Suchergebnisse
Filter
The Serbian political emigration in Western Europe 1945 - 1956
In: Edition Studies and monographs
Montenegro in the XXI century - in the era of competitiveness, Tom 1
In: Special editions 73,1
International Scientific Conference The Place and Role of Capitals in SEE (South East Europe) in the Development of Interregional and Intergovernmental Cooperation within the Danube and Adriatic-Ionian Macro-region: Sarajevo, 19 September 2015 : collection of works
In: Special editions Volume164
In: Department of social sciences Volume 6
The Dayton Peace Agreement and the future of Bosnia and Herzegovina: Sarajevo, 19 November 2015 : proceedings
In: Special editions Volume 166
In: Department of social sciences Volume 7
In: Department of Humanities Volume 44
Migracija radne snage iz Crne Gore na privremeni rad u inostranstvu (1964-1974)
In: Posebna izdanja Srpskog geografskog društva knj. 51 = Editions spéciales de la Société serbe de géographie
Музичко издаваштво између два светска рата као извор за проучавање експанзије популарне музике у Југославији: примери издавачких кућа Јована Фрајта и Сергија Страхова ; Music Publishing Between Two World Wars as a Source for the Research of the Expansion of Popular Music in Yugoslavia: The Examples ...
У овом раду разматраћемо музичка издања Јована Фрајта и Сергија Страхова која су публикована у периоду од 1921. до 1945. (?) године у Београду. Увидом у сачуване делове колекција Фрајтових и Страховљевих издања, уз њихово допуњавање подацима из дневне штампе и периодике, те мемоарске и архивске грађе могуће је да се начини делимична реконструкција поља популарне музике у Југославији која подразумева издвајање значајних композитора, текстописаца и извођача популарних песама из тог периода, као и жанрова и културних утицаја (САД, Немачка, Аустрија, Мађарска, Италија, Француска, СССР итд.). Поређењем тенденција у овој области на простору Југославије са тенденцијама у другим земљама пружа се основ за изношење претпоставки о својствима домаће популарне музичке продукције. Сврха тога је да се укаже на околности настанка аутономне југословенске популарне музичке продукције, као и да се размотри значај овог сегмента у истраживању југословенског друштва и културе тог доба. ; In the existing research of the cultural phenomena in the region of the Kingdom of Serbs, Croats and Slovenes/Yugoslavia not much attention has been devoted to the issue of the expansion of popular music. The reflections on the rise in the interest in musical accomplishments of commercial character in urban centres across Yugoslavia are rare and insufficiently detailed, which is why data on key agents, institutions, creative tendencies and forms of consummation in the field of popular music are missing, as well as the data on their wider circumstances (social, economical, political, etc.). The majority of data is found in memoirs but these data are not adequately systematized and contextualized. The plethora of data is also found in sources like musical editions that have not been researched until now. Namely, in the period after the First World War there were several private music publishers who dedicated a significant part of their collections to the genre of popular music/Schlager music. This is especially relevant for publishing houses of Jovan Frajt and Sergije Strahov, which were stationed in Belgrade, and publishing houses Akord and Albini from Zagreb. The inspection of the preserved pieces of the collections of editions by Frajt and Strahov, which was completed by the data from printed programmes of Radio Belgrade as well as the archive material, it is possible to partly reconstruct the field of popular music in Yugoslavia. This implies singling out important composers, writers and performers of popular songs from that period, as well as the genres and cultural influence (USA, Germany, Austria, Hungary, Italy, France, USSR, etc.). The comparison of tendencies in this field in the region of Yugoslavia with tendencies in other countries provides a basis for making presuppositions concerning the features of domestic popular music production. The purpose of such a procedure is to indicate the circumstances in which an autonomous Yugoslav popular music production emerged in the period between the two World Wars, as well as to consider the significance of this segment in the research of Yugoslav society and culture of that period.
BASE
Великохрватске претензије на Војводину, Босну и Херцеговину ; Greater Croatian pretensions to Vojvodina and Bosnia and Herzegovina
For over a century, rumours have been spread from Croatia about Serbia's intention to create a Greater Serbia and its aspirations to greater Serbian hegemony. This has been a constant refrain in all anti-Serbian speeches delivered both before the Yugoslav and international public. On the one hand, the Serbs and Serbia were presented as aggressors with great territorial appetites, whereas on the other, the aim was to conceal one's own aggression and territorial pretensions to the ethnic, state and historical territories that belonged to others. Though such tactics is a well-known and long-lasting feature of Croatian politics, it has not been given an appropriate place and explanation in Serbian and foreign historiography. Croatia inherited such political approach from Austria-Hungary which demonised and satanised the Serbian intentions aimed at liberation and unification all the more so as its appetites towards the territories in the Balkans increased and as it more strongly expounded the German Drang nach Osten policy. According to such tactical approach, everything that was Serbian was proclaimed greater Serbian in order to nip in the bud and thwart Serbian interests which conflicted with the AustroHungarian ones. Following in the wake of Austro-Hungarian policy, in which they participated and often played the leading role, in all historical periods – from the 1848 revolution to this day the Croats have been denouncing Serbian often labelling it as greater Serbian. By reviling Serbhood and greater Serbhood, in which they saw the main rival to Croatdom and greater Croatdom, Croatian politicians did not only dream about a Greater Croatia, but also worked on building it, with determination and consistency, faithful to the principle that such end justifies all means, including even the genocidal annihilation of the Serbs. The Croatian aspirations to territorial enlargement have a rather long history. Although small in numbers and in a small territory, the Croats have fostered great imperial ambitions. This may be well illustrated with the various names such as: "Alpine or mountainous Croats" (Slovenes), "Orthodox Croats" (Serbs), "indisputable Croats" or the "flower of the Croatian nation" (Muslims), "Turkish Croatia", "Red Croatia", "White Croatia" or "Carpathian Croatia", which were the territories of Bosnia, Montenegro, Dalmatia and Slovenia. These names have been carefully cherished and for centuries instilled in the consciousness of a Croat with the aim to develop the awareness of Croatia's greatness and the numerical strength of the Croats. With the present two studies, I wish to demonstrate and prove when, how, on what foundations and with what objectives the Croats have endeavoured, from the 1848/49 revolution until the present time, to get hold of some parts or the entire territories of Vojvodina and Bosnia and Herzegovina. As precious data on this topic are scattered in different places, it is hard to gain insight into the entirety of this national, state-legal and geopolitical issue. With this in mind, I have elaborated in these papers, in a chronological sequence, on all important Croatian territorial claims on Vojvodina and Bosnia and Herzegovina. I have thus practically uncovered the decades-long greater Croatian politics and have provided concrete answers to the Croatian attacks at Serbia and the Serbs in regard to the so-called greater Serbian politics. I would also like to inform readers that this book is the second, supplemented and expanded edition of the book first published in 2012 in small print run (500 copies) and sold out a long time ago. Belgrade, 20 July 2016 Vasilije Đ. Krestić ; Посебна издања / Српска академија наука и уметности ; књ. 685. Председништво ; књ. 6
BASE
Jevrejski istorijski muzej u Beogradu ; Jewish Historical Museum in Belgrade
Jevrejski istorijski muzej (JIM) u Beogradu predstavlјa jednu celovitu, po mnogo čemu jedinstvenu muzejsku ustanovu u Srbiji. To je jedini jevrejski muzej u našoj zemlјi, tematski specijalizovan, a sadržajno veoma kompleksan. Osim muzejskog materijala, Jevrejski istorijski muzej ima sopstveni, srazmerno veliki arhiv čija dokumentacija i foto-dokumentacija svedoči kako o Holokaustu, u kojem su mnoge jevrejske opštine bukvalno nestale, tako i o životu i aktivnostima jevrejskih zajednica iz Srbije i sa teritorije cele bivše Jugoslavije u 19, još više 20. veku, uklјučujući i savremene periode. Jevrejski istorijski muzej je osnovan 1948. godine u okviru Saveza jevrejskih opština bivše Jugoslavije. Zanimlјiva je činjenica da je ideja o osnivanju muzeja ovakvog tipa mnogo starija. Već posle prvog Redovnog kongresa Saveza jevrejskih veroispovednih opština Kralјevine Srba, Hrvata i Slovenaca održanog 1921. godine u Zagrebu, bilo je predloga i planova za stvaranje muzeja - pravog mesta za čuvanje jevrejske baštine i kulturnog identiteta. Ipak, ova ideja nije ostvarena. Imajući u vidu Drugi svetski rat i događaje koju su usledili počev od 1941. godine u Jugoslaviji, sa ove vremenske distance, može se slobodno reći da je ״sreća u nesreći" što jevrejski muzej nije tada osnovan. Pošto je uspeo da se obnovi, kao vodeća institucija preživelih jevrejskih opština oslobođene Republike Jugoslavije, Savez se, u jesen 1945. godine, obratio svojim članicama sa molbom da prikupe sve raspoložive podatke o Holokaustu i učešću Jevreja u Norodnooslobodilačkoj borbi. Bio je to prvi, ali sasvim konkretan korak ka muzeju. Relativno brzo, u Zagrebu je formiran Muzejsko-istorijski odsek u okviru Pravnog odelјenja Saveza. Otpočelo je sistematsko traganje za sačuvanom arhivskom građom. Godine 1952. do tada sakuplјena građa je preselјena u Beograd, kada se nastavilo sa traganjem i sakuplјanjem. ״Odsek" je počeo da se razvija u pravcu kompletne muzejske ustanove. Te 1952. godine, organizovana je izložba povodom otkrivanja impresivnog spomenika Bogdana Bogdanovića na sefardskom groblјu u Beogradu, posvećenog jevrejskim žrtvama Holokausta. Povodom obeležavanja desetogodišnjice obnove, Savez je 1955. postavio još jednu izložbu o radu celokupne jevrejske zajednice u tadašnjoj Jugoslaviji. Za sve to vreme, kao osnivač i vlasnik Muzeja, Savez je bio u stalnom kontaktu sa svim svojim jevrejskim opštinama, obnovlјenim posle neviđenog stradanja 1941-1945. godine. Za zajednički Muzej i dalјe su stizali materijali koji su se odnosili na istoriju jugoslovenskih Jevreja. Pozivu Saveza su se odazivali i pojedinci, preživeli Jevreji koji su donosili poneki predmet ili porodične fotografije, kolekcionari čije su zbirke opstale sakrivene, i drugi . Mnogi su Muzeju zaveštali predmete iz porodičnih kuća od istorijskog, etnološkog ili umetničkog značaja, a povremeno je vršen i otkup eksponata, u zavisnosti od trenutnih uslova. Počev od datuma osnivanja, pa do 1959. godine, sakuplјen je muzejski i arhivski materijal, dovolјan da se iste godine otvori lepa, slikovita - prva stalna, muzejska postavka. Na dan 19. maja 1960. godine, za javnost je otvoren Muzej Saveza jevrejskih opština Jugoslavije, u istoj zgradi u kojoj je i Savez. Posle izvesnog vremena, naziv muzeja je preinačen u Jevrejski istorijski muzej (JIM), što mnogo više odgovara njegovoj nameni i sadržaju. Sa sakuplјanjem i stručnom obradom materijala se nastavilo, pa je 1969. godine otvorena druga stalna postavka Jevrejskog istorijskog muzeja, znatno bogatija i izražajnija. Za njenu koncepciju je bila zaslužna prof. dr Vidosava Nedomački, prvi upravnik Muzeja. Posle raspada Jugoslavije 1992. godine, formiran je Savez jevrejskih opština Srbije u kojem se okupilo deset jevrejskih opština, koliko ih ukupno ima u našoj zemlјi. Status Jevrejskog istorijskog muzeja ostao je isti - on je deo Saveza jevrejskih opština Srbije. Iako je u sastavu Saveza, Muzej se razvio u instituciju za sebe, sa svojim specifičnim životom, svojom stručnom ekipom i svojim poslovnim kontaktima sa drugim muzejima. S obzirom na to da je stalna izložbena postavka Muzeja otvorena mnogo pre raspada Jugoslavije, ona se bavi istorijskim, etnološkim i opštekulturnim temama vezanim za jevrejstvo celokupnog nekadašnjeg jugoslovenskog područja. Usled teških političkih i ekonomskih problema koji su, počev od 1992. godine pritiskali našu zemlјu, Srbiju, nisu se zasad stekli uslovi za izradu nove, drugačije koncipirane postavke. Međutim, ako imamo u vidu činjenicu da su Jevreji ovog dela Balkana imali zajedničku istoriju i kulturna obeležja - onda je neizbežno da i koncept nove postavke zadrži, bar delimično, širi pristup u svojoj budućoj prezentaciji. Zbog svega toga, a i zahvalјujući složenoj i veoma suptilno osmišlјenoj koncepciji, realna starost stalne izložbene postavke Jevrejskog istorijskog muzeja nikome ne smeta, jer ne utiče na izvanredan kvalitet informacija o jevrejskoj istoriji i načinu života. ; The Jewish Historical Museum (JHM) in Belgrade is a comprehensive and, in manу ways, a unique museum in Serbia. It is the only Jewish museum in the country, thematically specialized, and very complex in terms of contents. Apart from museum exhibits, the Jewish Historical Museum also has its own, relatively large, archives whose documentation and photo documentation are testimony both of the Holocaust, during which manу Jewish communities literally perished, and of the life and activities of Jewish communities from Serbia and the whole territory of former Yugoslavia during the 19th and, even more, the 20th century, including the present times. The Jewish Historical Museum was founded in 1948, as part of the Federation of Jewish Communities of Yugoslavia. It is interesting to note that the idea of founding a museum of this type dates much further back. Already after the First Congress of the Federation of Jewish Religious Communities of the Kingdom of Serbs, Croats and Slovenes, held in 1921 in Zagreb, there were recommendations and plans concerning the foundation of such a museum as the right place to preserve the heritage and cultural identity. Yet, the idea had not materialized. Having in mind the World War II and the events that followed from 1941 in Yugoslavia, from this time perspective one could say that it is, in fact, a lucky coincidence that the Jewish museum had not been founded at that time. After the Federation managed to revive itself as the leading institution of the surviving Jewish communities of the liberated Republic of Yugoslavia, in autumn of 1945, it invited its members to collect all data available about the Holocaust and the participation of Jews in the National Liberation Movement. This was the first and very specific step towards founding a museum. Relatively soon afterwards, the Museum - Historical Department was established in Zagreb within the Legal Division of the Federation. Systematic efforts to identify and preserve the archives began. In 1952 all the archives collected until that time were moved to Belgrade, and the search and collection efforts continued. The ״Department" was beginning to develop towards a full museum institution. The same уеаг, 1952, an exhibition was organized on the occasion of launching the impressive monument by artist Bogdan Bogdanovic at the Sephardic cemetery in Belgrade, dedicated to the Jewish victims of the Holocaust. On the occasion of commemorating the tenth anniversary of its revival, in 1955, the Federation staged another exhibition on the topic of activities of the whole Jewish community in the then Yugoslavia. During that period, the Federation, as the founder and owner of the Museum, was in permanent contact with all the member Jewish communities that were revitalized after the unprecedented persecution during the period 1941-1945. The Museum continued to receive materials relevant to the history of Yugoslav Jews. The individual, surviving Jews also responded to the invitation of the Museum and contributed individual exhibits and family photographs, and there were contributions from collectors whose collections were hidden and preserved, and others as well. Маnу of them made legacies to the Museum containing artefacts from their families and homes, and these legacies possessed historical, ethnological and artistic value; also depending on its resources available the Museum on occasions also purchased exhibits. From its very establishment, until the уеаг 1959, the Museum had managed to collect sufficient museum and archive materials to establish that same уеаг a good and picturesque permanent museum exhibition. On 19 Мау 1960, the Museum of the Federation of Jewish Communities of Yugoslavia was opened to the public, in the same building which presently houses the Federation. Soon afterwards, the name of the Museum was changed to The Jewish Historical Museum (JHM), which is much better suited to its purpose and content. The collection and professional processing of collected materials continued, so that in 1969 the second permanent exhibition of the Jewish Historical Museum, much richer and more expressive, was presented. The credit for its concept goes to Vidosava Nedomacki, Ph.D., the first Museum Manager. After the disintegration of Yugoslavia in 1992, The Federation of Jewish Communities of Serbia was established, consisting of ten Jewish communities, which is the total existing in our country. The status of the Jewish Historical Museum remained unchanged - it is an integral part of the Federation of Jewish Communities of Serbia. Although existing within the framework of the Federation, the Museum developed into an institution of its own right, living its own specific life, its professional team and business contacts with other museums. Since the permanent exhibition of the Museum was opened long before the disintegration of Yugoslavia, it deals with the historical, ethnological and general cultural topics relevant to the Jewery of the overall then Yugoslav region. Due to the grave political and economic difficulties which, beginning in 1992, overwhelmed our country, Serbia, it has not yet been possible to develop a new, differently designed museum exhibition. However, having in mind the fact that the Jews from this part of the Balkans have had a common history and cultural features - it is unavoidable that the concept of such a new exhibition should maintain, at least partially, a more comprehensive approach to such a presentation which will develop in the future. For all of these reasons, and thanks to the complex and subtly designed concept, the actual age of the permanent exhibition of the Jewish Historical Museum does not bother аnyone, as it does not have an impact on the excellent quality of information regarding Jewish history of the way of life. ; 2. dopunjeno izdanje (2nd enlarged edition). ; Uporedo srpski tekst i engleski prevod. ; Ilustracija za korice knjige: Tora i jad - pokazivač za tekst Tore iz Judaika zbirke Jevrejskog istorijskog muzeja (motive for the cover page: The Torah scroll with a Torah pointer from the Judaica collection of the Jewish Historical Museum).
BASE