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Popular Music and Narratives of Identity in Croatia Since 1991
Popular music and narratives of identity in Croatia since 1991 Catherine Baker UCL I, Catherine Baker, 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 / the thesis. UMI Number: U592565 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592565 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 Abstract This thesis employs historical, literary and anthropological methods to show how narratives of identity have been expressed in Croatia since 1991 (when Croatia declared independence from Yugoslavia) through popular music and through talking about popular music. Since the beginning of the war in Croatia (1991-95) when the state media stimulated the production of popular music conveying appropriate narratives of national identity, Croatian popular music has been a site for the articulation of explicit national narratives of identity. The practice has continued into the present day, reflecting political and social change in Croatia (e.g. the growth of the war veterans lobby and protests against the Hague Tribunal). -
Trilogija Provincija Kniga
TOME AXIEVSKI & STANKO PAVLESKI STANKO PAVLESKI & TOME ADZIEVSKI ©Museum of Contemporary Art - Skopje Katalogot e realiziran so finansiska pomo{ na Ministerstvoto za kultura na Republika Makedonija TOME AXIEVSKI & STANKO PAVLESKI Kino Napredok 3 Trilogija - Provincija STANKO PAVLESKI & TOME ADZIEVSKI Napredok Cinema 3 Trilogy - Province Muzej na sovremenata umetnost – Skopje Museum of Contemporary Art – Skopje, Republic of Macedonia Izlo`ben prostor: Multikulturen centar – Mala Stanica, Skopje Exhibition Hall: Multimedia Centre – Mala Stanica, Skopje 28.02 – 13.03 2006 Proektot e posveten na onie intelektualci koi ne sakaat da go napu{tat svojot roden grad. Sodr`ina / Contents Sowa Abaxieva, Anti-predgovor; Izmisleno intervju so Tome Axievski i Stanko Pavleski ...10 Sonja Abadzieva, Anti-Preface; Fictitious Interview with Tome Adzievski and Stanko Pavleski ...25 Marika Bo~varova Plavevska, Prilog: Druga mo`na likovna kritika (za nastapot vo Debar) ...38 Marika Bocvarova Plavevska, Supplement: Another Possible Art Critique (the exhibition in Debar) ...38 Lazo Plavevski, Zamorenite (vo) fri`ideri ...42 Lazo Plavevski, The Tired (in) Refrigerators ...42 Liljana Nedelkovska, Za kritikata na kritikata na Stanko Pavleski ...46 Liljana Nedelkovska, Critique on the Critique of Stanko Pavleski ...46 Biografija / Bibliografija za Tome Axievski ...48 Biography / Bibliography for Tome Adzievski ...48 Biografija / Bibliografija za Stanko Pavleski ...52 Biography / Bibliography for Stanko Pavleski ...52 Proektot Kino Napredok 3 Trilogija – Provincija -
Riblja Čorba
Emmerich Kelih Ladislav Fuks (Graz) Linguistic analysis of YU-Rock: Riblja Čorba • Institut für Slawistik, Universität Graz (Austria) • http://www-gewi.uni-graz.at/quanta/ [Graz Project on Quantitative Text-Analysis] • http://www.uni-graz.at/emmerich.kelih/ [[email protected]] Questions and goals 1. Why Riblja čorba? • Band info, album issues, greatest hits, Bora Đorđević as a poet 2. Which linguostylistic features make Riblja čorba so popular yet unique? • phonetics and phonology • morphology • lexicology and semantics 3. Application potential of those features in learning serbian as a foreign language • frequent usage of certain grammar and lexical structures • intentional language errors • rich functional framework 4. Which language type(s) are we dealing with? (quantitative approach) • substandard (slang, jargon, dialect) • oral colloquial language • standard language • poetry language Sergej Esenin of YU-Rock ? • One of the most popular Serbian rock bands in EX-Yu, based on „strong“ texts of lead member Borisav Đorđević a.k.a. Bora Čorba • Life confession of a poet, soldier, deceived lover, rebel, misanthrope, patriot, cynic, social and politics critic, religious skeptic • strong, creative and deep connection between attitudes, ideas and topics on one side, and language means used to express them, on the other • 30 years publishing continuum-texts of Riblja čorba reflect not only authors personal issues (loneliness, depression, irony, bitterness, despise, exile, rage...) but also turbulences in EX-Yu, Serbia, Balkan (war, -
RIJECI I STVARI Ovdje Ne Mijenja Stvarno Tijelo Niti Bestijar Imaginarnog; Ona Se Ne Krije U Nekoj Neobičnoj Moći
MIŠEL FUKO ' RIJEČI I STVARI ARHEOLOGIJA HUMANISTIČKIH NAUKA i NO LI Т • BEOGRAD 1971 Poznati francuski filosof lan Val govorio je, 1962. go dine, da u naše vreme postoje tri filosofije koje se bore za prevlast: dijalektički materijalizam, zatim dosta loše defi- nisana kontinentalna filosofija u svojim raznim oblicima: fenomenologija ili egzistencijalizam, i najzad neopozitivi- zam, svejedno kako ga zvali. Da je govorio dve-tri godine kasnije, Val ne bi mogao prevideti strukturalizam, a ni kritike strukturalizma upućene » kontinentalnoj filosofiji.« Reč nije ovde, naravno, o strukturalizmu uopšte, ako tako što uopšte i postoji, — . o strukturalizmu ženevske škole sa Pijazeom na čelu, ili o strukturalizmu u izvesnim egzakt nim naukama, gde ga je oduvek bilo — već samo o pariš kom strukturalizmu grupe teoretičara iz raznih oblasti an tropologije, koji se danas, uostalom, uglavnom odriču tog naziva, jer je pojam vrlo brzo postao neodređen i izlizan snobizmom. Mišel Fuko čak tvrdi da su etiketu prišili struk turalistima oni koji to nisu. Pariški strukturalizam je pokret na vrlo širokom fron tu. Ili je to bar doskora bio. Obuhvatao je oblasti misli i nauke o čoveku, od marksizma i etnologije do poezije1, a neki od njegovih predstavnika, Levi Stros, na primer, ima ju za sobom opus enciklopedijskog obima. Ovaj napis ne pretenduje na sveobuhvatnost, daleko od toga. Biće reči 1 Kao da je literatura osobito zahvalna za primenu najrazličitijih metoda. Neopozitivizam je preobrazio anglo-saksonsku kritiku; fenomeno logija i egzistencijalizam su inspirisali francusku i nemačku kritiku. Danas je to slučaj sa strukturalizmom (koji se oslanja na ruski for malizam). Obnavlja se i marksistička kritika, koja, рге svega, prožima svojom problematikom neke druge. -
The “Jaranization” of Yugoslav Rock and Roll Before 1974: Use of Folklore in the Early Stages of the Development of the Yugoslav Rock Scene
The “Jaranization” of Yugoslav Rock and Roll before 1974: Use of Folklore in the Early Stages of the Development of the Yugoslav Rock Scene Irena Šentevska I have often claimed thatzabavna [entertainment] and narodna [traditional/folk] would become one, and that this would simply be- come Yugoslav music. Milovan “Minimaks” Ilić (cited in Ivačković 2013: 110) INTRODUCTION Debates on the social position and (political) influence of the rock scene in socialist Yugoslavia have put forward various (and often con- flicting) interpretations of the use and role of folkloric motifs in the creative output of Yugoslav rock musicians. In spite of the consider- able differences between the decades, in the late 1960s and throughout the 1970s some rock bands (e.g., YU grupa, Korni grupa, S vremena na vreme, Smak, Bijelo dugme, Leb i sol, etc.) used folkloric elements 167 in spontaneous attempts to attract audiences with music that more or less already had a strong presence in their lives. These groups sought to expand their audience base to segments of the youth population that favoured folk music idioms. This strategy was also helpful in dealing with the music executives at the broadcasters and record companies. At the same time, such “nostrification” was an asset in overcoming the ideologically-driven resistance to rock and roll, which was often perceived from different sides in the (socialist) society as an alien and decadent form of Western popular culture. In the socialist context, rock music incorporating folkloric ele- ments assumed two basic roles: 1) the “domestication” of rock and roll as a cluster of imported Western music idioms, lifestyles and value sys- tems, largely in disharmony with the social order in the Eastern Bloc countries (not excluding Yugoslavia); 2) the mediation of the national identities, where such music could perform both “centrifugal” and “centripetal” functions in asserting either unitary or separate ethnic identities, respectively. -
Masovna Ubistva Civila U Sarajevu Za Vrijeme Opsade 1992-1995
MERISA KAROVIĆ - BABIĆ MASOVNA UBISTVA CIVILA U SARAJEVU ZA VRIJEME OPSADE 1992-1995. Sarajevo, 2014. IZDAVAČ: Institut za istraživanje zločina protiv čovječnosti i međunarodnog prava Univerziteta u Sarajevu ZA IZDAVAČA: Dr. Rasim Muratović UREDNIK: Mr. sc. Elmedina Duranović RECENZENTI: Prof. dr. Husnija Kamberović Prof. dr. Smail Čekić Prof. dr. Norman Cigar Mr. sc. Mesud Šadinlija LEKTOR: Sadžida Džuvić DTP: Dipl. ing. Sead Muhić KORICE: Marko Gačnik ŠTAMPA: Štamparija Amos Graf d.o.o TIRAŽ: 1000 ------------------------------------------------------------------------------------- CIP - Katalogizacija u publikaciji Nacionalna i univerzitetska biblioteka Bosne i Hercegovine, Sarajevo 355.1-058.65(497.6 Sarajevo)”1992/1995” 355.012(497.6 Sarajevo)”1992/1995” KAROVIĆ-Babić, Merisa Masovna ubistva civila u Sarajevu za vrijeme opsade 1992-1995 / Merisa Karović-Babić. - Sarajevo : Institut za istraživanje zločina protiv čovječnosti i međunarodnog prava Univerziteta, 2014. - 345 str. : ilustr. ; 24 cm Bibliografija: str. 273-295 i uz tekst ISBN 978-9958-028-00-7 I. Babić, Merisa Karović- vidi Karović-Babić, Merisa COBISS.BH-ID 2178432 ------------------------------------------------------------------------------------- MERISA KAROVIĆ - BABIĆ MASOVNA UBISTVA CIVILA U SARAJEVU ZA VRIJEME OPSADE 1992-1995. Za sve žrtve barbarske opsade Sarajeva i sjećanje na njih... Sadržaj PREDGOVOR ..................................................................................13 1. UVOD.............................................................................................15 -
Univerza V Ljubljani Fakulteta Za Družbene Vede
UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Kandidatka: Tina GAMS Mentor: doc. dr. Peter STANKOVIČ Somentor: doc. dr. Samo KROPIVNIK ˝IGRA ROKENROL CELA JUGOSLAVIJA˝ VREDNOTE V BESEDILIH POPULARNE GLASBE V SFRJ DIPLOMSKO DELO Ljubljana, 2003 1. PREDGOVOR ...........................................................................................................................3 2. SNUBCI GLASBE .....................................................................................................................8 2.1. VSI SNUBCI GLASBE ....................................................................................................8 2.2. KULTURNE ŠTUDIJE.....................................................................................................9 2.3. SEMIOTIKA..................................................................................................................11 3. ANALIZA VSEBINE BESEDIL IN ENOTE ANALIZE ...........................................................13 4. POPULARNA KULTURA IN GLASBA ...................................................................................18 4.1. POMEMBNOST POPULARNE GLASBE.......................................................................18 4.2. PROBLEM POPULARNEGA .........................................................................................19 4.2.1. POPULARNO JE VŠEČNO .............................................................................................19 4.2.2. POPULARNO JE KOMERCIALNO .................................................................................20 -
45 GRAVE School's out 12” (Enigma USA) – 30 801 (Featuring Phil
45 GRAVE School’s out 12” (Enigma USA) – 30 801 (featuring Phil Manzenera, Eno…) Live (Polydor ITA) – 35 ABACUS Archives – news from the 80ies – 20 ABATON Same (Sirius GRE) – 40 ABBOT Between our past and future lives Black Vinyl – 20 ABBOT Between our past and future lives Blue Vinyl Limited Edition - 25 ABIOGENESI Il giocoscuro (Black Widow ITA – with poster) – 100 ABIOGENESI Impetus insectorum – orange vinyl – 20 ABIOGENESI Same (Black Widow ITA) - 100 ABYSMAL GRIEF / EPITAPH Split 12” - 15 ABYSMAL GRIEF Feretri – 20 ABYSMAL GRIEF Misfortune – 20 ABYSMAL GRIEF Misfortune – white vinyl ltd edit. – 23 ABYSMAL GRIEF Mors eleison - 70 AC/DC The ultimate live rarities 1981 – 1988 Limited Edition 333 numbered copies – 30 AC/DC High Voltage RE Red Vinyl - 25 AC/DC One last ride on the highway to hell 2LP – newcastle the mayfair 25/01/1980 colored vinyls – 45 AC/DC The ultimate live rarities 1981 – 1988 333 Numbered Copies – 30 ACEIUM Wicked metal – 15 ACHE De homine urbano (Philips FRA) – 90 ACHE De homine urbano RE – 20 ACHE Green man RE - 20 ACID MOTHER TEMPLE & THE MELTING PARAISO U.F.O. 41st century splendid man picture disc (Tumult USA) – 35 ACINTYA La citè des dieux oublies RE Musea – 25 ACQUA FRAGILE Same RE – 25 ADMIRAL SIR CLOUDESLEY SHOVELL Don’t hear it…fear it! (Rise Above) – 30 ADRIAN WAGNER Instincts (Charisma UK) – 35 ADVERTS – Singles Compilation (Get Back ITA) m/m - 20 ADVERTS The peel sessions (Strange Fruit UK) – 20 ADVERTS The singles compilation (Get Back ITA) - 20 AF URSIN De overkant – 50 AF URSIN Trois memoires discretes -
“Paint Me Black and Gold and Put Me in a Frame”: Turbofolk and Balkanist Discourse in (Post) Yugoslav Cultural Space
“Paint Me Black and Gold and Put Me in a Frame”: Turbofolk and Balkanist Discourse in (post) Yugoslav Cultural Space Rory Archer Submitted to Central European University, Nationalism Studies Programme Budapest, Hungary May 2009 In partial fulfilment of the requirements for the degree of Masters of Arts CEU eTD Collection Advisors Dr. Florian Bieber Dr. Mária Kovács i Acknowledgements I am very grateful for the help of my supervisors, Dr. Florian Bieber and Dr. Mária M. Kovács and the other faculty and staff at CEU for their assistance in the last academic year. The input of friends has been invaluable, particularly Zagrebaþki-Yugo-haljina-parti- urnesbes-show frequenters and fellow students who helped me enormously in accessing various sources and provided constructive critical feedback regarding many of the themes in this thesis. I am particularly grateful to Catherine Baker for sending me her PhD thesis and other published papers and to Marija Grujiü for providing me with her own work and for pointing me towards numerous other useful sources. The work of both of these authors provides a great amount of the foundations on which my analysis lies. I’m also very grateful to friends in Zagreb with whom I lived while writing this thesis who were great company over blagi nes, bijeli walter, lemonade and walnut based salads. CEU eTD Collection ii Table of Contents 1. Introduction................................................................................................................................. 1 2. Methodology and Literature Review -
Prilog Fizionomiji Jednog Slikara
2 crteži slike drawings paintings 3 4 5 Izdavač / Publisher Centar savremene umjetnosti Crne Gore Podgorica, jun 2008. Za izdavača / For the Publisher Milenko Damjanović Tekst / Text Ljiljana Zeković Sreto Bošnjak Bibliografija / Bibliography Marina Čelebić Prevod na engleski / Translation into English Darja Marija Vuletić Fotografija / Photo Lazar Pejović Filip Janković Grafičko oblikovanje / Design Ana Matić Lektor / Proofreading Miodrag Vuković Štampa / Print DPC Podgorica Tiraž / Circulation 1000 naslovna strana | cover page detalj | Mrtva priroda I | ulje na platnu | 70 x 90 cm | 2007. detail | Still Life I | oil on canvas | 70 x 90 cm | 2007 strana 2 | page 2 detalj | Cvijeće | ulje na platnu | 50 x 37 cm | 2005. detail | Flowers | oil on canvas | 50 x 37 cm | 2005 strana 4 | page 4 detalj | Cvijeće u čaši I | ulje na platnu | 36 x 30 cm | 2005. detail | Flowers in a Glass I | oil on canvas | 36 x 30 cm | 2005 strana 5 | page 5 detalj | Čaša sa cvijetom | ulje na platnu | 50 x 37 cm | 2000. detail | Glass with Flower | oil on canvas | 50 x 37 cm | 2000 strana 10 | page 10 detalj | Plava posuda i lubenica | ulje na platnu | 70 x 90 cm | 2007. detail | Blue Dish and Watermelon | oil on canvas | 70 x 90 cm | 2007 strana 11 | page 11 detalj | Cvijeće pored stola | ulje na platnu | 75 x 60 cm | 2007. detail | Flowers beside the Table | oil on canvas | 75 x 60 cm | 2007 6 FILIP JANKOVIĆ 7 SADRŽAJCONTENTS 12 Ljiljana Zeković Magične simfonije boje i svjetlosti 20 Ljiljana Zekovic Magical Symphonies of Colour and Light 24 Sreto Bošnjak Prilog fizionomiji jednog slikara 34 Sreto Bosnjak A Contribution to the Physiognomy of a Painter 8 SADRŽAJCONTENTS 39 CRTEŽI DRAWINGS AKVARELI WATERCOLOURS 81 SLIKE PAINTINGS 237 BIOGRAFIJA BIOGRAPHY 245 IZLOŽBE EXHIBITIONS 251 BIBLIOGRAFIJA BIBLIOGRAPHY 9 10 11 LJILJANA ZEKOVIĆ MAGIČNE SIMFONIJE BOJE I SVJETLOSTI 12 „Harmonija boje i forme mora se isključivo zasnivati na principu pravog dodira sa ljudskom dušom». -
40 Years of Riblja Čorba Live Press Release
For immediate release. An OnTourPresents.com presentation Riblja Čorba Present ’40th Anniversary Tour - Australia’ 2015 Australian Tour SOLD OUT in Melbourne & Sydney! Riblja Čorba AUSTRALIAN TOUR 2018 Riblja Čorba are set to return to Australia this November! In 2015, Riblja Čorba blew aussie audiences away with SOLD OUT shows during their Australian Tour, performing some of their biggest shows ever in Australia and this November will be even BIGGER! Riblja Čorba was formed in 1978 by vocalist Bora Đorđević, guitarist Rajko Kojić, bass guitarist Miša Aleksić and drummer Vicko Milatović. Their debut release, the single "Lutka sa naslovne strane" (1978), saw huge success and launched them to fame throughout the balkans. They were soon joined by guitarist Momčilo Bajagić "Bajaga", the new lineup releasing the album Kost u grlu (1979), which was a huge commercial and critical success. The book YU 100: The Best albums of Yugoslav pop and rock music, published in 1998, featured a record eight Riblja Čorba albums: Kost u grlu (No. 16), Mrtva priroda (No. 19), Pokvarena mašta i prljave strasti (No. 23), Istina (No. 43), Buvlja pijaca (No. 64), Večeras vas zabavljaju muzičari koji piju (No. 80), Osmi nervni slom (No. 83), and U ime naroda (No. 85) This year the current lineup of Riblja Čorba are celebrating 40 Years of domination in rock music. They’re scheduled to kick off these anniversary celebrations in USČE (Belgrade) in front of an expected 100,000 fans this August. Riblja Čorba are one of the best selling and most influential bands from the former Yugoslav rock scene and remain one of the top mainstream acts.