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The purpose of this paper is to examine the way in which the experience of the Holocaust can be represented, embodied and even relived in or through music. The category of experience thus serves as a main methodological tool in this survey, helping to reconstitute the process of expressing it through music, specifically in Arnold Schoenberg’s A Survivor from Warsaw Op. 46. A related point to consider is the composer’s engagement in the fight for human rights just before the World War II, a fact that is not yet widely recognized. A brief overview of Schoenberg’s religious, social, and political environment is followed by the history of the Survivor’s… origins, analysis of its literary text, and, finally, interpretation. While discussing the ethical limits of the Holocaust representation, the opinions of Theodor W. Adorno, Ernst van Alphen, Berel Lang, and Giorgio Agamben are consulted.
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In October 1985, several members of the Palestine Liberation Front hijacked the cruise ship Achille Lauro during its Mediterranean cruise. After the surrender of the terrorists, it came to light that a disabled passenger, Leon Klinghoffer, was killed by one of the kidnappers. The news of the attack was all the more disturbing that Klinghoffer belonged to the Jewish community. The case of abduction of Achille Lauro has been one of the most important topics in the field of international politics and the Israeli-Palestinian conflict for a long time. The idea of creating an opera based on those events came from one of the most distinctive directors of our time, Peter Sellars (1957–), who invited composer John Adams (1947–) to cooperation. Libretto was created by Alice Goodman (1958–). Stage presentation of the fate of the passengers of Achille Lauro was to be a musical background for the wider topic: Israeli-Palestinian conflict. The main aim of the authors of The Death of Klinghoffer, what they repeatedly stressed in interviews, was to present both sides: Jewish and Muslim; not only the design of the libretto and musical development, but also the right direction. Despite these assumptions, since the premiere in 1991 at the Brussels Théâtre Royale de La Monnaie, this opera is consequently dividing the audience into its hot enthusiasts and declared opponents. Demonstrations and protests, accusations of anti-Semitic content, presentation and justification of terrorism have led not only to a change in the score, but today they are almost inseparable elements of issue. This article focuses on the opinions on the opera by critics and music journalists. After presenting the context of creation, examples of the reception, analytical and creative works are shown, such as the opinions found in the reviews of the printed sources, as well as the online ones.
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The municipal administration in the city of Trenčín had several different elements from most of the cities in the Kingdom of Hungary in the 17th century. One of them was represented also by the urban valet concer-ning the position and responsibilities within the municipal administration. He was not part of the Senate in Trenčín city, but on the other hand he fulfilled the tasks held by Burghers in other cities. At the turn of the 16th and 17th century, the valet became a permanent and integral part of Trenčín government. Due to the increase of economic power of the city and the administration as a whole, the function of urban valet was often considered as a kind of interchange stations for those who had the ambition to be selected for City Council. Those who were already there, they again cumulated interest in authorities because the urban valet organize the flow of city money; senators were trying to get often. The author of the study tries to portray the urban valet as a officer, in particular through the view of the circumstances of the election and his position, competencies and tasks entrusted within the city administration. In the present study there is also chronological overview of urban valet in the 17th century and two archontological profiles of urban valets who made a vital contribution to the population of our history.
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The aim of the paper is to investigate the regional elite of Šariš and its weekly, Naša Zastava which was published in an Eastern Slovak dialect between 1907 – 1918. A considerable amount of Slovak and Hungarian works has been already published on the so-called Slovjak movement. The main sources of research were the documents of the so-called Public Educational Association of the Šariš County. The paper uses this organisation to examine the way how a regional elite contructs the imagined community of Eastern Slovak people before 1918.
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The article aims to reconstruct the ethnic image of the town of Košice produced by members of Slovak historiography in the period of existence of the historical Hungary. In the development of the ethnic structure of Košice, the most decisive role played the town’s location on the ethnic border between areas with prevailing Slovak, and on the other side Hungarian inhabitants. To define the affiliation of Slovak historiography to the multi-ethnic town of Košice, it was necessary to trace contemporary images of Slovak scholars about the ethnic composition and realia of Košice and answer the question, whether they considered Košice as one of the Slovak towns, and whether Košice became one of the places of Slovak collective memory. The article contemplates what role did Košice play in constructing the Slovak national discourse and, eventually, it outlines reasons why the town, despite a huge potential, did not become one of the significant centres of the Slovak national life before 1918.
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One of the typical and relatively stable features of the everyday life of the Bulgarianimmigrants in the historical and cultural region of Bessarabia are the patronal festivalsand customs held within the frameworks of the village, neighbourhood or familyand referred to as zbor/sabor (збор/събор), hram (храм), kurban (курбан), tsarkva(църква), panagir (панагирь), cherkuvane (черкуване), moleben (молебен) etc. Asfor the designation збор (a fair), it is clear that it precedes the Russian designationхрам (a patron saint’s day) which penetrates the region under study later on andwhich is widely used at present. What stirs up bigger interest is the fact that exceptfor village church festivals this term (as well as some of the other above-mentioned) was also used for intervillage festivals held at the landmark of the territories of two,three or more villages – the so-called fairs at the landmark also known as moleben orcherkuvane for rain and good health.As far as the patron saint’s day is a universal Christian phenomenon and stilla general practice in the villages of the region studied here, it could be assumedthat the gathering itself, the making of zbor (or moleben) at the landmark (at theborder between a group of villages), which is neglected today almost everywhere,is a form typical only of the immigrants (Bulgarians and Gagauzians) in Bessarabia.This practice attracts the attention with respect to its nature and development as partof the all-Bulgarian system of patronal village festivals as well as with relation tothe influences, changes and specifics through which it inevitably goes under theconditions of the many-tounged and polycultural environment of Bessarabia and theRussian Orthodox Christianity.The fieldwork materials collected so far do not allow a coprehensive and thickdescription of the phenomena intriguing us as well as a more elaborate analysis.That’s why the article only poses the problem or rather interpretes it in connectionwith some concepts of the kin and family-territorial patronal festivals and customswhich were formulated a long time ago in the Bulgarian science but which are stillrelevant.
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On the basis of written sources and field materials, the article examines the phenomenonof the “Odessa cuisine” as a regional complex of food. In the context of thehistorical dynamics, it shows the role of the Balkan traditions in the formation anddevelopment of the everyday culture of the inhabitants of Odessa. Special attentionis paid to the current state of the trade subculture and, respectively, to the systemof the food traditions in Odessa. In particular, the article shows that there are manyproducts introduced by natives from the Balkans (first of all, Greeks and Bulgarians):eggplants, tomatoes, cheese, corn, mutton, grapes, etc. The regional dishes perceivedas “Odessaian” but having roots in the ethno-cultures of the above-mentioned communities,are developed on this basis. The text shows also the “blue” (eggplants) invarious variations of preparation and the “pshonka” (corn). Beside the national, theprofessional mass cuisine is also analyzed (restaurant); in it the Balkan substratumhas found its place a long time ago along with the Jewish, Ukrainian and Moldavian.In the menu of these institutions, there are surely a number of dishes with Balkanorigins. On the other hand, it is worth characterizing the special national restaurantsof Odessa (Bulgarian, Gagauzian, Greek).
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The subject of this paper is still not enough explored, not only from the perspective of museum research but also from that of studies belonging to other fields that take into account the need to integrate culture in urban regeneration. Because this topic is current and relevant for the multitude of cultural and social forms in which the museum institution could become a lasting pillar, we believe that our attempt will allow us to sketch an integrative project from which to extract some useful considerations for future research. The conclusions that emerge from positioning the National Museum of Romanian Literature in Bucharest (MNLR), more precisely its cultural hub located in a disadvantaged area, in the epicenter of urban regeneration through culture of the adjacent area, will hopefully be compelling enough to support a cultural axis. Especially since the targeted area (although it has a rich local cultural heritage, which deserves to be capitalized and whose historical memory must be preserved) does not yet experience the long-awaited revival, MNLR - as already demonstrated - can become a crucial actor, together with partners from civil society, in drawing a new cultural axis in the Romanian capital. This could contribute to the transformation of a physically degraded area with precarious living conditions into an engine for integrating culture into the daily concerns of as many fellow citizens as possible, and not only those belonging to the local community. After all, any attempt to achieve a prospective approach focused on the museum institution only validates the generous and mobilizing slogan of ICOM: “Museums have no borders, they have a network”.
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The study presents the graphic works of six modern female artists that are part of the Tulcea Fine Arts Museum`s heritage. Their work, presented in the context of the modern period of development of fine arts in our country, is prefaced by a comparative analysis between feminism and the feminine in art, starting from the general understanding of the concept of feminism. The article aims to promote the graphics collection of the Tulcea museum and to provide a starting point for future analytical studies.
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Folklore is regarded as one of the sources of Shota Rustaveli’s worldview. The folk wisdom was reflected in the Knight in the Panther’s Skin as emanation of the national consciousness and being and, at the same time, general cultural paradigms that occur in the literature of various nations. In Rustaveli’s narrative the folk wisdom is frequently accompanied formula “it is said” that emphasizes old age of the idea, its oral widespread nature and anonymity. Many Rustaveli’s aphorisms are very close to the folk proverbs with their ideas though they are formulated with Rustaveli’s eloquence. The semantic and stylistic closeness of Rustavelian aphorisms and folk proverbs evidences that along with the brilliant education of his time, Rustaveli had deep folk wisdom. It is due to this reason that the source of some aphorisms is folk sayings. At the same time, a number of Rustaveli‘s aphorisms became the basis of folk saying.
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The status of Mount Athos during the First Balkan War and the accompanying peace negotiations was a major issue for Russia, Greece and the Western Great Powers. Paradoxically, Bulgaria, which is one of the countries in the Balkan Union, shows almost no interest in this problem. Bulgarian diplomacy perceives it as a private case that has much more background positions than the big and important problem related to the territorial expansion in the White Sea region and Macedonia. The article answers the question why Bulgarian politics underestimates the importance of the problem related to the status of the monastic territory on the Athos peninsula and its importance for the international prestige of the state, as well as its geostrategic positioning on the Balkans.
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The report presents specific monuments from different periods in Thrace – megalithic, Thracian, Roman, early Christianity and Ottoman period. These monuments are sacral buildings or remains of destroyed sacral buildings, which on some occasion were buried with an earth mound. The most likely reason for this act is the desire to protect the holy places from destruction, further destruction, or desecration. This ritual tradition has survived on our lands for almost three millennia, although not universal and with varying intensity in different epochs.
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The text presents a possible anthropological perspective on the topic of memorial practices in Germany, linked to the problem of guilt and its overcoming through the dynamization of cultural memory. The thesis of guilt, being an element of the contemporary process of creating places of memory, is based on observations on memorial places for deserters. They may not be many in number (compared to monuments of other social or political victims in the history of Germany), but are becoming a catalyst of the dynamic process of building monuments called Denkmalarbeit. Indicative of the problem are the long, sometimes even paradoxical processes surrounding the decision-making for such monuments: their place, the artistic realization of every project, the accompanying public events, speeches and comments, the forms of implant. The mentioned factors, together with the conclusions of the observation, create a new sphere in the cultural memory of German society, related to changes in public attitude towards deserters and a search for new forms of memory in the process of acknowledging and overcoming guilt.
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This article explores the interpretation and communication of dark heritage in Sighetu Marmației, focusing on three sites: the Memorial of the Victims of Communism and Anti-Communist Resistance, Pauper’s Cemetery, and the Elie Wiesel Memorial House. We argue that these sites convey Romania’s dark heritage by being associated with events and histories of troubled pasts, namely the Communist oppression and the Holocaust. The analysis addresses how and to what extent objects, politics, and spatiality contribute to the making of a sense of darkness identified in these sites. The article argues that the darkness of these sites is shaped not only by their histories, but also by the narratives constructed around them through the museum exhibits and curation. The study reveals that while these sites aim to educate and memorialise, they also navigate complex political and social dynamics, influencing how their dark heritage is presented and perceived.
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