After the failure of the European constitutional process, the question of creating the European identity has become in the center of attention of the academic public again. According to the scientific literature about Europe it is mostly discussed as the set of institutional solutions, but not as the collective cultural space, the dominant paradigm discussing the European identity is the one that sees it as entirely political, indeed. The goal of this work is to show that insisting on creating of purely political European identity has its basic neither in theory nor in practice. In order to document the claim, in this work the author critically investigates different theoretical approaches studying the European identity and analyzing the results of available empirical researches tries to determine a role of cultural, civil and instrumental components in its creation.
At the end of 2012 and the beginning of 2013, the Serbian Government issued the new national regulations in order to provide an acceptable legislation framework to achieve 2020 targets of 27% increase of total renewable energy sources share in the gross final energy consumption, relative to 2009. The target of a 37% increase relates to participation of renewable energy sources in electricity production. It requires construction of new significant capacities of renewable energy power plants as clearly defined in the National Action Plan for Renewable Energy Sources.This paper comprises critical analyses of targeted new installed capacity of renewable energy power plants for electricity production from different point of views, such as: new national energy policy, new national regulations, renewable energy sources potential in Serbia, efficiency of power plants and the investment financial models.According to the new national energy policy identified in the National Action Plan for Renewable Energy Sources, it is concluded that the new regulations related to the construction of new renewable energy power plants is completed, particularly concerning the investment security, provision of green electricity market, status of green electricity producer, and significant reduction of time for administrative procedures required to obtain a building permit. Particularly, the real wind potential in Serbia, based on the measured data over the past ten years of measurement campaigns at more than thirty locations, has been used to correct the targeted installed capacity of wind power plants. ; At the end of 2012 and the beginning of 2013, the Serbian Government issued the new national regulations in order to provide an acceptable legislation framework to achieve 2020 targets of 27% increase of total renewable energy sources share in the gross final energy consumption, relative to 2009. The target of a 37% increase relates to participation of renewable energy sources in electricity production. It requires construction of new significant capacities of renewable energy power plants as clearly defined in the National Action Plan for Renewable Energy Sources.This paper comprises critical analyses of targeted new installed capacity of renewable energy power plants for electricity production from different point of views, such as: new national energy policy, new national regulations, renewable energy sources potential in Serbia, efficiency of power plants and the investment financial models.According to the new national energy policy identified in the National Action Plan for Renewable Energy Sources, it is concluded that the new regulations related to the construction of new renewable energy power plants is completed, particularly concerning the investment security, provision of green electricity market, status of green electricity producer, and significant reduction of time for administrative procedures required to obtain a building permit. Particularly, the real wind potential in Serbia, based on the measured data over the past ten years of measurement campaigns at more than thirty locations, has been used to correct the targeted installed capacity of wind power plants.
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.
Светска економска криза може се посматрати као оквир у коме се разоткривају поједине црте друштвених, политичких и економских уређења. Случај грађевинских радника из Босне и Херцеговине и Србије на раду у Словенији, који су номинално због кризе отпуштени, недвосмислено указује на постојање системске дискриминације, засноване на националној припадности. ; World financial crisis can be viewed as bringing about insights into some characteristics of our social, political and economic systems. The case of migrant construction workers from Bosnia and Herzegovina and Serbia working in Slovenia, fired in the name of the financial crisis, undoubtedly calls attention to the existence of systemic discrimination which is based on nationality.
First, the author analyses Plessner's interpretation of Husserl's phenomenology. He goes on to outline the cognitive limits of the phenomenological-hermeneutical method, successful in text-analysis, but inadequate in illuminating pertinent historical processes. In his conclusion, the author points to Plessner's uncritical mixing of scientistic and phenomenological interpretations of fascism. (SOI : PM: S. 44)
