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Tyrania oka, pokora ucha? O potrzebie sound studies

Author(s): Dariusz Brzostek / Language(s): Polish Issue: 5/2015

This article presents contemporary sound studies by outlining its field of interest as well as its main problems and concepts. Brzostek contextualizes sound studies with discussions on media and collective memory, the dialectics of voice and power, as well as the reproduction of sound and cultural identity. This context also includes thematically and methodologically diverse studies on the media coverage of acoustic experience through electronic media (from ‘archaeological’ forms such as the Walkman or the Discman to such ‘futuristic’ forms as mobile phones and iPods), as well as studies on these media’s effect on the transformation of the acoustic environment. Brzostek presents works inspired by R. Murray Shafer’s acoustic ecology, which touch on sound in the public sphere, urban soundscapes marked by noise pollution, as well as the acoustic environments of lo-fi and hi-fi.

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Coffitivity: dźwięk, praca kreatywna i posthegemonia

Author(s): Artur Szarecki / Language(s): Polish Issue: 5/2015

Sound presents a unique subject of study, functioning in culture not only as a conveyor of meaning, but also as a sensory and affective intensity. To perform a cultural analysis of acoustic phenomena, therefore, we must take into account both the semiotic/interpretive dimension of soundedness and its bodily/material dimension. Szarecki illustrates his approach with the example of the internet site Coffitivity, which supports creative thinking by reproducing the ambient noise of a cafe. Szarecki draws on the theoretical tools of sound studies and of posthegemonic political theory to show how by arranging and controlling the sound environment Coffitivity broadens the possibilities – in time and space – of performing creative work, thus turning such work into an omnipresent component of everyday life.

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Dźwięki natury a sztuka dźwięku. O rozumieniu reprezentacji w fonografii

Author(s): Justyna Tuszyńska / Language(s): Polish Issue: 5/2015

Tuszyńska confronts two seemingly distant notions, namely representation as an aesthetic category, and one type of phonography, namely musique concrète and the technology of open-air recording that goes with it. Thus she highlights a question that has been overlooked by theorists of representation as well as by musicologists. By confronting Michał Paweł Markowski’s models of representation with Pierre Schaeffer’s theory of musique concrète, Tuscyńska points to problems in representation that do not appear when we apply this concept to other artistic forms. This problem provides an impetus to examine musique concrète from a non-musicological perspective.

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W kulturze dźwięku. Słuchanie literatury

Author(s): Andrzej Hejmej / Language(s): Polish Issue: 5/2015

Hejmej reflects on two fundamental questions: the first relates to sound (including voice) and the soundscape as a phenomenon that influences contemporary literature and its functioning in today’s media-dominated society; the second question, which builds on the first, explores the prospects of contemporary literary scholarship drawing on the anthropology of sound. Hejmej traces various scholars’ recent work in sound studies to highlight aural perception – ‘listening to culture,’ which leads him to argue for a new anthropology of the audiovisual – one that would build on analyses of both visual and acoustic space. Thus he analyses the new situation of a literature that, in today’s media-dominated world, relates to acoustic and acousmatic experiences. He proposes to treat literature not merely in terms of the written word (as accepted in traditional literary scholarship) but voice and scriptorality.

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Градските фолклорни и занаятчийски фестивали в контекста на пандемия: случаят на Шумен

Author(s): Tchavdar Marinov / Language(s): Bulgarian Issue: 1/2022

The study presents the results of an empirical research conducted in the summer and autumn of 2021 in the town of Shumen within the project “Local festivals: a resource of local communities for crisis management,” financed by the Bulgarian National Science Fund. The research focuses on a local folklore and folk crafts festival and, in particular, on the way its organizers and guests define the relationship between its economic rationality and symbolic importance at the level of local identity and as a mechanism of social solidarity of the local community. The role of the festival in local cultural policies is also analyzed. Particular attention is paid to the extent to which festivals may play the role of mobilizing community resources to address significant crises – in particular the effects of the global epidemiological crisis surrounding Covid-19.

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Новите градски фестивали: дейности, организатори, бенефициенти и интереси по повод на Капана фест

Author(s): Maya Keliyan / Language(s): Bulgarian Issue: 1/2022

The festivalization of cities and their transformation into „eventful” centers of the postmodern urban lifestyle has been a global trend since the mid-1990s. The aim of the text is to analyze the features of the new city festivals in Plovdiv by analyzing the Kapana Fest, examining their activities, audience, organizers and beneficiaries and reaching conclusions about their socio-economic and cultural significance. Festivals are a crossroads of a number of interests, whose bearers are different socio-group actors – local government, organizers, participants, visitors, business representatives and residents of the local community. The article presents the results of an empirical sociological research carried out using qualitative methods within the project “Local festivals: A resource of local communities for coping with crises”, funded by National Science Fund – Ministry of Education and Science of Republic of Bulgaria (KP-06-H45/5 from 30.11.2020). The research approach used is in the thematic field of social stratification, focusing on the socio-group characteristics and interests of the various actors associated with the festivals. The new city festivals are understood as part of the postmodern lifestyle, with its characteristic consumption patterns and leisure patterns. The question whose answer is sought in the text is: who are the winning socio-group actors from the huge social, economic and cultural potential of the Kapana Fest in Plovdiv?

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Местните празници-видимите и невидими ползи за локалните общности: емпиричен поглед

Author(s): Kamelia Petkova Tsvetkova-Nedyalkova / Language(s): Bulgarian Issue: 1/2022

The article presents the results of in-depth interviews and focus group discussions held in Sadovo, Elin Pelin, Gabrovo, Bolyartsi, Novi Han and Pozharevo within a project “Local festivals: A resource of local communities for coping with crises”, funded by National Science Fund – Ministry of Education and Science of Republic of Bulgaria (KP-06-H45/5 from 30.11.2020). The aim of the text is, based on the main essential features and characteristics of local festivals, to prove and derive empirically the importance of “visible” and “invisible” benefits of these events for the preservation of local communities. The various points of view of representatives of local authorities, organizers of local festivals, and representatives of the Roma ethnic community will be presented without claiming to be exhaustive. Numerous studies are available in the literature, focusing on the benefits of holding these events and the various effects they produce on the cultural, social and economic life of local communities. Local festivals in the Bulgarian context, regardless of their thematic focus, in most cases combine the festivities of traditional society, combined with new forms of collective gatherings. In most cases, these events can also be seen as part of the process of building local identities, which draw their resources from what is imagined, reconstructed and argued as local heritage.

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Истории, митове и усещане за място в публичния образ на три фестивала в България

Author(s): Svetlana D. Hristovа / Language(s): Bulgarian Issue: 1/2022

The object of this study is the public image of three local festivals in Bulgaria: the Festival of Rose in Kazanlak, July Morning in Kamen Bryag and the Festival of Peppers, Tomatoes, Traditional Foods and Crafts in Kurtovo Konare. The public image of the three festivals is decomposed to the following elements for the sake of the analysis: narrative (history, myth), human factor, sense of place and public communication. The methods included participant observations, in-depth interviews, desk research of scientific literature, online and social media. The study revealed that the Festival of Rose in Kazanlak is part of an integrated cultural and tourist product, identified with the good local governance. July Morning in Kamen bryag, once a celebration of an alternative sub-society, has been commercialized towards fragmented (dispersed) festive events which obscured the sense of community and the sense of place affiliated with the initial phenomenon. Local farmers with their inherent sense of identity, agrarian knowledge and willingness to associate at a local level, play a central role in the publicity of Kurtovo Konare Fest. Local festivals share a distinctive feature: striving for the well-being of the local community. The result is an increase in the reputation of the region, attracting of media attention, awakening of the real estate market, spatial rehabilitation, improvement of road infrastructure, expansion of tourism opportunities and strengthening of networks for civic participation. This abstract is based on results within the project “Local Festivals: A Resource of Local Communities for Coping with Crises”, funded by the National Scientific Fund of Bulgaria – Ministry of Education (KP-06-H45 / 5 of 30.11.2020).

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Māksla un sabiedrība. Vizuālās mākslas recepcija padomju varas gados Latvijā

Author(s): Eduards Kļaviņš / Language(s): Latvian Issue: 28/2024

The attitude of Latvian society to visual art during Soviet rule could be reasonably judged from sociological studies, but sociology in the Latvian SSR developed only from the 1960s and the reception of visual art was not an object of its study. In order to answer the research questions, it was necessary to analyse through case studies of statistical documents on exhibition attendances at the Latvian and Russian Art Museum of the LSSR (from 1963 the State Art Museum), exhibition visitors’ comments in the Latvian State Archives and the Latvian National Museum of Art Scientific Documents Centre, beginning with the reoccupation period from 1945. Documented visitor figures had to be accepted as a sufficiently representative factual basis despite gaps in the data. Analysis of the comments sheets (more than 2000) made it possible to identify typological groups and trends in opinions, despite the frequent lack of self-identification of the authors and the ever growing number of migrant and tourist comments in Russian, which had to be separated focusing on the local community. In assessing numbers and opinions, the object of reception and cognition had to be taken into account: under Soviet rule, wider society, “the people”, was offered controlled art (socialist realism), which, nevertheless, evolved to include elements of modernism and postmodernism. The active “art for the people” policy of the ruling powers had its results. The number of visitors to exhibitions at the museum gradually increased, far surpassing the statistics of independent Latvia in the 1920s and 1930s. The dynamics of the total number of visitors varied from year to year reaching a peak in 1979 (more than 300,000) but experienced a sharp decline at the end of the period, when cultural life intertwined with the struggle for political independence, which was a pressing issue for Latvian society. It can be assumed that the increase in museum visits was not only the result of an ideologically based cultural policy; the reception of art was a psychological relief from the hardships of life under occupation. The number of visitors to group exhibitions was generally higher than those for solo exhibitions. The highest attendance figures for ideologically labelled exhibitions ranged from 20 to 30 thousand. The numbers for ideologically unlabelled or thematically neutral group exhibitions, including applied arts, were more than twice as high. The typical attendance figures for the largest group exhibitions – more than 20,000 – were higher in percentage terms here (about 21% of exhibitions), and repeatedly exceeded 30,000 (almost 5% of exhibitions). In the field of solo exhibitions, the well-known classics of the 19th and early 20th centuries and the older generation of artists still active in Latvia during the Soviet years were generally consistently popular. The realists and stylisers who matured as artists in the 1920s and 1930s were also popular. The painters united by the Vilhelms Purvītis School were sufficiently popular among a narrower circle of interested people. Roughly the same was true of the former modernists of the early 1920s and the younger generation of artists who had come to the fore in the period of socialist modernism and socialist postmodernism, as well as some diaspora artists at the end of the period. The political factor is more evident in the comments sheets than in the visitor figures. In the first post-war years, the comments sheets were dominated by Russian-language entries, most of them written by migrants, visitors and excursionists from other republics of the USSR, and a large number by military personnel. Most of the entries at this time were affirmative: the museum and exhibitions most often left a “good impression”, the building and premises were praised, as were their furnishings, order and cleanliness. The most frequent criticism was insufficient presentation of the Russian School, the newer Latvian art was accused of lacking politically topical themes. In the years of upsurging totalitarian cultural policy and the rise of socialist realism, positive evaluations were even more prevalent, and references to shortcomings were rare. The overall character of the reviews is rather formalised and good-sounding, filled with statements and vocabulary of the official ideology; affirmations of “good impressions”, praise of the classics and examples of socialist realism was invariably repeated. The political “thaw” (1956–1964) is reflected in many comments, with the number of those in the Latvian language increasing. Typical is the dramatic contrast between the entries by defenders of the older and younger generations of modernisers and that of orthodox traditionalists. During the long period of political “stagnation” (1965–1985), ideologically labelled exhibitions were less and less appealing to the mass of recipients; in the case of solo exhibitions too, thematically apolitical exhibitions were the most popular. But in the mass of responses analysed, the like/dislike attitude was conditioned by the presence or absence of satisfactory mimetic imagery; the abstraction of imagery was unacceptable to many, the modernisers, so highly regarded among art professionals, were harshly criticised, and positive counterpoints were found both in the past and in postmodernistic figurativism. The sharp differences in evaluations in the same respect continued during the period of the collapse of Soviet power (1985–1991). At the same time, the impact of the “Third Awakening” began to affect evaluations. Looking at the general picture of the reception of visual art in the whole of the Soviet period, one had to conclude that the development of prevailing attitudes shows both an orientation towards a mimetically traditional, but distinctly apolitical and iconographically local, “native” art, and a dramatically contrasting expansion of cognitions, as well as art-induced hidden and, by the end of the period, already overt desires for national and political independence.

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СВИДЕТЕЛИ НА ВРЕМЕТО

Author(s): Dimitar Dobrevski / Language(s): Bulgarian Issue: 23/2024

What is the weather? This question has concerned humankind for centuries. It sought its manifestation and tried to understand and subdue it. It created calendars and devices to measure it. The pride of all Bulgarians is the unique proto-Bulgarian calendar, created several thousand years ago. The report briefly describes the history of the various clocks created over the centuries and analyzes the changes in their design.

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НАРОДНИТЕ ОБИЧАИ ПРЕЗ ПОГЛЕДА НА БЪЛГАРСКИЯ ХУДОЖНИК ОТ 20-ТЕ ГОДИНИ НА ХХ В.

Author(s): Ivo Raykov / Language(s): Bulgarian Issue: 23/2024

The decade of the 1920s was undoubtedly reproductive for Bulgarian fine art in many ways. Having returned from abroad and “immersed” in European culture, many Bulgarian artists bring to their homeland the courage to create new and supranational art. Experiencing the ferocity of the First World War, many of the same artists who had been mobilized to the front line, in the following decade of the 1920s, turned their attention to the “native,” creating a much-needed consolidation of community in times of national disaster. In addition to the transformation of folklore myths and legends, characteristic of the symbolism in Bulgarian art, the study of the “native” also develops in the consideration of traditional folk customs, looking into the life and the celebration of the Bulgarian village, which is increasingly losing its national image – to replace the leotard with a balton and the breeches with trousers and become part of the society of modern Europe. Many artists capture in their paintings the disappearing images of lazarki, the “Butterfly” custom, kukeri, koledari, survakari, weddings and other moments of the Bulgarian ritual calendar.The present work traces both the ethnogenesis of the customs depicted in the paintings, as well as the specifics of their reification, the specifics of the folklore area to which they belong, and their reflections on the idea of “native art” both from the 1920s and in the next decade, when the look at folklore-ethnographic imagery pays attention to different accents, but always in search of the national tradition.

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Samuel von Brukenthal și colecția de artă italiană în Hermannstadt Sibiu

Author(s): Irina Niculescu / Language(s): Romanian Issue: 1/2024

The book reviewed is an original volume recently published in Italy about the figure of the baron Samuel von Brukenthal and his Italian arts collection in Sibiu, particularly with details about the Longhi assignments for the exhibits in Brukenthal Museum, which were discovered during the research of the author. Doina Ene accomplished a thorough research from 2017 till 2021 in the State Archives of Sibiu, at the “Casa Teutsch” Center of Dialogue and Culture, the Foundation of Art History Roberto Longhi in Florence, Carabinieri Command TPC and other archives. The volume benefits from the Foreword of the general manager of the Brukenthal National Museum, Dr. Alexandru Constantin Chituță, and the Introduction of the Phd Daniela Dâmboiu, expert and art curator of the Museum. The book contains seven chapters and 110 images of great importance and copyright. The Italian version of this publication has just been successfully released in May at the International Book Fair of Turin (Italy).

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Forgetting Аbout Тraumatic Past? On the Position of Film Music Composers in Post-WWII Germany

Author(s): Anna G. Piotrowska / Language(s): English Issue: 36/2024

This paper presents selected German film music composers who were active in Germany during the inter-war period as musicians trying to regain their position and renegotiate their role in the German post-war society marked by trauma and transition processes. Film music composers were believed to have stayed above politics and associated with a “harmless” type of music; therefore, they could adapt to the new situation comparatively more easily, particularly since the Allies had already treated musicians ambivalently. While pinpointing the reasons behind such a lenient attitude towards film music composers, the paper also touches on those rare cases when film music composers were actually accused of supporting the Nazi system.

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Emigrant Composers in the C.N.S.A.S. Archives. Case Study: The Unknown Story of Marius Constant’s Official Visit to Communist Romania

Author(s): Ana Diaconu / Language(s): English Issue: 36/2024

The present study is part of a larger research, which focused on Romanian emigrant composers in France and their relationship with their homeland in the second half of the twentieth century, based on documents from the National Council for the Study of the Securitate Archives. An analysis of the numerous notes and reports of the Securitate documenting composer Marius Constant’s official visit to Romania in 1985 sheds some light on how the authorities in communist Romania dealt with the diaspora, the ideological clichés, and on the high degree of control and manipulation that governed the country’s cultural policy.

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Fluidity of Image (Photo)Montage in Cultural and Artistic Contexts of the Time

Author(s): Jozef Sedlák,Kristína Svítok Mayerová / Language(s): English Issue: 2/2024

The paper explores the fluidity of (photo)montage in image in the cultural contexts of the times, emphasizing the uniqueness of the medium of photography and its ability to transpose the referent as opposed to reality. The text analyses the dialectic between technical mistakes and creative processes that lead to the emergence of new artistic categories and practices. It provokes a discussion on how photography challenges the image. Meanwhile, the processes of spontaneous errors are being examined, including double exposure or accidentally botched photographs for example, that contribute to new forms of artistic interpretation and experimentation. The topic of the imaginative is present throughout the article, from Husserl’s phenomenology to Dadaism and Surrealism, with an emphasis on the transformation of dream images and their interpretation. The component of authenticity in montage and photomontage is emphasized, including how these techniques create new visual identities. The text uses theoretical takes of major thinkers such as Roland Barthes to open up a broader discussion on the ontology of the image and its interpretation, providing a comprehensive view of the transformation and significance of photography in modern art.

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Creative Creatures: Between Art and Anthropology

Author(s): Katarína Slobodová Nováková,Veronika Majdáková,Martina Pavlíková,Aleš Smrčka / Language(s): English Issue: 2/2024

The visual capture of the world has been an integral part of the formation of ethnology and cultural anthropology since the beginning. It meant not only a source of knowledge of the local community, but especially of the time at which it was created. Sometimes photographs were taken accidentally during research trips as more or less documentary material, which were only superficially analysed and served to visually confirm the investigated state, or were a targeted photo documentation of disappearing phenomena, objects of material culture, ceremonies or genius loci of the researched area. At other times, photographs were created as a result of purposeful research and documentation of selected phenomena. The result of this is an interpretive openness and an effort to find and establish new analytical and interpretive processes that would be able to convey anthropological knowledge more effectively. Is art, or in our specific case artistic photography, usable for research or for interpretation of cultural or anthropological phenomena? We try to find an answer to this question by analysing the collection of photographs of the Creative Creatures project (subtitled Last Survivors) from Papua New Guinea, by art photographer Martin Machaj. We analyse not only its artistic rendering but also the ethnological, anthropological content and message of the work of art.

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NASTANAK I TIPOLOGIJA NIŠANA NA JUŽNOSLAVENSKIM PROSTORIMA S POSEBNIM OSVRTOM NA SELO GLISNICA KOD PLJEVALJA

Author(s): Burhan Čelebić / Language(s): Bosnian Issue: 12/2024

Medieval Bosnian tombstone are one of the greatest peculiarities of medieval Bosnia and Herzegovina. During the Ottoman conquests, medieval Bosnian tombstone were still being intensively built among the Bosnian Christians. However, at the moment when Christians became more acquainted with Islam and began to convert to it, the so-called transitional period began. In this period, significant changes occurred in the lives of Christians. As the religious beliefs of the population affected by the Ottoman conquests changed, so did the way gravestones were shaped. This period marks the beginning of different approaches by stone carvers to gravestones. During the transitional period, many places saw the emergence of Muslim cemeteries situated alongside medieval necropolises. Initially, the gravestones were laid horizontally, but soon they also underwent transformation, increasingly being built in the form of pillars with decorations (symbols) borrowed from medieval Bosnian tombstone, such as human figures, animals (eagle, dog, deer, horse, wolf, dragon, snake), weapons (sword, spear, shield, bow and arrow), astral motifs (sun, crescent moon, star), half-apple, hand, arcade, etc. These decorative elements were easily adopted by the new Muslims, who began carving them on their tombstone (Muslim gravestones), showing that the close proximity of medieval Bosnian tombstone had a significant influence on the final design of the tombstone. This led to the situation where the oldest tombstones actually emerged among paternal medieval Bosnian tombstone, i.e, new Muslims expressed a desire to be buried next to their fathers and grandfathers. Such cemeteries with both medieval Bosnian tombstone and tombstones are common in Bosnia and Herzegovina. When we studied this transitional period in the field, we concluded that it is logical to ask whether such examples also exist in Montenegro. Considering the old tombstones from the 15th and 16th centuries located in Tuzima, we found that they resemble those from Bosnia and Herzegovina, with the difference that the tombstone in Tuzima appeared somewhat later compared to the nearly identical tombstones in Bosnia and Herzegovina. When we were alerted to an old cemetery in the village of Glisnica near Pljevlja and visited it, finding medieval Bosnian tombstone among which was a pillar-like tombstone, we realized that this was the same phenomenon present in Bosnia and Herzegovina. We then decided to focus more on researching the mentioned cemetery in Glisnica. The tombstone we discovered in this cemetery is more commonly known as a medieval Bosnian tombstone and an Orthodox grave or Serbian monument, while some authors in specific works consider it a Celtic monument. After all these findings, we decided to present the history, i.e, the affiliation of this tombstone to the usual typology, in this paper, and subsequently explain its ornamentation. A t the end of this paper, we have presented our opinion in the conclusion, and through the provided contributions, we have attempted to complete what could not be expressed in words.

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MIGRACIJE U KNJIZEVNOSTI I UMJETNOSTI

Author(s): Jasmina Nikčević / Language(s): Montenegrine Issue: 2/2024

There are currently more than 60 million refugees in the world. More than 60 million people are fleeing war, violence and oppression. Over 60 million stories. With these words, the collective Power of Art House (Amsterdam) describes the migration crisis we are currently experiencing. Starting from the fact that literature, painting, cinematography, photography, music, art and culture as a whole gather and unite people and their stories, we would like to see the complexity of the phenomenon of art and creativity. We will present some works of great European authors, created in different historical periods and circumstances, which emphasize the importance of the experience of exile and migration in the aesthetics of French art. Since art has always been a strong voice of condemnation of persecution, injustice and crime, through significant examples of contemporary creativity inspired by the theme of migrants in the European framework, we will try to answer the question of whether and to what extent art affects a change in thinking and attitudes, i.e.why is it in the current moment, the attitude towards migrants is often negative, while the experiences of the past, collective memory and art deny us.

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Nad jednom stolačkom sevdalinkom

Author(s): Alija Pirić / Language(s): Bosnian Issue: 95-96/2024

Ključna riječ u kojoj je skoncentrirana i emocionalna i semantička vrijednost sevdalinke i istovremeno uporišna tačka od koje valja krenuti u svakoj ozbiljnijoj analizi jeste leksem sevdah. Ova riječ je vremenom poprimila, upravo zbog njezine noseće uloge, čitav spektar polifonične značenjske frakture, počev od njenog denotativnog semantičnog sloja (ljubav, čežnja, bol) pa do konotativnog simboličkog i alegorijskog simbola jedne urbane profinjenosti i rafiniranosti jednog vremena i jednog “suptilnijeg izraza i erosa koji progovara kroz sevdalinku.” Razumije se samo po sebi kako je ova magična riječ kod nas zadobila naročita značenja u simbiozi sa “slavensko-bogumilskom sjetnom prolaznošću” na jednoj, i njezinom izvornom inicijacijom, na drugoj strani. Primarno za nas je sevdah strasna i bolna patnja ali je na drugoj strani sjetna i slatka ljubavna čežnja. Ovakva bipolarnost priskrbljuje sevdahu puninu i cijelu lepezu osjećanja, koja u konačnici oplemenjuju ličnost, bez obzira na konačan ishod takvih nastojanja. Ishodišni cilj u konačnici i nije ljubavno sjedinjenje, koje se razumijeva kao profano prizemljenje duha, nego ukupna ispunjenost bića kome je takvo osjećanje znak posebnosti i ekskluziviteta. Nije svakome dato takvo stanje duha i sama činjenica dovoljna je da akteru pribavi potrebnu puninu i distinkciju naspram prizemnih stanja. Svejedno pred takvom realizacijom stoje razne prepreke, jednom individualne, drugi put kolektivne, pa se sevdah “pokazuje kao mučenje koje čine drugi i kao samomučenje i slast šibanja izlučena i samim uživljavanjem u žudnju, mazohističkim doživljavanjem ljubavi i pored svijesti o njenoj uzaludnosti.”

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Prikazi

Author(s): Edin Veladžić,Admir Adrović,Veselin Konjević,Faruk Dizdarević,Vlatko Simunović,Vanja Kovačević,Jasmin Medić,Kemal Musić,Bogić Rakočević,Bruce C. Wearne,Braho Adrović,Hodo Katal / Language(s): Bosnian,Montenegrine Issue: 95-96/2024

Review of: 1. Istinom protiv zaborava, Adil Zulfikarpašić, Put u Foču, Bošnjački institut – Fondacija Adila Zulfikarpašića, Sarajevo 2022.; 2. Dragocjena monografija, Bajro Agović, Džamije u Crnoj Gori, Almanah, Podgorica, 2023.; 3. Monografija o mušovićima, Ulvija Mušović: Mušovići – od begova i kapetana do zbjegova i svjetskih metropola, Almanah, 2024.; 4. O prodorima vječnog u prolazno, Nusret Idrizović Bistrička svitanja, Bošnjačka nacionalna zajednica Hrvatske, Zagreb, 2003.; 5. Pogledaj u svoje djetinjstvo i ne okreći se sine, Dino Burdžović, Bruce Lee je umro u Bijelom Polju, Alternativna Grupa Monte Art – Frankfurt Am Main, 2023.; 6. Čovjek u vremenu zla, Aleksandar Srdanović, Kraj dana, Bijelo Polje, 2024.; o vanjskoj politici Putinove Rusije, Nikola Samardžić, Drugi hladni rat. Zapad i Rusija: 1999-2019., Laguna, Beograd, 2021.; 7. Pjesnikove se oči na tamu vremena privikavaju, Safet Hadrović Vrbički, DIVAN - Antologija vlastite lirike Rožaje – Cetinje, 2023.; 8. Gusta mreža različitih značenja, Kemal Musić, Dan poslije, Nova knjiga, Podgorica, 2020.; 9. Haverićeva knjiga muslimanske zajednice u Australiji, Muslims Making Australia Home: Immigration and Community Building By Dzavid Haveric (Carlton, Vic.: Melbourne University Press, 2019); 10. Naša rijeka roman duboke emotivnosti, misaonosti i nesvakidašnjeg stila i jezika, Esad Kočan, Naša Rijeka, Almanah, Podgorica, 2023.; 11. Moć onoga što vidiš i onoga što ne vidiš, Redžep Nurović, Pjesme iz slušalice, Centar za kulturu “Vračar”, Beograd, 2024.

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