Jewish Communities in the Political and Legal Systems of Post-Yugoslav Countries
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Grad Zagreb Ured Gradonačelnika Gospođa Sandra Švaljek, Zamjenica Gradonačelnika Koja Obnaša Dužnost Gradonačelnika
Grad Zagreb Ured gradonačelnika Gospođa Sandra Švaljek, zamjenica gradonačelnika koja obnaša dužnost gradonačelnika Zagreb, 10. ožujak 2015. INICIJATIVA ZA SAMOSTALNI URED ZA KULTURU GRADA ZAGREBA Poštovana, U skladu s postignutim i iskazanim javnim interesom, podrţavamo inicijativu da Gradska skupština Grada Zagreba što hitnije donese odluku o osnivanju zasebnog Ureda za kulturu i njegovog odvajanja iz djelokruga obrazovanja i sporta. Kao poveznice izmeĊu tijela politiĉkoga odluĉivanja i podruĉja kulture, uredi za kulturu funkcioniraju samostalno u gotovo svim gradovima Europske unije, a prava je iznimka njihovo djelovanje u okviru drugih upravnih tijela gradske uprave. Zagreb kao metropola hrvatske kulture, njegovi umjetnici i ostali kulturni djelatnici, zasluţuju zaseban Ured za kulturu kao osnovni preduvjeta za bolje razvijanje i ostvarivanje kulturnih interesa Grada Zagreba. Uvjereni smo da je Ured za kulturu Grada Zagreba kljuĉni preduvjet za definiranje strategije kulturnoga razvoja Grada, nuţnu reformu, reorganizaciju, te neophodno potrebnu bolju koordinaciju na podruĉju kulture, te posljediĉno bogatija, struĉnija i u svakom pogledu (još) izvrsnija kulturna ostvarenja u glavnome gradu Republike Hrvatske. POTPISI - 1. Acija Alfirević, spisateljica i znanstvenica 2. Adela Golac – Rilović, operna pjevaĉica 3. Adi A. Imamović, filmskiredatelj 4. Adonis Dokuzović, glazbenik 5. Adrian Pezdirc, glumac 6. Agata Juniku, dr. sc., ADU 7. Aida Bukvić, redateljica i sveuĉilišna profesorica, ADU 8. Alan Bjelinski, dirigent 9. Alan Ĉerny, glazbenik 10. Aleksandar Ţiţović, keramiĉar 11. Aleksandra Janeva Imfeld, plesaĉ/koreograf 12. Aleksandra Mišić, plesna umjetnica 13. Alem Korkut, akademski kipar 14. Alen Islamović, glazbenik 15. Alfi Kabiljo, skladatelj 16. Alka Vuica, pjevaĉica 17. Amir Bukvić, dramski pisac i glumac 18. Amanda Prenkaj, glumica, GK Ţar ptica 19. -
Analiza Udžbenika Za Premet Glazbene Kulture U Prva Tri Razreda Osnovne Škole
Analiza udžbenika za premet Glazbene kulture u prva tri razreda osnovne škole Žarinac, Ivana Master's thesis / Diplomski rad 2017 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zagreb, Faculty of Teacher Education / Sveučilište u Zagrebu, Učiteljski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:147:890730 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-27 Repository / Repozitorij: University of Zagreb Faculty of Teacher Education - Digital repository SVEUČILIŠTE U ZAGREBU UČITELJSKI FAKULTET ODSJEK ZA UČITELJSKE STUDIJE Ivana Žarinac DIPLOMSKI RAD ANALIZA UDŽBENIKA ZA PREDMET GLAZBENA KULTURA U PRVA TRI RAZREDA OSNOVNE ŠKOLE Petrinja, listopad 2017. SVEUČILIŠTE U ZAGREBU UČITELJSKI FAKULTET ODSJEK ZA UČITELJSKE STUDIJE (Petrinja) PREDMET: Metodika glazbene kulture DIPLOMSKI RAD Ime i prezime pristupnika: Ivana Žarinac TEMA DIPLOMSKOG RADA: Analiza udžbenika za predmet Glazbena kultura u prva tri razreda osnovne škole MENTOR: dr. sc. Jelena Blašković, predavačica Petrinja, listopad 2017. 2 SADRŽAJ SADRŽAJ..................................................................................................................................3 Sažetak........................................................................................................................................8 Summary.....................................................................................................................................9 UVOD......................................................................................................................................10 -
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. -
Language Policy and Linguistic Reality in Former Yugoslavia and Its Successor States
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Tsukuba Repository Language Policy and Linguistic Reality in Former Yugoslavia and its Successor States 著者 POZGAJ HADZ Vesna journal or Inter Faculty publication title volume 5 page range 49-91 year 2014 URL http://doi.org/10.15068/00143222 Language Policy and Linguistic Reality in Former Yugoslavia and its Successor States Vesna POŽGAJ HADŽI Department of Slavistics Faculty of Arts University of Ljubljana Abstract Turbulent social and political circumstances in the Middle South Slavic language area caused the disintegration of Yugoslavia and the formation of new countries in the 1990s, and this of course was reflected in the demise of the prestigious Serbo-Croatian language and the emergence of new standard languages based on the Štokavian dialect (Bosnian, Croatian, Serbian and Montenegrin). The Yugoslav language policy advocated a polycentric model of linguistic unity that strived for equal representation of the languages of the peoples (Serbo-Croatian, Macedonian and Slovenian), ethnicities (ethnic minorities) and ethnic groups, as well as both scripts (Latin and Cyrillic). Serbo-Croatian, spoken by 73% of people in Yugoslavia, was divided into the eastern and the western variety and two standard language expressions: Bosnian and Montenegrin. One linguistic system had sociolinguistic subsystems or varieties which functioned and developed in different socio-political, historical, religious and other circumstances. With the disintegration of Yugoslavia, the aforementioned sociolinguistic subsystems became standard languages (one linguistic system brought forth four political languages). We will describe the linguistic circumstances of the newly formed countries after 1991 in Croatia, Serbia, Bosnia and Herzegovina, and Montenegro. -
Authenticity in Electronic Dance Music in Serbia at the Turn of the Centuries
The Other by Itself: Authenticity in electronic dance music in Serbia at the turn of the centuries Inaugural dissertation submitted to attain the academic degree of Dr phil., to Department 07 – History and Cultural Studies at Johannes Gutenberg University Mainz Irina Maksimović Belgrade Mainz 2016 Supervisor: Co-supervisor: Date of oral examination: May 10th 2017 Abstract Electronic dance music (shortly EDM) in Serbia was an authentic phenomenon of popular culture whose development went hand in hand with a socio-political situation in the country during the 1990s. After the disintegration of Yugoslavia in 1991 to the moment of the official end of communism in 2000, Serbia was experiencing turbulent situations. On one hand, it was one of the most difficult periods in contemporary history of the country. On the other – it was one of the most original. In that period, EDM officially made its entrance upon the stage of popular culture and began shaping the new scene. My explanation sheds light on the fact that a specific space and a particular time allow the authenticity of transposing a certain phenomenon from one context to another. Transposition of worldwide EDM culture in local environment in Serbia resulted in scene development during the 1990s, interesting DJ tracks and live performances. The other authenticity is the concept that led me to research. This concept is mostly inspired by the book “Death of the Image” by philosopher Milorad Belančić, who says that the image today is moved to the level of new screen and digital spaces. The other authenticity offers another interpretation of a work, or an event, while the criterion by which certain phenomena, based on pre-existing material can be noted is to be different, to stand out by their specificity in a new context. -
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. -
FILM FESTIVAL 22Nd - 29Th November 2012
UNDER THE AUSPICES OF THE EMBASSY OF THE REPUBLIC OF SERBIA IN PRETORIA SERBIAN ARTS AND CULTURE SOCIETY AFRICA SERBIAN FILM FESTIVAL 22nd - 29th November 2012 NU METRO, MONTECASINO An author’s perspective of the world Film, as a sublimation of all arts, is a true medium, a universal vehicle with which the broader public is presented with a world view, as seen by the eye of the fi lmmaker. Nowadays, due to the global economic crisis, which is ironically producing technological and all sorts of other develop- ments, an increasing number of people are pushed to the margins of average standards of living, and fi lmmakers are given the chance to bring under their ‘protection’ millions of disillusioned people with their fi lmmaking capabilities. Art, throughout its history, has always praised but has also been heavily critical of its subject. Film is not just that. Film is that and so much more. Film is life itself and beyond life. Film is everything many of us dream about but never dare to say out loud. That is why people love fi lms. That is why it is eternal. It tears down boundaries and brings together cul- tures. It awakens curiosity and builds bridges from one far away coast to another. Film is a ‘great lie’ but an even greater truth. Yugoslavian, and today the Serbian fi lm industry has always been ‘in trend’. It might sound harsh but, unfortunately, this region has always provided ample ‘material’ for fi lms. Under our Balkan clouds there has been an ongoing battle about which people are older, which came and settled fi rst, who started it and who will be fi rst to leave and such battles have been and continue to be an inspiration to fi lm producers. -
Serbia in 2001 Under the Spotlight
1 Human Rights in Transition – Serbia 2001 Introduction The situation of human rights in Serbia was largely influenced by the foregoing circumstances. Although the severe repression characteristic especially of the last two years of Milosevic’s rule was gone, there were no conditions in place for dealing with the problems accumulated during the previous decade. All the mechanisms necessary to ensure the exercise of human rights - from the judiciary to the police, remained unchanged. However, the major concern of citizens is the mere existential survival and personal security. Furthermore, the general atmosphere in the society was just as xenophobic and intolerant as before. The identity crisis of the Serb people and of all minorities living in Serbia continued. If anything, it deepened and the relationship between the state and its citizens became seriously jeopardized by the problem of Serbia’s undefined borders. The crisis was manifest with regard to certain minorities such as Vlachs who were believed to have been successfully assimilated. This false belief was partly due to the fact that neighbouring Romania had been in a far worse situation than Yugoslavia during the past fifty years. In considerably changed situation in Romania and Serbia Vlachs are now undergoing the process of self identification though still unclear whether they would choose to call themselves Vlachs or Romanians-Vlachs. Considering that the international factor has become the main generator of change in Serbia, the Helsinki Committee for Human Rights in Serbia believes that an accurate picture of the situation in Serbia is absolutely necessary. It is essential to establish the differences between Belgrade and the rest of Serbia, taking into account its internal diversities. -
Historie a Činnost Spolku Sarajevských Sefardských Židů La Benevolencija
Masarykova univerzita Filozofická fakulta Ústav slavistiky Balkanistika Lenka Volfová Historie a činnost spolku sarajevských sefardských Židů La Benevolencija Magisterská diplomová práce Vedoucí práce: doc. PhDr. Ladislav Hladký, CSc. 2013 Čestné prohlášení Prohlašuji, že jsem magisterskou práci vypracovala samostatně s využitím uvedených pramenů a literatury. ..…………………………………………… 2 Poděkování Na tomto místě bych ráda poděkovala doc. PhDr. Ladislavu Hladkému, CSc., za ochotu vést práci na toto téma a připomínky ke koncepci práce. 3 Anotace Židé jsou jednou z nedílných součástí multietnického a multikonfesního prostředí Bosny a Hercegoviny a centra Sarajeva. Původně sefardská komunita, pocházející z Pyrenejského poloostrova, od 16. století spoluutvářela charakter i vzhled města, zatímco neklidné dějiny Balkánu naopak různým způsobem ovlivňovaly dění v tamní židovské komunitě. Předmětem této práce je představit historii židovského obyvatelstva na pozadí významných historických změn a událostí, zejména pak se zaměřením na organizaci La Benevolencija, která vznikla jako jeden ze židovských spolků koncem 19. století a během své téměř nepřetržité existence změnila podle potřeb situace několikrát charakter svého působení. Během občanské války v 90. letech 20. století se La Benevolencija svou humanitární činností významným způsobem podílela na pomoci obyvatelům Sarajeva. Dnes La Benevolencija existuje jako zastřešující kulturně osvětová organizace současné malé sarajevské židovské komunity. Klíčová slova Židé, sefardští Židé, La Benevolencija, Bosna a Hercegovina, Sarajevo Abstract Jews are one of the integral part of a multi-ethnic and multi-confessional environment of Bosnia and Herzegovina and its centre Sarajevo. Originally a Sephardic community that came from the Iberian Peninsula has participated in the formation of the character and appearance of the city since the 16th century, while the troubled history of the Balkans affected the local Jewish community in different ways. -
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from the 19Th Century to the Present Composers
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography of CDs and LPs Prepared by Michael Herman Composers R-Z ALEXANDER RAICHEV (1922-2003, BULGARIAN) Born in Lom. He studied composition with Assen Karastoyanov and Parashkev Hadjiev at the Sofia State Conservatory and then privately with Pancho Vladigerov. He went on for post-graduate studies at the Liszt Music Academy in Budapest where he studied composition with János Viski and Zoltán Kodály and conducting with János Ferencsik. He worked at the Music Section of Radio Sofia and later conducted the orchestra of the National Youth Theatre prior to joining the staff of the State Academy of Music as lecturer in harmony and later as professor of harmony and composition. He composed operas, operettas, ballets, orchestral, chamber and choral works. There is an unrecorded Symphony No. 6 (1994). Symphony No. 1 (Symphony-Cantata) for Mixed Choir and Orchestra "He Never Dies" (1952) Konstantin Iliev/Bulgarian A Capella Choir "Sv. Obretanov"/Sofia State Philharmonic Orchestra BALKANTON BCA 1307 (LP) (1960s) Vasil Stefanov/Bulgarian Radio Symphony Orchestra and Chorus BALKANTON 0184 (LP) (1950s) Symphony No. 2 "The New Prometheus" (1958) Vasil Stefanov/Bulgarian Radio Symphony Orchestra BALKANTON BCA 176 (LP) (1960s) Yevgeny Svetlanov/USSR State Symphony Orchestra (rec. 1965) ( + Vladigerov: Piano Concertos Nos. 3 and 4 and Marinov: Fantastic Scenes) MELODIYA D 016547-52 (3 LPs) (1965) Symphony No. 3 "Strivings" (1966) Dimiter Manolov/Sofia State Philharmonic Orchestra ( + Bulgaria-White, Green, Red Oratorio) BALKANTON BCA 2035 (LP) (1970s) Ivan Voulpe/Bourgas State Symphony Orchestra ( + Stravinsky: Firebird Suite) BALKANTON BCA 1131 (LP) (c. -
Ћирилица Из Нот Дед: Cyrillic Script from a Sociolinguistic Perspective in Macedonia, Montenegro and Serbia
1 Ћирилица из нот дед: Cyrillic Script from a Sociolinguistic Perspective in Macedonia, Montenegro and Serbia Aleksandra Salamurović (Jena)1 1. Introduction During 2012 and 2013 the question of script use in Serbia, specifically, the fact that Latin script prevails in public use, moved into the spotlight of public discussion, especially in multicultural Novi Sad (Salamurović 2015). After several months-long debates over scripts used on the building of the Center for Culture in Novi Sad, on bus displays and other public facilities, one creative citizen was obviously motivated to express their revolt by posting the following graffiti: Ћирилица из нот дед (“Cyrillics is not dead”), transcribing parts of English text into Serbian using the Cyrillic alphabet. On the other hand, in his current typological study on biscriptality in Slavic and non-Slavic languages, Slavist Daniel Bunčić proclaims in aphoristic form: “Monoscriptality can be cured - learn Cyrillic!” (Bunčić 2016a:16)2 emphasizing an additional value of learning and using the Cyrillic script. Besides both statements relating to Cyrillic script, they also have the common trait that they assign particular attitudes and values to the script. Those socio-cultural attributions are one of the most important features of the script and are of primary importance in selecting the script within biscriptal situations. Moreover, they are of particular interest for language policy and sociolinguistics of script. This paper will examine the current status of Cyrillic script in three South-Slavic countries: Serbia, Montenegro and Macedonia3, the first two being biscriptal in the sense of what Bunčić typologically describes as bigraphism (one language using two scripts, Bunčić 2016c:54), and the last, Macedonia, being typologically monoscriptal but still dealing with two different scripts. -
The Art of War: the Protection of Cultural Property During the "Siege" of Sarajevo (1992-95)
DePaul Journal of Art, Technology & Intellectual Property Law Volume 14 Issue 1 Special Section: Art and War, 2004 Article 5 The Art of War: The Protection of Cultural Property during the "Siege" of Sarajevo (1992-95) Megan Kossiakoff Follow this and additional works at: https://via.library.depaul.edu/jatip Recommended Citation Megan Kossiakoff, The Art of War: The Protection of Cultural Property during the "Siege" of Sarajevo (1992-95), 14 DePaul J. Art, Tech. & Intell. Prop. L. 109 (2004) Available at: https://via.library.depaul.edu/jatip/vol14/iss1/5 This Case Notes and Comments is brought to you for free and open access by the College of Law at Via Sapientiae. It has been accepted for inclusion in DePaul Journal of Art, Technology & Intellectual Property Law by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Kossiakoff: The Art of War: TheCOMMENT Protection of Cultural Property during the "S THE ART OF WAR: THE PROTECTION OF CULTURAL PROPERTY DURING THE "SIEGE" OF SARAJEVO (1992-95) I. INTRODUCTION Throughout the night of August 25, 1992, shells from Serb gunners fell on the National and University Library of Bosnia and Herzegovina in Sarajevo. The attack set off a blaze fueled by a collection representing hundreds of years of Bosnian history and culture. Librarians and community members, risking sniper fire, formed a human chain to move books to safety.' Despite emergency efforts, ninety percent of the collection was ash by daybreak.2 Unfortunately, this incident was not unique. The destruction of cultural artifacts during the "Siege" of Sarajevo was a loss not only to Bosnia,3 but also to the heritage of the world which now suffers a gap that cannot be closed.