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Art production and art reception play a vital role in transitional societies. However, their actual operation and patterns of impact often appear 'messy' to those who use and evaluate art in transitional contexts: an artwork can serve as a catalyst for peace building and transitional justice processes, but it can also obstruct such processes, or impart ambiguous meanings to them; and its modes of operation (including the art producers' awareness of their role in transitional justice processes), its reception trends and its influence on transitional society all vary over time. Framed by transitional justice theory and an interdisciplinary approach that incorporates the insights of psychosocial cultural studies, comparative arts and the phenomenology of embodiment, this article scrutinizes this ambivalent operation in relation to the fluctuating sphere of reception in the region of the former Yugoslavia since the establishment of the International Criminal Tribunal for the former Yugoslavia (ICTY) in 1993. The author juxtaposes art practices widely different in terms of expression, format, scope, reach and ambition, but comparable insofar as they all operate in the 'open' and appeal to senses and repetition engagement to create patterns of affiliation. These include various types of popular music (turbo-folk, rock, hip-hop, soft pop) and the public intervention activities of the Serbian DAH Theatre and pan-regional art and theory collective Monument Group. The article argues for the development of hermeneutic and axiological thinking that befits the complex functioning of art in transition: nuanced and multilevelled, challenging inherited hierarchies and paradigms while appreciating the prolonged life/impact of art practices and the sensorial, cognitive and ideological variation in their reception. It proposes moving beyond the binary assessments and adopting a more dynamic approach to the evaluation of artworks in transition for the benefit of both scholars and practitioners in the field.

This article focuses on Freud's account of joking in Jokes and Their Relation to the Unconscious (Der Witz und seine Beziehung zum Unbewußten, 1905) in its historical and cultural context. Freud's treatise, the author argues, must be reclaimed for modernist studies for at least two reasons. First, Freud's contribution to theories of laughter presents an important threshold in intellectual history – one that sees the emergence of contemporary notions of intersubjectivity, language, and art-production. Second and consequential to the first, Freud's 1905 assessment of joke-work deserves to be recontextualized as a modernist text in its own right. These motives provide the argumentative line and shape to the present article. It first investigates the Freudian intersubjective theory of jokes and its diverse contexts and then suggests some avenues for assessing Freud's book on jokes as a meaningful participant in a discourse and practice of modernist artistic engagement with the comic. Freud's reflections on joke-work, it is argued, amount to a seminal modernist theory not only because they purposefully depart from and rework traditional and contemporary assessments of humour but also because of their particular position in relation to modernist artistic discourse-practice as such.

Writing in a Paris rife with war-anxieties, refugees and political plots, a stateless individual by the name of Walter Benjamin recorded on 11 January 1940: "Every line that we succeed in publishing today - given the uncertainty of the future to which we consign it - is a victory wrested from the power of darkness." The fusion of desperation and mystical activism in the face of historical horror, expressed in Benjamin's last letter to Gershom Scholem, was echoed across the Channel. Only ten days later, Virginia Woolf - assailed by a mixture of historical, financial, creative and publishing worries - responded to a commission to write about peace by stating that the "views on peace […] spring from views on war."

Anyone, any Arthur, Sean or Stan : home-making as human capacity and individual practice / Nigel Rapport -- Domestic dislocation : when home is not so sweet / Safe Ground -- Home : paradoxes, complexities, and vital dynamism / Renos K. Papadopoulos -- Strained belonging and claims to home : ancestors and descendants of the New York African burial ground / Susan C. Pearce -- Harvesting stories : home and communities (art project) / Lily Hunter Green -- "He's just a bum, but who ain't?" : the mirror of homelessness / Amy M.E. Morris -- Rogues, vagabonds and sturdy beggars : homelessness, responsibility and social welfare entitlement / Vivienne Ashley -- Recalling home : farewell to the house in Petrínská Street (a theatre project) / Biljana Golubovic and Dragan Dragin -- The emotional dimension of trading on home in later life : experiences of shame, guilt and pride / Louise Overton, Lorna Fox O'Mahony, and Matthew Gibson Sanja Bahun and Bojana Petric -- The Romani language : a signpost to home / Damian Le Bas -- Migration and belonging in the home literacies of Mirpuri families / Anthony Capstick -- Language at home : a reclaimed hritage / Susan Samata.

Introduction -- On Spaces and Nations. Ewa Mazierska: Squeezing Space, Releasing Space: Spatial Research in the Study of Eastern European Cinema -- Lilya Kaganovsky: Thinking again about Cold War Cinema -- Duan Radunovic: Incommensurable Distance: Versions of National Identity in Georgian Soviet Cinema -- Ideologies of Representation. Evgenija Garbolevsky: Mirrors of Death: Subversive Subtexts in Bulgarian Cinema, 1964-1979 -- Monica Filimon: Popular Cinema in Late 1960s Romania -- John Haynes: Stalinist Cinema and the Search for Audiences: Liubov Orlova and the Case for Star Studies -- (Re)recordings, (Re)focusings, (Re)discoveries. Catherine Portuges: The Political Camera: Comparing 1956 in Three Moments of Hungarian History -- Jeremy Hicks: Back to the Archives: The Testimonial Power of Soviet Silent Footage of the Holocaust -- Sanja Bahun: The Human and the Possible