![Der Plan einer Verlegung des Prager Ghettos nach Lieben 1680](/api/image/getbookcoverimage?id=document_cover-page-image_467081.png)
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This paper focuses on the way the new post-socialist cosmology is restructuring religion, shaping the religious mentalities of contemporary Romania. I am trying to investigate this by analyzing the ways the different local politics of ethnic and cultural identities remodel the perspectives on after-life and burial practices. My research aims at analyzing the symbolic architecture of the discourse that surrounds and penetrates the dead body. It focuses also on the way the cemetery is transformed into a micro-world that reflects the religious, ethnic and cultural struggles of the new post-socialist world. Along this line of reasoning I chose for research the multi-ethnic and multi-religious village of Sch., situated in the south-eastern part of Romania. Old-Orthodox Lipovenians (divided into two antagonistic religious communities, popovtsi and bezopopovtsi) and their eternal rivals, Orthodox Romanians, have to co-habit the village and share the local resources with the newly emerged community of Lipovenian-Romanian Adventists. What seems even harder to do is to share the after-life and cemetery space, where the borderlines between these four communities become even stronger. The instrumentalization of the symbolic architecture of after-life that penetrates the dead body and the fragmentation of the cemetery space that accompanied this process mirror the important transformations of the Romanian social system and the struggle to enact the different post-socialist politics of ethnic and cultural identities.
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The Magyarpalatka, located on Inner Mezőség, is one of the Gypsy musicians' centers in Mezőség. Many Gypsy music families lived and live here to date, the most famous being the Kodoba family. The present case study undertook to find out how the romungro family of the Reformed Religion in Romania, with the Hungarian-speaking, Reformed Religion, romanesque, in Hungarian, no longer (or hardly speaking) in the 20th Century, still a reformed, then Orthodox family, and tries to outline the broader social contexts of this process of identity change and to answer its causal relationships. Doing this by examining the extent to which the secondary identity change (including the change of the ethnic projection of the personal name) is related to the changing social, historical and political situations, to the extent that Magyarpalatka is continually depopulated from the Hungarian point of view, dominating the local Romanian population (not just numerical) and last but not least to some extent the economic aspects of the village vocational music industry. The research carried out at the same time makes it interesting that Gypsy musician of the Kodpal Gypsy family in Budapest is a Roma mother tongue, and its primary ethnic identity (for the time being) Roma, and that for the sake of its vocation has preserved the mediating role of local Hungarian, Romanian and Roma cultures as the traditional dance music of each ethnic group mediated and provided.
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This paper proposes to compare the ideological and legal frameworks of the Romanian and Hungarian Jewish labor service system. The analysis brings into focus Transylvania, a territory which was divided between Hungary and Romania in the time of the Second World War. Between 1940-1944 the northern part of Transylvania was part of Hungary, while the southern territories belonged to Romania. This territory split in two had a Jewish population with common characteristics like their Hungarian language and culture and their socio-cultural background. However, their fate in the time of the Holocaust were totally different.
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Prikaz knjige Feride Duraković „Ne lažem, Tita mi!“, Nomad, Sarajevo, 2020. Pre 9 godina izašla je knjiga eseja Feride Duraković Pokret otpora: na koricama se skoro skrivao, na crnoj pozadini, jedan mali crveni mrav. Eseji su se odnosili na razne pojave života koji se pukao 20 godina ranije, i još uvek se raspadao na paramparčad, i svaki je delić još uvek bio mnogo gori i ružniji od prethodnog. U posleratnoj književnosti celokupnog područja, bilo gde da je napisana, još nije bilo takve krvave ironije i ranjenog sarkazma, takve žuči koja peče, takve presude. Malo ih je slutilo šta sve može već svetski poznata pesnikinja, autorka mnogo nagrađivane zbirke Srce tame (1994), prevedene na mnoge jezike, sjajne poezije, proze i drama za decu. I onda je došla još jedna „mravlja“ knjiga ove godine, Ne lažem, Tita mi!. Knjiga je odmah postala „knjiga za uzglavlje“, iz nje se citira, popravlja se raspoloženje, pojačava argument. Ono što je izgledalo kao ljutiti udarac misli i angažovanja u prethodnoj knjizi, ovde postaje nešto sasvim drugo. A opet, postupak, ono što bih želela da učitam kao poetiku Feride Duraković, izgleda slično u oba primera.
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MIKSER, Dušan Grlja: Čija čizma imperijalizma?; ŠTRAFTA, Aleksandra Sekulić: Dani bez datuma; ZID, Apoteka: Svaka slika postaje datum bez dana; VREME SMRTI I RAZONODE, Porša Olajviola: Električni tobogan
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MIKSER, Vesna Madžoski: Tamna strana globalizacije – Mađioničari Ničije zemlje; ŠTRAFTA, Aleksandra Sekulić: Sećanje sa predumišljajem; ARMATURA, Vahida Ramujkić, Debatni program ULUS: (N)i priznati (n)i slobodni (samostalni); VREME SMRTI I RAZONODE, Eboni Stjuart: Ova pesma govori o radosti; BLOK BR. V, Radovan Popović
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The presented disertation deals with selected essayists associated around the polish exile magazine "Kultura" published in maisons-laffitte in paris in the second half of the 20the century (1946-2000). its managing editor was Jerzy Giedroyc. the oeuvre of the closest magazine associates (so called "kultura group") is disscussed with regard to the aspects of the art of essay. research in this paper is limited to the so called first generation of the culture associates (1946-69). apart from the spiritus agens of the periodical - jerzy giedroyc, the analysis looks in detail at these personae from the closest magazine circle: witold gombrowicz, jerzy stempowski, konstantyn a. jeleński, gustaw herling-grudziński and józef czapski. essay as such goes beyond mere literary genre. at the basis of this texts of this nature lie more general attributes and essay can be placed among texts structured by strict logic and texts so called "litterary". as such, these are grasped in the sense of a statement inferred from several basic principles, whereas literary texts as those of which structure is based on digressions.
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