The author discusses the history of Croatian teaching in the Independent State of Croatia, a topic seldom written about up to now. For the first time a short review of the organization of the secondary school education in Zagreb during the World War Two is presented, and particularly the development of Croatian educational concepts and practice in the Independent State of Croatia. (SOI : CSP: S. 567)
R. J. Kvaternik (1799-1851), professor of history at the Kings Academy of Sciences in Zagreb, had a great influence on several generation of Croatian intellectuals through his pedagogic work and his patriotic and liberal views. The Zagreb journal Südslawische Zeitung also reflected liberal and democratic views. The author compares Kvaternik's views, exposed in questions for public examinations in general and Hungarian History (positiones), with those expressed in the journal concerning actual political issues and institutional, economic, and cultural questions. In both cases, there is notable democratic orientation, inclination towards parlamentary system, and the need for education of the people as requirement for a general progress of the country. The ideas of equality, tolerance, and peaceful resolution of issues are fundamental to the views. S. Z. stands steadfastly to its views. The similarities between Kvaternik's views and those of S. Z. suggests that some of Kvaternik's disciples were contributors to the journal. Unfortunately, this remains only a presupposition, because articles in S. Z. were not signed. (SOI : CSP: S. 276)
The Ministry of Science of the Republic of Croatia decided on a new "Rule book of definition of scientific areas". By the "Book", politology is a scientific field in the area of social sciences. The field is divided in three branches: 1. politology, 2. theory and history of politics, 3. political philosophy. The author of this article shows by documents how the "political science" is quite differently structured by IPSA and APSA, and describes 120 years of dominantly American development of "political science" and of professions of political scientists which brought out a recent new world standard with around 100 subdisciplines and areas of expertise which are structured in 8 fundamental disciplines: 1. political institutions, 2. political behaviour, 3. comparative politics, 4. internationa relations, 5. political theory, 6. public policy and public administration/management, 7. political economy, 8. political methodology. The author points out that a voluntaristic intervention in the definition of scientific areas could mean an attack on development of science, research organisation, renewal of teaching staff on University, and on academic education of political scientists, as well as on internationally comparable competence of Croatian experts, and Croatian democratic political thought and political culture in general. (SOI : PM: S. 240)
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
The article explores the Baltic musicological conferences as a non-hierarchical network and its role and meaning in the changing political and cultural contexts. Starting from 1967, when the first conference took place, the annual meetings of the Baltic musicologists soon became a transnational space for the professional exchange and crosscultural discussion. Based on the results and the impact of cooperation between musicologists of neighbouring countries, the Soviet formation of the national history writing and the development of the Baltic musicological comparativism is discussed, given the political and cultural factors of these changes. The theoretical foundations and cultural aspirations of the concept of national music historiography by Vytautas Landsbergis is highlighted as representative example of the national self-confidence in Lithuanian musicology during the Soviet period. ; Балтички културни простор – да ли је то реалност или фикција, спонтана транскултурална традиција или вештачка геополитичка конструкција? Ова питања, која доводе под сумњу балтичке музиколошке конференције, које се у континуитету одржавају већ педесетак година, уопште нису реторичка. Од 1967. године, када је одржана прва конференција, годишња окупљања балтичких музиколога нису била ограничена само на остваривање професионалних циљева. Политичке промене и културне пукотине увек изнова остављају своје отиске у историји транснационалне балтичке музиколошке сарадње. Приликом покретања прве конференције пре више од пет деценија, примењен је совјетски метод обредног посвећења: окупљање музиколога из три балтичке државе формално је било посвећено 50. годишњици Октобарске револуције, чиме је је успостављена традиција која је пркосила совјетској централизацији. Ускоро су конференције постале простор за професионално самоизражавање и транснационално нехијерархијско умрежавање младих музиколога који су стасавали током шездесетих година ХХ века, као и каснијих генерација. Ова традиција је допринела успостављању институционалног статуса балтичке музикологије, настале као алтернатива званичној доктрини совјетске музике и музикологије у другој половини ХХ века. Супротстављајући се наметнутом совјетском приступу развоју националне културе, балтичке музиколошке конференције прошириле су геополитичко и хронолошко истраживачко поље у вези са музиком својих земаља. Скромни покушаји да се развије компаративизам најбоље су промовисани заједничким напорима да се дефинише појам националне музичке културе и категорије типичне за овај концепт: национална школа и национални стил. Компаративна перспектива била је посебно карактеристична за презентације Арнолдса Клотинша (Arnolds Klotiņš), Марта Хумала (Mart Humal), Витаутаса Ландсбергиса (Vytautas Landsbergis) и Алгирдаса Амбразаса (Algirdas Ambrazas), који су сумирали своја фундаментална истраживања у области музике као културне праксе и музичких стилова. Међутим, чак и у радовима наведених музиколога, универзалнији аспект је био засењен традиционалном концепцијом националног израза у музици. Успостављање алтернативних канона националне класичне и модерне музике, као и модернизација музикологије, спадају у резултате ових конференција. Током година политичких промена деведесетих година прошлог века, културно оживљавање је инспирисало дискусије о општијој потрази за балтичким културним идентитетом и могућностима његовог институционалног успостављања. Међутим, истовремено су се отворила питања идентитета ове манифестације, доводећи у питање сам формат балтичког музиколошког простора као могуће совјетске геополитичке конструкције. ; 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
The denomination singing revolution (coined by Estonian artist Heinz Valk, b. 1936) is commonly used for events in Baltic States between 1987 and 1991 that led to the restoration of the independence of Estonia, Latvia and Lithuania. Three songs – the folk song Pūt, vējiņi! (Blow, Wind!), the choir song Gaismas pils (The Castle of Light) by the national classical composer Jāzeps Vītols (1863–1948) and the song Saule, Pērkons, Daugava (Sun, Thunder, Daugava) by the composer Mārtiņš Brauns (1951) – at that time in Latvia had a special significance in society. Each song represented references to different layers in Latvian cultural and political history. The characteristics of the three songs in the Singing Revolution process are based on the approach and methodology of distant (objective) analysis of cultural context and recent historical experience. As a result, this article reveals the meaning and reception of the three songs as symbols of nonviolent resistance during the fall of communist regime in Latvia in the late 1980s. ; Термин певана револуција, који је сковао естонски уметник Хајнц Валк (Heinz Valk, 1936–), реферира на збивања у балтичким земљама између 1987. и 1991. године, која су довела до поновног успостављања независности Естоније, Летоније и Литваније. Масовне демонстрације против совјетске окупације започеле су након свеобухватне либерализације совјетског режима. У Москви су се надали да ће не-руске нације остати у оквиру Совјетског Савеза, захваљујући уклањању ограничења у вези са слободом говора и коришћењем националних симбола (попут локалних застава из раздобља пре 1940. године и сл.) Међутим, ситуација се до те мере погоршала да су још пре 1989. године започете кампање за ослобађање балтичких нација из окова Совјетског Савеза. Грандиозне манифестације на којима су људи заједно певали биле су карактеристичне за све три балтичке државе. Песме, као симболи протеста и ослобођења, сигнализирале су крај комунистичког режима. Три песме – народна песма Pūt, vējiņi! (Дуни, ветре!), хорска песма Gaismas pils (Замак светлости) летонског националног композитора Јазепса Витолса (Jāzeps Vītols, 1863–1948) и песма Saule, Pērkons, Daugava (Сунце, гром, Даугава) композитора Мартинша Браунса (Mārtiņš Brauns, 1951–), имале су посебан друштвени значај у Летонији тога доба. Свака песма је садржала референце на одређене слојеве летонске културне и политичке историје. Свака од ове три песме имала је другачију судбину након пада совјетског режима и поновног успостављања летонске независности. Стога, фокусирање на ове песме пружа нијансиран поглед на различите културне и политичке контексте пада комунистичког режима у балтичким државама, посебно у Летонији. У приступу овим песмама, карактеристичним за певану револуцију, примењена је методологији дистанциране (објективне) анализе културног контекста и скорашњег историјског искуства. Последично, овим чланком се осврћемо на значење и рецепцију ове три песме као симбола ненасилног отпора у време пада комунистичког режима у Летонији, крајем осамдесетих година прошлог века. Могуће је закључити да се поједине песме, у комтексту историјских промена, не доживљавају као примарно музички артефакти, већ као дубоко симболичне поруке. Заузврат, анализа ових порука омогућава нам да откријемо референце на разне слојеве културе и специфичних локалних традиција, као и њихових данашњих одјека у оквирима традиционалне културе. ; 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
deologically speaking, the initiators of founding all the political parties in Serbia were young intellectuals educated abroad. The ideology of political liberalism was brought to Serbia by young knowledgeable people educated in the West: Milovan Janković, Jevrem Grujić, Vladimir Jovanovic, Stojan Bošković, Filip Hristić, Đorđe Cenić and many more who published and initiated liberal-democratic ideas during the Peter Assembly in 1848. Only with St Andrea Assembly in 1858 did the Serbian Civil rebirth begin. During this assembly two political groups finally divided: the liberals and the conservatives. The most important attainment of the St Andrea Assembly in 1858 was the Act of National Assembly. This act initiated the introduction of the representative system in Serbia. In political history, the period from 1858 to 1869 represents the birth of the representative system in Serbia. The introduction of the representative system in Serbia by the Constitution of 1869 created the necessary political preconditions for organizing modern political parties. Regular political elections and participation of the Parliament in the legislative process resulted in a easier binding of the like-minded politicans with their political liders to whom it was important to strenghten their bonds with their electors. The fact that the constitutional elections took place every three years and that the Assembly took place every year led to the strenghening of the political parties in the state, since more thriving layers of society started entering the National Assembly, the delegates who infuenced the political life. After the Constitution of 1869 was enforced, the liberals are gathered under Jovan Ristić, and later the young oppositional conservatives are gathered. In the same time a third political party emerged, the supporters and followers of Svetozar Marković. The organized political parties did not emerge immediately after the Regent's Constitution although it guaranteed a selection of political rights and freedom necessary for the emergence of the political parties, such as voting right, the freedom of speech and the freedom of press. This poses a question why did it never happen? The answer is to be looked into the intention of the Regency and later Regent Milan to unable the education of the political parties. In a situation when the Regency was closer to conservative than liberal ideas, it was hard to discuss organized political parties. The non-existence of political discipline as well as well political programs adversely affected the emergence of modern political parties. 277 Assembly Elections of October 1874 had a great impact on the history of political parties in Serbia. After the elections, a few political parties emerged in the Assembly: St Andrea Liberals under Jevrem Grujić, Libears under Ristić, Conservatives under Jovan Marinović, the beginnings of Young Conservatives and People's Party of the future Radicals. The organizing of political parties was sped up by young intellectuals gathered round the paper "Videlo" and connected with the People's party in the National Assembly. The beginning of 1881 saw the emergence of modern organized political parties in Serbia: People's Radical Part, Progressive Party and Liberal Party. Until that period delegates in the National Assembly mainly performed individually, and after 1881 they perform in accordance with political program, respecting political discipline. In view of organization and the functioning, the radicals went further, because they realized that organization is of utter importance for successful functioning and development of political parties. Pera Todorovic was given most credit for organizing the Radical Party. His organization contributed a round of hierarchical organizational units starting with local committees in every small town, counties, and to the Main Committee as the supreme organ of the party. Speaking about organization of the other two political parties it could be said that they too emerged with statues similar to the radical one. However, they never occupied such number of members as the Radical Party. The main characteristic of the political life in Serbia during the 80s of the 19th century consisted of bitter fights between the Radical and the Progressive Party in which King Milan Obrenovic sided with the Progressive Party. He was the reason why the radicals, although during the period 1882-1883 in majority, they never succeeded to come to power nor for the years to come. Dedicated to unable radicalism in Serbia, Milan showed even greater resistance toward the liberal reforms and greater affection toward emergence of personal regime. After the Timok Rebellion many radical leaders were convicted for many years, and the political leader Nikola Pasic was in emigration. Among the radicals, involving even those in the custody, slowly awareness was raised that the accord with the crown was necessary. Treaty with the radicals was initiated by King Milan so as to reinforce his personal strength, decreased in the war with Bulgaria. Although hungry for power, the radicals denounced the king's offer in Nis at the beginning of 1886. Radical leaders signed a treaty with liberals instead of progressives in 1887. The King did not have many possibilities, either to give radicals power and concede defeat or to draw back. Radical-liberal coalitional government gave great attention to the constitutional problem solving. Due to the fact that the first coalitional government was short-lived, it did not solve any problems. Similar situation happened with the first homogenous radical government that did not succeed anything more than its program, due to the fact that it was smothered by the King Milan's party. The Constitutional reform of 1888 had a big impact on political and constitutional life of Serbia. The multiannual struggle of the People's Radical Party was crowned by passing the constitution by the principle of majority. 278 The position of the Radical Party is changed from the ground, because it came to power and made its own cadre consisting of young intellectuals. Oversight over the whole work of the radical government from 1889 to 1892 shows that the radicals on the one hand showed great effort to introduce the constitution into the political life of Serbia, and on the other to limit the ruler's power. However, it is important not to forget the fact that the parliamentary regime on whom so many radicals insisted was more and more changing into a totalitarian one-party system. The parliamentary system that enabled the absolute power of the Radical Party in all state institutions was short-lived. King Alexander had an immense wish to stop as soon as possible with all the new-laid things that were introduced by the parliamentary system and that is the reason he was constantly fighting with the political parties and very frequently insisted on coup. In 1894 he suspended the 1888 Constitution and reenacted the 1869 one. After that, a regime based on self-will came to power, which lasted until 1901, year when King Alexander passed a new constitution. Political life in time of self-willed regime of king Alexander was very tough, because the ruler denounced the parties with the basic idea: "to renounce with parliamentarism if we wish to arrange this state properly". The last Obrenovic tried to denounce the existence of the Constitution, the government and the National Assembly by conducting various experiments. His "neutral" governments, which consisted of unforced political personnel, were under his impact. The whole political system turned round one political person, the king, which succeeded in dividing and manipulating the political parties. Neutralizing the People's Radical Party dominance could not have lasted any longer, due to the fact that it was impossible that the party with the biggest support be in opposition any longer. The king's wedding to Draga Masin represents a turning point in political life of Serbia. The shackles of the self-willed regime started to diminish, because the king wanted "to please the parties and the nation, so that they would accept the queen." The king's compromise with the strongest party in the country did not achieve results, due to the fact that among them existed huge differences in view of "state conceptions". The radicals advocated for parliamentary monarchy in which the power would belong to the most popular party, whereas the crown advocated the constitutional monarchy in which the ruler would be a puppet in enforcing the power of the National Assembly. Co-operational politics between the king and the radicals were short-lived, since it turned out that the representatives of the two opposite state conceptions were incapable of reaching an agreement. Shorty, the king realized that the treaty with the radicals was impossible to be kept and decided to return to previous politics, as before signed by the treaty in 1901. The renewed return to the self-willed regime sped up the preparations of the conspirators that in the night of May 28th/June 10th/ May 29th June 11th staged a coup.