism in Croatian Popular Music After the Fall of Yugosla
Nar. umjet. 47/1, 2010, pp. 163183, C. Baker, Death to Facism isnt in the Catechism Original scienti c paper Received: Aug. 20, 2009 Accepted: Jan. 29, 2010 UDK 78.036 POP:39.01](497.5)"1990/..." 316.7:572:78](497.5)"1990/..." CATHERINE BAKER Modern Languages, University of Southampton, Southampton DEATH TO FASCISM ISNT IN THE CATECHISM: LEGACIES OF SOCIALISM IN CROATIAN POPULAR MUSIC AFTER THE FALL OF YUGOSLAVIA1 This paper discusses both textual and structural legacies of socialism in Croatian popular music since the collapse of socialism and Yugoslavia. Yugoslav socialism struggled to reconcile socialist consciousness and capitalist consumerism, forcing the producers of popular culture to make sense of the political eld that surrounded them and put ideology into practice. The structural conditions of cultural produc- tion under socialism, the use of socialist iconography and memory as resources in post-socialist popular music and the negation of the socialist experience by patriotic musicians re ect three layers of socialist legacy in contemporary Croatian popular culture. Key words: socialism, postsocialism, popular culture, popular music, Croatia, memory It might seem thankless to seek legacies of socialism in Croatian popular music, given how rmly Croatias political culture during its establishment as a sover- eign state was based on rejecting socialism. Yet Croatian independence did not signal a total break with the past even though 1990s public discourse required exactly that: people who belonged to domestic commercial popular cultures in- stitutions, audiences and markets were still remembering life in a larger spatial entity and a socialist socio-political system although they were sometimes called upon to perform a clean rupture with their past.