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.
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.
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
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.
The financial crisis has adversely affected all the countries of the world in the conditions of globalization with different intensity, no matter if it is higher or lower level of development and different economic structures. In the context of globalization in the countries in transition, the banking system was reformed, thus creating a new financial market. The International Monetary Fund has taken an active part in the transition process of Eastern European countries by providing advice and approving financial arrangements. Developed countries of the world have implemented measures of non-standard monetary policy to overcome the global financial crisis. In some parts of Central and Eastern Europe, in addition to the general corporate identity (bank name, abbreviated name, trademark and slogan of the bank), the countries also applied qualitative features of the bank's corporate identity (image, reputation and goodwill). As they enter the 21st century, banks in developed countries are increasingly emphasizing the corporate culture and style of business of the bank. In the practice of banks, the following performances are most often present: financial, marketing, performance management, employee performance, business philosophy, reputation and the image of the bank. The banks' performance analysis included 13 Central and Eastern European countries divided into three groups. Performance over the period 2008-2018 is analyzed, related to: share of total assets in GDP, share of total loans in GDP, share of total deposit in GDP and level of capital adequacy of Central and Eastern European countries. The analysis shows that the central banks of the countries of Central Europe are dominant, and that in certain performances they are approached by the banks of the countries of Eastern Europe (members of the European Union and the Western Balkans). ; Finansijska kriza je negativno uticala na sve zemlje sveta u uslovima globalizacije sa različitim intezitetom, bez razlike da li se radi o višem ili nižem nivou razvijenosti i različitim privrednim strukturama. U uslovima globalizacije u zemljama u tranziciji izvršena je reforma bankarskog sistema i na taj način je započeto stvaranje novog finansijskog tržišta. Međunarodni monetarni fond uzeo je aktivno učešće u procesu tranzicije zemalja istočne Evrope pružanjem saveta i odobravanjem finansijskih aranžmana. Razvijene zemlje sveta su radi prevazilaženja svetske finansijske krize primenile mere nestandardne monetarne politike.Zemlje centralne i istočne Evrope su u određenom delu pored opšteg korporativnog identiteta (naziv banke, skraćenog imena, zaštitnog znaka i slogana banke) primenjivale i kvalitativna obeležja korporativnog identiteta (imidž, reputacije i gudvila) banke. Ulaskom u 21. vek banke razvijenih zemalja sve više stavljaju naglasak na korporativnu kulturu i stil poslovanja banke. U praksi banaka najčešće su prisutne sledeće performanse: finansijske, marketing, menadžment performanse, performanse zaposlenih, poslovne filozofije, ugleda, reputacije i imidža banke. Analiza performansi banaka obuhvatila je 13 zemalja centralne i istočne Evrope podeljenih u tri grupe. Analizirane su performanse u vremenskom periodu od 2008-2018. godine koje se odnose na: učešće ukupne aktive u BDP-u, učešće ukupnih kredita u BDP-u, učešće ukupnog depozita u BDP-u i nivo adekvatnosti kapitala zemalja centralne i istočne Evrope. Analiza pokazuje da su dominantne banke zemalja centralne Evrope, a da se njima u određenim performansama približavaju banke zemalja istočne Evrope (članice Evropske Unije i zapadnog Balkana).
Активност Југословенске радикалне заједнице, чији је програм крајем 1930-их година подразумевао поштовање и равноправност три национална идентитета (српског, хрватског и словеначког), битно је утицао на идеју интегралног југословенства у Краљевини Југославији. Часопис XX век, спонзорисан од стране поменуте партије, неретко је кроз филозофско- естетичке и уметничко-културолошке теме имплицирао актуелне друштвено-политичке промене. У раду се сагледава филозофско-естетичко промишљање српског естетичара Бранка Лазаревића, чији су текстови о умeтности (објављивани у часопису XX век) бивали политизовани и инструментализовани за форсирање једне у основи политичке идеје кроз поље уметности. На тај начин, овај часопис деловао је као вид алтернативног уметничког образовања народних маса, те је новопробуђене националне идеје промовисао, тобоже, као идеје за уметничку слободу и уметнички прогрес – пласирајући их метафорички кроз естетичке ставове Бранка Лазаревића. ; During the late 1930s, the Yugoslav Radical Community initiated very important changes in the political regime of The Kingdom of Yugoslavia. One of the principle of this party was affirmation of equality of three differеnt national identity – Serbian, Croatian and Slovenian. The 20th Century Journal, which was sponsored by Yugoslav Radical Community, has implicated actual social-political changes through its articles about philosophy, aesthetics arts and culture. The paper deals with the philosophical and aesthetic observations of the Serbian aesthetist Branko Lazarević, whose articles about art (published in the 20th Century Journal) were politicized and instrumentalized for the promotion of the political ideas through the field of art. In this way, the 20th Century Journal acted as an medium for the alternative artistic education of the masses. This journal has promoted new political ideas as ideas for artistic freedom and artistic progress, by placing them metaphorically through the aesthetic reflections of Branko Lazarević. ; Реализацију научног скупа и штампање зборника радова подржало је Министарство просвете, науке и технолошког развоја, решењем број 451-03-469/2018-14.
In the introductory part of the essay, the author looks into the connection between the establishment and attributes of the so-called state of law and the legal system of continental Europe. This is followed by his summary of the origins of the idea of the state of law and its historical setting. In the middle part of the essay the author offers a list of values, value principles and the premises of the so-called state of law with the corresponding conclusions about a marked, multi-level/multiple restricted meaning and scope of the (mosdy) dogmatic, formal/legal principles of the so-called state of law. The author concludes the essay with a rough appraisal of the condition of the so-called state of art in the Republic of Croatia. (SOI : PM: S. 157)
The paper analyses the class basis of the civil society in Serbia in the period of post-socialist transformation. The analysis is based on data from several empirical studies implemented by the Institute for Sociological Research of the Faculty of Philosophy in Belgrade over the past twenty years, specifically in 1997, 2007 and 2012. The main objective of the analysis is to determine whether there is rootedness of civil society activities among the middle class. The basic hypothesis of the paper is that members of the middle class are the key actors of civil society in the entire period observed. Results of the analysis show that the members of the middle class have been holders of civil protests during the period of blocked transformation - almost the only phenomenal manifestation of the civil society in Serbia in the 1990s. On the other hand, research findings from 2007 and 2012 indicated a significant decline of civic activism among all social groups, and the decline was most marked precisely among the middle class. Although members of the middle class, compared with other social groups, were still more willing to engage in civic activities, data show that the differences between social classes were not especially marked, and therefore we can talk only conditionally about rootedness of civil society activities among the middle class.
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.
The changes in the social position of women in transitional countries is the consequence of the latest economic and political changes in the countries of Central and Eastern Europe. Croatians think that the social position of women today is worse than in the former regime; in this, women are more critical than men, particularly the well-educated women, working outside the home (modernists). Those who nevertheless do believe that the position of women today is better than it used to be, make a smaller group; hey believe that a woman's place is primarily in the home, that the Church should have a decisive say in the position of women, that women are not born for politics, and that pro-choice attitudes should not be tolerated. Women should resolve their dissatisfaction with their lives and social position by choosing either the modern or the traditional variant, or a middle path, which has been suggested by the logic of the newly-created living conditions. (SOI : PM: S. 168)
