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Vernacular Religion in Diaspora: a Case Study of the Macedono-Bulgarian Group in Toronto
Vernacular Religion in Diaspora: a Case Study of the Macedono-Bulgarian Group in Toronto By Mariana Dobreva-Mastagar A Thesis submitted to the Faculty of Trinity College and the Theological Department of the Toronto School of Theology In partial fulfilment of the requirements for the degree of Doctor of Philosophy in Theology awarded by the University of St. Michael's College © Copyright by Mariana Dobreva-Mastagar 2016 Vernacular Religion in Diaspora: a case Study of the Macedono-Bulgarian group in Toronto PhD 2016 Mariana Dobreva-Mastagar University of St.Michael’s College Abstract This study explores how the Macedono-Bulgarian and Bulgarian Eastern Orthodox churches in Toronto have attuned themselves to the immigrant community—specifically to post-1990 immigrants who, while unchurched and predominantly secular, have revived diaspora churches. This paradox raises questions about the ways that religious institutions operate in diaspora, distinct from their operations in the country of origin. This study proposes and develops the concept “institutional vernacularization” as an analytical category that facilitates assessment of how a religious institution relates to communal factors. I propose this as an alternative to secularization, which inadequately captures the diaspora dynamics. While continuing to adhere to their creeds and confessional symbols, diaspora churches shifted focus to communal agency and produced new collective and “popular” values. The community is not only a passive recipient of the spiritual gifts but is also a partner, who suggests new forms of interaction. In this sense, the diaspora church is engaged in vernacular discourse. The notion of institutional vernacularization is tested against the empirical results of field work in four Greater Toronto Area churches. -
Special Editions; Institute for Balkan Studies SASA
http://www.balkaninstitut.com Serbian A cademy of Sciences and • Department of History, University of Arts, I nstitute for Balkan Studies, California, Santa Barbara Belgrade ( special editions No 39) Prosveta, Export-Import Agency, Belgrade Editors i n chief: • N ikola Tasid, corresponding member, Serbian Academy of Sciences and Arts • D uSica StoSid, director Prosveta, Export-Import Agency Editorial b oard: • R adovan Samard2id, full member, Serbian Academy of Sciences and Arts • D imitrije Dordevic, full member Serbian Academy of Sciences and Arts • I van Ninid publishing manager Prosveta, Export-Import Agency Secretary: • D r. Milan St. Protid, fellow Serbian A cademy of Sciences and Arts, Institute for Balkan Studies The p ublication was financially supported by the "Republidka Zajednica nauke Srbije" http://www.balkaninstitut.com MIGRATIONS I N BALKAN HISTORY BELGRADE 1 989 http://www.balkaninstitut.com £33/ И*1 CIP - К аталогизација у публикацији Народна библиотека Србије, Београд 325.1 ( 497) (082) MIGRATIONS i n Balkan History / [urednik Ivan Ninic]. - Beograd: Srpska akademija nauka i umetnosti, 1989. - 171 стр. : 24 cm ПК:. a Миграције - Балканско полуострво - Зборници ISBN 8 6-7179-006-1 http://www.balkaninstitut.com ■1130 M l CONTENTS Radovan S amardzic Dimitrije D jordjevid PREFACE 7 Mark. R Stefanovich ETHNICITYND A MIGRATION IN PREHISTORY 9 Nikola T asic PREHISTORIC M IGRATION MOVEMENTS HEIN T BALKANS 29 Robert F rakes THE I MPACT OF THE HUNS IN THE BALKANS I N LATE ANTIQUE HISTORIOGRAPHY 3 9 Henrik B irnbaum WAS T HERE A SLAVIC LANDTAKING OF T HE BALKANS AND, IF SO, ALONG WHAT R OUTES DID IT PROCEED? 47 Dragoljub D ragojlovid MIGRATIONS O F THE SERBS IN THE MIDDLE A GES 61 BariSa K rekic DUBROVNIK A S A POLE OF ATTRACTION AND A P OINT OF TRANSITION FORHE T HINTERLAND POPULATION INHE T LATE MIDDLE AGES 67 Dragan. -
Eurovision Karaoke
1 Eurovision Karaoke ALBANÍA ASERBAÍDJAN ALB 06 Zjarr e ftohtë AZE 08 Day after day ALB 07 Hear My Plea AZE 09 Always ALB 10 It's All About You AZE 14 Start The Fire ALB 12 Suus AZE 15 Hour of the Wolf ALB 13 Identitet AZE 16 Miracle ALB 14 Hersi - One Night's Anger ALB 15 I’m Alive AUSTURRÍKI ALB 16 Fairytale AUT 89 Nur ein Lied ANDORRA AUT 90 Keine Mauern mehr AUT 04 Du bist AND 07 Salvem el món AUT 07 Get a life - get alive AUT 11 The Secret Is Love ARMENÍA AUT 12 Woki Mit Deim Popo AUT 13 Shine ARM 07 Anytime you need AUT 14 Conchita Wurst- Rise Like a Phoenix ARM 08 Qele Qele AUT 15 I Am Yours ARM 09 Nor Par (Jan Jan) AUT 16 Loin d’Ici ARM 10 Apricot Stone ARM 11 Boom Boom ÁSTRALÍA ARM 13 Lonely Planet AUS 15 Tonight Again ARM 14 Aram Mp3- Not Alone AUS 16 Sound of Silence ARM 15 Face the Shadow ARM 16 LoveWave 2 Eurovision Karaoke BELGÍA UKI 10 That Sounds Good To Me UKI 11 I Can BEL 86 J'aime la vie UKI 12 Love Will Set You Free BEL 87 Soldiers of love UKI 13 Believe in Me BEL 89 Door de wind UKI 14 Molly- Children of the Universe BEL 98 Dis oui UKI 15 Still in Love with You BEL 06 Je t'adore UKI 16 You’re Not Alone BEL 12 Would You? BEL 15 Rhythm Inside BÚLGARÍA BEL 16 What’s the Pressure BUL 05 Lorraine BOSNÍA OG HERSEGÓVÍNA BUL 07 Water BUL 12 Love Unlimited BOS 99 Putnici BUL 13 Samo Shampioni BOS 06 Lejla BUL 16 If Love Was a Crime BOS 07 Rijeka bez imena BOS 08 D Pokušaj DUET VERSION DANMÖRK BOS 08 S Pokušaj BOS 11 Love In Rewind DEN 97 Stemmen i mit liv BOS 12 Korake Ti Znam DEN 00 Fly on the wings of love BOS 16 Ljubav Je DEN 06 Twist of love DEN 07 Drama queen BRETLAND DEN 10 New Tomorrow DEN 12 Should've Known Better UKI 83 I'm never giving up DEN 13 Only Teardrops UKI 96 Ooh aah.. -
Eurovision Karaoke
1 Eurovision Karaoke Eurovision Karaoke 2 Eurovision Karaoke ALBANÍA AUS 14 Conchita Wurst- Rise Like a Phoenix ALB 07 Hear My Plea BELGÍA ALB 10 It's All About You BEL 06 Je t'adore ALB 12 Suus BEL 12 Would You? ALB 13 Identitet BEL 86 J'aime la vie ALB 14 Hersi - One Night's Anger BEL 87 Soldiers of love BEL 89 Door de wind BEL 98 Dis oui ARMENÍA ARM 07 Anytime you need BOSNÍA OG HERSEGÓVÍNA ARM 08 Qele Qele BOS 99 Putnici ARM 09 Nor Par (Jan Jan) BOS 06 Lejla ARM 10 Apricot Stone BOS 07 Rijeka bez imena ARM 11 Boom Boom ARM 13 Lonely Planet ARM 14 Aram Mp3- Not Alone BOS 11 Love In Rewind BOS 12 Korake Ti Znam ASERBAÍDSJAN AZE 08 Day after day BRETLAND AZE 09 Always UKI 83 I'm never giving up AZE 14 Start The Fire UKI 96 Ooh aah... just a little bit UKI 04 Hold onto our love AUSTURRÍKI UKI 07 Flying the flag (for you) AUS 89 Nur ein Lied UKI 10 That Sounds Good To Me AUS 90 Keine Mauern mehr UKI 11 I Can AUS 04 Du bist UKI 12 Love Will Set You Free AUS 07 Get a life - get alive UKI 13 Believe in Me AUS 11 The Secret Is Love UKI 14 Molly- Children of the Universe AUS 12 Woki Mit Deim Popo AUS 13 Shine 3 Eurovision Karaoke BÚLGARÍA FIN 13 Marry Me BUL 05 Lorraine FIN 84 Hengaillaan BUL 07 Water BUL 12 Love Unlimited FRAKKLAND BUL 13 Samo Shampioni FRA 69 Un jour, un enfant DANMÖRK FRA 93 Mama Corsica DEN 97 Stemmen i mit liv DEN 00 Fly on the wings of love FRA 03 Monts et merveilles DEN 06 Twist of love DEN 07 Drama queen DEN 10 New Tomorrow FRA 09 Et S'il Fallait Le Faire DEN 12 Should've Known Better FRA 11 Sognu DEN 13 Only Teardrops -
For the Homeland: Transnational Diasporic Nationalism and the Eurovision Song Contest
FOR THE HOMELAND: TRANSNATIONAL DIASPORIC NATIONALISM AND THE EUROVISION SONG CONTEST SLAVIŠA MIJATOVIĆ A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN GEOGRAPHY YORK UNIVERSITY TORONTO, CANADA December 2014 © Slaviša Mijatović, 2014 Abstract This project examines the extent to which the Eurovision Song Contest can effectively perpetuate discourses of national identity and belonging for diasporic communities. This is done through a detailed performance analysis of former Yugoslav countries’ participations in the contest, along with in-depth interviews with diasporic people from the former Yugoslavia in Malmö, Sweden. The analysis of national symbolism in the performances shows how national representations can be useful for the promotion of the state in a reputational sense, while engaging a short-term sense of national pride and nationalism for the audiences. More importantly, the interviews with the former Yugoslav diaspora affirm Eurovision’s capacity for the long-term promotion of the ‘idea of Europe’ and European diversities as an asset, in spite of the history of conflict within the Yugoslav communities. This makes the contest especially relevant in a time of rising right-wing ideologies based on nationalism, xenophobia and racism. Key words: diaspora, former Yugoslavia, Eurovision Song Contest, music, nationalism, Sweden, transnationalism ii Acknowledgements Any project is fundamentally a piece of team work and my project has been no different. I would like to thank a number of people and organisations for their faith in me and the support they have given me: William Jenkins, my supervisor. For his guidance and support over the past two years, and pushing me to follow my desired research and never settling for less. -
Folk Dancer the Magazine of World Dance and Culture
ISSN 1209-255X Folk Dancer The Magazine of World Dance and Culture Monastiraki Square in Athens. Photo: Kevin Budd, 2010. PUBLISHED BY THE ONTARIO FOLK DANCE ASSOCIATION VOLUME 41 NUMBER 5 December 2010 The Tip of the Opinci Viewpoint By Kevin Budd With the OFDA’s upcoming First Nations Each dance is also a text, a document of a dance and music café in January, we might think about physically expressed and coded form of the dance and music that will be shared during that communication that encapsulates, perhaps thousands event. For folklore, for traditional dance, we might of years of movement and a changing culture or ask ourselves various questions, bearing in mind that combination of cultures. what we will experience will be literally worlds away from the usual Balkan and European smorgasbord So what happens if we encounter a kind of with a tiny taste of African and Asian dance. dance that either has a radically different technique, style form, rhythm and music? What if there seems What will that mean to the experience? We to be no technique as we know it, no gender role, no are mostly “recreational” dancers, and the OFDA is music or one that is very “other”? And what if the an association of recreational dancers. Our meaning of the dance within the originating culture familiarity with the steps and step patterns, and to is something we are not used to? some degree, the costumes, food and customs of a dozen or more countries may lead us to compare what We might simply observe, and be aware of we have done for years with what we may do at this how the dance is centred in our bodies, how particular event. -
Eurovision 201 3
Le magaziine francophone de ll''Euroviisiion -- Avriill 201 3 -- N°63 EEuurroovviissiioonn 220011 33 :: AAMMAANNDDIINNEE BBOOUURRGGEEOOIISS SOMMAIRE : page 02 : Sommaire-Crédits Photos / page 03 : Edito / page 04 : Fatals Picards : Notre message pour Amandine / page 1 0 : Un petit tour avec Olivia / page 1 2 : Bonne idée c'est Bonnie / page 1 4 : Vocavision / page 1 6 : Chansons du concours 2014 / CREDITS PHOTOS : page 01 : fanpop.com, sonymusic / page01,03et 10à13et16à36: eurovision.tv/ page 04 : fatalspicards.fr, Fabrice Biesbrouck, Benoît Blaszczyk / pages 1 0 à 1 3 Dominique Dufaut / page 1 4 : Philippe Lachkeur / Que le meilleur gagne ! association souhaite bonne Et comme pour un match de chance à la représentante football il y a du suspense et ce Nous voilà donc au terme de française et l’assure, ainsi que n'est pas toujours le favori qui cette longue période des l’équipe qui l’entoure, de son gagne. sélections nationales pour le soutien total. Les qualifications de 58ème Concours Eurovision de l'Eurovision 2013 ont débuté à la Chanson qui se déroulera en Dans ce numéro de notre Minsk le 7 décembre 2012 se mai prochain à Malmö, en magazine, vous retrouverez sont achevées à Chisinau le 16 Suède. bien sûr des informations mars 2013. Un long processus, Elles ont occupé les soirées de concernant la compétition en quatre mois intenses, des nombreux fans et ici et ailleurs Suède mais aussi des centaines de chansons beaucoup y vont de leurs nouvelles d’Olivia Newton- proposées pour les sélections commentaires, disent leurs John et de notre chorale qui se télévisées, plus de cent heures espoirs, crient leur déception, produira le 28 avril 2013 lors de programmes, sans oublier débattent, s’opposent ou se de nos previews, moment fort les sélections internes, pour retrouvent. -
ESC 2013 Country Profiles
Country Profile Albania Participating Broadcaster: Radio Televizioni Shqiptar (RTSh) Debut Year: 2004 Best Result: 4th place (2012) Number of Entries (including 2013): 10 Worst Result: 17th place (2009) A brief look at Albania’s history in the ESC: Albania has had moderate success in the Contest, qualifying for the Final more often than not, but ultimately not placing well. Last year, Albania achieved its highest ever placing: 4th. This year’s entry: Identitet (“Identity”) Artists: Adrian Lulgjuraj & Bledar Sejko Lyricist: Eda Sejko Composer: Bledar Sejko About the artist: Lulgjuraj was a lawyer before becoming a rock star in the western Balkans. Sejko has been performing and competing since the late 80s. In 2011, he was the guitarist and backing vocalist for the Albanian entry. The two join forces to bring the Albanian entry this year. Semi-Final 2, Song number 14 Grand Final, Song number Country Profile Armenia Participating Broadcaster: Public Television of Armenia (ARMTV) Debut Year: 2006 Best Result: 4th place (2008) Number of Entries (including 2013): 7 Worst Result:10th place (2009) A brief look at Armenia’s history in the ESC: In its five previous attempts, Armenia has landed in the Top Ten five times making it one of the more successful countries in the Contest today. However, Armenia has yet to reach the Top Three. Armenia sat out last year’s Contest and returns this year in Malmö. This year’s entry: Lonely Planet Artist: Dorians Lyricist: Vardan Zadoyan Composer: Tony Iommi About the artist: The Dorians is a five-piece band led by singer Gor Sujyan. -
Promoting Nation Building and Nation Branding Through Western
Master Thesis Promoting Nation Building and Nation branding through Western European Integration in the Eurovision Song Contest Master Program: Politics and Economics of Contemporary Eastern and Southeastern Europe Thessaloniki, University of Macedonia Author: Theodoros Kitsios M1318 Supervisor: Dr. Fotini Tsimpiridou 0 Declaration in Lieu of Oath I hereby declare, under oath, that this master thesis has been my independent work and has not been aided with any prohibited means. I declare, to the best of my knowledge and belief, that all passages taken from published and unpublished sources or documents have been reproduced whether as original, slightly changed or in thought, have been mentioned as such at the corresponding places of the thesis, by citation, where the extent of the original quotes is indicated. The paper has not been submitted for evaluation to another examination authority or has been published in this form or another. Thessaloniki, 01.10.2013 Theodoros Kitsios 1 Acknowledgements I would like to thank Dr. Fotini Tsimpiridou who supervised, advised and supported me throughout the realization of this thesis. No matter which problems would have come up, she was always open and helpful in her counsel. I am really grateful to her, for giving me the chance to fulfill a dream of my early adolescence, to delve into the Eurovision Song Contest from the perspective I have been enraptured since 1990, when I watched the contest for the first time in my life from the couch of my parents’ house. From that time on, I knew there was something more in this show, than what the television programs suggested to be. -
ESC Insight Unofficial Guide to the 2013 Eurovision Song Contest
ESC Insight Unofficial Guide to the 2013 Eurovision Song Contest Table of Contents Foreword .................................................................................................................................. 3 Editors Introduction ................................................................................................................. 4 Albania...................................................................................................................................... 5 Armenia .................................................................................................................................... 7 Austria ...................................................................................................................................... 9 Azerbaijan ............................................................................................................................... 11 Belarus ................................................................................................................................... 13 Belgium ................................................................................................................................... 15 Bulgaria .................................................................................................................................. 17 Croatia .................................................................................................................................... 19 Cyprus ................................................................................................................................... -
Pdf Liste Totale Des Chansons
55, Eurovision Melodifestivalen 2010 Finale - Le samedi 29 mai 2010 à Oslo - Présenté par : Nadia Hasnaoui, Haddy Jatou N'jie & Erik Solbakken Drip, drop (Chute de goutte) 1 - Azerbaïdjan par Safura Əlizad ə 145 points / 5e Auteur : Sandra Bjurman / Compositeurs : Anders Bagge, Stefan Örn Algo pequeñito (Quelque chose vraiment petit) 2 - Espagne par Daniel Diges 68 points / 15e Auteur/Compositeur : Jesús Cañadilla My heart is yours (Mon cœur t'appartient) 3 - Norvège par Didrik Solli-Tangen 35 points / 20e Auteurs/Compositeurs : Hanne Sørvaag, Fredrik Kempe Run away (Enfuis-toi) 4 - Moldavie par Olia Tira & Sun Stroke Project 27 points / 22e Auteur : Alina Galetskaya / Compositeurs : Anton Ragoza, Sergey Stepanov Life looks better in spring (La vie est meilleure au printemps) 5 - Chypre par Jon Lilygreen & The Islanders 27 points / 21e Auteur : Nasos Lamprianidis / Compositeurs : Nasos Lamprianidis, Melis Constantinou Thunder and lightning (Tonnerre et foudre) 6 - Bosnie-Herzégovine par Vukašin Brajić 51 points / 17e Auteur/Compositeur : Dino Šaran Me and my guitar (Moi et ma guitare) 7 - Belgique par Tom Dice 143 points / 6e Auteurs/Compositeurs : Tom Eeckhout, Jeroen Swinnen, Ashley Hicklin Ово је Балкан - Ovo je Balkan - (C'est les Balkans) 8 - Serbie par Milan Stanković 72 points / 13e Auteurs : Goran Bregović, Marina Tucaković, Ljiljana Jorgovanović / Compositeur : Goran Bregović Butterflies (Les papillons) 9 - Biélorussie par 3 + 2 18 points / 24e Auteur : Malka Chaplin / Compositeur : Maxim Fadeev It's for you (C'est pour toi) 10 -
Popular Music and Public Diplomacy
Mario Dunkel, Sina A. Nitzsche (eds.) Popular Music and Public Diplomacy Popular Music Mario Dunkel, Sina A. Nitzsche (eds.) Popular Music and Public Diplomacy Transnational and Transdisciplinary Perspectives An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-4358-3. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio- grafie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-No- Derivatives 4.0 (BY-NC-ND) which means that the text may be used for non-commer- cial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commer- cial use, further permission is required and can be obtained by contacting rights@ transcript-verlag.de Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. The obligation to research and clear permission lies solely with the party re-using the material.