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The paper analyses the problems that have been undermining the US recruitment policy for the last two decades - which is aimed at providing soldiers for imperial disciplining wars waged on the planetary periphery - as a case study to test the validity of theoretical assumptions about the transition to the age of post-heroic warfare. The departing hypothesis is based on stance that the United States, being the only remained superpower, experience a gradual and less visible process of losing popular support for military conscription, which the author employs here as an ideal of national vitality and a pillar of modern citizenship, as well as a feature of masculinity and the realm for self-realisation. The analysis takes place primarily in the field of anthropology and sociology and employs theoretical positions of social constructivism to complement narrow theoretical and methodological approaches of political science which are typically applied in the study of international relations. The analysis focuses on the "cracks" and deformations in the construction of ideals of warfare and heroism, which emerge as a result of the interaction of man - both as an individual and a member of the political community - the public, and the US foreign policy decisions designed to meet the needs and requirements of successful disciplinary imperial warfare. The author concludes that theoretical assumptions about entering the age of post-heroic warfare are valid due to the recruitment crisis in the US military, the unpopularity of the military profession, the commodification of warfare and death, the transformation of war into an industrial process, and misleading media portrayals of dead and wounded soldiers.

The author approaches Malcolm's book analytically and synthetically. The strength of Malcolm's book lies in the fact that it is not burdened with controversies of the Balkan historiography and chauvinistic mentality. Malcolm succeeded in demystifying the Kosovo battle (1389) and the "Great Migration of Serbs" (1689), the themes that Serbian historiography is burdened with. Malcom's book successfully exposes the causes of Balkan war, especially of the last one (1991-1999), as a consequence of Serbian hegemonistic ideology and policy. Malcolm's book will help both Serbian and Albanian historians to abandon a romantic approach in writing their histories. However, author could not aree with some of Malcolm's conclusions, such as assumed lack of oppressive measures of the Ottomans over local population in Kosovo or the argument that there is no Muslim fundamentalism among Albanians because they have an Albanian Christian Democratic Party. Likewise, Malcolm seems to accept the idea that there was a process of "albanisation" of Serbs in Kosovo based on the names of certain number of Albanian population, while at the same time denies that there was an identical process in the opposite direction. The reason for this confusion probably lies in the fact that Malcolm overlooks that it is a question of "albanisation" of Vlachs and not of Serbs. Inspite of these shortcomings. the autor highly recommends the book. (SOI : CSP: S. 571)

Antonio Gramši posvetio je znatnu pažnju razmatranju kulturnih praksi i njihove funkcije u društveno-istorijskim procesima u svojim teorijskim spisima. Važan segment njegovog istraživanja predstavljala je i analiza umetnosti i književnosti modernog doba koju je na posredan način uključio u širu raspravu o problemu podesnosti istorijskog marksizma kao filozofske i društvene prakse, društvene moći i njene kulturne i istorijske pojavnosti, kulturne i političke emancipacije podređenih slojeva itd. Fokusirajući se u najvećoj meri na eksplikaciju sociokulturnih, političkih i istorijskih dimenzija italijanske književnost od renesansnog do modernističkog perioda, Gramši je razvio nacrt sopstvene verzije marksističke estetike, ponudivši specifična tumačenja problema društvene funkcije umetničkih praksi, prirode umetničkog stvaranja i umetničkog dela, kao i potrošnje umetničkih produkata. U ovom tekstu ćemo razmotriti Gramšijeve uvide o umetnosti u kontekstu njegovih obuhvatnih teorijskih, filozofskih i istorijskih ispitivanja sa namerom da na njihovoj osnovi izvedemo model za analizu muzičkih praksi modernog i postmodernog doba. Cilj takvog poduhvata je ispitivanje dometa / ograničenja gramšijevske analize muzike iz koga bi proistekao kritički osvrt na način primene ključnih koncepata ovog teoretičara u postojećim istraživanjima muzičkih pojava. ; Antonio Gramsci dedicated a lot of his attention in his writings to the analysis of the cultural practices and their function in the socio-historical processes. An important segment of his work included the analysis of art and literature of modern times which was indirectly incorporated into the discussion of the problem of usefulness of historical materialism as a philosophical and social practice, social power and its cultural and historical appearances, cultural and political emancipation of subaltern classes etc. Mostly focusing on the explication of socio-cultural, political and historical dimensions of Italian literature of Renaissance and the modern period, Gramsci elaborated a sketch of his own version of Marxist aesthetic proposing specific interpretations of the problem of social function of artistic practices, the nature of artistic action and artwork and the consumption of artistic artifacts. In this paper we will discuss Gramsci's thought on art in the context of his comprehensive theoretical, philosophical and historical research aiming at elaborating a Gramscian model of analysis of music practices of modern and postmodern times. One of our results should be the examination of the possibilities of the analysis of music based on Gramsci's theory as well as the critical review of the application of its main concepts in the existing body of research on music.

While the author is impressed by Cornwell's style and presentation, he is appaled by the lack of seriousness exhibited by the author who writes about an imprtant subject (not broached for the first time, by any means) and by demonstrated inability to supress his preconceived notions and even prejudices. Cornwell relies heavily on Owen Chadwick, which assures that he mentions most important facts about the involvement of the Cardinal and Pope Pius XII (whom Cornwell systematicaly entitles by his family name. Pacelli) in contemporary politics, but he bends and ignores Chadwick's research when he makes his judgment about the Pope. Cornwell's treatment of the Catholic Church in the Independent State of Croatia (he gives it an entrie chapter) is a traversy of research and objective writing. His main source. if not the only, for the presentation of the Church in Croatia during the World War II is the 35 years old book by Carlo Falconi. Cornwell perhaps did not know , but he could have and must have been informed, that Falconi wrote his piece on the basis of the propagandistic material given to him by the Yugos]av secrete service and propagandists, which served the purpose of anti-Chatolic propaganda in Yugoslavia. A well intended reader could excuse Cornwell (he does not read Croatian and could not know what some authors wrote about Falconi's sources at the time his book appeared), if he did not point those "Croatian materials" as essential not only for the condemnation of the Croatian Catholic episcopate, but for Pius XII as well. (SOI : CSP: S. 190)

This paper analyzes the demographic potential of the Nišava District at the administrative level of municipality. It is shown through the analysis of the selected indicators: numerical trends and age structure of the population. The main demographic processes that characterize the observed district are the overall depopulation (the decrease of the total population) and the aging of the population. Due to this, the change in the population numbers according to previous censuses has been investigated in order to determine its intensity in different periods. Some population characteristics such as the age of the population, the aging index, the age coefficient, the young population contingent (0-19) and the old population continent (60 and over) as well as the fertile and labor contingent have been used to represent the age structure. The changes in the educational structure are considered in interaction with the processes of depopulation and demographic aging. This has been an attempt to determine the degree of correlation between demographic processes and the education level of the population. The results of the analysis of the demographic potential point to spatial disparity of the Nišava District. Unfavorable demographic processes, extreme depopulation and aging of the population of this district have had a large influence on the weakening of the demographic basis and the decrease in the overall potential of the observed district. The mutual dependence of the process of depopulation and pronounced changes in the age structure towards ever increasing aging of the population has created a vicious cycle which leads to unfavorable and unstoppable demographic changes in this area.

Ovaj rad bavi se životom slikara Save Šumanovića koji je pre 80 godina, 30. avgusta 1942. streljan na pravoslavnom groblju u Sremskoj Mitrovici, zajedno sa 120 građana Šida, mesta u kojem je u roditeljskoj kući proveo najvažnije formativne, kao i poslednje godine svog života. Do danas mu se ne zna grob. Bio je jedna od najpoznatijih žrtava ustaškog režima u Drugom svetskom ratu u Jugoslaviji. Rad ne tumači slikarstvo Save Šumanovića, već nastoji da oslika milje u kojem je slikar živeo i radio te kroz njegovu biografiju i događaje pokušava da objasni istorijski kontekst koji je doveo do tragičnog kraja Šumanovića. Slike i skice Save Šumanovića danas se nalaze u Parizu, gradu u kojem je živeo u tri navrata, u Zagrebu, gde se školovao, u Beogradu, gde je priređena njegova poslednja samostalna izložba, pred sam početak Drugog svetskog rata, u Novom Sadu u Spomen-zbirci Pavla Beljanskog te u Šidu u kojem je nastao najveći deo njegovog opusa i u kojem je 1952. osnovana Galerija slika "Sava Šumanović", zahvaljujući daru Savine majke, Perside Šumanović. U radu su, osim biografskih knjiga i zapisa savremenika o Savi Šumanoviću, korišćena i ekskluzivna pisma Save Šumanovića, koja su ljubaznošću porodice kolekcionara Milana Vereša bila dostupna autoru. Autor je koristio i intervjue koje je radio sa poznavaocima života i dela Šumanovića, kao i arhivske novinske članke, arhivu Televizije Beograd, te knjigu služavke Marije Demšar koja je tokom Drugog svetskog rata radila u kući Šumanovića u Šidu. ; This article is about the life of painter Sava Šumanović, who was executed 80 years ago (on 30 August 1942) at the Orthodox cemetery in Sremska Mitrovica, together with 120 other citizens of Šid, the city in which he spent his most important formative years. His body was never found to be burried. Šumanović is one of the most publically known victims of the Ustashe regime of the WWII in Yugoslavia. This paper does not discuss Šumanović's artistic contribution but rather the social and political context in which he worked and ...