Suchergebnisse

Heavy Metal ist seit Jahrzehnten sowohl eine der stabilsten und homogensten als auch eine der am wenigsten beachteten kulturellen Formationen. In seiner langen Existenz als jugend- und musikkulturelles Phänomen hat Heavy Metal nicht nur spezifische Musikstile, einen kulturindustriellen Komplex und einen eigenständigen, deutlich zu identifizierenden Bilderkanon hervorgebracht, sondern sich vor allem als ein bedeutungsproduktives Sozialisationsprojekt erwiesen. Für mittlerweile mehrere Generationen bietet es die Sicherheit einer populärkulturellen Zugehörigkeit, mit der eine Vielfalt von Möglichkeiten zur Sinnstiftung und der Strukturierung des Alltags verknüpft sind. Die Musikform, die sich damit brüstet, die lautesten Konzerte hervorzubringen, ist, was die Auseinandersetzung mit ihr angeht, jedoch eine der leisesten Kulturen. Dieser Sammelband versucht, eine Leerstelle der Kultur- und Medienwissenschaft zu besetzen und die Komplexität eines Phänomens herauszustellen, das der Massenkultur zuzurechnen ist und sich dennoch dem kulturellen Mainstream verweigert. ; Rolf F. Nohr / Herbert Schwaab: Einleitung Frank Schäfer: Notes on Metal I. Ästhetik, Codes, Ethnografie Rolf F. Nohr / Herbert Schwaab: Fokussierung I Birgit Richard / Jan Grünwald: Wilde Männer, frostige Räume und asoziale FanArt des Black Metals bei flickr, YouTube und Vimeo Julia Eckel: Kutte & Co – Zur textilen SchriftBildlichkeit des Heavy Metals Rainer Zuch: ›The Art of Dying‹ – Zu einigen Strukturelementen in der Metal-Ästhetik, vornehmlich in der Covergestaltung Florian Krautkrämer / Jörg Petri: Horrormetaltypo – Heavy Metal als Gestaltungsmittel. Zum Verhältnis von Typografie, Metal und Horrorfilm Tomislava Kosic: Heavy Metal als kulturelles System nach der Dichten Beschreibung von Clifford Geertz Sascha Seiler: Ästhetische Codierungen als Marketing-Instrument und ihre Brüche: Die Band Kiss und das Ende der 70er Jahre Herbert Schwaab: This is Heavy Metal: Spinal Tap und ihre Beziehung zur (medialen) Realität des Metals Andreas Wagenknecht: Das Böse mit Humor nehmen. Die Ernsthaftigkeit des Black Metal und deren ironisierende Aneignung am Beispiel von Fanclips auf YouTube II. Musikalität und Vollzug Rolf F. Nohr / Herbert Schwaab: Fokussierung II Dietmar Elflein: Die virtuose Kontrolle der (Ohn-)Macht –Gedanken zur musikalischen Ästhetik des Heavy Metal Daniel Kernchen: Virtuosität als Überlebensstrategie und Publikumsmagnet Marco Lehmann / Reinhard Kopiez: Der Einfluss der Bühnenshow auf die Bewertung der Performanz von Rockgitarristen Andreas Salmhofer: Grindcore – eine ›extreme‹ Mutation des Metals? Zur Diskursivierung des Grindcore Mathias Mertens: Medienästhetische Überlegungen zur Luftgitarre III. Metal vs. Moderne Rolf F. Nohr / Herbert Schwaab: Fokussierung III Simon Maria Hassemer: Metal-Alter. Zur Rezeption der Vormoderne in Subgenres des Heavy Metals Sascha Pöhlmann: Green is the New Black (Metal): Wolves in the Throne Room, die amerikanische Romantik und Ecocriticism Jörg Scheller: Vom Schrei zur Schreischule: Heavy Metal als Paradessenz Jan Leichsenring: »Wir fordern das Unmögliche.« Zur Formulierung und Funktion antimoderner Topoi in einigen Metal-Subgenres Rolf F. Nohr: »Music is the food of love«. Metal als transmoderne Sinnstiftung IV. Glocal Metal Rolf F. Nohr / Herbert Schwaab: Fokussierung IV Franz Sz. Horváth: Protest, Provokation und Peer-Group-Bildung. Heavy Metal in Ungarn und seine Rezeption in Siebenbürgen in den 1980er Jahren André Epp: Heavy Metal und Islam – ein Antagonismus? Zur Rezeption und Verbreitung des Heavy Metals in Staaten der MENA Christian Krumm: »Auf einmal ist es explodiert«. Die Entstehung der Metalszene im Ruhrgebiet Caroline Fricke: Heavy Metal in der DDR-Provinz Imke von Helden-Sarnowski: Glocal Metal. Lokale Phänomene einer globalen Heavy Metal-Kultur V. Politik und Kultur des Heavy Metal Rolf F. Nohr / Herbert Schwaab: Fokussierung V Mario Anastasiadis / Marcus S. Kleiner: Politik der Härte! Bausteine einer Popkulturgeschichte des politischen Heavy Metal Christian Heinisch: Zwischen Kult und Kultur. Kontinuitätsbehauptungen im Heavy Metal Manuel Trummer: Zerstörer, Trickster, Aufklärer. Die Traditionsfigur Teufel im Heavy Metal zwischen Action, Distinktion und neuer Spiritualität Sören Philipps: Zwischen Stereotypen und kollektivem Gedächtnis – die erinnerungskulturelle Dimension des Heavy Metals Tobias Winnerling: »The same song and dance«. Kollektiver Individualismus und das Heavy Metal Universe

Inhalt I. Einführung Mirjam Schaub 11 Grausamkeit und Metaphysik. Zur Logik der Überschreitung in der abendländischen Philosophie und Kultur Über dieses Buch 33 II. Die Erfindung der Grausamkeit aus dem Geist der Metaphysik Sebastian Schulze 41 Das Paradox der Grausamkeit. Zur Theorie der Grausamkeit bei Nietzsche Maximilian Brust 53 Gratwanderung zu einem positiv belegten Grausamkeitsbegriff Gudrun Altfeld 69 Der ›unzerstörbare Kern‹ des Menschen – nur ›dunkel gedachte Metaphysik‹? Grausamkeit als Desintegration der Person bei Kant und Reemtsma Christopher Wienkoop 91 Le Grand Macabre? Über Deleuze, Metaphysik und Masochismus III. Politiken der Grausamkeit Franziska Hammer 117 Grausamkeit als Modus der Unterhaltung. Zur Funktionalisierung von Grausamkeit in den Folterszenen spätmittelalterlicher Passionsspiele und Heiligenlegenden Steffen K. Herrmann 141 Die Gewalt des Namens. Von der Missachtung zum sozialen Tod Daniel Kashi 163 Bartleby, der ›neue Messias‹? Passivitätsstrategien des Gesetzes Werner Binder 179 ›Politische Metaphysik‹ und Ikonographie der Grausamkeit. Carl Schmitt, Leo Strauss und der Bilderkrieg im Irak IV. Mediale Inszenierungen Fabian Goppelsröder 199 Die grausame Geste. Zum Zusammenspiel von Verletzung und Verweisung Peter Thiessen 211 Grausame Unbestimmtheit in den Dramen Sarah Kanes Filip Roman Schönbrunn 227 Grausamkeit – Passivität – Präferenz. Annäherung an eine Figur namens Bartleby Mirjam Schaub 241 ›Wetten, dass Ihr in – sagen wir mal – 12 Stunden alle drei kaputt seid, okay?‹ Die Überschreitungslogiken von Film und Philosophie am Beispiel von Michael Hanekes Funny Games V. Psychodynamik Nina- Sophie Zue 259 Selbstüberwindung? Adolf Eichmann und das Phänomen der Spaltung von Person und Handlung im grausamen Akt Jonas Sellin 277 Mechanismen der Folter. Zu den psychosozialen Dimensionen von Grausamkeit Klelia Kondi 291 Die Psychodynamik des Sadeschen Libertin Sarah Ambrosi 307 Ins Leere lieben. Eine Fußnote zu Bataille VI. Trajekte und Trojaner Jonathan Kassner 323 Im Kerkerkontinuum ...

We live in a time when our lives are saturated with information. We daily receive numerous messages through various media outlets. For example, in the US, during one year, about 200 000 books are published, approximately 70 million hours of programs are broadcast by radio stations and about 58 million hours of television programs are produced. 'From the day of your birth until today more information was produced than during all recorded history before you, while half the total number of all scientists in history lives and produces information today.' Every year we publish more books. If you decided to read everything that has been published in one year, you would have to read one book every three minutes, which is about five hundred books a day. This, of course, only refers to the latest world production, and not the classics. Question is how many of the newly published books are read, how and how much the books and culture in general are covered in commentaries, how well the journalists are trained and if they are at all capable of selecting, clarifying and structuring such a horrific amount of information for us at a time of world crisis which has devastated Serbia as well in material, cultural and also media-related sense. A year ago results were published in Serbia of a study conducted by master student of the Faculty of political sciences in Belgrade who investigated the treatment of the book in Serbian media. These results were far from encouraging - apart from Radio Belgrade 2 and special weekend newspaper additions dedicated to book reviews, the book is generally neglected in the Serbian printed media, while the book reports themselves lack the necessary serious approach and deeper pondering. Focus of this paper is monitoring and analysis of cultural contributions in three daily newspapers, the Politika, the Večernje novosti and the Danas over a period 29.09.2012 - 2.10.2012. Its purpose was to show the content of these cultural sections , to make a comparative analysis of their content and quality of content, as well as to pinpoint the basic topics covered and pursue the question if the printed media create contents that raise public attention. The analysis had an empirical and conceptual approach, and covered quantity and quality baselines. ; Vek u kome živimo doba je kada smo prezasićeni informacijama. Tokom jedne godine, u SAD se, na primer, objavi oko 200 000 knjiga, radio- stanice emituju približno 70 miliona sati programa, dok televizije proizvode oko 58 miliona sati televizijskog programa. 'Od dana vašeg rođenja proizvedeno je više informacija nego tokom čitave zabeležene istorije pre njega, a polovina ukupnog broja naučnika u našoj istoriji živi danas i proizvodi informacije.' 1 Ako biste se odlučili da pročitate sve ono što je objavljeno tokom jedne godine, morali biste da pročitate po jednu knjigu na svaka tri minuta, odnosno oko pet stotina knjiga dnevno. Ovo se naravno odnosi samo na noviju svetsku produkciju, a ne i na klasike. Postavlja se pitanje koliko se od novih, upravo objavljenih, knjiga zaista pročita, koliko se i kako o knjizi i kulturi u celini piše, koliko su novinari sami obrazovani, i koliko su u stanju da nam ovu zastrašujuću količinu informacija selektuju, pojasne i strukturišu, u doba sveopšte krize, koja je zahvatila i Srbiju, pustošeći je i na materijalnom, ali i na svim ostalim poljima, pa i kulturnom i medijskom. Pre godinu dana objavljeni su kod nas rezultati do kojih su došli studenti master studija Fakulteta političkih nauka u Beogradu, a koji su proučavali tretman knjige u srpskim medijima. Rezultati su bili daleko od ohrabrujućih - osim Radio Beograda 2 i specijalizovanih dodataka posvećenih knjizi, koji se objavljuju kao dodaci dnevnim listovima, uvek vikendom, o knjizi se u srpskim štampanim medijima ne piše dovoljno, a izveštava se bez neophodne studioznosti i dubljeg poniranja. Ovaj rad fokusirao se na praćenje i analizu kulturnih rubrika u tri srpska dnevna lista, 'Politici', 'Večernjim novostima' i 'Danasu', tokom perioda od 26.09. do 2.10 2012. i ima za cilj da pokaže šta danas sadrže kulturne rubrike u ova tri štampana medija, međusobnu komparaciju njihovog sadržaja i kvaliteta, baš kao i koje su osnovne teme o kojima se piše, koji su novinarski žanrovi najčešće zastupljeni.

Contemporary attitudes in affluent Western societies are characterised by a growing emphasis on individual freedom. What, then, does this commitment to liberty entail for our openness to diversity; and ultimately for liberal democracy? Previous research on popular attitudes, for example by Ronald Inglehart, tends to assume that valuing freedom entails an encouragement of a plurality of life-styles. This thesis, by contrast, argues that there are several ideals of freedom in public opinion; ideals that may have opposing consequences for our permissiveness towards ways of life that differ from our own. The introductory essay in this book suggests that Isaiah Berlin's theory of positive and negative freedom provides a fruitful analytical framework, which helps theorise and empirically nuance our picture of popular ideals of freedom. Essay I goes on to present a novel, psychological, interpretation of Berlin's Two Concepts of Liberty. This essay also suggests that Berlin was critical not only of enlightened ideals of positive liberty, but also of romantic ones, which might be even more widespread today. Essay II then applies Berlin's framework to contemporary survey data. Through confirmatory factor and regression analyses, this essay demonstrates that Berlin's negative-positive distinction does in fact hold also in popular opinion; and that the two dimensions have rather different effects on moral and legal permissiveness. Essay III, finally, revisits a recent example of disrespect in the name of liberty: the Danish cartoon controversy. This essay develops the concept of 'romantic liberalism', thereby deepening our knowledge of romantic ideals of positive liberty, and their particularly disrespectful tendencies. Drawing on Isaiah Berlin, and his critique of positive liberty, the essays in this thesis together suggest that it is crucial for liberal democracy to recognise the existence of treacherous liberties: ideals that lead their supporters to ridicule, condemn, or even prohibit ways of life that differ from their own – all in the name of liberty. ; The Impact of Religion

Badając, jak wzajemne postrzeganie Europy Środkowej i Rosji zmieniało się na tle złożonych relacji między Wschodem a Zachodem, artykuł czerpie z elementów teorii komunikacji i studiów międzykulturowych (C. Gullién, H. Dyserinck, D. H. Pageaux, D. Ďurišin, etc.) znanych jako imagologia. Jako obszar geograficzny kulturowych przecięć, gdzie weszły ze sobą w kontakt niesłowiański Zachód i słowiański Wschód, Europa Środkowa zawsze wyróżniała sięzmienną pozycją przejściowych centrów i peryferii ze specyficzną mieszanką grup etnicznych, kultur, religii i ideologii. Fakt, że leży ona pomiędzy dwoma tak potężnymi narodami, jak Niemcy i Rosja, wywarł fundamentalny wpływ nie tylko na polityczną, ale i estetyczną komunikację pomiędzy narodami słowiańskimi i Zachodem, który często ujmowany był za pomocą mitów, tzn. fikcjonalnych i subiektywnych obrazów służących do interpretowania rzeczywistości. Wzajemne schodzenie się i rozchodzenie Rosji i Zachodu wynikało z różnic religijnych i "rozdarcia" narodów słowiańskich (przede wszystkim Słowian zachodnich), którzy oprócz trzymania się zachodniej religii i reguł politycznych, pielęgnowali niechęć w stosunku do plemiennej wspólnoty z Rosją. Najsilniejsze więzy z Rosją demonstrowały więc małe narody słowiańskie, żyjące w imperium habsburskim, podczas gdy rosyjskie interesy w Europie skierowane były raczej na Niemcy, Francję lub Anglię, a obszar środkowoeuropejski uznano za strefęprzejściową, traktowaną przez carską Rosję lub Związek Radziecki jako siłę polityczną do prowadzenia własnej polityki względem Zachodu. W przeciwieństwie do tego stanowiska, narody środkowoeuropejskie, nie wyłączając z nich Czechów, nawiązywały relacje z Rosją jako inspirującym liderem i symbolem słowiańskiej niezależności, szczególnie w czasach kłopotów, zagrożenia narodowego i politycznej niestabilności. Ich oczekiwania opierały się na powszechnym przekonaniu, że "nieeuropejska" Rosja i jej inność zdemokratyzuje się poprzez podążanie drogąlokalnej tradycji i popieranie czeskich interesów w geopolitycznej konfrontacji z niesłowiańskim Zachodem. Jak się wydaje, relacja pomiędzy Europą Środkową i Rosją pozostanie centrum permanentnej refleksji metakrytycznej nawet na początku XXI wieku i pozostaje mieć nadzieję, że będzie to model harmonijnej współegzystencji, wzajemnego zrozumienia i szacunku. ; While examining mutual perception of Central Europe and Russia as it has changed against the background of the complex East-West relation, the paper employs the motives of the theory of communication and intercultural studies (C. Guillén, H. Dyserinck, D. H. Pageaux, D. Ďurišin, etc.) known as imagology. As a cultural crossroads and geographicalarea where the non-Slavonic West and the Slavonic East come into contact, Central Europe has always featured a changeable position of transitional centres and peripheries with the specific mingling of ethnics, cultures, religions and ideologies. The fact that it is situated between two powerful nations, such as Germany and Russia, has fundamentally influenced not only political but also aesthetical communication between the Slavonic peoples and the West, which has often been maintained through myths, i.e. fictional and subjective images to interpret the reality. The mutual converging or diverging of Russia and the West has resulted from the religious oscillation and "splitting" of Slavonic peoples (namely the West Slavs) who, despite adhering to Western religion and policies, have fostered awareness of tribal affinity with Russia. The strongest ties with Russia were thus maintained by small Slavonic nations living in the Hapsburg Empire, whereas the Russian interest in Europe was rather aimed at Germany, France or England, andCentral European area was deemed to be a zone of transition employed by Tsarist Russia or the Soviet Union as political powers to pursue their goals in the West. In contrast to it, Central European nations, the Czechs not excluding, forged ties with Russia as the inspiring leader and symbol of Slavonic independence, the more so in times of troubles, national danger and political instability. Their expectations were based on the common belief that "non-European" Russia and its otherness would become democratised through following the local tradition and supporting Czech interests in the geopolitical confrontation with the non-Slavonic West. As it seems, the relation between Central Europe and Russia will remain the focus of permanent metacritical discourse even in the early 21st century and one can only cherish hope that it will be a model of harmonious coexistence, mutual understanding and respect.

The current paper thematised the institutionalisation of cultural protection and thereby draws a chronological arc from the ancient world wonder catalogue over first modern codifications up to the UNESCO-World Cultural Heritage nomination. The contribution focuses on development and establishment of cultural protective initiatives and programmes in the (right) historical context. By reference to regional specific examples, transformations as well as rivals between national, supranational and individually initiated patterns of action will be shown. Apart from the internationally organised protection of cultural heritage, there is an increasing establishment of new trade systems on the basis of globally operating, national trusts. The commitment of the US-American J. Paul Getty Trust by restoration and conservation of outstanding cultural heritage like the Buddhist Mogao Caves shows exemplarily how the practice of global cultural preservation can become a component of foreign-policy efforts. Among political instrumentalization, economic value added will also be discussed as well as plebiscitary proceedings. This begs, among other, the question of the cultural protective character of privately initiated activities such as the Internet poll about the 'New Seven Wonders of the World' (2000-2007). ; Rad se bavi institucionaliziranom zaštitom kulture kronološki prateći nastojanja na tom polju, od popisa sedam svjetskih čuda antike preko prvih modernih sistematizacija sve do nominacija za Listu svjetske kulturne baštine UNESCO-a. U središtu je analize process osnivanja i razvoja inicijativa za zaštitu kulture u povijesnom kontekstu. Referirajući se na specifične regionalne primjere, prate se transformacija i svojevrsna konkurencija između nacionalnih, nadnacionalnih i individualnih obrazaca djelovanja na tom polju. Osim međunarodno organizirane zaštite kulturne baštine sve je prisutnija i uspostava novih sustava na temelju globalnih i nacionalnih zaklada. Ugovorna obveza američke Zaklade "J. Paul Getty" u zaštiti i obnovi iznimnih kulturnih blaga poput budističke spilje Mogao pokazuje kako praksa globalne zaštite kulture može postati sastavni dio vanjskih politika. Rad se bavi i ekonomskom dodanom vrijednosti kao i plebiscitarnim aktivnostima u očuvanju globalnih kulturnih elemenata. Postavlja se i pitanje o značaju privatno pokrenutih akcija za zaštitu kulturne baštine, poput internetskoga glasovanja pri izboru "Novih sedam svjetskih čuda" (2000. – 2007.).

Ovaj članak se bavi prikazom procesa decentralizacije u Srbiji od 2000. do 2011. godine imajući u vidu da bi ovaj proces ujedno morao biti i proces podizanja kapaciteta lokalnih vlasti. U radu se prati transformacija svakog od bitnih činilaca autonomije lokalne vlasti i njenih menadžerijalnih potencijala: ustavni i zakonski status, izbori i model organizacije vlasti, nadležnosti, finansiranje, pružanje usluga, participacija građana, te odnos države i lokalne samouprave. Ovaj kompleksan proces zahteva vreme, podizanje znanja i veština svih nivoa vlasti (posebno lokalne), posvećenost političke elite demokratskim vrednostima i tesno je vezan sa podizanjem stepena demokratske političke kulture. ; This paper provides a review of the process of decentralisation in Serbia from 2000 to 2011, bearing in mind that this process should at the same time be a process of enhancing the local government capacity. The paper traces the transformation of each of the essential factors of the autonomy of local government and its managerial potentials: its constitutional and legal status, elections and the model of the organisation of government, competences, funding, provision of services, citizen participation, and the relationship between the state and local self-government. This complex process is time-consuming, requires upgrading knowledge and skills at all levels of government (local government in particular), a commitment of the political elite to democratic values, and is closely tied to increasing the level of democratic political culture.

The main goal of this article is to show how local ombudsmen in Serbia work. The article analysis data gained by available legal documents, as well as by empirical research conducted in November 2011. Text contains three parts: one is dedicated to the capacities of this institution, predominantly the office of local ombudsman; the second analyses the quality of ombudsman's work, as well as the quality of work of local government bodies, which this institution controls; the third one focuses on the relationship between ombudsmen on different levels of government (local, pokraina's and republic ombudsman), on the manner of ombudsman' capacity improvement and on the relationship with other local government bodies. The main instrument for measurement of the quality of ombudsman' work is usefulness of this institute to citizens, having in mind the protection of their rights and strengthening responsibility of government bodies as well as upgrading the quality of democratic culture. ; Ovaj članak ima za cilj da prikaže na koji način funkcionišu lokalni ombudsmani u Srbiji. Članak analizira podatke do kojih se došlo kroz dostupne pravne izvore, kao i one do kojih se došlo empirijskim istraživanjem, sprovedenim tokom novembra 2011. godine. Tekst se sastoji iz tri celine: jedna je posvećena kapacitetima institucije, a pre svega službe (kancelarije) lokalnih ombudsmana; druga analizira kvalitet rada ombudsmana i kvalitet rada lokalnih organa vlasti koje ovaj organ kontroliše; treća se bavi odnosom između institucija ombudsmana na različitim nivoima vlasti (lokalnih, pokrajinskog i republičkog ombudsmana), načinom obogaćivanja kvaliteta rada ove institucije i odnosima sa drugim organima lokalne vlasti. Kao merni instrument kvaliteta rada ovog instituta analizira se korisnost ovog organa za građane u smislu njihove zaštite od zloupotreba i doprinosa ovog organa jačanju odgovornosti organa vlasti, kao i jačanju demokratske kulture društva.

Artikeln belyser Erik Nydahls avhandling I fyrkens tid som tar avstamp i en omdiskuterad, om än relativt väl utforskad, fråga: hur formades svensk politisk kultur i övergången från jordbrukarsamhället till det moderna industrisamhället? Viktiga faktorer i det sammanhanget var att svensk industrialisering i många avseenden ägde rum utanför de framväxande storstadsregionerna, att jordbruksnäringen samtidigt spelade en fortsatt viktig roll under lång tid och att urbaniseringsprocessen internationellt sett var mera utdragen. ; The original article is published in Swedish with the title Politisk kultur i övergången frånjordbruks- till industrisamhälle and reviews the following work: This article reviews the following work(s): Erik Nydahl, I fyrkens tid: politisk kultur i två ångermanländska landskommuner 1860–1930, Mid Sweden University doctoral thesis 100 (Härnösand: Mittuniversitetet, Institutionen för humaniora 2010). 281 s. (Summary in English: Voting by income: the political culture of two Swedish municipalities, 1860–1930.)

Denne afhandling undersøger de nordiske socialdemokratiske partiers antikommunistiske samarbejde under den tidlige kolde krig (1945-62) Fjendskabet mellem socialdemokrater og kommunister går tilbage til 1920'erne og 1930'erne, men blev aktualiseret med kommunisternes relativt stigende populartitet efter Anden Verdenskrig. Samtidig med at den kolde krig nåede under frysepunktet, begyndte partisekretærerne for de nordiske socialdemokratier at mødes en eller to gange om året for at udveksle information omkring kommunisterne og diskutere hvordan man bedst imødegik dem. Partisekretærmøderne fandt sted i et årti, men døde ud i slutningen af 1950'erne/starten af 1960'erne, da kommunismen forsvandt som en trussel og den kolde krig blev hverdag. Partisekretærmøderne var markeret af den stigende sikkerhedsliggørelse af kommunistproblemet, som forårsagede at socialdemokrater, primært i Skandinavien, begyndte at samarbejde med de nationale sikkerhedstjenester om at inddæmme og bekæmpe kommunismen. Møderne bar præg af dette samarbejde, idet de ikke blot diskuterede kommunisme i fagbevægelsen men som del af et nationalt sikkerhedsproblem. De nordiske fagbevægelser har samarbejdet siden de blev etableret i slutningen af 1800-tallet og starten af 1900-tallet; derfor var det naturligt at de også samarbejdede om dette problem. Under den tidlige kolde krig var de Skandinaviske socialdemokrater politisk dominerende. De opbyggede velfærdsstater som de identificerede sig med i en sådan grad at det kunne være svært at adskille parti og stat. De blev socialdemoratiske stater. Denne identifikation var en bidragende faktor til synet på national sikkerhed som et partiproblem. Siden slutningen af den kolde krig, har ny forskning i stigende grad vist at de skandinaviske lande samarbejdede om militære og efterretningsmæssige forhold. Således betød det mislykkede forsøg på at etablere en skandinavisk forsvarsunion i 1949 ikke en sikkerhedsmæssig splittelse af Skandinavian, som forskningen traditionelt har hævdet. Et nyt billede af nordisk ...

Sous la direction de Paul Claval ; International audience ; Els festivals turístics mundials estan experimentant canvis significatius sota l'efecte de la globalització. Afecten les cultures, els comportaments dels participants i les noves intencions dels actors del projecte. El Fòrum Universalde Cultures organitzada a Barcelona durant l'estiu del 2004 per l'Ajuntament, la Generalitat, el Govern espanyol i la Unesco testimonien la hibridació que experimenten els festivals mundials en la seva forma i contingut. Celebracionsels gegants han de complir moltes expectatives que la seva assistència i les reaccions despertades durant i després de la seva actuació de vegades els derroten. Això es deu als fràgils fonaments de la seva justificació i a la importància d'un món exterior que fa sentir la seva presència fins i tot dins la zona de pagament del partit mundial. Un nou espai públic i una nova identitat cultural resulten de la sacralització festiva i, en cert sentit, pagana d'una perifèria urbana degradada. El Fòrum de Barcelona serveix de referent per a una urbanitat barcelonina en plena recomposició i que dubta del seu futur. Entre el procés d'oblit, el patrimoni urbà i l'endeutament pressupostari, el gegant partit europeu tendeix a esdevenir una operació de màrqueting i comunicació amb unes bases ideològiques i simbòliques fràgils. ; Welttouristische Festivals erfahren unter dem Einfluss der Globalisierung erhebliche Veränderungen. Sie beeinflussen die Kulturen, das Verhalten der Teilnehmer und die neuen Absichten der Akteure des Projekts. Das Universalforumder Kulturen, die im Sommer 2004 von der Gemeinde, der Generalitat, der spanischen Regierung und der Unesco in Barcelona organisiert wurden, zeugen von der Hybridisierung, die weltweite Festivals in Form und Inhalt erfahren. Feierlichkeite Giganten müssen viele Erwartungen erfüllen, die ihre Anwesenheit und die Reaktionen, die während und nach ihrem Auftritt geweckt werden, manchmal zunichte machen. Das liegt an den fragilen Grundlagen ihrer Rechtfertigung und ...

Sous la direction de Paul Claval ; International audience ; Els festivals turístics mundials estan experimentant canvis significatius sota l'efecte de la globalització. Afecten les cultures, els comportaments dels participants i les noves intencions dels actors del projecte. El Fòrum Universalde Cultures organitzada a Barcelona durant l'estiu del 2004 per l'Ajuntament, la Generalitat, el Govern espanyol i la Unesco testimonien la hibridació que experimenten els festivals mundials en la seva forma i contingut. Celebracionsels gegants han de complir moltes expectatives que la seva assistència i les reaccions despertades durant i després de la seva actuació de vegades els derroten. Això es deu als fràgils fonaments de la seva justificació i a la importància d'un món exterior que fa sentir la seva presència fins i tot dins la zona de pagament del partit mundial. Un nou espai públic i una nova identitat cultural resulten de la sacralització festiva i, en cert sentit, pagana d'una perifèria urbana degradada. El Fòrum de Barcelona serveix de referent per a una urbanitat barcelonina en plena recomposició i que dubta del seu futur. Entre el procés d'oblit, el patrimoni urbà i l'endeutament pressupostari, el gegant partit europeu tendeix a esdevenir una operació de màrqueting i comunicació amb unes bases ideològiques i simbòliques fràgils. ; Welttouristische Festivals erfahren unter dem Einfluss der Globalisierung erhebliche Veränderungen. Sie beeinflussen die Kulturen, das Verhalten der Teilnehmer und die neuen Absichten der Akteure des Projekts. Das Universalforumder Kulturen, die im Sommer 2004 von der Gemeinde, der Generalitat, der spanischen Regierung und der Unesco in Barcelona organisiert wurden, zeugen von der Hybridisierung, die weltweite Festivals in Form und Inhalt erfahren. Feierlichkeite Giganten müssen viele Erwartungen erfüllen, die ihre Anwesenheit und die Reaktionen, die während und nach ihrem Auftritt geweckt werden, manchmal zunichte machen. Das liegt an den fragilen Grundlagen ihrer Rechtfertigung und ...

Sous la direction de Paul Claval ; International audience ; Els festivals turístics mundials estan experimentant canvis significatius sota l'efecte de la globalització. Afecten les cultures, els comportaments dels participants i les noves intencions dels actors del projecte. El Fòrum Universalde Cultures organitzada a Barcelona durant l'estiu del 2004 per l'Ajuntament, la Generalitat, el Govern espanyol i la Unesco testimonien la hibridació que experimenten els festivals mundials en la seva forma i contingut. Celebracionsels gegants han de complir moltes expectatives que la seva assistència i les reaccions despertades durant i després de la seva actuació de vegades els derroten. Això es deu als fràgils fonaments de la seva justificació i a la importància d'un món exterior que fa sentir la seva presència fins i tot dins la zona de pagament del partit mundial. Un nou espai públic i una nova identitat cultural resulten de la sacralització festiva i, en cert sentit, pagana d'una perifèria urbana degradada. El Fòrum de Barcelona serveix de referent per a una urbanitat barcelonina en plena recomposició i que dubta del seu futur. Entre el procés d'oblit, el patrimoni urbà i l'endeutament pressupostari, el gegant partit europeu tendeix a esdevenir una operació de màrqueting i comunicació amb unes bases ideològiques i simbòliques fràgils. ; Welttouristische Festivals erfahren unter dem Einfluss der Globalisierung erhebliche Veränderungen. Sie beeinflussen die Kulturen, das Verhalten der Teilnehmer und die neuen Absichten der Akteure des Projekts. Das Universalforumder Kulturen, die im Sommer 2004 von der Gemeinde, der Generalitat, der spanischen Regierung und der Unesco in Barcelona organisiert wurden, zeugen von der Hybridisierung, die weltweite Festivals in Form und Inhalt erfahren. Feierlichkeite Giganten müssen viele Erwartungen erfüllen, die ihre Anwesenheit und die Reaktionen, die während und nach ihrem Auftritt geweckt werden, manchmal zunichte machen. Das liegt an den fragilen Grundlagen ihrer Rechtfertigung und ...

U tekstu se, temeljem fotografija od kojih se neke objavljuju prvi put, rekonstruira izvorni izgled secesijske zgrade Hrvatskog doma u Splitu kao zrelog arhitektonskog djela Kamila Tončića. Donosi se i kronološki pregled uloge Hrvatskog doma u društvenoj povijesti grada Splita koji pridonosi spomeničkoj vrijednosti zgrade. ; The idea of building a "Croatian House", in which the Split culture, art and sporting associations connected to National Party would be located Narodna čitaonica (People's Reading Room), Slavjanski napredak (Slav Progress), Narodna glazba (National Music), the Volunteer Fire-Fighters, Muzikalno društvo "Zvonimir" (the Zvonimir Musical Association) and Hrvatski sokol (the Croatian Hawk – sporting association) came upon the scene in 1896. At the turn of the century artists who elevated the cultural and artistic life of Split and took it out of the provincial context, placing it shoulder to shoulder with European contemporaries, came together in the National party circles. The design of the building made in the spirit of Art Nouveau architecture by Kamilo Tončić in 1906 was bold and avant-garde for a centre in which up to then Historicist or revival architecture had prevailed; in consequence it aroused diverse public reactions. But the Croatian House was nevertheless built according to the Tončić design, and opened in 1908. It had an important role in the musical life of Split as a gathering place for musicians, as a stage and concert venue, all the way up to World War I. The most important event in the first year of the existence of the Croatian House was the organisation of the First Dalmatian Art Exhibition at which the foundation of the Medulić Croatian Art Association was mooted, and the idea for founding the Gallery of Fine Art was also put forward. In the changed political circumstances after World War I, the House lost its pre-war role as an essential factor in the creation of the musical and artistic life of the city. When the Sokol association of the Kingdom of Yugoslavia was formed in 1929, all activities in the Sokol House unfolded under the aegis of Sokol (Hawk), for it was a state organisation; the art and cultural events did not rise above the average amateur level. The most important event in the working of the amateur sections of Sokol was the foundation of the puppet theatre in 1933, on the foundations of which the Marionette Theatre still in operation today was built in 1945. After WWII, the onetime Croatian and later Sokol House was renamed Youth House, while along with the Split City Puppet Theatre, various sporting organisations were assigned the premises of the House. The house was remodelled and extended in 1930 and 1939, and thoroughly remodelled in 1942, when all the decorations on the facade and in the interior of the grand hall were destroyed in order to bring out the monumental aspects of the house in the spirit of fascist architecture. The concept of the building is a simple T-shaped ground floor. In the northern part of the site there is a narrow four-storey building with an attic along the long side placed parallel to the street in which the premises of the societies were located, while at the end of the plot, perpendicularly to it, is a two-storey building with a grand hall on the upstairs. With logical grouping of features and a functional arrangement, the spatial constraints of the plot were made use of to the best extent and complemented with an extensive programme that was supposed to meet the needs of the associations so that all of them should have their own individual quarters while making use in common of the grand hall meant for municipal events, joint events and Sokol members' athletic exercises. Although the principal facade is symmetrical with the main entrance in the middle, the courtyard part of the house with the hall is not built on its vertical axis, but shifted to the west. At the joint of the street and courtyard part of the house there are the grand stairs. The non-formalist asymmetrical disposition of volumes between the courtyard wing of the Croatian House and the neighbouring house left room for a large exercise space outdoors. Only a photograph of the drawing of the main facade remains of the design of the Croatian House. By rectification of the historical photographs, the drawing of the built facade was reconstructed, and a comparison of the project and the original appearance of the original facade shows that the design really was built, in basic idea and composition, and that alterations were made only to some of the decorative features. The lobby of the auxiliary eastern entrance and the threeflight stone staircase are kept in original form. The rectification of the previously unknown photographs of the interior of the hall has allowed the reconstruction of the original volume, position and repertoire of decoration. The space of the hall that we know of today in denuded form consists of two parts: the grand hall with the stage and the backstage areas. Abstract, linear and almost flat details, floral motifs, female heads with flowers and leaves in their hair and masks – common in the Art Nouveau idiom – were applied in the iconographic programme. In the choice of construction material and the manner of construction Tončić opted for the classic solid masonry construction of roughly worked stone blocks in lime mortar, smoothly rendered. The between-floor constructions were of wood, as was that of the gable roof. The flights of stairs with stone steps were leaned on iron I-section girders clad in rendered moulding. The pilasters alongside the central entrance, the pillars on the facade with an emphasised cornice and the attic are made of concrete, but they are only decorative and not structural elements of the building. The building of the Croatian House was adapted to the possibilities (i.e. the constraints) of the site and the function, that is, the needs of its users, in the allocation of the fundamental volumes and in the organisation of space. The interior decoration was also adjusted to the contents (the modestly decorated staircase area as against the luxuriant decoration of the grand hall), and a clearly, symmetrically and gracefully designed facade enhanced with Art Nouveau decorations and the characteristic Tončić details reveal its almost classical composition. The representative Art Nouveau building of the Croatian House, designed in the spirit of the Wagner school and its earlier works, is the original work of a mature architect in whom along with an echo of the classicist tradition the architecture of the modern age can also be sensed. But it is not just its Art Nouveau idiom that imparts a particular heritage value to the Croatian House, but also the events and personalities linked with it, whose importance in the history of the city of Split and Croatian art surmounts that of the building itself.

Svojim radovima o istorijskoj antropologiji balkanskih naroda pred Prvi svetski rat, Niko Županić je fundirao teorijsko-metodološke osnove proučavanja balkanskih naroda počevši od praistorijskih pa do njemu savremenih populacija, uspostavljajući među njima jednu vrstu kontinuiteta. Osnovano je pretpostaviti da su doktorske studije iz oblasti filozofskih nauka u Beču i specijalizacije iz antropologije u Minhenu i Cirihu snažno uticale na njegovo shvatanje načina na koje treba proučavati narode na Balkanu. Svakako, nije reč o jednostavnom prenošenju ideja, već o njihovoj modifikaciji u skladu sa Županićevim razumevanjem sopstvenog identiteta i političkih okolnosti u kojima je delovao. Uzimajući u obzir značaj kulturno-istorijske paradigme u srpskim/jugoslovenskim arheologijama, odnosno ogledanje arheološke kulture i etniciteta, proučavanje naroda u istraživanjima Nika Županića se preispituje kao jedan od mogućih okvira za nastanak opštih mesta etnogenetskog metoda. ; Before the World War I, in his works on the historical anthropology of the Balkan peoples, Niko Županić laid down the theoretical and methodological foundations of the research into the population of the region from the prehistoric to the modern times, thus establishing a kind of long-lasting continuity. It is possible to assume that his doctorial studies of philosophy in Vienna, as well as specialization in anthropology in Munich and Zurich, have profoundly influenced the way in which Niko Županić conceptualized the study of the Balkan peoples. However, this was not a simple idea transfer, but a process of modification, in accordance to the understanding of his own identity and the political circumstances of Županić's work. His research into peoples is particularly important in the light of perseverance of culture-historical paradigm in the Serbian/Yugoslavian archaeologies. / (francuski) Par ses travaux sur l'anthropologie culturelle des peuples des Balkans à la veille de la Première Guerre mondiale, Niko Županić a posé les bases théorico-méthodologiques de l'étude des peuples des Balkans, étude réunissant les populations préhistoriques aux populations contemporaines et établissant entre elles une sorte de continuité. Nous sommes justifiés de supposer que les études doctorales dans le domaine des sciences philosophiques à Vienne et la spécialisation dans le domaine de l'anthropologie à Munich et à Zurich ont fortement influencé sa conception de la manière dont il fallait étudier les peuples des Balkans. Il ne s'agit sans doute pas d'un simple transfert des idées, mais de leur modification en accord avec la perception de sa propre identité de la part de Županić et des circonstances politiques dans lesquelles il avait travaillé. Compte tenu de l'importance du paradigme historico-culturel dans les archéologies serbes/yougoslaves, c'est-à-dire du lien entre la culture archéologique et l'ethnicité, l'étude du peuple dans les recherches de Niko Županić peut gagner en importance.