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Ziel des Projekts ist eine Darstellung der siedlungstopographischen Entwicklung von etwa 30 ausgewählten Städten Schlesiens (siehe Tab. S. 254) über den gesamten Zeitraum des 19. und 20. Jahrhunderts.
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Misliti o apsolutnome Biću, Koje nije i ne može biti biće među bićima, već je Biće svih bića, nemoguće je a da se ne misli i o ne-Biću. Koliko god se to činilo čudnim, ne-Biće sebe obznanjuje Bićem, jednim i jedinim, nerazlučivim i nesastavljivim. Biće se potom obznanjuje u neizbrojivom mnoštvu imena imaginacijskim svjetovima, i naposljetku, u krajnjoj nizini i osjetnim svijetom. I imena i sve drugo do najniže niskosti obznanjuju se u dvojini, u razlučenosti. Imena Bića su lijepa. Obznanjuju se u odnosu na svoje suprotnosti. Šta bi značila Svjetlost, a da nema tmina? Šta Dobro, a da nije zla? Šta Lijepo, a da nije ružnog? Šta Istina, a da nije laži? Ali ni tmine, ni zlo, ni ružno, ni laž nisu u Biću. U odnosu na njih Ono Se obznanjuje u uvjetnome svijetu.
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Ovo je prvi dio rada koji se bavi aktivnostima pozorišta u opkoljenom Sarajevu u periodu od 1992. do 1996. godine. S obzirom na okolnosti u kojima se našao glavni grad Bosne i Hercegovine u tom periodu, veoma značajna činjenica jeste da su pozorišta i dalje aktivno radila. Tema je izabrana jer do danas ne postoji nikakav ozbiljan rad koji se bavi ovim fenomenom, izuzev svjedočanstava pozorišnih radnika koje je sakupio Davor Diklić u knjizi Teatar u ratnom Sarajevu 1992.-1995. S obzirom na to da je ovo jedan od prvih radova posvećenih pozorištu u opkoljenom Sarajevu, nastavak će biti faktografski jer se u ranoj fazi istraživanja nije bilo moguće posvetiti dubljoj analizi i interpretaciji ili antropološkom istraživanju.
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Smail Terzić (1940-1999) was one of the prominent cultural workers in Tešanj from the 1960s to the 1990s. He was a poet, photographers, narrator, actor, editor, presenter and journalist. He published a book of poetry, two books on the foundation and activity of the theater in Tešanj, as well as a book on the poet Musa Ćazim Ćatić, revealing details from his life. All of these books are extremely valuable testimonies on the development of culture in the past, but also proof of persistence, research and the work of an individual such as Terzić. The aim of this paper is to give a portrait of Smail Terzić that is as credible as possible, the account on a prominent cultural worker, while, on the other hand, the goal is to highlight and evaluate his contribution to the development of culture, with an emphasis on theater, the development of which he was a great part of many times. To be more precise – the focus is on the social and cultural life of that period. The whole engagement of this man, his activity in cultural works is marked and led by enthusiasm, he is fully committed to his work, he constantly records everything that happens and shapes a unique story from it, always putting the interest of the community first, work to affirm culture and the city of Tešanj in Bosnia and Herzegovina as well as abroad.
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At the dawn of a new millennium, there is growing hope that relationships between people will be increasingly inspired by the ideal of a truly universal brotherhood. Unless this ideal is shared, there will be no way to ensure a stable peace. There are many signs which suggest that this conviction is becoming more deeply rooted in people’s minds. The importance of fraternity is proclaimed in the great ‘charters’ of human rights; it is embodied in great international institutions, particularly the United Nations; and it is called for, as never before, by the process of globalization which is leading to a progressive unification of the economy, culture and society.
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Na początku nowego tysiąclecia żywsza staje się nadzieja, że ludzie w swoich wzajemnych odniesieniach będą się w coraz większej mierze kierować ideałem prawdziwie powszechnego braterstwa. Jeśli ideał ten nie stanie się celem wspólnych dążeń, nie uda się ustanowić trwałego pokoju. Wiele jest oznak pozwalających sądzić, że to przekonanie zakorzenia się coraz głębiej w ludzkiej świadomości.
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Tijekom pretpristupnih pregovora Republike Hrvatske i Europske Unije hrvatskoj je javnosti u nekoliko navrata dano do znanja da zaseban hrvatski jezik nije prihvatljiv kao punopravan službeni jezik EU.
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Drama Luiđija Pirandela Šest lica traži pisca sama po sebi originalna je i osobena. U drami se ne prikazuju samo likovi muškarca i žene. Autor ne „kazuje ovu dramu radi samog pripovijedanja“. Autor osjeća dublju duhovnu potrebu. Traži smisao. U jednom trenutku nađe se zarobljen realnošću „ma koliko tražio, nisam uspevao da nađem taj smisao u onih šest lica. Pa sam ocenio da ne vredi da ih oživim. Ali ne daje se uzalud život jednom licu. Stvorenja moga duha, onih šest je već živelo životom koji je bio njin a ne više moj, životom koji im ja nisam mogao oduzeti.
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Volim NYC. Kad sam se preselio u NYC, bilo je to ostvarenje sna. Na svakom uglu kao da se preda mnom odigravala kazališna produkcija. Toliko osobnosti, toliko mnogo priča. Svaka supkultura koju volim nalazi se u NYC-ju. Mogao sam dane i noći igrati šah. Mogao sam ići u komičarske klubove. Mogao sam pokrenuti bilo kakav biznis. Mogao sam sretati ljude. Imao sam obitelj, prijatelje i prilike. Što god da mi se dogodilo, NYC je bio mreža u koju sam mogao pasti i vratiti se natrag.
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Preko jednog drvenog mosta, vjerovatno najdužeg na svijetu (755 m), prelazi željeznička pruga preko Save i mi smo u Bosni, a u isto vrijeme u jednom novom svijetu. Minareti u Brčkom, gradu koji je smješten na južnoj obali, pokazuju odmah da smo zagazili u islamsko područje.
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Debates held at gatherings to discuss the political situation in Bosnia and Herzegovina all too often involve abstract theoretical reflection, without taking into consideration the reasons the country is stuck in an impasse from which it can neither move ahead nor go back. Real understanding and an objective and informed view of contemporary reality in Bosnia and Herzegovina can be attained only by reference to the facts, which history has marked with its bloody seal. Bosnia and Herzegovina can be discussed only out of the depths of its experience, by sharing the horrors of its tragedy.
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Debates held at gatherings to discuss the political situation in Bosnia and Herzegovina all too often involve abstract theoretical reflection, without taking into consideration the reasons the country is stuck in an impasse from which it can neither move ahead nor go back. Real understanding and an objective and informed view of contemporary reality in Bosnia and Herzegovina can be attained only by reference to the facts, which history has marked with its bloody seal. Bosnia and Herzegovina can be discussed only out of the depths of its experience, by sharing the horrors of its tragedy.
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This essay considers aspects of how COVID-19 inflects debate about the trenchancy of the humanities. It does so through reference to Jacques Derrida’s ‘The University Without Condition’, which invokes the ‘New Humanities’. In counterpoint, reference is made also to Ali Smith’s Summer (2020), the last novel in the Seasonal Quartet, set in the real-time present. The essay proceeds through thirty discrete sections keyed to the style of a journal, offering commentary and inevitably interim reflection on the ‘X Humanities’ and their current plausibility, as well as on the representability and critique of the contemporaneous in fiction, theory and beyond.
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In this paper the author argues that what is known about the universe and existing concrete achievements of antiquity should be subject to continuous new innovative research, in order to establish the truth of what surrounds us. The author considers that it is necessary to rethink current electromagnetic theory and, also, to investigate when and by whom the pyramids were built, their role and how they were/could be used for the good of mankind.
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