World-Famous Bosnian Musicians
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Low Blows: Martin Krpan, Top Lista Nadrealista, and Equalizing Satire
This text is due to be published in Crack Up, Crack Down, a book edited by the Slavs and Tatars collective for the Ljubljana Biennial of Graphic Art, 2019. This is the penultimate draft; please only cite the published version. Author contact: [email protected] (29 October 2019) Low Blows: Martin Krpan, Top Lista Nadrealista, and Equalizing Satire Vid Simoniti “I meant to take my leave without a word. But since you have delayed my departure yourself, do not now be upset that I’ve told you a few harsh ones. You surely know what the late Jerry from the village of Golo used to say: ‘Should I feed sweetmeats to the man I’m quarrelling with? Whichever spice stings him most, that’s what I serve him!’ And now good-bye, and stay in good health!” – Martin Krpan to the Emperor, in Frank Levstik’s Martin Krpan1 I used to have a Swedish dentist. Like all dentists, he relished the pleasure peculiar to their profession—to converse with a person whom they have just rendered incapable of answering back. While thus engaged, this dentist also enjoyed the odd dig at my expense. He once told me of a journey through Yugoslavia, which he took as a younger man. He did not spare me sarcastic comments on the broken- down socialist trains, corrupt policemen, beautiful women keen to marry a Westerner, etc. Of course I had to repay him somehow. So after I was finally allowed to spit out that abominable mixture of mouthwash and blood, I told him the following anecdote: !1 “You describe my people rather well,” I said, “but, of course, we ex-Yugoslavs have also travelled to Sweden, mostly as immigrants, rather than as tourists. -
Masarykova Univerzita Filozofická Fakulta Ústav Slavistiky Balkanistika Lucie Šobáňová Srovnání Reflexe Tvorby Bosenské
Masarykova univerzita Filozofická fakulta Ústav slavistiky Balkanistika Lucie Šobáňová Srovnání reflexe tvorby bosenské hudební skupiny Dubioza kolektiv v českém a ex-jugoslávském tisku Bakalářská diplomová práce Vedoucí práce: Mgr. Petr Stehlík, Ph.D. 2014 Prohlašuji, ţe jsem diplomovou práci vypracoval/a samostatně s vyuţitím uvedených pramenů a literatury. …………………………………………….. 2 Na tomto místě bych ráda poděkovala vedoucímu své bakalářské práce Mgr. Petru Stehlíkovi, Ph.D. za čas, který věnoval mně i mé práci. Rovněţ za dobré rady a nápady, které mi pomohly tuto práci realizovat. Dále bych ráda poděkovala své rodině a přátelům za podporu, kterou mi vyjadřovali. 3 Obsah Úvod .................................................................................................................................. 5 1. Bosensko-hercegovská hudební scéna a Dubioza Kolektiv ..................................... 7 1.1. Hudební scéna druhé poloviny 20. století na území Bosny a Hercegoviny v rámci bývalé Jugoslávie........................................................................................................... 7 1.2. Dubioza kolektiv .................................................................................................. 12 2. Reflexe tvorby DK v bosensko-hercegovském tisku .............................................. 15 3. Reflexe tvorby DK v chorvatském tisku ................................................................. 24 4. Reflexe tvorby DK v srbském tisku ........................................................................ -
1 En Petkovic
Scientific paper Creation and Analysis of the Yugoslav Rock Song Lyrics Corpus from 1967 to 20031 UDC 811.163.41’322 DOI 10.18485/infotheca.2019.19.1.1 Ljudmila Petkovi´c ABSTRACT: The paper analyses the pro- [email protected] cess of creation and processing of the Yu- University of Belgrade goslav rock song lyrics corpus from 1967 to Belgrade, Serbia 2003, from the theoretical and practical per- spective. The data have been obtained and XML-annotated using the Python program- ming language and the libraries lyricsmas- ter/yattag. The corpus has been preprocessed and basic statistical data have been gener- ated by the XSL transformation. The diacritic restoration has been carried out in the Slovo Majstor and LeXimir tools (the latter appli- cation has also been used for generating the frequency analysis). The extraction of socio- cultural topics has been performed using the Unitex software, whereas the prevailing top- ics have been visualised with the TreeCloud software. KEYWORDS: corpus linguistics, Yugoslav rock and roll, web scraping, natural language processing, text mining. PAPER SUBMITTED: 15 April 2019 PAPER ACCEPTED: 19 June 2019 1 This paper originates from the author’s Master’s thesis “Creation and Analysis of the Yugoslav Rock Song Lyrics Corpus from 1945 to 2003”, which was defended at the University of Belgrade on March 18, 2019. The thesis was conducted under the supervision of the Prof. Dr Ranka Stankovi´c,who contributed to the topic’s formulation, with the remark that the year of 1945 was replaced by the year of 1967 in this paper. -
Emir Kusturica Interview 2
PROFILE 5 I SUFFER SO MUCH MORE WHEN I AM WORKING BECAUSE I AM NOT AS TALENTED AS I BELIEVE I AM EMIR KUSTURICA Clash for a messy rendition of Police on My Back. “I liked [late Clash frontman] Joe Strummer be- cause he was against mainstream politicians and hypocrisy. He called our music ‘crazy Greek Jewish wedding music of the past and future’, which is still true,” says Kusturica. Part cultural Alamo, part Plato’s Republic, “People leave our concerts feeling incredibly Kustendorf has all that the civilised world con- Eclectic line-up from here, there and everywhere enthusiastic about life, at least for an hour. This tains: art, agriculture, internet, shops, debate. happened in Australia when we played a big Cats, dogs, geese … animals figure heavily in WOMADelaide serves up one of the most Godfrey Reggio film Koyaanisqatsi in an aural opera hall [the Sydney Opera House in 2008]. Kusturica’s cinematic oeuvre, providing sight eclectic line-ups on the Australian music and cinematic feast, while Argentina’s Friends we hadn’t seen for a long time were very gags, reinforcing the animalistic nature of hu- calendar and this year’s roster is no different. Orquesta Tipica Fernandez Fierro delivers its proud. Australians who had seen Black Cat, mans but also highlighting characteristics such There is a wealth of riches over the four days vibrant and confronting take on the tango White Cat were very enthusiastic. as instinct and empathy, which the filmmaker across all manner of genres and from all points tradition. Ska also gets a guernsey in the form “Our music has patterns that create a Dionys- feels we have lost. -
Bijelo Dugmeciribiribela Full Album Zip
Bijelo Dugme-Ciribiribela Full Album Zip 1 / 4 Bijelo Dugme-Ciribiribela Full Album Zip 2 / 4 3 / 4 Ćiribiribela is the ninth and final studio album released by Yugoslav rock band Bijelo Dugme, ... ancient and re-evoked, (self-)destructive feelings, recorded by Bregović, something destroying and full of some muddy misery (that song always .... Bijelo Dugme – Ćiribiribela. Ćiribiribela (Vinyl, LP, Album) album cover. More Images · All Versions · Edit ... A1, Ćiribiribela, 4:12. A2, Šta Ima Novo, 5:21.. Nakupujte jednotlivé skladby nebo celá alba interpreta Bijelo Dugme, a to v digitálním formátu MP3, ... Všechna alba (6) ... 6 alb. Bijelo Dugme – Ciribiribela .... Bijelo Dugme-Ciribiribela full album zip microsoft office 2013 blue edition torrents. Microsoft Dynamics AX 2012 R2 ISO-TBE freegate 7.38 free .... A1, Ćiribiribela, 4:12. A2, Šta Ima Novo, 5:21. A3, Neću To Na Brzaka, 4:10. A4, Evo Zakleću Se, 5:53. B1, Đurđevdan Je A Ja Nisam S Onom Koju Volim, 3:55.. jay z blueprint zip crimson gakuen. Vaadin 7 Cookbook Free Download sundarapandian movie bgm tones. Bijelo Dugme-Ciribiribela full album .... ... patch lost saga indonesia terbaru 2013 hit Bijelo Dugme-Ciribiribela full album zip commando one man Docs to reflect multi firmata Makeblock-official/mbot.. 2005 BIJELO DUGME UZIVO ... 1988 CIRIBIRIBELA ... 1974 KAD BI BIO BIJELO DUGME. directory, 10.04.2014 03:14. Bijelo Dugme - 1975 - Playing The P..zip .... Bijelo Dugme foi uma banda de rock da Bósnia e Herzegovina formada ... Foi o primeiro álbum a vender mais do que 100.000 cópias na Iugoslávia. ... álbuns Pljuni i zapjevaj (Cuspe e cante) de 1986 e Ciribiribela de 1988. -
Jelena Hadži-Purić, Jasmina Dobrić Faculty of Mathematics University of Belgrade Dušan Vesić, Sandra Rančić PDV Production Team
Преглед НЦД 23 (2013), 67–72 Jelena Hadži-Purić, Jasmina Dobrić Faculty of Mathematics University of Belgrade Dušan Vesić, Sandra Rančić PDV production team BEHIND ROCKOVNIK – MULTIMEDIA DATABASE Abstract. This paper shows implementation of storage and information retrieval used in digitization project Behind Rockovnik [1] dedicated to the history of rock and roll culture in former Yugoslavia from 1958-2000. This project was motivated by previous work of Dušan Vesić and Sandra Rančić, such as the 40 epi- sode TV show “Rockovnik” (Radio Television of Serbia) and their published books, articles and movies. Keywords. Digitization, popular culture, multimedia database. 1. Introduction During Cold War, the most profoundly influential music in Eastern Europe and the Soviet Union has been rock 'n' roll. [2]. Rock music in Yugoslavia has reflected rock trends worldwide. All the major styles witnessed in the West were also replicated in Yugoslavia [3]. Yet president Tito personally considered early on what stance to take regarding rock music, and in contrast to other East European chairmen, chose tolerance for and limited acceptance of rock mu- sic's rebellious form of expression [4]. Rock and roll cultural heritage in former Yugoslavia consists of tangible objects of value, but also intangible entities such as music, dance, skills, fashion, practices, associated cultural spaces that groups and some individuals recognize as part of their cultural heritage. Lack of care and oblivion of those objects and entities would be a huge loss for people, future audience and science. Our multimedia database is one way to protect that heritage against loss and to provide public access with straightforward user interface. -
Domaće Popularne, Zabavne, Strane I Rok Pesme
DOMAĆE POPULARNE, ZABAVNE, STRANE I ROK PESME: o Aerodrom – Obična ljubavna pesma o Ambasadori – Dođi u 5 do 5 o Apsolutno Romantično – Đoletova pesma o Atomsko Sklonište – Olujni Mornar o Atomsko Sklonište – Pakleni vozači o Atomsko Sklonište – Za ljubav treba imat dušu o Azra – Balkan o Azra – Usne vrele višnje o Azra – Voljela me nijedna o Babe – Ko me ter’o o Babe – Noć bez sna o Baby Doll – Brazil o Bajaga – 220 u voltima o Bajaga – Godine prolaze o Bajaga – Moji su drugovi o Bajaga – Na vrhovima prstiju o Bajaga – Ti se ljubiš tako dobro o Bajaga – Tišina o Bajaga – Vratiće se rode o Bijelo Dugme – A i ti me iznevjeri o Bijelo Dugme – Ako ima Boga o Bijelo Dugme – Đurđevdan o Bijelo Dugme – Esma o Bijelo Dugme – Lažeš o Bijelo Dugme – Lipe cvatu o Bijelo Dugme – Na zadnjem sedištu moga auta o Bijelo Dugme – Napile se ulice o Bijelo Dugme – Padaju zvijezde o Bijelo Dugme – Pljuni i zapjevaj o Bijelo Dugme – Ružica si bila o Bijelo Dugme – Tako ti je mala moja kad ljubi o Boris Režak – Anđeo o Colonia – Ti da bu di bu da o Crvena Jabuka – Bacila je sve niz rijeku o Crvena Jabuka – Da nije ljubavi o Crvena Jabuka – Dirlija o Crvena Jabuka – Moje najmilije o Crvena Jabuka – Nekako s prolijeća o Crvena Jabuka – Stižu me sjećanja o Crvena Jabuka – Tamo gdje ljubav počinje o Crvena Jabuka – To mi radi o Crvena Jabuka – Tuga, ti i ja o Crvena Jabuka – Volio bi da si tu o Crvena Jabuka – Zovu nas ulice o Čutura – Voli me o Darko Domijan – Ulica jorgovana o Dado Topić I Slađana Milošević – Princeza o Dejan Cukić – Milica o Dejan Cukić – Nebo -
Yugoslav Cinema
Egemia, 2018; 3: 31-49 31 TRANSFORMATION OF TRAUMATIC CHARACTERS IN POST- YUGOSLAV CINEMA Ahmet Ender UYSAL* ABSTRACT This study examines the changes Yugoslav cinema realized from the 1980s to the 2000s, and seeks to see the contributions of three important post-Yugoslav directors to the transformation of the cinema characters. The post-Yugoslav states emerged after the disintegration of Yugoslavia, and they underwent political and cultural changes as a result of the collapse of the former Yugoslav socialism and the post-civil war. Post- Yugoslav cinema, which took its share from these changes, experienced crises of national identity and modernization. Examining these changes in cinema with cinematic characters is also very important in terms of visualizing cultural and economic changes in a cinematic sense. The real problem here is where the boundary of this change will be drawn. This is because, although the characters in post-Yugoslavian cinema have been transformed, there is still some cinematic tradition that continues today. Post-Yugoslav cinema will therefore be considered within the period of 1980s. Keywords: Post-Yugoslav cinema, trauma, cinematic characters * Arş. Gör., Yüzüncü Yıl Üniversitesi Güzel Sanatlar Fakültesi, Sinema-Televizyon Bölümü / VAN E-posta: [email protected] Makale Gönderim Tarihi: 14.06.2018 – Makale Kabul Tarihi: 16.10.2018 32 Egemia, 2018; 3: 31-49 INTRODUCTION Often, the concept of post-Yugoslavian cinema offers curative effects on rejection of failure and the search for hope, and becomes a common stake of new countries emerging after the dissolution of the former Yugoslavia, which is increasingly adopted in the field of film studies (Šprah, 2015: 184). -
239 Postanak I Razvoj Novog Vala Na Području Bivše
POSAAK AZVOJ NOVO ALA NA PODRUČJU BIVŠE JUGOSLAVIJE Filozofski fakultet u Splitu, Odsjek za povijest E-mail: [email protected] Mihaljević Jurković Novi val vrsta je glazbe koja se pojavila u Velikoj Britaniji i u SAD-u 70-ih godina prošlog stoljeća. Iako prisutan već od druge polovice 70-ih, novi će val potaknuti veličanstveni uzlet bendova poklonika tog žanra, kao što su Azra, Prljavo kazalište, Film, Haustor na hrvatskoj, odnosno Električni orgazam, Šarlo akrobata i Idoli na srpskoj sceni. Ti su ljudi kreirali novu i drugačiju povijest, novu i drugačiju supkulturu koja je nesumnjivo utjecala na mlade generacije onog vremena. Prodor novog žanra u komunističke je zemlje, zbog njihove izoliranosti od zapadnih modernih utjecaja bio otežan, u nekim gotovo i nemoguć. Koji je to bitni element ili koji su to bitni elementi koji su otvorili vrata Jugoslavije Zapadu unatoč njezinoj orijentaciji? U kakvim se političkim prilikama razvijao i koliko je područja obuhvatio, odnosno je li se odnosio samo i isključivo na glazbu? Naposljetku, ne možemo se ne zapitati, upoznati sa situacijom na istoku i centru Europe, zašto je jedan tvrdokorni komunistički režim tolerirao buntovnost, samoizražavanje i slobodu rocka. Ovaj članak problematizira navedenu tematiku. Ključne riječi: novi val, 80-e, Jugoslavija, Polet, Azra, Pankrti, Prljavo kazalište, Branimir Štulić Johnny, Darko Rundek, Haustor, Bijelo dugme, Laibach Povijest noo aa Novi val u francuskoj kinematografiji s kraja 0- sineastima, nije se od samih početaka odnosio na glazbu. Naime, taj je pojam bio poznat novi val ih godina prošlog stoljeća po mladim dru odnosno mladim inovativnim predstavnicima umjetnosti. Osim što je zaslužan za gačije shvaćanje francuske kinematografije u smislu ideja o efikasnijoj i jeftinijoj glazbi.647 proizvodnji i metodama, dao je poticaj promjenama u drugim umjetnostima, naročito u Tijekom kasnih 70-ih i ranih 0- novog vala punka i rocka. -
New Europe College Ştefan Odobleja Program Yearbook 2012-2013
New Europe College Ştefan Odobleja Program Yearbook 2012-2013 CONSTANTIN ARDELEANU CRISTIAN CERCEL ALEX CISTELECAN COSTIN MOISIL RALUCA MUŞAT MARIUS STAN IOAN ALEXANDRU TOFAN RĂZVAN VONCU Editor: Irina Vainovski-Mihai Copyright – New Europe College ISSN 1584-0298 New Europe College Str. Plantelor 21 023971 Bucharest Romania www.nec.ro; e-mail: [email protected] Tel. (+4) 021.307.99.10, Fax (+4) 021. 327.07.74 RĂZVAN VONCU Born in 1969 Ph.D., University of Bucharest, 2006 Thesis: Confessive Narrative in Romanian Medieval Literature Senior Lecturer, University of Bucharest, Faculty of Letters, Department of Literary Studies Scholarship of Open Society Foundation – Bulgarian and Balkanology Studies, Bansko – Blagoevgrad, Bulgaria (1993) Scholarship at “St. Kliment Ohridski” University of Sofia – Studies of Bulgarian Language and Literature (1990) Papers delivered at conferences in Romania, Serbia, Republic of Moldova Numerous articles published on Literary Studies, Balkan Studies, Cultural Studies Published three translated books (from Italian and Serbian) Author of 16 books among which: Secvenţe literare contemporane (Contemporary Literary Fragments), I, Viitorul Românesc, Bucharest, 2001 Secvenţe literare contemporane (Contemporary Literary Fragments), II, Viitorul Românesc, Bucharest, 2002 Orizonturi medievale (Medieval Horizons), Artemis, Bucharest, 2003 Despre Preda şi alte eseuri neconvenţionale (On Preda and Other Unconventional Essays), Semne, Bucharest, 2003 Eseuri critice (Critical Essays), Ed. Muzeului Naţional al Literaturii Române, -
DELAVNICE ZA MLADE OTROŠKE Delavnice GLEDALIŠKE
IGRIVI PARK • 23. 6. – 30. 6. JINX • petek, 23. 6. ob 23.00 ŽELJKO BEBEK • sobota, 24. 6. ob 21.00 JAN PLESTENJAK • sobota, 24. 6. ob 23.00 NINA PUŠLAR • nedelja 25. 6. ob 20.30 QUEEN - Real Tribute Band • nedelja, 25. 6. ob 22.15 Cikel klasične glasbe • 26. – 28. 6. ob 18.00 ĐUROLOGIJA • sreda, 28. 6. ob 19.30 FOLKART 2017• 29. 6. – 30. 6. ob 19.00 KONCERTI GLEDALIŠKE PREDSTAVE OTROŠKE delavnice DELAVNICE ZA MLADE FOLKART 2017 Drage občanke, dragi občani, spoštovani obiskovalci! Pred nami je težko pričakovan začetek poletja, z njim pa konec šole in dopusti, več časa za druženje in zabavo ter seveda 22. Festival Soboški dnevi! V festivalski brošuri najdete program številnih koncertov, predstav in drugih dogodkov, ki se bodo odvijali na različnih prizoriščih našega mesta. Prepričan sem, da bo vsak našel kaj zase! Prijazno vas vabim, da skupaj z nami stopite v letošnje poletje! Festivalsko dogajanje bomo sklenili z nastopom folklornih skupin sveta v petek, 30. junija. Ta dan bo naše mesto, ki se ozira v prihodnost, tudi ciljno prizorišče rallyja električnih vozil. V svojo sredino smo to poletje povabili tudi drage izseljence iz širnega sveta. Tradicionalno srečanje Slovencev po svetu »Dobrodošli doma« bo letos potekalo 8. julija v Dvorcu Rakičan. Tudi vas, drage občanke in cenjeni občani ter spoštovani obiskovalci, na ta dan vabim v čudovito okolje tega dvorca! Pripravili smo razgiban program, ki zajema kulturo, kulinarične užitke, iskanje poslovnih priložnosti in tkanje novih poznanstev ter zlasti veliko zabave! Dr. Aleksander Jevšek, župan Izdajatelj: Mestna občina Murska Sobota Kardoševa ulica 2, 9000 Murska Sobota T: 02 525 16 77 F: 02 525 16 15 S: www.soboskidnevi.si E: [email protected] Tisk: Tiskarna digitalni tisk d.o.o., Murska Sobota Naklada: 7.500 izvodov Besedila in fotografije so objavljena z dovoljenjem izvajalcev oz. -
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).