Тишина в миниатюр
The essay is a short introduction in the Lachezar Stanchev's poem "A Drop".
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The essay is a short introduction in the Lachezar Stanchev's poem "A Drop".
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Povijest ishrane na bosansko-hercegovačkim prostorima datira još od antičkog doba, klasičnog Rima i Vizantije, preko turskog i austrougarskog perioda do savremenog doba 20. i 21. stoljeća. Specifičnu notu bosanskohercegovačkim jelima daju i prehrambeni običaji koji svoje polazište imaju u islamu, pravoslavnoj, katoličkoji jevrejskoj vjeri. Tako je savremena izvorna bosanska hrana dio kulturno-povijesnog nasljeđa i mješavina je autentičnih bosanskih jela, tradicionalno turskih, arapskih, austrougarskih, jevrejskih i drugih prehrambenih običaja.
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Sve što ću ovom prilikom pisati o Banovićima odnosi se na današnje najveće i najmnogoljudnije naselje koje se naziva Banovići Selo, a ne na grad Banović. Banovići Selo zauzima 20 kilometara kvadratnih površine općine Banovići. Naseljeno je muslimanskim življem, koje živi u mahalama Centar, Nurkovići, Gaj, Kasumovići, Odžak (Bakovići), Brezje, Selo II i Ramići. Nazivi mahala nose imena po većinskim rodovskim zajednicama koje su tu naseljene ili su nekada naseljavali ovo mjesto.
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Rimski spomenici na području Bosne i Hercegovine su brojni i raznovrsni. Arheološkim istraživanjima pronađeni su ostaci ruševina gradova sličnih italskim, tragovi puteva, starih rudokopa, raznih spomenika i grobalja. Dolaskom na balkanski prostor Rimljani grade ceste s ciljem povezivanja jadranskih obala sa zaleđem koje je imalo strateški značaj u pogledu izvoza ruda, čuvanja granica i službenog saobraćaja uopće. Na području Argentarije (današnje Srebrenice) pronađeni su brojni rimski spomenici koji svjedoče o ekonomskoj moći ovog rudarskog područja.
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Is talking about a post-Soviet reality justified? Or is it more of an offence? Does the term “post-Soviet” even make sense today – 26 years since the Soviet Union collapsed? Political scientists tend to answer this question with a no. Yet, the works of a collective of photographers, known as Sputnik Photos, show that what we are seeing now is something of a “Soviet afterlife”.
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Die persische Keramik gelangte bereits vor der Türkenherrschaft nach Buda: Das Bruchstück einer großen Weichfayenceschüssel, mit verschwommener kobaltblauer Bemalung ist bekannt (Mdm: 20 cm). Die mit groben Linien ausgeführte Randverzierung der Außenseite ahmt ein Mäandermuster nach, darunter ist das Detail eines Rankendekors mit stilisierten Blättern zu sehen. Auf der Innenseite wurde die Randverzierung oben sehr nachlässig ausgeführt, darunter ist ebenfalls das Detail eines Rankendekors sichtbar, aber mit Blättern anderer Form (Abb. 1.1). Die farblose Deckglasur ist glasig, sie irisiert auf der Innenseite stärker.
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Erst Lajos Huszár, der größte ungarische Numismatiker des letzten Jahrhunderts veröffentlichte eine Zusammenstellung aller Fundorte des ungarischen Goldguldens in Europa, die noch heute das grundlegende Werk für die Forschung darstellt. Die Bedeutung des ungarischen Goldguldens im mittelalterlichen Zahlungsverkehr Europas wird damit klar vor Augen geführt, doch harren noch zahlreiche Aspekte einer Klärung. „Die Rolle des ungarischen Goldguldens im internationalen Geldverkehr ist ein noch nicht völlig geklärtes Kapitel der Wirtschaftgeschichte…“ – schrieb Huszár 1970–1972. So möchte ich mich in meinem Beitrag mit jenen geldgeschichtlichen Ereignissen näher beschäftigen, die zu dieser führenden Rolle des ungarischen Guldens im 15. Jahrhundert beigetragen haben.
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Le petit ensemble d’objets de bronze présenté ici, composé d’appliques, de pendeloques, de perles tubulaires et d’un couteau, fait partie d’une importante collection rassemblée par R. et M. Vernet au cours de fouilles menées de manière continue, durant les années 1950, dans la grotte de Roche-Chèvre à Barbirey-sur-Ouche, département de la Côte-d’Or. Mis au jour en octobre 1958, ces documents ont été partiellement signalés. Ils ont été présentés en 1961 dans une exposition temporaire du Musée archéologique de Dijon consacrée spécialement aux pièces provenant de Roche-Chèvre conservées dans des collections privées.
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In the city of Lugo (Roman Lucus Augusti, one of the major centres of Gallaecia, in the north-west of the Tarraconensis province), a square structure of some 3.5 by 3.5 metres has recently been excavated. This was undeniably a religious building, with interesting materials such as kernoi-style beakers, a fragment of an altar in painted terracotta, or votive inscriptions in miniatures, similar to those found in various Hispanic or Gallic sanctuaries. The stratigraphic sequence of this building – with walls of slate slabs bonded with clay – suggests two phases of occupation: one belonging to the central decades of the 2nd century and the other to the last quarter of the 3rd century, and it is interesting to note that this sanctuary would have been sited at the entrance to the city, next to the road that connected Lucus and Brigantium (La Coruña) (GONZÁLEZ FERNÁNDEZ–RODRÍGUEZ COLMENERO 2002). But the most interesting finds were two altars dedicated to the Lugoves, dating from the first of the two periods mentioned, in other words, the mid-2nd century.
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Researchers and teachers dealing with folk games sooner or later face the question of classifying the games. Researchers need such a system for their comparative work and for publication of the material, while teachers need it for use in practice. Classification can be made on the basis of all elements of the game. A system can be created on the basis of the text of the games, their melody, spatial form or the age of the children playing them. Each of these has its justification: the musicologist and the singing teacher are interested mainly in melody, the folklorist and literature teacher in the text, and the physical education teacher in spatial form. It is also important for teachers to know what games to teach children of which age. However, none of the elements mentioned is able to serve as a basis for a system that contains all kinds of games.
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Articles writen by three Slovak art theorists about the work of the artist and pedagogue Ladislav Čarný. Jana Geržová (study Between Reconstruction and Interpretation) is devoted to his work in the 80s and 90s - mirror objects, light objects and paintings, mimicrys (camouflages) for light and shadow, and processual installations. The study by Helena Markuskova (Alchemy of Media) deals with his cycles Hermeneutics, Reliquary (Homage to Duchamp) and video installation In the Epicentre. Zora Rusinová analyzes the author’s installation and exhibition in his article until the present, the latest exhibition in 2017 Schrödinger’s Cat / Cat’s Schrödinger.
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Censorship as a literary subject has sometimes been necessary in times of change, as it may show how the flaws in power relations influence, sometimes very dramatically, the access to and the production of knowledge. The Woman in the Photo: a Diary, 1987-1989 by Tia Șerbănescu and A Censor’s Notebook by Liliana Corobca are two books that deal with the issue of censorship in the 1980s (the former) and the 1970s (the latter). Both writers tackle the problem from inside the ruling system, aiming at authenticity in different ways. On the one hand, instead of writing a novel, Tia Șerbănescu kept a diary in which she contemplated the oppression and the corruption of the time and their consequences on the freedom of thought, of expression and of speech. She thoroughly described what she felt and thought about her relatives, friends and other people she met, about books and their authors, in a time when keeping a diary was hard and often perilous. On the other hand, using the technique of the mise en abyme, Liliana Corobca begins from a fictitious exchange of emails to eventually enter and explore the mind of a censor and reveal what she thought and felt about the system, her co-workers, her boss, the books she proofread, their authors and her own identity. Detailed examinations and performances of the relationship between writing and censorship, the two novels provide engaging, often tragi-comical, insights into the psychological process of producing literary texts. The intention of this article is to compare and contrast the two author’s perspectives on the act of writing and some of its functions from four points of view: literary, cultural, social and political.
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Recent Romanian films continue to be appreciated by critics and to receive important international awards. This, along with a series of common techniques and themes, led to the emergence of the term "New Romanian Wave", a term assumed by some critics and directors and rejected by others. In this article, I aim to check if the use of colors is a technique that characterizes the films reunited under this umbrella term. In order to do so, I analyzed five films from different years but overall accepted as part of the New Wave. These are Marilena from P7, 4 months, 3 weeks and 2 days, Best intentions, Child’s Pose and Self-Portrait of a Dutiful Daughter. I was interested in discovering the symbols associated with each color, while also emphasizing their psychological meaning. Another goal was to check if and how the chromatic aspects were related to the social reality presented in each movie. Finally, I presented the common features of the films and the differences between them.
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Having lost its independence in the eighteenth century, Poland sought to preserve its national identity by cherishing Polish history and culture, among other things, through teaching and popularising songs in the mother tongue. They reflected the history of the Polish nation, bore patriotic values, and expressed religious feelings. When after a short period of Poland's independence it again fought with the invader, the song accompanying soldiers and civilians in the fronts of the Second World War helped them manifest their longing for the country and hope for independence. In military camps and schools amateur choirs were established, and some of them, like the Choir of the Polish Army formed in Scotland in 1940, have earned their place in the history of Polish choirs abroad.In view of the political situation in the country after war activities had ended the Polish emigration in the British Isles was forced to organise national social and cultural life anew. The ideas of independence were carried out by, among other things, Polish choirs. Since 1955 they had been associated in the Alliance of Polish Choirs in Great Britain.Aside to the activity of the Choir of the Polish Army (from 1949 on the Frederick Chopin Choir) new choirs were established: the Karol Szymanowski Academic Choir, the Abp Jan Cieplak Choir, the Feliks Nowowiejski Choir, St. Andrzej Bobola's Church Choir, the Tadeusz Kościuszko Choir of the School of Homeland Subjects, the Male Carol Singers Choir, the Choir of the School of Younger Volunteers, the Laudes Choir and others. The willingness to collaborate on a closer basis resulted in the establishment of the Association of Polish Choirs in London in 1976. Thus united choirs organised, among other things, concerts of carols and jubilee concerts, took part in meetings with John Paul II in 1982 at Crystal Palace.Each choir retained its specific character composed of the following: its milieu, artistic level, repertoire, and musical preferences of the director. The choirs participated in religious and patriotic events, organised games and charitable lotteries, supported charitable actions, organised common trips and integrative meetings. The repertoire of the choirs and artistic activity of eminent animators of choir life abroad call for a detailed analysis (e.g. J. Kołaczkowski, Z. Gedel, and H. Hosowicz).The traditions of performance in Polish choirs in London had been worked out for years. They were not always continued in further and renewed compositions. The majority of the post-war choirs ended their activity in the 1990s. Polish vocal and vocal-instrumental groups (both religious and lay) that are established at the moment in London model their style of performance and repertoire, above all, on the musical life in Poland.
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У нашем претходном раду објављеном у последњем броју Зборника за књижевност и језик Матице српске писали смо опширније о преписци Ивана В. Лалића и Чарлса Симића. Овом приликом треба само напоменути да је та преписка трајала од 1969. до 1994. године, т. ј. и до смрти Ивана В. Лалића 26. јуна 1996; међутим, ништа из тих последњих година није сачувано. Целокупна преписка садржи око 100 писама различите дужине, куцаних на писаћој машини или писаних руком. Сва писма су до децембра 1972. године на енглеском језику, а пошто се Лалић приликом сусрета са Симићем у лето 1972. године уверио да он сасвим добро говори српски, сва остала Лалићева писма до краја су са неkолико изузетака на српском језику.
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This article explores references to written culture in traditional Bosnian Muslim poetry and folklore as a means to understanding how people understood literacy and books in a predominantly oral culture. In particular, it aims to ask: what was the significance of possessing books in such a culture? While examining links between literacy and orality in pre-modern Bosnia in all their complexity falls outside the scope of the present study, the article aims to contribute to the topic by referring to two sources rooted in orality and folklore: oral poetry and beliefs and customs related to book-culture.
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