DOCSLIB.ORG

Cultural Diplomacy Arts, Festivals and Geopolitics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CULTURAL DIPLOMACY ARTS, FESTIVALS AND GEOPOLITICS Edited by Milena Dragićević Šešić Creative Europe Desk Serbia Faculty of Dramatic Arts Cultural Diplomacy: Arts, Festivals and Geopolitics Edited by Milena Dragićević Šešić with Ljiljana Rogač Mijatović Nina Mihaljinac Cultural Diplomacy: Arts, Festivals and Geopolitics Published by Creative Europe Desk Serbia Ministry of Culture and Media of Republic of Serbia Faculty of Dramatic Arts in Belgrade, Institute for Theatre Film Radio and Television Special series editor Dimitrije Tadić, Head of Creative Europe Desk Serbia Part of this book is the result of the project "Identity and memory: transcultural texts of dramatic arts and media" no. 178012 of the Faculty of Dramatic Arts in Belgrade, financed by the Ministry of Education, Science and Technological Development of Republic of Serbia. CULTURAL DIPLOMACY: Arts, Festivals and Geopolitics Edited by Milena Dragićević Šešić III chapter editor Ljiljana Rogač Mijatović IV chapter editor Nina Mihaljinac Creative Europe Desk Serbia, Faculty of Dramatic Arts in Belgrade, Ministry of Culture and Media Institute for Theatre Film Radio and of Republic of Serbia Television Belgrade, 2017 INTRODUCTION Cultural Diplomacy in Practice: Mira Trailović, BITEF and Geopolitics Milena Dragićević Šešić 11 I CONCEPTS AND POLICIES Since Internationalism: Diplomacy, Ideology, and a Political Agency for Culture Jonathan Vickery 35 Cultural Diplomacy: From Showcase to Intercultural Dialogue Serhan Ada 51 Cultural Diplomacy from Below: Artistic Projects with Refugees and Migrants Monika Mokre 61 Why We Have to Overcome Paternalism in Times of Populism Raphaela Henze 73 Fair Cooperation? Partnership-based Cooperation in Cultural Policy & Cultural Management Annika Hampel 89 Who Holds the Power in Soft Power? Melissa Nisbett 107 5 II FESTIVALS AS PLATFORMS OF CULTURAL DIPLOMACY Arts Festivals are our Voices in Society Hugo de Greef 123 BITEF and cultural diplomacy today Ivan Medenica 127 Festivals as Social Dramas and Metaphors: Between Popular and Subversive Aleksandra Jovićević 133 The Foundation of Bitef (1967) and Cultural Diplomacy of Socialist Yugoslavia Ksenija Radulović 145 BITEF in the New Millennium: From One Crisis to Another Anja Suša 155 Inclusive Practices at the International Performing Arts Festivals (Knowledge Transfer and Agenda Setting in the International Cooperation) Darko Lukić 163 The Dialectics of Cultural Diplomacy. Example of Dubrovnik Summer Festival Ana Žuvela 173 Theatre, Theatre Festivals and Cultural Diplomacy Mike van Graan 185 Transition of the Festival’s Ideas Ivana Stefanović 195 6 III SHIFTING TRENDS IN CULTURAL DIPLOMACY (FROM ARTS TO GASTRO-DIPLOMACY) Implications of Multiple Identity Layers for Cultural Diplomacy of Serbia Ljiljana Rogač Mijatović 203 Cities and Regions in International Cultural Relations: Fostering Cooperation Through Cultural Networks Leda Laggiard 211 Cultural Diplomacy, a Dialogue with the Civil society Biljana Tanurovska Kjulavkovski 221 Contemporary Art Practices in the Conduct of Cultural Diplomacy Milica Savić 229 Gastronomy as a Tool in Cultural Diplomacy and Nation Branding of Serbia Tanja Strugar 241 The Roles and Practices of Fashion in Cultural Diplomacy Mina Popović 251 7 IV CHALLENGES AND PERSPECTIVES OF EUROPEAN AND INTERNATIONAL CULTURAL COOPERATION IN SERBIA Creative Europe Programme as an Instrument of European Cooperation, Internationalisation and Strengthening the Capacity of Cultural Organisations and Institutions in Serbia Dimitrije Tadić 265 Strategic Development of European and International Cultural Cooperation in Serbia Nina Mihaljinac 275 Audiovisual Sector – European and International Cooperation as a Necessity Nevena Negojević 285 Cultural Heritage: Interdisciplinarity, Intersectoral Cooperation and Participation Nikola Krstović 291 Literature and the Martini Principle Beba Stanković 301 Performing Arts: Why are Technologies and Equipment so Important for European and International Cooperation? Jasna Dimitrijević 307 Music: Ethno and/or Contemporary? Aleksandra Paladin 313 Visual Arts: XX Century History as a key Strength Slađana Petrović Varagić 317 Creative Industries Danica Bojić 323 Humanities and Theory of Art: Why We Need Interdisciplinary Teams of Artists and Scientists? Nina Mihaljinac 329 8 V METHODOLOGICAL ANNEX RELATED TO THE SURVEY OF EUROPEAN AND INTERNATIONAL CULTURAL COOPERATION IN SERBIA Distribution of Ministry of Culture and Media of RS funds for international cooperation Milan Đorđević and Nina Mihaljinac Sector for contemporary artistic production and creative industries 337 Cinematography and audiovisual production 337 Visual arts and multimedia 342 Performing arts 345 Music 348 Literary translations 350 Sector for international cooperation, European cooperation and projects 352 Mobility of professionals 354 International programmes 356 Centre culturel de Serbie 357 Overview of participation cultural organisations from Serbia in the Creative Europe Programme Milan Đorđević European cooperation projects 362 Literary translations 376 European platforms 396 Cross-sectoral strand 396 MEDIA subrpogramme open calls 397 EU prizes and initiatives 399 List of Contributors 401 9 INTRODUCTION 10 Cultural Diplomacy in practice: Mira Trailović, BITEF and geopolitics Milena Dragićević Šešić Introduction: Mira Trailović theatre leadership “I was always led by certain characteristics of my personality that can be considered as positive (…), and they are persistence and optimism. I do not like to leave any job unfinished, I do not like to resign real possibilities that are around us and in the same time I try to keep loyalty. Without loyalty achieved success cannot offer us real joy.”1 In 2015, bitef festival, the pride of Serbian theatre circles, got a new artistic director Ivan Medenica, who wanted to reposition bitef festival on the world scale. Knowing my text “The leadership style of Mira Trailović ” (in: Caust, 2013) he proposed to me to organise the conference: Mira Trailović and cultural diplomacy: theatre festivals and geopolitics. From the idea to the realisation, the title of the conference was changed2, but the spirit of Mira Trailović and her contribution to cultural diplomacy through bitef, her activities as the director of Atelje 212 and as the director of the Theatre des Nations in 1982 in Nancy, has been evoked throughout the conference from the introductory speeches of Misha Shvidkoy, Ivan Medenica and myself, till the session: Testimonies that brought on the stage of Atelje 212 her former collaborators with numerous stories related to her visions, ideas and methods of operation –discussing cultural diplomacy in practice. Persistence, optimism and loyalty might be precise words to describe her work in theatre, but not sufficient to understand such a complex personality that had strength and courage to position her small theatre on the world scale, using the BITEF festival as a principal but not the only tool of communication. This conference was homage to her achievements, honouring also results that BITEF had in the years that followed, remembering other actors and partners in this endeavour, first of all, Jovan Ćirilov but also Milan Žmukić and many others (quoting here only those that are not any more among us). Mira Trailović influence went far beyond the institutions she created as those were inspirational for agents on other artistic scenes (music, visual art, film, etc.) in Yugoslavia and even for politicians that understood to what extent her visions might be shared within cultural policy and cultural diplomacy. Coming from the generation that was burdened by changing political history and wars, in spite of 1 Quote from the interview with Feliks Pašić, documentary film Učesnik“ i svedok“ (Participant and witness), director Nenad Momčilovič, TV Belgrade 1988. 2 Conference: bitef and cultural diplomacy: theatre and geopolitics, organised by UNESCO Chair in Cultural Policy and Management of University of Arts Belgrade, in partnership with the BITEF festival and the Faculty of Dramatic Arts, was held 1st and 2nd October in Atelje 212, Bitef theatre and Rectorate of the University of Arts. 11 authoritarianism of the system that was dominating in her homeland (she never joined the Communist party), she succeeded to find the formula for cohabitation using all possibilities of the system but also inspiring changes within the system, opening spaces for more freedom. Paving the way that led towards important social and cultural changes in Yugoslavia, Mira Trailović introduced the spirit of cosmopolitism, citizenship, urbanity as values. At the same time she was the PR machine capable of spinning and campaigning in the society in which those terms have not been known and in which similar activities in other cultural organisations have been considered blasphemy. Mira Trailović compensated her shortage of political credibility by surrounding herself with those who had that official political authority. She knew that it is important to show that she is close to them (for instance, to call some high official in front of the members of the ensemble) but also to secure their presence on each premiere. She always asked the major of Belgrade to open the festival in order to show that BITEF has it’s political importance, respect and value in society, even outside cultural circles. However, she wanted to be considered above all: the theatre creator, whose major traits are responsibility and critical self-consciousness. She used to say: “Only responsible
Recommended publications
  • National Strategy for Resolving the Problems of Refugees and Internally Displaced Persons

    National Strategy for Resolving the Problems of Refugees and Internally Displaced Persons

    GOVERNMENT OF THE REPUBLIC OF SERBIA NATIONAL STRATEGY FOR RESOLVING THE PROBLEMS OF REFUGEES AND INTERNALLY DISPLACED PERSONS Belgrade, 30 May 2002 1 CONTENTS: 1. MAIN AIMS AND PLAN OF ACTION 2. PROMOTION OF REPATRIATION 2.1 CREATING CONDITIONS FOR REPATRIATION INTO CROATIA AND BOSNIA AND HERZEGOVINA 2.2 CREATING CONDITIONS FOR RETURN TO KOSOVO 3. PROMOTION OF LOCAL INTEGRATION 3.1 HOUSING 3.2 GRADUAL PHASING DOWN OF COLLECTIVE CENTRES 3.3 EMPLOYMENT 4. LEGAL AND PROPERTY ASPECTS OF LOCAL INTEGRATION AND REPATRIATION; INFORMATION 4.1 REFUGEES 4.2 INTERNALLY DISPLACED PERSONS 6. MEASURES AND ACTIVITIES OF THE GOVERNMENT OF THE REPUBLIC OF SERBIA IN IMPLEMENTING THE NATIONAL STRATEGY FOREWORD The National Strategy for Resolving the Problems of Refugees and the Internally Displaced Persons represents an integral part of the long-term state policy and asserts the commitment of the country to reforms. Successful implementation of the National Strategy in ensuring conditions for local integration and repatriation calls for establishment of concrete mechanisms, instruments and measures at the republican, federal and local levels. It also requires more intensive cooperation with the international agencies and donors and numerous solutions in respect of organisational, legal and financial issues. This daunting task shall be coordinated by the Committee for Refugees, War Affected and Internally Displaced Persons of the Government of the Republic of Serbia headed by th e Vice President Dr Nebojsa Covic. The first results are to be expected in the course of 2002. In view of the enormous costs thereof, the National Strategy shall be presented to the representatives of the international community.
  • Avg 2016. Broj 4

    Avg 2016. Broj 4

    ECKERMANN WEB ČASOPIS ZA KNJIŽEVNOST WWW.ECKERMANN.ORG.RS JUL - AVG 2016. BROJ 4 Sva prava zadržana © 2016- Eckermann ISSN 2466-3220 (Online) SADRŽAJ ECKERMANN ........................................................................................................................................ 1 MALO JE OSTALO PRIJATELJA ........................................................................................................ 3 KNJIGA JE DA SE ČITA ....................................................................................................................... 7 INSTANT ECKERMANN .................................................................................................................... 11 POMILOVANJE ................................................................................................................................... 20 DA MI JE NAPISATI KITAB .............................................................................................................. 29 KANYAKUMARI ................................................................................................................................ 32 PISMA POŠTARU................................................................................................................................ 39 KAKO JE SVE POVEZANO U VREMENU ....................................................................................... 44 `85 .........................................................................................................................................................
  • Memory of the World Register Nomination Form Ref N° 2004-11

    Memory of the World Register Nomination Form Ref N° 2004-11

    MEMORY OF THE WORLD REGISTER NOMINATION FORM REF N° 2004-11 PART A – ESSENTIAL INFORMATION 1 SUMMARY The Miroslav Gospel, a manuscript dating from around 1180 with miniatures of outstanding beauty, is the representative of a group of illuminated manuscripts of specific style and iconography resulting from fusion of elements of the West (Italy) and the East (Byzantium). This Serbian script that the concept of book decoration shares with other Orthodox Slavs and the style with the miniatures originating from mid-Italian scriptoria, is actually one of the most important testimonies of the artistic influences paths made from the West to the East and back. The Miroslav Gospel documents the liturgic structure of the evangelistary and an important stage of development of the Rascian orthography, the importance of which goes beyond the mediaeval Serbia boundaries. The valuable material - parchment and gilding - has been preserved almost completely and documents well the endowment power of Christian princes in the Balkans by the end of the 12th C. By its style which is the mixture of the influences from the West and the East, the Miroslav Gospel is the unique manuscript of its kind in the region, as well as in the world. By its beauty and uniqueness the Miroslav Gospel will influence later other manuscripts of the region, as well as of the Medieval Europe. This manuscript represents the most precious and significant document in cultural heritage in Serbia. 2 DETAILS OF THE NOMINATOR 2.1 Name (person or organisation) Unesco National Commission of Serbia and Montenegro President Mr. Jovan Ćirilov National Museum, Belgrade Mr.
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G

    This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G

    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Cinematic Representations of Nationalist-Religious Ideology in Serbian Films during the 1990s Milja Radovic Doctor of Philosophy The University of Edinburgh March 2009 THESIS DECLARATION FORM This thesis is being submitted for the degree of PhD, at the University of Edinburgh. I hereby certify that this PhD thesis is my own work and I am responsible for its contents. I confirm that this work has not previously been submitted for any other degree. This thesis is the result of my own independent research, except where stated. Other sources used are properly acknowledged. Milja Radovic March 2009, Edinburgh Abstract of the Thesis This thesis is a critical exploration of Serbian film during the 1990s and its potential to provide a critique of the regime of Slobodan Milosevic.
  • Download Download

    Download Download

    RLGADOFGQDQ R @?M JRUG SGJMJMWIG S?IRJQDQ SGJMJMB V?PMNGP F? DFGI , IGEDALMPQ G IRJQROR PHILOLOGIST JOURNAL OF LANGUAGE, LITERARY AND CULTURAL STUDIES IV/2011 OOIDIK>IK I K> UKI O>A Vladislava Gordi E Petkovi E Filozofski fakultet u Novom Sadu UDK 821.163.41(091) NARRATIVE STRATEGIES IN CONTEMPORARY SERBIAN FICTION Abstract: The paper deals with nine authors of contemporary Serbian ction which represent three narrative strategies: postmodern textual play, rewriting history, and ob- sessive confession. However, their common interest lies in the reinvention of reality. Dra- gan Veliki E, Mileta Prodanovi E, Radoslav Petkovi E, Sreten Ugri GiE and David Albahari ma- nipulate facts and ction in di erent ways, exploring the blurry border between the two, and the result of this playful trespassing is meta ction packed with actual events from either recent or remote history. Unlike their male counterparts, Serbian women writers explore the pursuit of happiness as their main motif. Mirjana Novakovi E, Mirjana #ur Kevi E, Jelena Lengold and Ljubica Arsi E either twist master narratives or reinvent inti- mate stories in order to escape preestablished designs imposed by the male-oriented liter- ary canon. Keywords: Serbian literature, postmodernism, meta ction, history. Contemporary Serbian ction could Petkovi E’s latest novel the Irish poet Wil- be described as an intersection of three liam Butler Yeats appears within a crum- narrative strategies: postmodern textual bling world of the 14th century Constanti- play, rewriting history, and obsessive con- nople, in a vision of a young man whose fession. The greatest concern of the writers meddling with magic will forcibly lead him which will be discussed here, however, is into priesthood and provide him rescue in the reinvention of reality.
  • Szerb És Bolgár Posztmodern Próza

    Szerb És Bolgár Posztmodern Próza

    EÖTVÖS LORÁND TUDOMÁNYEGYETEM BÖLCSÉSZETTUDOMÁNYI KAR IRODALOMTUDOMÁNYI DOKTORI ISKOLA SZLÁV IRODALMAK PROGRAM ProgramvezetĘ: Dr.Milosevits Péter DSc. DOKTORI DISSZERTÁCIÓ FARKAS BARÁTHI MÓNIKA Szerb és bolgár posztmodern próza. Eredet. Specifikum. Kontextus. TémavezetĘ: Dr. Krasztev Péter CSc. A bizottság tagjai: Elnök: Dr. Nyomárkay István CMHAS.,professor emeritus Bírálók: Dr. Milosevits Péter DSc., habil. egyetemi docens Dr. Bagi Ibolya PhD., egyetemi docens Titkár: Dr. Kacziba Ágnes PhD., egyetemi docens Tagok: Dr. Lukács István CSc., habil. egyetemi docens Dr. Kiss Szemán Róbert PhD., egyetemi docens Budapest 2008 TARTALOMJEGYZÉK: Bevezetés 3 A posztmodern eredete 10 Posztmodern a közép- és kelet-európai irodalmakban 20 A szerb irodalom és a posztmodern 25 Történelmi háttér 25 Irodalmi elĘzmények 29 Kiš posztmodern prózája 36 A szótárregény megjelenése a szerb irodalomban 43 A posztmodern szerzĘk második generációja 51 „Fiatal” szerb próza a 90-es években. Neorealizmus és háborús próza 56 NĘi szerzĘk írásai 65 A bolgár irodalom és a posztmodern 71 Történelmi háttér 71 Irodalmi elĘzmények 75 A rendszerváltás utáni évek irodalma – a líra dominanciája 82 Bolgár posztmodern próza: Paszkov, Goszpodinov, Popov 103 NĘi szerzĘk írásai 120 Recepció 129 A posztmodern szerb és bolgár irodalom magyarországi recepciója 129 A posztmodern szerb irodalom bulgáriai recepciója 136 A posztmodern bolgár irodalom szerbiai recepciója 139 Összegzés 141 Felhasznált irodalom 143 2 BEVEZETÉS Világirodalmi kontextusban vizsgálva, a közép- és kelet-európai irodalmak sorsa hasonló, mivel politikai és földrajzi adottságaik miatt periférikus helyzetben vannak a domináns nyugati világhoz képest, s így kulturálisan is kiszolgáltatottak Ennek hatása megmutatkozik az állandó beilleszkedésre törekvésben, a nemzeti identitáskeresésben, illetve a saját, Ęsi hagyományok felé fordulásban. 1989-90-ben Közép- és Kelet-Európában, a politikai átmenet idĘszakában, olyan sajátságos posztmodern jelenség születik, mely a hasonlóságok ellenére is sokban különbĘzik a nyugati posztmodern kultúrától.
  • Socio-Demographic Characteristics As Determinants of Differences in Perception of Local Gastronomy

    Socio-Demographic Characteristics As Determinants of Differences in Perception of Local Gastronomy

    SOCIO-DEMOGRAPHIC CHARACTERISTICS AS DETERMINANTS OF DIFFERENCES IN PERCEPTION OF LOCAL GASTRONOMY Review article Economics of Agriculture 1/2017 UDC: 338.48-6:641/642(497.11) SOCIO-DEMOGRAPHIC CHARACTERISTICS AS DETERMINANTS OF DIFFERENCES IN PERCEPTION OF LOCAL GASTRONOMY1 Nikola Vuksanović2, Dragan Tešanović3, Bojana Kalenjuk4, Milijanko Portić5, Marija Knežević6 Abstract This study aims to research differences in socio-demographic characteristics of foreign tourists in consumption of local food in the city centres Belgrade and Novi Sad, Republic of Serbia. The research was conducted on a sample of 673 respondents. The results of this study point out the importance of socio-demographic variables in research of local gastronomy as a significant component of tourism product. The research included the determining of the impact of the city the tourists stayed at. The differences were examined via two-factor ANOVA analysis of variance. The obtained results indicate that there are differences between age groups, in the level of education, monthly income and countries that foreign tourists come from, whereas there is no difference between genders in relation to the perception of local gastronomy. At the same time, the findings indicate that there are no differences in the perception of local gastronomy between the cities of Novi Sad and Belgrade. The results confirm previous studies and point out the significance of socio-demographic characteristics 1 This Research Paper was the part of the projects No. 46009 and 46005, financed by Serbian Ministry of Education, Science and Technological Development. 2 Nikola Vuksanović, M.Sc., Teaching Assistant, Higher education school for management and business communication, Department of Hospitality, Mitropolita Stratimirovića Street no.
  • BS Ritgerð Í Viðskiptafræði the Differences Between Serbian And

    BS Ritgerð Í Viðskiptafræði the Differences Between Serbian And

    BS ritgerð í viðskiptafræði The differences between Serbian and Icelandic organizational cultures Bojan Desnica Leiðbeinandi: Þóra H. Christiansen, aðjúnkt Viðskiptafræðideild Júni 2013 The differences between Serbian and Icelandic organizational cultures Bojan Desnica Lokaverkefni til BS-gráðu í viðskiptafræði Leiðbeinandi: Þóra H. Christiansen, aðjúnkt Viðskiptafræðideild Félagsvísindasvið Háskóla Íslands Júni 2013 The differences between Serbian and Icelandic organizational cultures Ritgerð þessi er 12 eininga lokaverkefni til BS prófs við Viðskiptafræðideild, Félagsvísindasvið Háskóla Íslands. © 2013 Bojan Desnica Ritgerðina má ekki afrita nema með leyfi höfundar. Prentun: Samskipti Reykjavík, 2013 3 Foreword This thesis was written as a BS-degree thesis in Business Administration at University of Iceland and is considered to be 12 (ECTS) credits. My supervisor was Þóra H Christiansen, adjunct lecturer in Business Administration at University of Iceland. I want to thank my supervisor for the cooperation and advices while writing this thesis. Also I want to thank my family for the patience and support during my studies. May 2013 Bojan Desnica 4 Abstract In the time of global economy, culture is viewed as a general social concept, but holders of global culture are people with different national and cultural identity. On the other hand, companies are developing an organizational culture with the aim of integrating the values and the steering behavior of employees towards common business goals. In this regard, companies have a continuous job to manage cultural diversity. Globalization means the economic, political and cultural process, driven by the desire of large corporations to enter new markets. Organizational culture differs between companies and countries. In terms of global connectivity and market challenges companies are becoming more numerous and complex.
  • S Francuskog Prevela Zorica Miškovid. - Sarajevo : Izdavačko Preduzede "Svjetlost", 1967 (Sarajevo: NP "Oslobpđenje")

    S Francuskog Prevela Zorica Miškovid. - Sarajevo : Izdavačko Preduzede "Svjetlost", 1967 (Sarajevo: NP "Oslobpđenje")

    02001 821.133.1 82-822 SAGAN, Fransoa Čudesni oblaci / Fransoa Sagan; s francuskog prevela Zorica Miškovid. - Sarajevo : Izdavačko preduzede "Svjetlost", 1967 (Sarajevo: NP "Oslobpđenje"). - 148 str.; 17 cm. - (Biblioteka "Džepna knjiga" 403) POD/004016 POD/021257 02002 821.163.41 82-822 ANDRID, Ivo Mustafa Madžar i druge priče / Ivo Andrid. - Sarajevo : Izdavačko preduzede "Svjetlost", 1965 (Sarajevo: NP "Oslobođenje"). - 223 str.; 17 cm. - (Biblioteka "Džepna knjiga" 341) POD/004017 POD/004018 02003 821.111(73)-31 82-822 LUIS, Sinkler Bebit : knjiga prva / Sinkler Luis; preveo s engleskog Borivoje Nedid. - Sarajevo : Izdavačko preduzede "Svjetlost", 1966 (Beograd: Grafičko preduzede "Novi dani"). - 237 str.; 17 cm. - (Džepna biblioteka Izabranih djela) POD/004019 PO/005067 POD/004020 POD/004021 POD/007371 02004 821.111-31 82-822 SINKLER, Luis Bebit : druga knjiga / Sinkler Luis; s engleskog preveo Borivoje Nedid. - Sarajevo : Izdavačko preduzede "Svjetlost", 1966 (Beograd: Grafičko preduzede "Novi dani"). - 222 str.; 17 cm. - (Džepna biblioteka Izabranih djela) POD/004022 POD/004023 PO/005065 POD/005066 POD/013715 POD/021401 02005 821.163.41-32 82-822 PETROVID, Veljko Pesma u podne / Veljko Petrovid. - Sarajevo : Izdavačko preduzede "Svjetlost", 1966 (Beograd: Grafičko preduzede "Novi dani"). - 263 str.; 17 cm. - (Džepna biblioteka Izabranih djela) PO/004024 POD/020507 02006 821.112.2 82-822 MAJER, Konrad Ferdinand Peskarino iskušenje - Anđela Borđija / Konrad Ferdinand Majer; s njemačkog preveo Konstantin Petrovid. - Sarajevo : Izdavačko preduzede "Svjetlost", 1966 (Beograd: Grafičko preduzede "Novi dani"). - 277 str.; 17 cm. - (Džepna biblioteka izabranih djela) PO/004026 POD/004027 POD/004762 POD/019270 POD/004025 02007 821.111-31 82-822 TEKERI, Viliem Mekpis Vašar taštine : III knjiga / Viliem Mekpis Tekeri; s engleskog preveo Mihailo Đorđevid.
  • The Media in Dark Times a View of the Media in Serbia Filip David It Is

    The Media in Dark Times a View of the Media in Serbia Filip David It Is

    The Media in Dark Times A View of the Media in Serbia Filip David It is the opinion of many that the disintegration of Yugoslavia and the present bloody war would not have been possible without the propaganda role of the state media, particularly radio and television. A monopoly of information already existed in its fullest form in Tito's Yugoslavia. Then too there were 'black lists' of banned personalities and an index of prohibited subjects. No criticism was allowed of Tito himself or his actions, the Yugoslav national army, the communist system, self-management or brotherly unity. It is true that in some of its features, Yugoslav communism was more liberal than that of Eastern Europe or the Soviet Union and that there was an occasional relaxation of censorship and party control, but there was never a moment when the media was free to act without ideological pressure. Having lost its ideological basis after the collapse of the Great Eastern Empire of communism, the ruling oligarchy took on nationalism as its new ideology. In Serbia, this conversion took place through what was known as 'the anti-bureaucratic revolution', which represented an introduction to the disintegration of Yugoslavia, but about the same time prefaced a gory venture into war. All the worst features of the old regime were passed on: demagogy, manipulation of people and ideas, the use of force against the truth, an Orwellian twisting of the meaning of words. People spoke of peace when they meant war, cited justice while setting up a system of gross injustice. Truth became another name for lies and life was praised by glorifying death.
  • Slavica Bruxellensia, 5 | 2010 La Littérature Serbe Avant Et Après La Chute Du Mur De Berlin 2

    Slavica Bruxellensia, 5 | 2010 La Littérature Serbe Avant Et Après La Chute Du Mur De Berlin 2

    Slavica bruxellensia Revue polyphonique de littérature, culture et histoire slaves 5 | 2010 Après 1989 La littérature serbe avant et après la chute du mur de Berlin Milivoj Srebro Édition électronique URL : http://journals.openedition.org/slavica/295 DOI : 10.4000/slavica.295 ISSN : 2034-6395 Éditeur Université libre de Bruxelles - ULB Édition imprimée Pagination : 7-20 ISSN : 2031-7654 Référence électronique Milivoj Srebro, « La littérature serbe avant et après la chute du mur de Berlin », Slavica bruxellensia [En ligne], 5 | 2010, mis en ligne le 15 février 2010, consulté le 03 mai 2019. URL : http:// journals.openedition.org/slavica/295 ; DOI : 10.4000/slavica.295 Ce document a été généré automatiquement le 3 mai 2019. Les contenus de Slavica bruxellensia sont mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale - Pas de Modification 3.0 France. La littérature serbe avant et après la chute du mur de Berlin 1 La littérature serbe avant et après la chute du mur de Berlin Milivoj Srebro Introduction 1 La chute du Mur de Berlin, qui a sonné le glas du communisme en Europe n’a pas eu le même impact sur la vie intellectuelle et littéraire dans tous les anciens pays communistes. Si cet important événement historique a effectivement ouvert une nouvelle ère dans l’espace culturel de l’ex-bloc soviétique – une ère où les écrivains pouvaient enfin espérer jouir pleinement de la liberté d’expression –, il s’est inscrit dans un contexte socioculturel différent en ex-Yougoslavie, pays qui se trouvait alors déjà au bout du gouffre.
  • Prose-ENG 2012.Pdf

    Prose-ENG 2012.Pdf

    SVETLANA VELMAR JANKOVIĆ was born, went to school and lives in Bel- grade. As a secretary and editor of the magazine Književnost (Literature), she was a member of the editing board led by Eli Finci and the one led by Zoran Mišić. She spent a number of years editing for the Publishing House Prosveta, working on the editions of contemporary Yugoslav prose and essayistic writ- ing. She founded the library Baština (Legacy). She has published novels: Ožiljak (Scar, 1956, second adapted edition 1999), Lagum (Dungeon, 1999), Bezdno (The Bottomless, 1995), Nigdina (Nowhere, 2000) and Vostanije (The Uprising, 2004); the essays: Savremenici (The Con- temporaries, 1968), Ukletnici (The Cursed, 1993) and Izabranici (The Chosen, 2005); the story collections: Dorćol (1981), Vračar (1994), Glasovi (Voices, 1997), Knjiga za Marka (A Book for Marko, 1998), Očarane naočare (Spell- bound Spectacles, 2006) and Sedam mojih drugara (Seven of My Pals, 1997); the prayer Svetilnik (1998); the dramas Knez Mihailo (Prince Mihailo, 1994) and Žezlo (Scepter, 2001); the novelised biography Prozraci (Rays Through, 2003) and the book Kapija Balkana (The Gates of the Balkans, a quick guide through the history of Belgrade, 2011). Awards: Isidora Sekulić, Ivo Andrić, Meša Selimović, Đorđe Jovano vić, Bora Stanković, Award of the Serbian National Library for the most read book of 1992, the NIN Award in 1995, Neven Award, Politikin zabavnik Award, 6. april for life work on Belgrade, awards Mišićev dukat, Ramonda serbica, Stefan Mitrov Ljubiša and Jack Konfino. Her works have been translated into English, French, German, Russian, Spanish, Italian, Greek, Bulgarian, Korean and Hungarian. Svetlana Velmar Janković is a permanent member of the Serbian Academy of Sciences and Arts.