Suchergebnisse

Behind the scenes of the Congress of Laibach (modern day Ljubljana), a dance form called Deutscher came into existence and for a decade remained, in a specific local version, the most popular dance of bourgeois circles. This paper sheds light on the phenomenon of the Laibacher Deutscher within a broad social and cultural context and political background. ; V senci dogajanja na ljubljanskem kongresu je v Ljubljani zaživela plesna oblika z imenom Deutscher in se eno desetletje obdržala v specifično lokalni obliki kot najbolj priljubljen ples meščanskih krogov. V prispevku je osvetljen fenomen ljubljanskega Deutscherja v širšem družbeno-kulturnem kontekstu in s širšim političnim ozadjem.

Caption title. ; "Separatabdruck aus den 'Mitteilungen des Militargeographischen Institutes', XXXIV Bd." . ; Bibliographical footnotes. . ; Mode of access: Internet.

Conformément au but que poursuivent en temps de paix les sociétés de la Croix-Rouge, la Société autrichienne emploie ses ressources à venir eu aide aux victimes des calamités civiles. C'est ainsi qu'au mois d'avril dernier, lors du tremblement de terre qui désola la ville de Laibach, non seulement elle chargea les deux sociétés régionales de la Carniole d'intervenir et de porter secours aux blessés, mais elle fit un envoi de six baraques qui, parties du dépôt du Prater à Vienne le 18 avril, arrivèrent dès le 19 à Laibach, furent immédiatement dressées et organisées, et dès le 23 avril étaient prêtes à fonctionner. Le président de la Société, comte Falkenhayn, se rendit lui-même sur les lieux. Dans le courant de mai de nouvelles baraques furent installées, en sorte qu'un véritable hôpital fut organisé, comprenant 550 lits et représentant une valeur de 45,000 florins. Ces secours envoyés par la Croix-Rouge furent d'autant plus appréciés, que l'hôpital de l'endroit s'était partiellement effondré sous les secousses du tremblement de terre, et que les pauvres blessés, par une température froide et une pluie incessante, n'étaient abrités que sous des tentes. En outre, la Croix-Rouge expédia à Laibach vingt-cinq caisses garnies intérieurement de feutre et destinées à transporter les aliments, les conservant chauds et appétissants pendant 24 heures. Elles rendirent possible le transport des mets de la cuisine de l'hôpital à l'endroit, éloigné d'une demi-heure, où se trouvaient les blessés; ce qui eut le double avantage d'éviter la construction d'une cuisine spéciale et de permettre d'offrir aux blessés une nourriture chaude et réconfortante.

Magistrsko delo obravnava vsebino nemškega časopisa Laibacher Zeitung in njegovega feljtona v obdobju prve svetovne vojne (1914–1918). Časopis je bil na Slovenskem prisoten od konca 18. stoletja do 28. oktobra 1918. Veljal je za najbolj vpliven časopis v Ljubljani, ki je objavljal novice s področja politike, gospodarstva in kulture. Prvi del magistrske naloge obravnava začetek izhajanja časopisa Laibacher Zeitung, v nadaljevanju pa se posveti vsebini časopisa med prvo svetovno vojno in ugotavlja, ali je časopis zastopal interese le nemško ali tudi slovensko govorečega prebivalstva na Kranjskem. Drugi in hkrati osrednji del magistrskega dela se osredotoča na feljton časopisa Laibacher Zeitung in prispevke, ki so bili objavljeni v njem. Skozi raznovrstne literarne prispevke nemških, slovenskih in drugih avtorjev ter avtoric – delimo jih na prispevke za razvedrilo in prispevke z vojno tematiko – je prikazano, katere politične interese je časopis Laibacher Zeitung zastopal v času prve svetovne vojne. ; The master thesis focuses on the content of the German newspaper Laibacher Zeitung and its feuilleton during World War I (1914–1918). The newspaper was present on Slovenian territory from the late 18th century until October 28th 1914. It was considered as one of the most influential newspapers in Ljubljana, which published political, economic and cultural news. The first part of the thesis focuses on the beginnings of Laibacher Zeitung and next discusses its content during the World War I. This helps to determine, whether the newspaper represented the interests of only German or also Slovene speaking population in Carniola. The second and at the same time the main part of the thesis focuses on the Laibacher Zeitung's feuilleton and the articles published within. Through the diverse literary contributions by German, Slovene and other foreign authors – divided into articles to be read for entertainment, and those that discuss the military and war themes – the political interests of Laibacher Zeitung during World War I can be determined.

A Slovene collective emerging in the wake of Tito's death and shaped by the break-up of Yugoslavia, the NSK (Neue Slowenische Kunst) are a performance art movement founded in 1984 in Ljubljana, northern Slovenia. Together with their most influential delivery system the group Laibach they examine Vaclav Havel's Post-Totalitarian Age, and operate as nexus between East and West in the context of postcommunism. This article interrogates how with the employ of relatively unique and willfully provocative strategies of Retrogardism, re-mythologisation, and Over-identification, Laibach interrogate contexts of the unfinished narrative of Communism, the aestheticized-political of totalitarianism, and the legacy of Yugoslavian Self-management Socialism. Retrogardism has been re-contextualised by cultural theorist Marina Gržinić as the new "ism" from the East, and Slavoj Žižek champions Laibach's acts of disruptive Over-identification. Other diverse subjects such as ideological discourse, Suprematism, "Balkanisation" and the wider notion of European identity, in particular Western chauvinism, are all fertile ground for Laibach's controversial provocation and are subject to analysis. The ludic presence of Laibach and the NSK reveals the mechanisms of these discursive fields, whilst simultaneously appearing to reaffirm such, often to an alarming and disconcerting degree.

Résumé Apparus dans le contexte idéologique de la Yougoslavie finissante, le groupe slovène de musique industrielle Laibach et son organisation faîtière, le Neue Slowenische Kunst (NSK), ont contribué à renouveler la grammaire de la contestation, à travers le principe de « rétrogardisme » et la technique de suridentification aux codes esthétiques du pouvoir. L'article revient sur la trajectoire du groupe, dont il démonte les stratégies en insistant sur la dimension systématiquement ironique de son mode d'énonciation, notamment de son art de la reprise.

Članek je namenjen predstavitvi esesovske vojaške bolnišnice v Ljubljani, ki je bila med letoma 1943 in 1945 edina nemška stalna vojaška bolnišnica na slovenskem ozemlju med drugo svetovno vojno. Poleg tega, da je bila bolnišnica nastanjena v več poslopjih v Ljubljani, je imela izpostave tudi na Bledu. Esesovski vojaški zdravniki so skrbeli za zdravljenje tako nemških vojakov, kot tudi pripadnikov protikomunističnih formacij v nemški službi, ki so delovale na slovenskem ozemlju. V Ljubljani sta poleg vojaške bolnišnice delovala še osrednji laboratorij in osrednje sanitetno skladišče, ki sta pokrivala celotno Jugoslavijo.

The worldwide renowned Slovenian industrial alternative music group Laibach, which was also a member of the multimedia artists' collective called NSK, has been a subject of many professional discussions. This article attempts to analyse Laibach's conception of a uniform according to the theory of anti-fashion. As one of the most recognizable elements expressing a mythical, totalitarian aura, inseparably linked with the performers' distant and constrained attitude, Laibach's uniform can be erroneously comprehended as anti-fashion clothing, expressing fixed and rigid social environments. The analysis of Laibach's television interview from 1983, in which the band is directly imitating the ruling ideological language, shows that the strategy of over-identification and subversion represent dominant principles of Laibach's actions, combining them with the retro-method of using symbols and images of various cultural traditions and periods, as seen in their diversity of clothing worn, including the Yugoslav military uniform, miner and hunting uniforms, jeans and shirts, and even fashionable items. With the performative dimension in the ideological ritual and by emphasizing totalitarian tendencies in contemporary society, Laibach endeavours to show that all changeable multiform clothes are uniforms – timeless, universal and deprived of semiological meaning and thus surpasses the distinction of fashion and anti-fashion or fixed and modish costume. Nearly forty years after the establishment of the group, Laibach is conventionally dressed in regular clothes, nevertheless providing a sentiment of wearing a collective's uniform.