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12. Generalna Konferencija ICOM-A Održana Je U Mexicu Od 25. Listopada Do 4. Studenog 1980. Predsjednik ICOM-A Je Hubert Landais, Direktor Zajednice Francuskih Muzeja
12. Generalna konferencija ICOM-a održana je u Mexicu od 25. listopada do 4. studenog 1980. Predsjednik ICOM-a je Hubert Landais, direktor zajednice francuskih muzeja. ZAPISNIK seje skupščine JNK ICOM-a, dne 4. 11. 1981 od 10. uri v Klubu delegatov, Puharjeva 7, Ljubljana. P r i s o t n i : SR Hrvaška: Antun Bauer, Stanko Staničić, Vinko Štrkalj, Ljiljana Ni- kolajević, Želimir Koščević, Ivanka Bakrać, Katica Bene, Mario Petrić, Sanja Lazarević, Tomislav Šola SR Slovenija: Sergej Vrišer, Marjan Vidmar, Anica Cevc, Ksenija Roz- man, Vesna Bučič. Opravičeno odsotni: Grozdana Tomšič, Vladimir Popović, Dušan Kojović, Izet Rizvanbego- vić, Nada Križić, Anika Skovran, Ivo Maroević, Mihajlo Vučković. Tov. Vidmar otvori sejo in predlaga naslednji dnevni red: 1. Potrditev zapisnika zadnje seje 2. Delovno in finančno poročilo 95 3. Razrešnica predsednika JNK ICOM-a in članov Izvršnega odbora 4. Volitve novega predsednika JNK ICOM-a in Izvršnega odbora 5. Program dela za leto 1982 6. Razno. Ad 1. K zapisniku zadnje seje ni bilo pripomb in je bil soglasno potrjen. Ad. 2. Delovno poročilo, ki ga je podal tov. Vidmar je naslednje: problemi v JNK ICOM-a so enaki vsa leta. Predvsem je to informacija o članstvu v ICOM-u in plačevanje kotizacije. Ker morajo plačevati kotizacijo elani sami direktno v Pariz, potem pa nam tega ne javijo, jim ne moremo po- slati markic za tekoče leto. Problem je tudi menjavanje ljudi v muzejih, o čemer zopet ne dobimo obvestila. Odnosi s sekretariatom v Parizu so dobri in dobivamo vse potrebne materiale. Generalne konference v Mehiki so se udeležili: dva tovariša iz Hrvaške, tov. -
Co-Produced with the Black Film Institute of the University of the District of Columbia the Vision
Co-produced with the Black Film Institute of the University of the District of Columbia the vision. the voice. From LA to London and Martinique to Mali. We bring you the world ofBlack film. Ifyou're concerned about Black images in commercial film and tele vision, you already know that Hollywood does not reflect the multi- cultural nature 'ofcontemporary society. You know thatwhen Blacks are not absent they are confined to predictable, one-dimensional roles. You may argue that movies and television shape our reality or that they simply reflect that reality. In any case, no one can deny the need to take a closer look atwhat is COIning out of this powerful medium. Black Film Review is the forum you've been looking for. Four times a year, we bringyou film criticiSIn froIn a Black perspective. We look behind the surface and challenge ordinary assurnptiorls about the Black image. We feature actors all.d actresses th t go agaul.st the graill., all.d we fill you Ul. Oll. the rich history ofBlacks Ul. Arnericall. filrnrnakul.g - a history thatgoes back to 19101 And, Black Film Review is the only magazine that bringsyou news, reviews and in-deptll interviews frOtn tlle tnost vibrant tnovetnent in contelllporary film. You know about Spike Lee butwIlat about EuzIlan Palcy or lsaacJulien? Souletnayne Cisse or CIl.arles Burnette? Tllrougll out tIle African cliaspora, Black fi1rnInakers are giving us alternatives to tlle static itnages tIlat are proeluceel in Hollywood anel giving birtll to a wIlole new cinetna...be tIlere! Interview:- ----------- --- - - - - - - 4 VDL.G NO.2 by Pat Aufderheide Malian filmmaker Cheikh Oumar Sissoko discusses his latest film, Finzan, aself conscious experiment in storytelling 2 2 E e Street, NW as ing on, DC 20006 MO· BETTER BLUES 2 2 466-2753 The Music 6 o by Eugene Holley, Jr. -
The Lost & Found Children of Abraham in Africa and The
SANKORE' Institute of Islamic - African Studies International The Lost & Found Children of Abraham In Africa and the American Diaspora The Saga of the Turudbe’ Fulbe’ & Their Historical Continuity Through Identity Construction in the Quest for Self-Determination by Abu Alfa Umar MUHAMMAD SHAREEF bin Farid 0 Copyright/2004- Muhammad Shareef SANKORE' Institute of Islamic - African Studies International www.sankore.org/www,siiasi.org All rights reserved Cover design and all maps and illustrations done by Muhammad Shareef 1 SANKORE' Institute of Islamic - African Studies International www.sankore.org/ www.siiasi.org ﺑِ ﺴْ ﻢِ اﻟﻠﱠﻪِ ا ﻟ ﺮﱠ ﺣْ ﻤَ ﻦِ ا ﻟ ﺮّ ﺣِ ﻴ ﻢِ وَﺻَﻠّﻰ اﻟﻠّﻪُ ﻋَﻠَﻲ ﺳَﻴﱢﺪِﻧَﺎ ﻣُ ﺤَ ﻤﱠ ﺪٍ وﻋَﻠَﻰ ﺁ ﻟِ ﻪِ وَ ﺻَ ﺤْ ﺒِ ﻪِ وَ ﺳَ ﻠﱠ ﻢَ ﺗَ ﺴْ ﻠِ ﻴ ﻤ ﺎً The Turudbe’ Fulbe’: the Lost Children of Abraham The Persistence of Historical Continuity Through Identity Construction in the Quest for Self-Determination 1. Abstract 2. Introduction 3. The Origin of the Turudbe’ Fulbe’ 4. Social Stratification of the Turudbe’ Fulbe’ 5. The Turudbe’ and the Diffusion of Islam in Western Bilad’’s-Sudan 6. Uthman Dan Fuduye’ and the Persistence of Turudbe’ Historical Consciousness 7. The Asabiya (Solidarity) of the Turudbe’ and the Philosophy of History 8. The Persistence of Turudbe’ Identity Construct in the Diaspora 9. The ‘Lost and Found’ Turudbe’ Fulbe Children of Abraham: The Ordeal of Slavery and the Promise of Redemption 10. Conclusion 11. Appendix 1 The `Ida`u an-Nusuukh of Abdullahi Dan Fuduye’ 12. Appendix 2 The Kitaab an-Nasab of Abdullahi Dan Fuduye’ 13. -
Jewish Communities in the Political and Legal Systems of Post-Yugoslav Countries
TRAMES, 2017, 21(71/66), 3, 251–271 JEWISH COMMUNITIES IN THE POLITICAL AND LEGAL SYSTEMS OF POST-YUGOSLAV COUNTRIES Boris Vukićević University of Montenegro Abstract. After the dissolution of Yugoslavia, the Jewish community within Yugoslavia was also split up, and now various Jewish communities exist in the seven post-Yugoslav countries. Although all of these communities are relatively small, their size, influence, and activity vary. The political and legal status of Jewish communities, normatively speaking, differs across the former Yugoslav republics. Sometimes Jews or Jewish communities are mentioned in constitutions, signed agreements with governments, or are recognized in laws that regulate religious communities. Despite normative differences, they share most of the same problems – a slow process of return of property, diminishing numbers due to emigra- tion and assimilation, and, although on a much lower scale than in many other countries, creeping anti-Semitism. They also share the same opportunities – a push for more minority rights as part of ‘Europeanization’ and the perception of Jewish communities as a link to influential investors and politicians from the Jewish diaspora and Israel. Keywords: Jewish communities, minority rights, post-communism, former Yugoslavia DOI: https://doi.org/10.3176/tr.2017.3.04 1. Introduction In 1948, the first postwar census in Yugoslavia counted 6,538 people of Jewish nationality, although many Jews identified as other nationalities (e.g. Croat, Serb) in the census while identifying religiously as Jewish, as seen by the fact that Jewish municipalities (or communities) across Yugoslavia had 11,934 members (Boeckh 2006:427). The number of Jews in Yugoslavia decreased in the following years after the foundation of the State of Israel. -
Introduction
Notes Introduction 1. Gellner differentiates nations from states and holds that both can emerge independent of each other. See Gellner, E. 2008. Nations and Nationalism. New York: Cornell University Press. 2. During the inter-war period and war years documentary was used for propa- gandist purposes to shape favourable public opinion towards the war. Leni Riefenstahl’s spectacular representations of Germany around the time of the Nazi ascendance to power, and Britain’s charged propaganda documentaries during the war both come to mind here. Propagandist documentary has also been mobilized to celebrate national development and planning pro- grammes, for example, Dziga Vertov’s dynamic representations of the Soviet Union’s five-year plans through his kino-pravda series and other full-length documentaries. The vast body of investigative, activist and exposé documen- taries has questioned nations, their institutions and ideological discourses. 3. Corner, J. 1996. The Art of Record: A Critical Introduction to Documentary. New York: Manchester University Press. 4. I take my cue here from Noel Carroll who, while discussing objectivity in relation to the non-fiction film, argues that documentary debate has been marred by con- fusions in the use of language that conflate objectivity with truth (Carroll 1983: 14). While I agree with Carroll that lack of objectivity does not necessarily mean bias, as a practitioner I am inclined to hold documentary making and reception as subjective experiences exercising subjects’, makers’ and the audiences’ ideo- logical stances, knowledge systems and even aesthetic preferences. 5. Governmental and semi-governmental funding bodies such as Prasar Bharati (Broadcasting Corporation of India), Public Service Broadcasting Trust and the Indian Foundation for the Arts offer financial support for documentary makers and Indian filmmakers have also secured funding from international agencies such as the European Union’s cultural funds. -
Collecting the World
Large print text Collecting the World Please do not remove from this display Collecting the World Founded in 1753, the British Museum opened its doors to visitors in 1759. The Museum tells the story of human cultural achievement through a collection of collections. This room celebrates some of the collectors who, in different ways, have shaped the Museum over four centuries, along with individuals and organisations who continue to shape its future. The adjoining galleries also explore aspects of collecting. Room 1: Enlightenment tells the story of how, in the early Museum, objects and knowledge were gathered and classified. Room 2a: The Waddesdon Bequest, displays the collection of Renaissance and Baroque masterpieces left to the British Museum by Baron Ferdinand Rothschild MP at his death in 1898. Gallery plan 2 Expanding Horizons Room 1 Enlightenment Bequest Waddesdon The Room 2a 1 3 The Age Changing of Curiosity Continuity 4 Today and Tomorrow Grenville shop 4 Collecting the World page Section 1 6 The Age of Curiosity, 18th century Section 2 2 5 Expanding Horizons, 19th century Section 3 80 Changing Continuity, 20th century Section 4 110 Today and Tomorrow, 21st century Portraits at balcony level 156 5 Section 1 The Age of Curiosity, 18th century Gallery plan 2 Expanding Horizons 1 3 The Age Changing of Curiosity Continuity 4 Today and Tomorrow 6 18th century The Age of Curiosity The Age of Curiosity The British Museum was founded in 1753 as a place of recreation ‘for all studious and curious persons’. Its founding collection belonged to the physician Sir Hans Sloane (1660–1753). -
Electronic Media ' ' ^ ^ Unit-6 Film Studies 6.2 INTRODUCTION
UNIT 6: FILM STUDIES UNIT STRUCTURE 6.1: Learning objectives 6.2: Introduction 6.3: Film as a mass medium 6.3.1: Characteristics of film 6.3.2: Audience 6.3.3: Impact of film on audience 6.3.4: Film as an industry 6.3.5: Art and Commercial movie 6.3.6: Concept of film appreciation 6.4: Film in India 6.4.1: Regional film 6.4.2: Assamese film 6.4.3: A few important film makers of India 6.5: Central Board of Film Certification 6.6: Concept of documentaries 6.7: Let us sum up 6.8: Further readings 6.9: Answers to check your progress 6.10: Possible questions 6.1: LEARNING OBJECTIVES After going through this unit you will be able to • define film as a mass media and its various characteristics • analyze the impact of film on audience and their importance in film making • describe the history of Indian film • describe the history of Assamese film • differentiate between art film and popular film • define the concept of documentary Electronic Media ' ' ^ ^ Unit-6 Film Studies 6.2 INTRODUCTION After having discussed the new media and its other related aspects in the previous units, we will now discuss in this unit another very significant mass media in existence today. Being one of the oldest media of mass communication the importance of film can not be overemphasized. Hence, we will deal with this important media in this unit. The cinema, one of the marvels of the modern world, can be said to have come of age. -
Adresar Etno - Muzeologa Jugoslavije Informatica Museologica Directory of Ethno - Museologists of 4/1978
ADRESAR ETNO - MUZEOLOGA JUGOSLAVIJE INFORMATICA MUSEOLOGICA DIRECTORY OF ETHNO - MUSEOLOGISTS OF 4/1978. YUGOSLAVIA YU ISSN 0350-2325 Sakupio i priredio* : Mr Tibor Sekelj Collected and Edited by* : M.A. Tibor Sekelj UVOD Kad je na Generalnoj konferenciji Medjunarodnoga komiteta za etno- grafske muzeje - ICME, u sklopu ICOM-a, u Randersu /Belgija/ 1974. godine ponovo pokrenuto pitanje izdavanja medjunarodnog adresara etno-muzeologa, kao jedini član toga Komiteta iz Jugoslavije pre- uzeo sam na sebe zadatak da osiguram dio adresara koji se odnosi na našu zemlju. Iako sam predvidio teškoće u ostvarenju toga zadatka, smatrao sam da njegova vrijednost za radnike u etno-muzeološkoj struci opravda- va uloženi trud. Deseci tisuća etno-muzeologa - etnologa koji rade u muzeju i muzej- skih radnika čija je glavna preokupacija etnologija i l i etnografi- ja - razasutih u svijetu, u obavljanju svoga posla, u traženju rje- šenja za etnološke i za muzeološke probleme, i l i nalaze rješenja, i l i cijelog života uzaludno tragaju za. njima. I u jednom i u dru- gom slučaju veoma je korisno za nauku i za etno-muzeološku struku medjusobno povezivanje svih koji rade na istoj i l i srodnoj proble- matici. A tome prethodi upoznavanje bibliografije, nabavljanje i konzultiranje već objavljenih radova. * U suradnji sa ICME-om - Medjunarodnim komitetom za etnografske muzeje ICOM-a * In cooperation with ICME - International Committee for Museums of Ethnography 1 Takva medjunarodna suradnja skraćuje puteve i ubrzava vrijeme do traženih rezultata. To u istoj, ako ne i u većoj mjeri, vrijedi i u našoj zemlji. Da bi do takve suradnje moglo doći na najširem pla- nu, potrebno je prije svega sastaviti, urediti i izdati adresar, koji će biti ne samo vizitkarta kolegica i kolega, već i prikaz njihovih preokupacija i njihova rada. -
Catalogue– August #2: Yugoslav Book Design Part 2
CATALOGUE– AUGUST #2: YUGOSLAV BOOK DESIGN PART 2 www.pahor.de Antiquariat Daša Pahor GbR Alexander Johnson, Ph.D. & Daša Pahor, Ph.D. Jakob-Klar-Str. 12 Germany - 80796 München +49 89 27 37 23 52 www.pahor.de [email protected] ANSWERS TO THE MOST COMMONLY ASKED QUESTIONS - We offer worldwide free shipping per FedEx. - We cover the customs fees, provide all the paperwork and deal with the customs. We send packages outside the EU daily and we are accustomed to managing issues of exporting and importing. - For all the manuscripts ordered from outside the EU, please give us approximately 10 days to deal with the additional paperwork. - We offer a 20% institutional discount. - In case you spot an item that you like, but the end of the fiscal year is approaching, please do not hesitate to ask. We would be glad to put any objects from our offer aside for you and deal with matters at your convenience. - We offer original research and high-resolution scans of our maps, books and prints, which we are happy to forward to clients and academic researchers on request. - For any questions, please e-mail us at: [email protected]. In 2019 we would like to invite you to our stand at the Amsterdam Antiquarian Book Fair, on October 5th-6th, and at the ASEEES Annual Convention in San Francisco, from November 23rd to 26th. In early 2020, we will be exhibiting again at the New York Antiquarian Book Fair and Firsts London’s Rare Book Fair. Yours truly, Daša & Alex Yugoslavia's Leading Artists Design & Illustrate Popular Editions (From our catalogue Yugoslav Book Design, #1) The illustration and cover design of popular editions of books was one of the most prominent and culturally significant forms of artistic expression in Yugoslavia. -
A Study of Ethnographic Collecting and Display
Material Cultures of Imperialism in Eastern Africa, c.1870–1920: A Study of Ethnographic Collecting and Display Alison Bennett UCL PhD History 1 This thesis is submitted for the degree of PhD. I, Alison Bennett, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract This dissertation examines the entangled relationship between ethnographic collecting and early British imperial expansion in present-day Uganda and neighbouring parts of Kenya. Between 1870 and 1920, thousands of objects from this region were accessioned by British museums and their colonial counterparts in eastern Africa. However, historians and curators alike know remarkably little about the contexts of their acquisition. Histories of the colonial period in Uganda and Kenya have rarely engaged with these crucial material sources, relying instead upon methodologies that privilege the textual and oral archive. Meanwhile in museum histories and displays, objects from eastern Africa are eclipsed by material culture from western Africa and Egypt. By combining close object analysis with archival and visual material, and by drawing on theoretical approaches to material culture from anthropology, this thesis reassembles the rich and complex histories of this important material archive for the first time. In doing so, it reveals the significant material underpinnings of both imperial and counter-imperial activity in the region. Focusing on a variety of different collectors ranging from colonial officials to missionaries, local leaders and museums, it shows that collecting was a pivotal tool for mediating different encounters, relationships, identities, and power structures within colonial society. -
Original Paper Nollywood: Indigenous Culture, Interculturality, and The
Communication, Society and Media ISSN 2576-5388 (Print) ISSN 2576-5396 (Online) Vol. 3, No. 1, 2020 www.scholink.org/ojs/index.php/csm Original Paper Nollywood: Indigenous Culture, Interculturality, and the Transplantation of American Popular Culture onto Postcolonial Nigerian Film and Screen Samba DIOP1* 1 Researcher, Center for Multilingualism in Society across the Lifespan, Faculty of Humanities, University of Oslo, Oslo, Norway * Samba DIOP, Researcher, Center for Multilingualism in Society across the Lifespan, Faculty of Humanities, University of Oslo, Oslo, Norway Received: October 30, 2019 Accepted: November 12, 2019 Online Published: December 12, 2019 doi:10.22158/csm.v3n1p12 URL: http://dx.doi.org/10.22158/csm.v3n1p12 Abstract Nigeria, the Giant of Africa, has three big tribes: Yoruba, Igbo, and Hausa. It was a British colony which was amalgamated in 1914. The country became independent in 1962 and was right away bedeviled by military coups d’états and a bloody civil war (1967-1970). In 1999, the country experienced democratic dispensation. In the 1990s, the Nollywood nascent movie industry—following in the footpath of Hollywood and Bollywood—flourished. The movie industry grew thanks to four factors: Rapid urbanization; the hand-held video camera; the advent of satellite TV; and, the overseas migrations of Nigerians. Local languages are used in these films; however, English is the most prominent, along with Nigerian pidgin broken English. Many themes are treated in these films: tradition and customs, religion, witchcraft and sorcery, satire, urban and rural lives, wealth acquisition, consumerism, etc. I discuss the ways in which American popular culture is adopted in Nigeria and recreated on screen. -
Nation, Fantasy, and Mimicry: Elements of Political Resistance in Postcolonial Indian Cinema
University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA Aparajita Sengupta University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sengupta, Aparajita, "NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA" (2011). University of Kentucky Doctoral Dissertations. 129. https://uknowledge.uky.edu/gradschool_diss/129 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DISSERTATION Aparajita Sengupta The Graduate School University of Kentucky 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA ABSTRACT OF DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By Aparajita Sengupta Lexington, Kentucky Director: Dr. Michel Trask, Professor of English Lexington, Kentucky 2011 Copyright© Aparajita Sengupta 2011 ABSTRACT OF DISSERTATION NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA In spite of the substantial amount of critical work that has been produced on Indian cinema in the last decade, misconceptions about Indian cinema still abound. Indian cinema is a subject about which conceptions are still muddy, even within prominent academic circles. The majority of the recent critical work on the subject endeavors to correct misconceptions, analyze cinematic norms and lay down the theoretical foundations for Indian cinema.