Radom se želi prikazati kako je tekla borba Filis Šlafli i njenih saborkinja protiv usvajanja Amandmana o jednakim pravima u Ustav Sjedinjenih Američkih Država, kao i kako bi imenovani amandman, prvi put predstavljen američkoj javnosti čak davne 1923. godine, mogao da izmeni društveno—političke prilike u kojima žive američke žene. Velikim delom rad je nastao na osnovu izvora koje su iza sebe ostavile učesnice borbe za, odnosno protiv usvajanja Amandmana o jednakim pravima. Nakon uvodnog prikaza ranog istorijata odnosa javnosti prema amandmanu, našu pažnju ćemo usmeriti na jačanje vatrene opozicije amandmanu na čije čelo je stala Filis Šlafli. Takođe, ispitaćemo strukturu i razmere nasleđa ove konzervativne ikone koje nastavlja da igra značajnu ulogu na političkoj pozornici Amerike. The paper seeks to show how Phyllis Schlafly and her female comrades' struggled against ratification of the Equal Rights Amendment to the U.S. Constitution, as well as how the named Amendment, which was introduced to the American public back in 1923. for the first time, would change the socio-political circumstances in which contemporary American women live. For the big part, this work is based on the sources left by the participants in this fight for equal rights. After the introductory presentation of the early history of the Equal Rights Amendment, we will direct our attention to the making of the fiery opposition where Phyllis Schlafly stood as the official leader, and examine the structure and proportions of the legacy of this conservative icon which perpetuates to play a paramount role at the American political stage.
Uporedo sа porаstom političkih tenzijа u globаlnim okvirimа usled аntаgonizmimа ekonomski i vojno nаjmoćnijih zemаljа, prve decenije nаkon Drugog svetskog rаtа donele su i intenzivirаnje konflikаtа unutаr аmeričkog društvа te njihovo problemаtizovаnje u jаvnom i političkom polju. Grаđаnsko nezаdovoljstvo nа tlu SAD-а imаlo je rаzličitа ishodištа kаo i rаzličite vidove kаnаlisаnjа kаdа je reč o metodаmа političkog i društvenog orgаnizovаnjа ugroženih ili obesprаvljenih društvenih grupа. Kаo jedаn od njegovih nаjupečаtljivijih oblikа ispoljаvаnjа bilo je političko, kulturno i društveno delаnje аfroаmeričke zаjednice nаročito tokom 60-ih godinа prošlog vekа, u "nаjborbenijoj" fаzi Pokretа zа grаđаnskа prаvа.2 U ovom periodu znаčаjаn deo аfroаmeričke populаcije počev od predstаvnikа njene političke i kulturne elite do аkterа iz nаjnižih slojevа bio je uključen u rаzličite vidove аktivnosti sа ciljem dezintegrаcije represivnih mehаnizаmа аmeričkog društvа, te otklаnjаnjа ključnih činilаcа političke, kulturne i ekonomske nejednаkosti njegovih pripаdnikа. ; Since the beginning of the 20th century African American intellectual and political elite strived to define the place of black minority in the American society by formulating its political, cultural and economic goals. During that time different concepts of African American culture as well as different cultural policies were promoted in the political, artistic and academic fields. In the 1960s distinct visions of the future of African American community in the American society were consolidated and mediated through the Civil Rights Movement and its multiple organizations that included both the activist from the lower social strata and intellectuals and artists. Among them were many male jazz musicinas as well as a few female jazz artists. Focusing on the artistic work of Nina Simone in the 1960s as a specific example of fusion of political and feministic activism, we will examine the ideological and aesthetical distinction of her position in the fields of politics, music and culture of that period. In that process we will analyze the artistic sublimation of Simone`s understanding of African American racial and feminist identity comparing her views with the predominant perspectives of the African American political, intellectual and artistic elite.
В работе анализируются процессы преобразования идентичности в межвоенное время в Советской России на примере мифологизации образа Василия Ивановича Чапаева, командира дивизии в Граждан- ской войне 1917–1923 гг. В начале рассматриваются основные этапы биографии Чапаева как реальной исторической личности, а также различные оценки его деятельности в трудах ведущих историков Граж- данской войны в России. Основная часть работы посвящена проблеме мифотворчества и мифологизации личности Чапаева, с помощью чего сторонники новой власти в Советской России пытались создать своеобразный противовес образу офицера как символу имперской власти. В статье прослеживается процесс отрыва образа Чапаева от контекста политической идеологии и его трансформации в практи- чески фольклорный анекдотич- ный персонаж как свидетельство профанации коммунистической идеологии. В конце анализирует- ся литературно-художественный образ Чапаева, связанный со всеми перечисленными мифологически- ми образами, но одновременно отличающийся от них. ; This paper analyzes the process of identity transformation of the interwar period in Soviet Russia on the example of mythologization of Vasily Ivanovich Chapaev, division commander in the Russian Civil War of 1917–1923. In the beginning of the work main stages of Chapaev's biography as a real historical figure are considered, as well as various assessments of his activity in the works of leading historians of Civil War in Russia. The main segment of this paper is devoted to the problem of myth creation and mythologization of Chapaev's personality, with the help of which supporters of the new government in Soviet Russia tried to create a kind of counterbalance to the figure of officer as a symbol of earlier imperial power. The article also traces the process of separation of Chapaev's figure from the context of political ideology, and its transformation into a practically folklore anecdotical hero as evidence of the profanation of communist ideology. In the conclusion of the article an artistic and literary figure of Chapaev, related to all above mentioned mythological figures, but simultaneously different from them, is analyzed.
The history of Veneto in the second half of 20th century is a history of great and sudden social transformations. The first one happens because of the economic boom that began in the 1970s, later than in other areas of Italy. The boom has led to a progressive consumption of the territory which has strongly changed the landscape towards a urban sprawl. Andrea Zanzotto denounces this situation already in 1970. In the 2000s, many writers denounced the erosion of the territory by unscrupulous businessmen and corrupt politicians. In these years, the most interesting works are novel rather than essays. In particular I quindicimila passi by Vitaliano Trevisan tells this situation by focusing on an unstable and highly effective character, who dreams of the Amazon in the suburbs of Vicenza. Cartongesso by Francesco Maino, published in 2014, takes the complaint to the extreme, because the author builds a very long invective against the Venetian people. But it is only in 2015, when Romolo Bugaro publishes Effetto domino, that the second major change in the Veneto region, due to the economic crisis, is represented: the building contractors who devastate the area are now defeated.
Југославенска музичка трибина/Трибина музичког стваралаштва Југославије (одржавана у Опатији од 1964. до 1990. године) је поред концертних дешавања, на којима се јавност упознавала са актуелном продукцијом југословенских композитора, од самог почетка неговала и научно-музиколошку делатност. Та се пракса најпре остварила кроз оснивање Клуба трибине, те такозваног Музичког салона, у оквиру којих су се одржавала предавања са дискусијама на различите теме, не би ли се, потом, отпочело са организацијом Округлих столова, посвећених (углавном) актуелним проблемима југословенске музичке културе и њеној позицији у европском контексту. Интензивирање музиколошких расправа на опатијским сусретима расло је из године у годину, а кулминирало је утемељењем Уметничко-социолошких трибина (1976), које су окупљале еминентне југословенске музикологе, али и научнике из сродних хуманистичких дисциплина. Побуда за оснивањем својеврсног симпозијума на музичкој манифестацији каква је била опатијска Трибина, и то управо у периоду када Југославија уводи нови Устав 1974. године, вођена је идејом да се на одређене друштвено-политичке аспекте у земљи укаже и из перспективе културних радника, односно научника. С тим у вези, у овом истраживању ће се дискурс излагача на Уметничко-социолошким трибинама тумачити у контексту друштвено-политичких промена у Југославији током седамдесетих година, при чему ће се сâмо утемељење ових научних скупова сагледати као својеврсна институционализација претходних (скромних) музиколошких расправа на опатијској Трибини. ; The Yugoslav Music Forum / Forum of the Yugoslav Music Production (held in Opatija from 1964 to 1990), in addition to concert events, where the audience got acquainted with the current production of Yugoslav composers, from the very beginning also nurtured scientific musicological activity. This practice was first realized through the establishment of the Forum Club and the so-called Music Salon, where lectures were held with discussions on various topics, then with the organization of Round Tables, dedicated to (mostly) current problems of the Yugoslav music culture and its position in the European context. The intensification of musicological debates at Opatija's meetings grew year by year, and culminated with the foundation of the Artistic Sociological Forums (1976), which brought together eminent Yugoslav musicologists, as well as scientists from related humanistic disciplines. The initiative for establishing a kind of symposium on a musical event such as the Opatija Forum, and in the period when Yugoslavia introduced the new Constitution in 1974, was guided by the idea that certain social and political aspects of the country should be evident from the perspective of cultural workers and scientists. In this respect, in this research, the discourse of presenters at Artistic Sociological Forums will be interpreted in the context of socio-political changes in Yugoslavia during the 1970s, with the very foundation of these scientific conferences to be seen as a kind of institutionalization of previous (modest)musicological discussions on the Opatija Forum.
У овом раду сам настојала да укажем на могућност истраживања културне политике у Србији на примеру рада Опере Нaродног позоришта у Београду, као и репертоарске политике Управе опере у друштвено-политичком и културолошком оквиру у периоду од 1971. до 2011. године. Разлог да се посветим истраживању рада Опере у поменутом временском раздобљу јесте питање: шта се догађало са Опером после златног периода? Сазнање да не постоји ниједна студија у којој је прикупљена и систематизована грађа о раду Опере Народног позоришта у протеклих четрдесет година, подстакло ме је да истражим могуће разлоге за "сумрак" институције која је, током златног периода била једна од најјачих адута југословенске културне политике. ; In this paper I tried to address the possibility of researching the cultural politics in Serbia in the case of Belgrade National Th eatre Opera as well as the repertoire politics of Opera's management in the social-political and the cultural context between 1971 and 2011. I wanted to address the following question: What was happening with the Opera after the Golden period? Th is paper discusses the changes that have infl uenced the development of the given cultural institution's work. Within the institution, there were problems as evidenced by the White Book, which was published 1970 in order to inform the general public about the idea of opera's all-round reform. Th e book stated that the main reasons for the reform were: 'insuffi cient professionalism', material and fi nancial situation and the Opera's repertory. At the end of the 1960s, the National Th eatre failed to "prepare" basic conditions for reform. In 1968 Th eater Community was founded, as well as specifi c self-association and through the activities of the organization National Th eatre secured substantial funding. Th ere were several reform initiatives to improve the situation in Opera, such as the idea of establishing a chamber theater - Krug 101 and the improvement of professional work in Opera. By the beginning of the 1980s, Yugoslavia was economically falling even deeper into crisis and that refl ected in the work of Opera. Th e beginning of 1990s was marked by strong political interference in all spheres of life, which was typical for a society in transition. Preliminary concept of cultural politics of this period was to propagate the desirable national values of the new Yugoslavia. Th is was confi rmed by the fact that the repertoire of the Opera exempted all the works of the composers of the former countries of Yugoslavia and set only a part of Serbian authors. It was a time when the theater faced insuffi cient funding from the state budget. Th is situation infl uenced the quality and quantity of performance. Former Socialist Party was replaced with Democratic Party, which in the next ten years (2000–2010) strived towards 'modern' Serbia. Th is was confi rmed by the work of the Opera, which aimed to return to the European stage (travel abroad, setting the forgotten and the new opera). From the early 1970s to 2011 in the work of the Opera, we tried to fi nd possible reasons that led to the "twilight" institutions. It is necessary now to focus on the cultural life by establishing a cultural policy that will determine the goals and strategies of cultural action. Th is direction may be possible after the transition, which means "regulated society" that will have a stable cultural policy, and thus defi ned the relationship between the state and national opera, and its repertoire. ; Први национални научни скуп са међународним учешћем
U radu su predstavljeni rezultati kvalitativne analize i komparacije relevantnih sadržaja ključnih obrazovno-političkih dokumenata međunarodnih i evropskih organizacija (UNESCO, OECD, Savet Evrope i Evropska Unija) iz dva perioda razvoja koncepta celoživotnog učenja koji se odnose na nastavnike. Rezultati kvalitativnog istraživanja su prikazani kroz sledeće kategorije: uloga i funkcije nastavnika, selekcija budućih nastavnika, inicijalno i kontinuirano obrazovanje nastavnika, odnos nastavnik–učenik, timski rad, pomoć nastavnicima, status i uslovi rada nastavnika, istraživački rad i mobilnost nastavnika, kao i međunarodna saradnja. Analiza i komparacija sadržaja međunarodnih i evropskih dokumenata prve faze (sredina šezdesetih i kraj sedamdesetih godina 20. veka) pokazala je da dokumenti Saveta Evrope i UNESCO-a opširno i na vrlo sličan način govore o tome šta i kako treba promeniti i/ili ponovo uspostaviti kad su u pitanju nastavnici, njihova uloga, obrazovanje i položaj kako bi celoživotno učenje postalo stvarnost. Za razliku od toga, u dokumentu OECD-a nije data veća pažnja ulozi nastavnika u realizovanju celoživotnog učenja. U drugoj fazi (sredina devedesetih godina 20. veka) razvoja koncepta celoživotnog učenja dokumenti UNESCO-a i OECD-a opširno i detaljno razmatraju pitanje nastavnika, dok se u dokumentu Evropske Unije samo konstatuje da će nastavnici imati središnju ulogu u društvu koje uči. Na kraju rada je istaknuto da je analiza i upoređivanje međunarodnih i evropskih dokumenata pokazala da su nastavnici jedan od najvažnijih elemenata politike celoživotnog učenja i da je, stoga, nužno planirati i organizovati celoživotno obrazovanje i učenje nastavnika kako bi oni mogli da podstiču i osposobljavaju učenike za celoživotno učenje. ; This paper presents results of the qualitative analysis and comparison of the content of key educational policy documents of the International and European organizations (UNESCO, OECD, Council of Europe and European Union) from two developmental stages of the lifelong learning concept with regard to the teachers. Results of the qualitative research have been presented within the following categories: role and function of teachers, selection of teacher candidates, initial and continuing training of teachers, teacher-student relation, team work, assisting teachers, status and working conditions, research and mobility of teachers and international cooperation. The analysis and comparison of the content of the International and European documents from the first phase (in the middle of 1960s and beginning of 1970s) have shown that documents of the Council of Europe and the UNESCO, to a great extent and in a similar fashion, state what should be changed and/or newly established when it comes to teachers, their role, their education as well as their status, so that lifelong learning could become reality. Compared to that, the OECD document did not pay greater attention to the role of teachers in the implementation of lifelong learning. In the second phase of development of the lifelong learning concept (in the middle of 1990s) the UNESCO and OECD documents discuss the teachers to a great extent and in detail, whereas the EU document states only that teachers will play a central role in the learning society. The paper concludes that the analysis and comparison have shown that teachers are one of the most crucial elements of the lifelong learning policy. Therefore, it is necessary to plan and organize lifelong learning and educational opportunities for teachers so that they could encourage and train their students for lifelong learning. ; Zbornik rezimea / 24. Međunarodna naučna konferencija "Pedagoška istraživanja i školska praksa ; Book of abstracts / 24th International Scientific Conference "Educational Research and School Practice"
