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Тематски Зборник Свакодневна култура у постсоцијалистичком периоду настао је као резултат научне сарадње Етнографског института САНУи Етнографског института и музеја БАН. Велике политичке и друштвене промене током деведесетих година 20.века озбиљно су се одразиле на свакодневну културу балканских земаља. Управо у периоду кризе, две суседне етнолошке установе, бугарска и српска, које више деценија током социјалисатичког периода нису сарађивале, отпочеле су заједнички рад на истраживању свакодневне културе. Зборник показује у ком правацу су се одвијали културни процеси у Србији и Бугарској, које су сличности и разлике међу њима, али и шта се дешава у постсоцијалистичком периоду у појединим сегментима свакодневне култура Словака, Руса и Македонаца. ; The Collection of Papers entitled ―Everyday Culture in post-socialist period is a result of collaboration between the Institute of Ethnography, Serbian Academy of Sciences and Arts, and the Institute of Ethnography and Museum, Bulgarian Academy of Sciences. The enormous political and social changes during the 1990's influenced also everyday culture of the Balkans states. After decades of hinder, and precisely in the period of crisis, two neighboring ethnological institutions, the Bulgarian and Serbian, started to cooperate together in the study of everyday culture.The Collection of Papers demonstrates the directions of the cultural processes in Serbia and Bulgaria, accentuating the differences and similarities among the two states, and also explains the deeds within certain segments of everyday cultures of Slovaks, Russians and Macedonians. ; Зборник радова Етнографског института САНУ 22 / Collection of Papers of the Institute of Ethnography SASA 22

The author treats the topic of AIDS as a focal point for artistic politics in the United States and, eventually, in a larger international context as well. He considers a range of representations of AIDS in contemporary art since the 1980s & considers how AIDS became a pivotal point around which thinking about artists' activism & art as social intervention turned. He discusses AIDS as a paradigmatic case for a new global, biopolitical, & mediatized cultural phenomenon that bore with it a new ensemble of political, moral, & economic effects, in turn profoundly affecting conceptions of aesthetics & activist art. In the latter part of the essay, he develops a typology of strategies utilized by artists in addressing the problem of AIDS: 1) transcoding strategies; 2) media critiques and/or critiques of culture industry representations of AIDS; 3) alternative publicity; 4) AIDS exemplars; & 5) strategies of mourning & memoralization. Adapted from the source document.

An examination of the concept of community from theoretical & political perspectives emphasizes the centrality of the question in contemporary societies. The impossibility of community, as one of the radical theses of political theory, is defined against the background of the real limitations of a global world that does not allow for the existence of community. The effectiveness of the thesis of the impossibility of community is tested using H. Kelsen's analysis of the parliamentary concept of democracy. In treating community as a political space where political & judicial systems & cultures meet, Kelsen's definition of community avoids the real manifestations of the world. Kelsen defines revolutions as political catastrophes that evoke the framework of the Other where freedom appears as the destruction of social integration. Adapted from the source document.