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U maju 2016. godine održan je Šesti međunarodni naučno-stručni skup na kojem su svoje radove prezentirali stručnjaci iz BiH i okruženja.
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Shakespeare’s King Lear is the third book of the new bilingual library "English Poetic Classics" by the East-West Publishing House. The bilingual format of this library provides readers with the opportunity to get deeper into the subtleties of the text regarding some of the most valuable works of English literature by comparing original text and its translation, and also to get into the specifics of poetic translation of classical works. Shakespeare’s King Lear challenges us with the magnitude, intensity, and sheer duration of the pain that it represents. Its figures harden their hearts, engage in violence, or try to alleviate the suffering of others. Lear himself rages until his sanity cracks. What, then, keeps bringing us back to King Lear? The play tells us about families struggling between greed and cruelty, on the one hand, and support and consolation, on the other. Emotions are extreme, magnified to gigantic proportions. We also see old age portrayed in all its vulnerability, pride, and, perhaps, wisdom—one reason this most devastating of Shakespeare’s tragedies is also perhaps his most moving.
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This study has coined the term TechnoFeminist Science Fiction by grounding it on the insights of Judy Wajcman’s TechnoFeminist approach that combines cyberfeminism and cyborg feminism following the philosophies of Sadie Plant and Donna Haraway. The core study of TechnoFeminism gives voice to the mutual relationship between women and technology that is a constructivist and a sociotechnical network by rejecting technological determinism. Likewise, TechnoFeminist Science Fiction, a new trend in women or feminist science fiction, provides both technoscientific politics and TechnoFeminist politics in desire for women or feminist science fiction writers to be more active in creating female cyber and cyborg images in their technoscience fictions. Thus, it aims to create new women perspectives and point of views by erasing the gender duality problem with characterization of emancipatory cyberself and cyborg embodiment through breaking down the boundaries between human and machine, animal/organism and machine, and physical and non-physical organisms. The aim of this study is to demonstrate how British novelists, Justina Robson and Sue Thomas, have opened a different technodigital space for equal and mutual relationship between gender and technology by weaving the issues of TechnoFeminism and the concepts of technoscience, AIs, genetic technologies, the internet, regenerative technologies, communication technologies, nanotechnology, biotechnology, molecular biology and they have also developed an image of the cyborg consistent with any of Haraway’s cyborg metaphors and cyberspace consistent with Plant’s cyberfeminism with wired, wet, fluid, flexible, adaptable, mutable, multiple, ever-flowing, unstable, self-controlled, virtual cyberselves.
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Монографію присвячено малодослідженій у сучасній музичній науці проблемі західноєвропейських впливів у східнослов’янській (і, зокрема, українській) духовній пісенності. У центрі уваги автора – жанр духовної пісні, що розглядається у широкому контексті як явище художньої та церковної культури. Значну увагу приділено літургічному чиннику як одному з провідних у процесі створення східнослов’янського духовно-пісенного репертуару. Багато явищ церковної музичної культури набули нової інтерпретації. Вагому частку становить новий текстовий та музичний матеріал з історії східнослов’янської духовної пісенності. Як підсумок багаторічної роботи джерелознавчого та текстологічного характеру у монографії подано створений на основі українських, білоруських та російських рукописних пісенників XVII-XIX століть системний інципітний каталог західноєвропейських духовних пісень, що увійшли до східнослов’янського духовно-пісенного репертуару. Для музикознавців, культурологів, філологів – мовознавців та літературознавців, літургістів, а також для широкого кола читачів, що цікавляться українською культурою XVII–XIX століть.
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Монографію присвячено розгляду й аналізу найяскравіших мистецько-видовищних форм другої половини XX — початку XXI ст. Дослідження адресоване широким колам читацької аудиторії: професіоналам та любителям видовищних мистецтв, мистецтвознавцям, культурологам, викладачам та студентам мистецьких навчальних закладів, усім шанувальникам сучасного мистецтва.
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This monograph considers a type of the youth slang which refers to the world of music as one of the very important interest areas of the young people (some of whom are deeply involved in it while others are just gathered around it), and which also labels them as members of the particular social group, serving them too ― which is here less important ― as a tool for affirming themselves within the group. Namely, it is about the young adults whose way of speech witnesses the way how they feel, experience and interprete the musical reality. This heterogeneous group of the young people, who may differ in social background and educational level, do share, however, a common communication code (lexicon) relative to the musical context. The monograph presents how the slang lexemes listed in the appended Serbian and Russian music mini-lexicons have been created or, in particular, (1) the models of their structure formation, including the productivity and frequency of some suffixes, their meaning/function, as well as characteristic details from the derivation point of view; (2) their semantic motivation for naming certain entities. The chapter entitled Obratni muzički pogled na žargonizme [A "Reverse Musical View" on the Slang Lexemes] analyses the slang use of musical terms for naming various non-music entities and concepts. Finally, a comparative analysis of the two mini-lexicons has been undertaken on a synchronic perspective in order to highlight the basic structural correspondences between the music slangs of the young people from the two Slavic milieus.
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Includes full papers presented in the research conference on constructions, economy of constructions, architecture, urbanism and territorial development.
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How did language begin? The question, then, is how the properties of human language got their start. Obviously, it couldn’t have been a bunch of cavemen sitting around and deciding to make up a language, since in order to do so, they would have had to have a language to start with! Intuitively, one might speculate that hominids (human ancestors) started by grunting or hooting or crying out, and “gradually” this “somehow” developed into the sort of language we have today. (Such speculations were so rampant 150 years ago that in 1866 the French Academy banned papers on the origins of language!) The problem is in the “gradually”' and the “somehow”. Chimps grunt and hoot and cry out, too. What happened to humans in the 6 million years or so since the hominid and chimpanzee lines diverged, and when and how did hominid communication begin to have the properties of modern language?
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Bilingual volume published in cooperation with the Embassy of Italy in Poland and with the Italian Institute of Culture to celebrate the centenary of the Italian-Polish diplomatic relations (1919–2019).Texts by the renowned Italian and Polish authors (translated from Italian to Polish or vice versa) are divided into two parts: “Diplomacy, economy, history” and “Art, film, literature, theatre”. Such division allows to follow the Polish-Italian bonds in different fields, from translation and performance of the Italian tragedies on the Polish stages, to cooperation with the FIAT company. There is also reflection on the Polish-Italian relations in the difficult interwar period and during the Second World War. In this context one text has exceptional significance - that of Vincenzo Mario Palmieri, Italian anatomic pathologist and a member of the international commission that examined the Katyń massacre in 1943.The volume not only for the Italophiles but also for all those interested in the history of the 20th century and in the issues of the international relations.
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The proceedings contain full-text papers presented in the sub-section of the XXVI. international music teacher conference MUSICA VIVA IN SCHOLA organized by the Department of Music, the Faculty of Education, Masaryk University in Brno (the Czech Republic) on 16 – 18th October 2012.The studies of the partial conference section entitled "Topical Issues of Contemporary Music Education" regard the current problems of the Czech and European music education in historical contexts, as well as theoretically reflect on the partial results of the extensive nation wide empirical researches conducted by a team of academic workers and doctoral students of the above mentioned Department of Music in 2010-2012 – Research on the Use of Multimedia Technologies in Music Education at Elementary Schools of the Czech Republic (MUNI/A/1025/2009), Research on the Use of Multimedia Technologies in Music Education at Secondary Schools of the Czech Republic (MUNI/A/1022/2010) and especially Music Preferences of the University Students in the Czech Republic (MUNI/A/0885/2011).
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Art history as a discipline is currently undergoing a remarkable period during which the traditional and new theoretical approaches to visual art are discussed. In the first section, the propaedeutic manual of methods in art history discusses the objects of art history, the question of personality of an art historian, and basic techniques in the discipline. Subsequetnly, leading figures of art historians and mainstream currents in art history in the second half of the 20th century are mentioned, focusing on latest trends in the interpretation of art and video works. An important part of the book is a treatise on the fundamental concepts of art history (style, structure, theme- symbol, function, and historic time) and an overview of the major art historical approaches, and also approaches of different disciplines and applied approaches in multidisciplinary fields. The volume is intended primarily for students of art history and follows the earlier part of the previous “Schools of art history.“
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The music-literary dictionary of world’s composers is a contribution to Czech lexicographic literature as it brings a new perspective on the world’s music. It exclusively focuses on composers who were inspired by verbal arts. Deep correspondence between music and literary work is often hidden or is considered as a mere coincidence. It is therefore praiseworthy that the author systematically emphasises and records this interconnection. The dictionary serves as a remarkably plentiful source of information for every admirer of art.
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German-language monograph on professional theatre in Brno during the baroque historical period is based on original research of so far unreflected and unpublished archival sources stored in the Brno archives. Thanks to the topic with numerous important overlaps the local history of professional theatre in Brno is included into the large context of Baroque theatre in Central Europe. The Czech edition of the book (2009) was received with enthusiasm in professional circles and superlative reviews in professional journals. The German version comes after repeated requests from foreign experts.
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This book combines the passionate and the practical features of the kebaya fashion. It renews the intricate embroidery work of the past through the creative adaptation to fit contemporary demands. The outfit can be worn and cared for on a daily basis or based on creative preferences of the nyonyas. The book also shares tips and ideas on matching the kebayas with the sarongs (skirts) so as to achieve an amazing ensemble! Aspects of the sarong art is also highlighted.
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A biographical analysis of roles played by three great Polish actresses in the times of Polish People’s Republic. Each role is set against broad social, political and cultural background and within appropriate context of artistic work, historical events and social changes. The main research material consists of the reviews of the plays, which are analysed not only with regard to reconstructing the plays and the chosen roles, but also from the perspective of associations, metaphors and contexts used by critics.
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Women of Kurdistan: A Historical and Bibliographic Study documents a century long history of Kurdish women’s struggles against oppressive gender relations and state violence. It speaks to bibliographic silences on Kurdish women; silences that are systemic and structured, with many factors contributing to their (re)production. The book records extensive literature on violence perpetrated by the family, community, and the state as well as presenting the reader with a vibrant archive of resistance and struggle of Kurdish women. The analysis avoids the fashionable state-centered scholarship, which purifies processes of nation-building, state-building, and disguises their violence. The image depicted of the women of Kurdistan in this bibliography is shaped also by the languages we have chosen: English, French, and German. It is a record of material in languages that are not spoken by the majority of the Kurds. It will, therefore, be different from a bibliography of works in the Kurdish language, which have a majority of Kurdish authors, with more entries on topics such as poetry, fiction, education, and arts.
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The texts in this book analyze Croatian national theater policy from the 19th century to the present day pointing out the continuity of the ongoing crisis caused by the chronic lack of a strategy for its development and the lagging behind of Croatian theater production in relation to our neighbors and other theater models from the past. Also, some of the texts deal with the development of numerous political systems throughout history and their strong influence on the work of the Croatian National Theater in Zagreb, on festival culture and the positions of key figures from the theater's past and present. It also includes other theater personalities and brings several controversies related to currently important officials and administration holders who have decisively influenced or are influencing the orientation of Croatian cultural and theater policy. This is a book that continues the author's masterful book The State and Its Theater, and it equally articulates her scientific research abilities as well as live public participation and numerous quality contributions in polemics about the fate of Croatian theater today. The book is the result of serious research and a document of the author's professional and public engagement. Snježana Banović is a theatre director, writer and full professor at the Department of Production of the Academy for Dramatic Art in Zagreb. She holds a PhD in Performance Studies from the University of Zagreb. She published four books (State and its Theatre, Theatre of Crisis Official Exit and Theatre for People). Her main interest is in the area of cultural history, cultural management, national theatres, national festivals in the context of cultural policy in Croatia and the EU and most of her work is focused on these topics. She publishes reviews, studies and articles in journals, newspapers and on-line publications and is a member of various Croatian and international cultural associations. She was appointed two times as head of the Cultural Committee for Theatre at the Ministry of Culture of the Republic of Croatia and was Artistic manager for Drama of the Croatian National theatre in Zagreb. As a professor she has been a mentor to numerous students and was leading as well various research projects at the University of Zagreb.
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Series: Media i Kultura (1), ISSN 2719-9789 The texts composed in the monograph, however different in assumptions, in the adopted methodology, in the choice of (sometimes point) material that has become the basis for the diagnoses, enter into mutual interactions, creating a space for the participation of cultural researches and and cultural practices. The articles collected in the first part of the volume present a variety of conceptualization of cultural texts, recognize moduses and effects of joining its heritage, point out aspects of its co-creation and use, exhibit and critically analyze the variety of ways of participating in culture. The second part of the volume was dominated by reflections on the situation (and transformation) of the subject, culture, its recipients, and finally: the entire humanities in contemporary media reality. The basic context of the phenomena discussed here by the authors is the digital revolution, the effects of which are still not fully perceptible to us. This situation not only forces researchers to develop new tools and methodologies, but also provokes to ask questions about the opportunities and threats posed by new technologies in building (post) human identity, modifying social communication principles and establishing relationships between high and low culture.
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The series ,,Romanian Rural Tourism in International Context. Present and Prospects" explore some of the main concerns of both theorists and practitioners on the following topics: rural tourism, agritourism, ecotourism, tourism in the context of sustainable development at national, regional, and global level, traditionalism vs modernism in tourism, national and regional strategies for rural tourism development and marketing, e-tourism, etc. The series of ,,Romanian Rural Tourism in International Context. Present and Prospects" traditionally approaches the tourism phenomenon from a multidisciplinary perspective: economics, anthropology, ethnography, low, etc.
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