Suchergebnisse

In this paper it had been started from the question what was in diachronic included in the term Middle Europe, and why it was impossible to define it precisely in any sense. 'New Middle European Concept', actual in the 80s of the previous century, had also political background, but in his creation Middle European intellectuals had part in it, and it meant the fight for cultural unity of Middle European, for the recognition of their European identity. One of the first, and the most important supporter of this concept from Yugoslav area is Danilo Kish in whose literary oeuvre this virtual space is additionally mythologized. The research attention was directed to Kish's essay 'Variations on Middle European Themes', in which he had elaborated in a concise manner his comprehension of Middle Europe, Middle European culture, Middle European writer, and numerous interviews in which he had thoroughly been elaborating these attitudes. There the writer expresses his comprehension of fascism, and Stalinism, Ahasuerus, and Judaism as 'family happiness', nationalism of small peoples, inferiorities of their 'barbarian languages', and attitudes on ironic lyrisms, 'consciousness on form', and stateless people as basic poetic features of Middle European writers. Due to all mentioned, and some universal truths on the mentioned symbolic tops, this essay is rightfully considered as one of Kish's most important self-poetic texts.

If we take political economy to be concerned with the way a society satisfies its needs, we would expect that an account of Marx's critique of political economy of art should begin with a critique of the way a need for art is perceived within capitalistic production relations. We will try to provide a sketch of such a critique in this paper, taking various accounts of the place and role of art within a system of human needs as a context in which art works and artistic creation are connected with categories of commodity, production, labour, market etc. Then we will turn to an account of human needs, provided by Agnes Heller, that are not limited to political economy and aim to show that the need for art is properly located within that system of "non-alienated" needs and human self-determination. ; Ako znamo da politička ekonomija proučava način na koji društvo zadovoljava svoje potrebe, očekivali bismo da će prikaz Marxove kritike političke ekonomije umjetnosti krenuti od kritike načina na koji se potreba za umjetnošću percipira unutar kapitalističkih proizvodnih odnosa. U ovom radu pokušat ćemo skicirati takvu kritiku, uzimajući različite prikaze položaja i uloge umjetnosti u sustavu ljudskih potreba kao kontekst u kojem su umjetnička djela i stvaralaštvo povezani s kategorijama robe, proizvodnje, rada, tržišta itd. Zatim ćemo se okrenuti prikazu ljudskih potreba kako ih vidi Agnes Heller, a koje nisu ograničene na političku ekonomiju, i pokušati pokazati da je potreba za umjetnošću s pravom smještena u sustav "neotuđenih" potreba i ljudskog samoodređenja.

In many of its areas, the writing of music history in Germany is characterised by the Romantic music outlook and its "Two-World-Model": the real world is seen as opposing the ideal world of music as a higher existence of ideas and ideals. Art music in the emphatic sense, commonly designated as serious music, pretends to represent that ideal world and makes claims to truthfulness. The science of music actually believes it is able to prove the universality of these claims. A large part of musicological publications are characterised by this assumption. However, a public discussion among musicologists as to whether such writings should belong to the field of theology rather than to historico-critical historiography (as a science in the strict sense) is non-existent. As a result, our field has not only disappeared from a public sphere that wishes to leave those claims to small elitist circles, but has also encountered a growing lack of understanding among other disciplines, even to the point of mockery. It would suffice here to refer to the lawyer Bernhard Weck, who wrote with regard to Beethoven's Opus 112: "Only musicology could prove that 'political ideas of freedom can be expressed through gestures of sound.'" ; У многим својим сегментима, писање историја музике у Немачкој карактерише романтичарска визура и њен "модел два света": реални свет се посматра као супротстављен идеалном свету музике као вишем ступњу постојања идеја и идеала. Уметничка музика у изворном смислу, обично означена термином "озбиљна музика", претвара се да представља тај идеалан свет и претендује на истинитост. Наука о музици заиста верује да може да докаже универзалност ових тврдњи. Знатан број музиколошких публикација карактерише ова претпоставка. Међутим, јавна дискусија међу музиколозима о томе да ли такви списи треба да припадају области теологије, а не историјско-критичкој историографији (као науци у строгом смислу) не постоји. Као резултат тога, наше поље није само нестало из јавне сфере, која жели да те тврдње остави малим елитистичким круговима, већ је наишло и на све већи недостатак разумевања међу другим дисциплинама, чак и до тачке ругања. Довољно је да се позовемо на речи адвоката Бернарда Века (Bernhard Weck), који је у вези са Бетовеновим опусом 112 написао: "Само музикологија може доказати да се 'политичке идеје слободе могу изразити звучним гестовима'." ; Часопис је индексиран на http://doiserbia.nb.rs/, http://dais.sanu.ac.rs/handle/123456789/914 и у међународној бази ProQuest. / The journal is indexed in http://doiserbia.nb.rs/, http://dais.sanu.ac.rs/handle/123456789/914 and in the international database ProQuest. Издавање ове публикације подржали су Министарство културе и информисања Републике Србије, Министарство просвете, науке и технолошког развоја Републике Србије и СОКОЈ - Организација музичких аутора Србије / The publication of this volume was supported by the Ministry of Culture and Information of the Republic of Serbia, the Ministry of Education, Science and Technological Development of the Republic of Serbia and SOKOJ - Serbian Music Authors' Organization

International police and other cooperation is a necessity of the modern world and imperative for the survival of human civilization. The goal of cooperation is that states and the international community unite in opposing crime as the greatest peacetime evil in the world. This is particularly in relation to organized crime, terrorism, and corruption and other most serious forms of crime in contemporary society. Cooperation takes place at the bilateral, regional and multilateral levels. Bilateral cooperation mainly has a trans-border character of neighboring countries, while the regional cooperation between states within certain areas such as the SEE region (Western Balkan) or Europe (e.g. Europol). Multilateral cooperation is mainly on a broader level, e.g. in the field of combating terrorism or through universal organizations (e.g. Interpol). International police cooperation in Europe has a long tradition. One part takes place today in this area through the OSCE, with the caveat that this is a global organization that deals with security issues. The Council of Europe is the next organization through which co-operation began in the past and is partly carried out to this day, given that it brings all European countries together (except Belarus). Cooperation is more intensive still throughout the European Union, its forerunners, the current forms of the organization and present mechanisms (EAW- European surrender and arrest warrant).53 The cooperation in the EU, that takes place through Europol as a specialized agency of the Union is especially current, but with minimal operational competencies. In the SEE region, a significant cooperation between countries of the former Yugoslavia and countries in its neighborhood has been achieved. This cooperation is not only based on bilateral and multilateral acts, but primarily regional documents of which the most important are the International Convention on Police Cooperation in SEE and SELEC Convention. According to these and other acts, all the countries in the region have taken part in regional cooperation, since the fight against crime is the common interest of all. This applies in particular to organized crime, terrorism, corruption and other most serious forms of crime. Extremely important shapes, forms and mechanisms of international police cooperation are: exchange of information, joint investigation teams, joint operational actions, liaison officers, contact points, regional centers for police and customs cooperation, joint police stations and others. To recap, international police cooperation in the world today is an expression of anti-criminal solidarity between states and its prospects are clear, because the danger of crime is global and requires a harmonized response at the international level.

О дугорочном процесу византизације срп ске кул ту ре и умет но сти, који је у склопу сложених политичких односа на почетку XV века интензивиран, сведоче сачувани двојезични грчко-словенски музички рукописи. Ови примарни извори у реконструкцији појачке уметности Српске цркве у касном средњем веку, али и византијско-српских музичких веза, недвосмислено потврђују постојање праксе билингвалних богослужења у доба Деспотовине. Задуго уврежени ставови о времену настанка две неумске антологије: Лавра Е 108 и ЕВЕ 928, писарима који су у њиховом састављању узели удела, мелодима и напевима који су се у њима нашли, критички су у овом раду први пут сагледани. ; The long-term process of the byzantinization of Serbian culture and art, intensified in the framework of complex political relations at the beginning of the 15th century, is testified, among others, by the preserved bilingual Greek-Slаvonic musical manuscripts. As the primary sources in the reconstruction of the Serbian church chanting art in the late Middle Ages, but also the Byzantine-Serbian musical connections, the neum manuscripts unambiguously confirm the existence of the bilingual worship practice at the time of Despotovina Serbia. The long-held views on the dated two neum anthologies from the Great Lavra (E 108) and the National Library of Greece (EVE 928), their scribes, composers and songs in this paper are critically examined for the first time.