Suchergebnisse

Ausgehend von enstprechenden Einsch?tzungen von M. Markowitsch, werden in
diesem Aufsatz mehrfach relevante Aspekte der aktuellen Lage der serbischen
Philosophie beleuchtet. So wird das Verh?ltnis zum Erbe der
Praxis-Philosophie betrachtet, mit kritischer Untersuchung von Markowitschs?
Thesen, sowie dem Verweis auf weitere m?gliche Perspektiven zur Entfaltung
des serbischen philosophischen Denkens. Parallel dazu wird eine Bilanz aus
den bisherigen Leistungen gezogen, wobei B. Petronijewitsch als der
weiterhin bedeutendste Autor ausgesondert wird. Zugleich werden das Thema
des Provinzialismus und des Epigonentums sowie die M?glichkeit einer
Affirmation auf internationaler Ebene er?ffnet. Dabei wird zugleich auf die
M?glichkeit der Sch?pfung einer christlichen Philosophie orthodoxen
Zuschnitts, als auch auf die des Anschlie?ens an bestimmte, heute aktuelle
philosophische Str?mungen in der Welt hingewiesen. Letztlich wird die
St?rkung des kritischen fachlichen Bewu?tseins, der freie Austausch und die
Konkurrenz verschiedener Autoren an den akademischen Einrichtungen durch
Verdr?ngung von bestimmten Anomalien und die F?rderung internationaler
Wettbewerbsf?higkeit bef?rwortet. ?ber solche Fragen gilt es, unverz?glich
einen Dialog aufzunehmen und entschlossen fortzuf?hren.

Exciting new scholarship has been emerging as performance studies scholars begin to turn their attention to the performance of politics, nationhood, and jurisprudence. Branislav Jakovljevic's project on the history and eventual demise of the former Yugoslavia demonstrates how fruitful this approach can be. Jakovljevic considers the concept of theatricality as central to understanding the events that took place in Yugoslavia. He examines the country's trials, state ceremonies and festivals, army maneuvers, propaganda, and pop culture as rehearsals and temporary enactments of an ideologically formulated future. His first chapter reveals the surrealist, avant-garde origins of key members of the Yugoslav bureaucracy after WWII, suggesting that those connections helped the culture of socialist Yugoslavia become a performance-centered culture. Continuing to explore the relationship between the political avant-garde and the artistic avant-garde, he looks at the spectacle of student demonstrations in Belgrade in 1968, and, in their aftermath, the rise of performance art in the country. The third chapter (included here) zeros in on the various political performances of Slobodan Milosevic, including his courtroom testimony at the ICTY, the International Criminal Tribunal for the former Yugoslavia. The fourth chapter discusses the Peter Handke Affair, when the Austrian playwright had a major prize revoked after he attended Milosevic's funeral and recited a poem he had written in Milosevic's honor.

Exciting new scholarship has been emerging as performance studies scholars begin to turn their attention to the performance of politics, nationhood and jurisprudence. Branislav Jakovljevic's project on the history and eventual demise of the former Yugoslavia demonstrates how fruitful this approach can be. Jakovljevic considers the concept of theatricality as central to understanding the events that took place in Yugoslavia. He examines the country's trials, state ceremonies and festivals, army maneuvers, propaganda and pop culture as "rehearsals and temporary enactments of an ideologically formulated future." His first chapter reveals the surrealist, avant-garde origins of key members of the Yugoslav bureaucracy after WWII, suggesting that those connections helped the culture of socialist Yugoslavia become a performance-centered culture. Continuing to explore the relationship between the political avant-garde and the artistic avant-garde, he looks at the spectacle of student demonstrations in Belgrade in 1968, and, in their aftermath, the rise of performance art in the country. The third chapter (included here) zeros in on the various political performances of Slobodan Milosevic, including his courtroom testimony at the ICTY, the International Criminal Tribunal for the former Yugoslavia. The fourth chapter discusses the "Peter Handke Affair," when the Austrian playwright had a major prize revoked after he attended Milosevic's funeral and recited a poem he had written in Milosevic's honor.