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Journal articles on the topic 'Serbian Art'
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1
Aleksić, Boško, and Dejan Simonović. "Standards in welding in Serbia: State of art." Zavarivanje i zavarene konstrukcije 67, no. 3 (2022): 135–43. http://dx.doi.org/10.5937/zzk2203135a.
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In the period until the end of the year 2020, the Institute for Standardization of Serbia took over and published as Serbian standards about 99% of European standards - including their additions (amendments). In 2020, the Institute published 2032 Serbian standards and related documents, and at the same time withdrew 1257 Serbian standards and related documents. Of that number, 171 standards were published in Serbian, of which 35 were original Serbian standards. Besides, in 2020, a total of 1422 draft standards and 1888 definitive texts of draft standards were drafted. The plan for the adoption of Serbian standards and related documents for 2021, as well as for each subsequent year after it, will provide for the adoption of about 1500 Serbian standards that are identical to the corresponding European ones, because that is the average number of standards published by CEN and CENELEC in one year and which must be taken over at the national level. Also, the plan envisions the adoption of 32 original Serbian standards and about 100 international standards. The paper gives an overview of the adopted standards of the ISS department for metallurgy, mechanical engineering, construction and transport, by the commission M044 welding and related procedures and the status of the adopted standards in the Republic of Serbia until the end of 2020.
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Jovicic, Petrija. "Artists and art of Serbia beyond Serbian borders." Bulletin de l'Institut etnographique 66, no. 3 (2018): 511–23. http://dx.doi.org/10.2298/gei1803511j.
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Mezinski-Milovanovic, Jelena. "A contribution to researching Russian-Serbian connections in sacral and court painting and architecture through the opera of Russian emigrants in Serbia between the world wars: Examples of adopting Russian models." Muzikologija, no. 28 (2020): 99–124. http://dx.doi.org/10.2298/muz2028099m.
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Russian-Serbian cultural connections in a broader sense, represented through direct parallels in Russian and Serbian sacral painting, architectural decoration, sacral interior design and phenomen? in court art canons of the last Romanov?s and Karadjordjevic?s dynasties are insufficiently researched. By using the concrete monuments, mostly in Russian style, Russian symbolism and Art Nouveau, but also the court canon at the turn of the century in Russia through the works of Russian emigrants after the October revolution in Serbia during the 1920s and 1930s, the use of Russian pictorial features and cultural models adapted to Serbian demands is going to be demonstrated.
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Khromov, Oleg. "TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (2020): 100–113. http://dx.doi.org/10.36340/2071-6818-2020-16-2-100-113.
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The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from these engravings were well known in Russia in the 17th-18th centuries. They were primarily used as illustrations in Russian manuscript books. The engravings were made by a Russian master at the end of the 17th century. According to the features of engraving, manner, and stylistics, they can be attributed to Moscow engraver Leonty Bunin. In Russian manuscripts, they were usually used as illustrations in the book The Passion of Christ along with the 14-sheet series The Passion of Christ by Leonty Bunin. Cases of using them as independent illustrations are known. In the 1730s, these engravings disappeared from the illustrations in The Passion of Christ series in Russian manuscript books. Their later prints are unknown in Russia. The history of their appearance in Serbia, in the Krka Monastery, remains unknown. Perhaps they appeared there as gifts from Russia which the monastery regularly received. In the 18th century, Serbian religious art experienced a powerful influence from Dutch graphics. As iconographic sources, Serbian masters used Flemish and Dutch engravings of the 16th and 17th centuries. They were the same ones that were used by Russian masters of the 17th century, especially of the second half of the century, as iconographic examples. The identity of the artistic processes that took place in the art of Serbia in the 18th century and Russia of the 17th century turned out to be so close that Serbian art historians regarded the Russian prints of the 17th century by Leonty Bunin as Serbian works of an unknown engraver of the late 17th - early 19th centuries. The biography of Leonty Bunin is considered in detail in the article, some facts of his life are presented for the first time.
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Đorđević, Slavko. "Performing notarial duties in the process of conclusion of contracts whose subject matter is the acquisition of rights in REM in immovable property located abroad: A few remarks from the view of private International law." Revija Kopaonicke skole prirodnog prava 2, no. 2 (2020): 181–96. http://dx.doi.org/10.5937/rkspp2002181d.
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This paper deals with certain issues of private international law that Serbian notaries public must resolve when performing notarial duties in the process of the conclusion of a contract whose subject matter is the acquisition of rights in REM in immovable property located abroad. The author first deals with the question of whether Serbian notaries public have international jurisdiction to perform notarial duties with regard to these contracts. After that and bearing in mind that the governing law for these contracts is, pursuant to Art. 21 of Serbian Private International Law Act (SPILA), the law of the foreign state in which the immovable property is located, the author tries to clarify whether the notary public applies the rules of this applicable foreign law on the form of the contract or must comply with lex fori (domestic) rules on the form (which are, from the point of view of Serbian notaries public, of procedural nature). Finally, the author explains how, from the point of view of private international law, the notary public should proceed when concluding the contracts on exchange of two immovables, one of which is located in Serbia and the other in a foreign country, given that in such case the conflict-of-law rule of Art. 21 SPILA refers to two applicable laws - Serbian (domestic) law and foreign law.
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Dragojevic, Predrag. "The evaluation of old Serbian art during the formation of Serbian art history." Zograf, no. 34 (2010): 153–63. http://dx.doi.org/10.2298/zog1034153d.
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The paper sheds light on the development of the theoretical and methodological layer in Serbian texts about the art created during the nineteenth century and recognises the gradual change in the system of values, which was the precondition for the interpretation of medieval art.
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Peno, Vesna. "Bilingual neume collections of the late middle ages - a new view at the well-known music sources." Zbornik radova Vizantoloskog instituta, no. 54 (2017): 279–301. http://dx.doi.org/10.2298/zrvi1754279p.
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The long-term process of the byzantinization of Serbian culture and art, intensified in the framework of complex political relations at the beginning of the 15th century, is testified, among others, by the preserved bilingual Greek-Slavonic musical manuscripts. As the primary sources in the reconstruction of the Serbian church chanting art in the late Middle Ages, but also the Byzantine-Serbian musical connections, the neum manuscripts unambiguously confirm the existence of the bilingual worship practice at the time of Despotovina Serbia. The long-held views on the dated two neum anthologies from the Great Lavra (E 108) and the National Library of Greece (EVE 928), their scribes, composers and songs in this paper are critically examined for the first time.
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Eres, Ana. "The Venice biennale and art in Belgrade in the 1950s. A contribution to the study of the artistic dialogue between Italy and Serbia." Balcanica, no. 53 (2022): 227–42. http://dx.doi.org/10.2298/balc2253227e.
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Throughout the twentieth century the International Art Exhibition Venice Biennale was seen as a major event by the art world of Belgrade and, more broadly, of Serbia and Yugoslavia. After the Second World War this biggest and most important international show of contemporary art provided Belgrade?s artists and art critics with an opportunity to acquaint themselves with the latest developments on the international art scene. At the same time, it was used as a platform for the leading figures of Belgrade?s artistic and cultural-policy establishment to create, through the exhibitions mounted in the national pavilion, an image of the country?s artistic contemporaneity aimed at achieving its desired standing in the West. The attitude of Belgrade?s art scene to the Venice Biennale went through a particularly interesting phase in the 1950s. Its transformations offer an opportunity to observe, analyse and expand the knowledge about the changes that marked that turbulent decade in the history of Serbian art, which went a long way from dogmatically exclusive socialist realism to the institutionalization of a high-modernist language as the dominant model. Based on the reconstruction of Yugoslavia?s sustained participation in the Venice Biennale (1950-60), this paper analyses the models of the representation of Serbian art in the international context of the Biennale within a broader context of the intensification of Serbian-Italian artistic contacts during the period under study.
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Peno, Vesna, and Marija Obradovic. "On the chanting space and hymns that were sung in it. Searching for chanting-architectural connections in the middle ages." Muzikologija, no. 23 (2017): 145–73. http://dx.doi.org/10.2298/muz1723145p.
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The search for the unexplained interactions of domestic medieval liturgical music and sacred architecture of the Moravian style has not been the subject of interdisciplinary study so far. A reflection on the potential relationg between church chanting and architecture is absent from the largest part of the existing literature on the development of medieval sacral art. The scarcity of written historical sources, and especially musical ones, made it particularly difficult to define the connection between the chanting circumstances and the changes in the architectural form of the late Byzantine period, which is almost a standardized Moravian architectural form. The earliest preserved bilingual - Greek-Slavic neumatic manuscripts, mentioning both the names of the first famous Serbian medieval composers, and the more or less well known late Byzantine musicians who had actively participated in the earliest religious services of the Serbian Church, confirm that the culmination of the chanting art in Serbia occured precisely at the turn of the 15th century and then until the fall of Serbia under Turkish rule. Comparing the available data, with a general insight into the migration flows that led to the Byzantinization of Serbian culture in that period, showed that after the reconciliation of the Serbian Patriarchate and the Patriarchate of Constantinople, in 1374, the world-class building tradition was adopted, which until then was sporadically seen on the Serbian soil. The architectural form of the Moravian style would become recognizable by the singing apses in the axis of the transept, in the middle of the already adopted form of the inscribed cross from the early 14th century. Within the framework of the overall church, political and cultural transformation that was visible in Serbian society, the chanting practice of the Serbian Church, or more precisely the greater affirmation of the liturgical art and the increase in the number of the chanters, certainly had a share both in acceptance and in the consistent implementation of the architectural solutions of the Moravian style. Future research should focus on the holistic analysis of the Moravian cultural heritage, in order to map the movement of the known and unknown Serbian Greek melods and determine the scope of their activity. The existing knowledge of the architectural features of the Moravian sacred buildings will thus receive a significant addition, from the liturgical and religious service in which each form of church art is individually represented as part of a much more complex artistic ensemble with which the Kingdom of Heaven on the Earth is iconized.
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Marinkovic, Milos. "The music in serbia festival as a “permanent social obligation of music workers”." Muzikologija, no. 35 (2023): 105–26. http://dx.doi.org/10.2298/muz2335105m.
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The Music in Serbia festival (Muzika u Srbiji - MUS) was held in Belgrade and other Serbian cities from 1976 to 1991. Presenting contemporary creativity of composers from the former Socialist Republic of Serbia and its two provinces (Socialist Autonomous Province of Kosovo and Socialist Autonomous Province of Vojvodina), as well as works by Serbian authors of older generations, MUS existed as a unique place of valorization and revalorization of domestic art music. Through the analysis of program and organizational strategies, financial aspects, repertoire policy, and forms of dissemination and promotion, this article points not only to the artistic scope but also to the socio-political implications of the Music in Serbia festival.
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Borozan, Igor. "The medieval revival and historical topographic representations in The Byzantine monuments of Serbia." Zograf, no. 43 (2019): 197–214. http://dx.doi.org/10.2298/zog1943197b.
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The work of Felix Kanitz titled Serbiens byzantinische Monumente. Gezeichnet und beschrieben von F. Kanitz [The Byzantine Monuments of Serbia. Drawn and Described by F. Kanitz] published in German and Serbian in 1862 has never been subjected to more detailed analysis from the perspective of art history. The need for the contextualization of illustrated books and their relation to the European culture of historicism, to nature and landscape, as well as their relationship with various artistic phenomena of the mid-nineteenth century, demands the placement of Kanitz?s book into the wider cultural framework of the epoch.
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Kartseva, Aleksandra. "Socio-Philosophical and Culturalogical Thought in Relations between Russia and Serbia." Ideas and Ideals 15, no. 1-2 (2023): 427–43. http://dx.doi.org/10.17212/2075-0862-2023-15.1.2-427-443.
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The article deals with the issues of socio-philosophical and culturological thought as a factor of interaction between Russia and Serbia in the modern European space. In the study the author presents the historical periods of socio-cultural development of relationships between the two countries, beginning from the first millennium. The work focused on identifying the common mental, cultural and historical commonalities of our peoples which allowed for the development of interaction between the two countries in the field of scientific cooperation, socio-philosophical, cultural and spiritual relations [1, c. 244-250]. The author defines the role of the language of communication and examines an important stratum of Serbian culture: Orthodoxy. In this context, the aspects of spiritual and cultural unity between Russia and Serbia, which have shaped the unity of views of the representatives of Serbian science and cultural, socio-philosophical and spiritual-cultural thought have emerged. The author defines the role of the ‘Russian House’ Centre for Culture and Science in Belgrade, Serbia, as a fulcrum of cultural, scientific and religious life of the Russian immigrant community and a firm manifestation of the Russian-Serbian spiritual, socio-philosophical and cultural ties between the two states. The paper focuses on such phenomena of intercultural contacts between Russia and Serbia as the scientific and cultural influence of the Russian intelligentsia after the 1917 revolution. Several waves of Russian emigration in the 19th and 20th century had the biggest impact on Serbian spiritual culture, architecture, civil engineering and art. One of the first associations of Russian post-November emigrants was the Archeological Society of Serbia (1921), represented by the Slavist historian A.L. Pogodin. Emigration to Serbia increased after the ruefully known ‘Philosophical steamer’ in 1922. This year, the St. Petersburg scholarly community widely marked the 100th anniversary of this exodus of Russian intellectuals, which marked the loss of the spiritual forces of Soviet Russia, but there was a considerable acquisition of culture, science, architecture, and theatrical art in Serbia, and thus in Europe.
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Đorđević, Slavko. "POVERAVANjE SPROVOĐENjA OSTAVINSKOG POSTUPKA JAVNOM BELEŽNIKU – NEKOLIKO NAPOMENA IZ UGLA MEĐUNARODNOG PRIVATNOG PRAVA." Forum 2, no. 1-2 (2020): 67–82. http://dx.doi.org/10.46793/forum20.67dj.
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Pursuant to Art. 110a of Non-Litigious Proceedings Act, the court can decide to delegate the conducting of the succession non-litigious proceedings to the notary public, but only if Serbian law is applicable to the succession. In this paper author explains in which cases the condition with regard to the applicability of Serbian law has been fulfilled as well as whether the notary public can decide on some other conflict-of-law issues which can arise in delegated proceedings. Bearing this in mind, author deals with application of conflict-of-law rules for succession contained in Art. 30 and 31 of Serbian Private International Law Act in order to clarify in which situations Serbian law is applicable to all succession law issues. After that, author analyses whether notary public can decide on some procedural issues with foreign element, such as the international jurisdiction, the capacity of a person to be a party and to act independently in the proceedings, lis alibi pendes and preliminary recognition of foreign court decision.
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Pajic, Sanja, and Vladimir Jurisic. "Representations of lancet or phlebotome in Serbian medieval art." Srpski arhiv za celokupno lekarstvo 143, no. 9-10 (2015): 639–43. http://dx.doi.org/10.2298/sarh1510639p.
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The topic of this study are representations of lancet or phlebotome in frescoes and icons of Serbian medieval art. The very presence of this medical instrument in Serbian medieval art indicates its usage in Serbian medical practices of the time. Phlebotomy is one of the oldest forms of therapy, widely spread in medieval times. It is also mentioned in Serbian medical texts, such as Chilandar Medical Codex No. 517 and Hodoch code, i.e. translations from Latin texts originating from Salerno-Montpellier school. Lancet or phlebotome is identified based on archaeological finds from the Roman period, while finds from the Middle Ages and especially from Byzantium have been scarce. Analyses of preserved frescoes and icons has shown that, in comparison to other medical instruments, lancet is indeed predominant in Serbian medieval art, and that it makes for over 80% of all the representations, while other instruments have been depicted to a far lesser degree. Examination of written records and art points to the conclusion that Serbian medieval medicine, both in theory and in practice, belonged entirely to European traditions of the period.
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Jakovljević, Branislav. "Performance Art and Illiberal Democracy: Marina Abramović's The Cleaner in Belgrade." TDR/The Drama Review 64, no. 1 (2020): 182–89. http://dx.doi.org/10.1162/dram_a_00910.
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In September 2019, Marina Abramović's exhibition, The Cleaner, billed as her “European retrospective,” opened in Belgrade. The funding for the exhibit was secured through a direct intervention that came from Serbian prime minister Ana Brnabić. The Cleaner quickly became the center of a vigorous political debate, which exposed hypocrisies of the regime of illiberal democracy currently in power in Serbia.
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Nikolić, Časlav. "The prospects of the study of medieval arts in the works of Pero Slijepčević." Zbornik radova Uciteljskog fakulteta Prizren-Leposavic, no. 14 (2020): 53–61. http://dx.doi.org/10.5937/zrufpl2014053n.
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The paper presents the basic positions of understanding of Serbian medieval culture and art in the works of the renowned scholar of Serbian literature Pero Slijepčević. During his life and work in Skoplje in the 1930s, Slijepčević was in direct contact with the signifiers of the Serbian cultural tradition, so he became more familiar with sacral art and architecture, history and literature of the Middle Ages. Pero Slijepčević's works on ancient Serbian art, its historical, cultural, sacral and symbolic values, are usually viewed at the margins of their author's overall and highly philological, pedagogical, cultural and social engagement. And yet, they can identify important perspectives on thought and relevant contributions to the contemporary historization of Serbian culture and art. Although these works are somehow hidden, silent in the horizon of Pero Slijepčević's overall work and engagement, his thought about the art of the Middle Ages is as much an indicator of the diversity of Slijepčević's knowledge and authentic gift for the scientific study of that art and time, as much of the depth of cultural experience. Without which even the central dimensions of literary, cultural or educational expression could not be so strongly realized.
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Parezanovic, Kristina. "The organisation of solfège pedagogy in Serbia from the second half of the 19th century until today - achievements and attainments." Muzikologija, no. 21 (2016): 27–50. http://dx.doi.org/10.2298/muz1621027p.
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This research focuses on the development of art music, music pedagogy and teaching solf?ge in Serbia in the long period stretching from the second half of the 19th century until the present day. In this article I present a chronology of the institutionalisation of the music education system in Serbia; then, I discuss the origins of the influence of Western European artistic-pedagogical practices on Serbian teaching, through the testimonies by Stevan Hristic, Berthold Hartmann, Miloje Milojevic, Stanislav Vinaver, Milan Grol and others. I finish with the presentation of the most important Serbian music pedagogues and their achievements in the period before World War II (Stevan Stojanovic Mokranjac, Isidor Bajic, Miloje Milojevic, Miodrag Vasiljevic) in parallel with the results and practices of the Western European and global music pedagogy. My goal is to observe Serbian approaches to music pedagogy in relation to the question of the possibilities, realistic or hypothetical, to use the educational principles which were in expansion in Europe at the end of the 19 th and beginning of the 20th centuries in Serbian music pedagogy. After examining the methods of teaching solf?ge in the period from the end of World War II until today, I conclude that Serbia has developed its own pedagogic style (even though it is based on the complementarity of several autochthonous and foreign methodical solutions), built upon and supperted by the experience and knowledge of Serbian and foreign attainments in music pedagogy.
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Kovacek-Stanic, Gordana. "Principles of art in Serbian and European laws and stands of Christian orthodox church on art." Zbornik Matice srpske za drustvene nauke, no. 148 (2014): 737–46. http://dx.doi.org/10.2298/zmsdn1448737k.
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In Serbia, Biomedically Assisted Fertilization is regulated by the Act on Treatment of Infertility with Biomedically Assisted Fertilization Procedures from 2009, and by the Family Act from 2005, the provisions on the family status of the child. In European context, the principles of the application of biology and medicine are regulated by the Council of Europe Convention from 1997 for the Protection of Human Rights and Dignity of the Human Being with regard to the Application of Biology and Medicine (Convention on Human Rights and Biomedicine). In this paper, Serbian law is compared with European law as well as the stands of Christian Orthodox Church which represents the dominant religion in Serbia. Comparison of principles stipulated in the Act and the Convention with the stands of the Christian Orthodox Church shows that domestic law, European law and stands of Christian Orthodox Church are based on similar grounds. It is the protection of human being, human dignity, and application of principle of medical justification. However, there is great difference of opinions when the question of acceptable and allowed procedures is raised. For example, there is an opinion that donor insemination is not in compliance with Christian Orthodox stands. On the contrary, positive law accepts donor insemination, both sperm and egg donations. As regards the surrogate motherhood, this is unacceptable for Orthodox Church and it is still not allowed in Serbia, but de lege ferenda it might be permitted in Serbia, as the Draft of Civil Code proposes that surrogate motherhood should be permitted and regulated by a new law.
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Đorđević, Slavko. "KOLIZIONOPRAVNO CEPANjE ZAOSTAVŠTINE USLED PRIMENE USTANOVE RENVOI I UKLANjANjE NASTALIH PROTIVREČNOSTI PRAVNIH NORMI." Glasnik prava IX, no. 2 (2018): 3–18. http://dx.doi.org/10.46793/gp.0902.003dj.
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In Serbian private international law the so called scission of succession estate and application of several national laws to the different parts of deceased’s estate may be caused by renvoi (Art. 6 Serbian PIL Act). It may particularly happen when the conflict rule on succession of Art. 30 Serbian PIL Act refers to the foreign law whose conflict of law rules accept the concept of plurality of succession (scission of estate) which implies application of lex rei sitae to immovable property and application of personal law of deceased to movable property. In this paper author analyses the phenomena of scission of estate and institute of renovi by which scission could be caused, deals with the problem of contradictions of legal norms which arises as a consequence of application of two or more succession statutes and explains how these contradictions may be avoided by using the adaptation method of private international law.
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Milanovic, Biljana. "Balkans as a cultural symbol in the Serbian music of the first half of the twentieth century." Muzikologija, no. 8 (2008): 17–26. http://dx.doi.org/10.2298/muz0808017m.
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Focus on the internalization of Western images in the Balkans has special significance in researching Serbian art. The functioning of Balkanism as it overlapped and intersected with Orientalism is indicated in the text by an examination of the cases of Petar Konjovic, Miloje Milojevic and Josip Slavenski, the three significant composers working in Serbia during the first half of the twentieth century. Their modernistic projects present different metaphors of the Balkans. Nevertheless each of them is marked by desire to change the Balkan image into a 'positive' one and thus stands as a special voice for Serbian and regional placing in European competition for musical spaces.
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Vulic, Tatjana. "Writing about art in contemporary Serbian press." Godisnjak Pedagoskog fakulteta u Vranju 8, no. 2 (2017): 99–117. http://dx.doi.org/10.5937/gufv1702099v.
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Elezović, Zvezdana. "The art works of Petar Đuza." Bastina, no. 58 (2022): 397–401. http://dx.doi.org/10.5937/bastina32-41469.
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The work deals with the artistic creations of Petar Djuza, a contemporary Serbian artist and university professor from Kosovo and Metohija. He, as a painter, opposed the persecution of the Serbian people from the area of Kosovo and Metohija in an artistic way in the eighties of the last century. The exodus experienced by the Serbs at that time was best expressed by the artist through his own creative expression. A representative example is the work Two headed forbids prayer (Dvoglavoruša zabranjuje molitvu), from Djuza's Hvostan art cycle. This artist's cycle contained paintings of monumental dimensions that were mostly destroyed in his studio in Pristina in 1999.
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Novaković, Aleksandar, and Ivana Mitić. "THE SERBIAN LANGUAGE IN THE EYES OF FOREIGNERS: ANALYSIS OF THE MOST COMMON DOUBTS OF LEARNERS ON THE SOCIAL PLATFORM REDDIT." MEDIA STUDIES AND APPLIED ETHICS 5, no. 1 (2024): 55–68. http://dx.doi.org/10.46630/msae.1.2024.04.
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The subject of this paper is the analysis of posts on Reddit about foreigners’ confusions related to learning Serbian as a foreign language. The aim of the research is to clarify the most common questions of foreigners who are interested in learning the Serbian language. A descriptive method and a method of theoretical analysis with the technique of content analysis have been used in the paper. The analysis of research results has shown that there has been a lot of interest among foreigners for learning Serbian as a foreign language. The most common questions related to mastering the Serbian language include: 1. issues of integration into the social community (solving administrative problems, studying and working, finding friends, finding information about the character and mentality of the Serbian people, getting to know the culture and history of the Serbian people, life in Serbia without knowing the Serbian language, etc.), 2. issues of finding language learning modalities (accredited study centers, private schools, online platforms, private lessons), 3. issues of learning Serbian as a foreign language (difficulty in learning, time needed to master the language, differences between the eastern and western variants of the language), 4. issues of finding and using appropriate teaching tools (textbooks, language learning apps, podcasts, adapted folk and art texts, music, films and TV shows with foreign language translation, flash cards, illustrations and tables) and 5. the issue of mastering certain grammatical and lexical contents (Cyrillic, cases, difference between perfective and imperfective verbs, getting to know colloquial expressions).
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Jovanovic, Jelena. "The correspondence between Miodrag Vasiljevic and Bulgarian Musicians." Muzikologija, no. 2 (2002): 201–20. http://dx.doi.org/10.2298/muz0202201j.
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The Serbian ethnomusicologist and music pedagogue Miodrag A. Vasiljevic corresponded with colleagues from neighboring Bulgaria between 1934 and 1962. This exchange of letters went through three phases. The first phase was linked with his stay in Skopje until the breakout of World War II; during the second phase - in the course of the 1940's - he was active in the Department for Folk Music at Radio Belgrade and he founded his method of music teaching on traditional Serbian music; in the third phase (the 1950's and beginning of 1960's) Vasiljevic aimed at a closer cooperation with Bulgarian musicians. All the phases are characterized by his pronounced interest in the folk music heritage of Balkan peoples. At the beginning that interest was focused on popularizing art music that was based on folk music. Later, he enthusiastically carried out his reforms of music teaching in Serbia, as well as improvements of methods in Serbian ethnomusicology.
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Bogusławska, Magdalena. "Wędrująca idea awangardy. Centrum Dekontaminacji Kulturowej i serbska kultura oporu." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 23–36. http://dx.doi.org/10.14746/pss.2020.18.1.
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The article addresses the presence of the avant-garde in the discourse and the practice of social resistance in Serbia at the turn of the 20th and 21st centuries. The focal point of the text is the thesis that nowadays the avant-garde resonates not so much as an artistic formation, but as an ideological complex. The author investigates the manners of contemporary transposition of ideas and avant- garde imagination through the analysis of the activities of the Centre for Cultural Decontamination in Belgrade. Using the examples of two programmes: Modernism, Serbian National Identity in 20th Century and En Garde – Avant-Garde 20/21, the author shows how the local experience of the interwar avant-garde and the neo-avant-garde formed within the movement of ʼ68 protests, creates a specific ideological current, a model of self-organization and a pattern of activities bordering between art and socio-political reality. In the 1990s, in Serbia, it becomes the reference system for artivism (an approach consisting in influencing social and political reality through art), and today still remains an inspiration for independent intellectual and artistic environments and for critical institutions that create an alternative and polemic cultural space to the official policies of the Serbian authorities.
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Berber, Nemanja, Agneš Slavić, and Marko Aleksić. "Corporate Social Responsibility in Contemporary Organizations: Evidence from Serbian Processing Industry." Economic Themes 59, no. 2 (2021): 227–41. http://dx.doi.org/10.2478/ethemes-2021-0013.
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Abstract Corporate social responsibility (CSR), as a concept that tackles economic, social, and environmental dimensions of business, becomes more and more implemented in companies all around the world. There are different effects that CSR can have on business performance, but it is generally accepted that CSR is related to positive outcomes in business organizations. Also, CSR is a concept that can be understood as a way of reaching sustainable development in the future. This paper aims to investigate the level of the implementation of CSR in Serbia, concerning large companies in the processing industry. The methodology used in the paper obtains exploration of theoretical sources, but also the analysis of primary empirical data gathered in Serbia, in the period from November 2019 until June 2020. The authors designed a questionnaire to explore the state of the art of CSR in Serbia, in business organizations, based on previous successful empirical research. Descriptive statistics, factor analysis, Mann-Whitney, and Kruskal Wallis tests were used to investigate the CSR on the sample of 73 large companies in Serbia’s processing industry. The analyses were made in SPSS software. The results point to the relatively high level of CSR activities in Serbian processing companies, and to the fact that modern companies understand the need of reaching more diversified goals than just economic ones in their business.
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Babić, Strahinja, Aleksandra Marjanović, Gordana Stanković-Babić, Nevena Babić, and Rade Babić. "From the notary of the writer, professor of pediatrics dr Radoslav Živić (1927-2012)." Medicinska rec 2, no. 2 (2021): 72–75. http://dx.doi.org/10.5937/medrec2102072b.
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The authors present the life and work of prof. dr. Radoslav Živić - Rade who will be remembered as an exceptional pediatrician, professor of lofty pride and morals and a writer who occupies a special place in the contemporary Serbian narrative milieu in which it is difficult to find a prose writer and sensitivity to the meaning of words and the ability to visualize and fruitful grafting in the literary art of Serbia.
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Miladinović-Stefanović, Dušica. "Forced marriage in Serbian legislation: Between legal tradition and new legal challenges." Zbornik radova Pravnog fakulteta, Novi Sad 54, no. 1 (2020): 289–307. http://dx.doi.org/10.5937/zrpfns54-24446.
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The right to freely decide on the conclusion or dissolution of marriage traditionally falls into the corpus of human and civil rights which are guaranteed both at the international and the national level. In Serbian legislation, the implications of being deprived of this right, particularly as a result of coercion or duress, are two-fold: in the sphere of civil law, it is one of the legal grounds for voidability of marriage (Art. 38 of the Family Act) while, in the field of criminal law, it is qualified as a special criminal offence of forced marriage (Art. 187a of the Criminal Code). The initial text of the Criminal Code did not contain the incrimination of forced marriage, it was introduced by novelties in 2016, during the process of harmonising domestic legislation with the Council of Europe Convention on preventing and combating violence against women and domestic violence (the Istanbul Convention), which was signed and ratified by the Republic of Serbia. Thus, Serbia assumed an obligation to adjust and enhance its system for the protection of victims of violence. The author in this paper seeks to examine the criminal protection from forced marriage in its historical vertical, analyzing earlier criminal-law responses to this phenomenon, critically considering the capacities of positive law, but also dealing with possible directions for its further development.
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Ćirić, Marija. "MUZIKA U SRPSKOM ANIMIRANOM FILMU U PERIODU 1949–1969." Nasledje Kragujevac XIX, no. 51 (2022): 349–63. http://dx.doi.org/10.46793/naskg2251.349c.
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Тhe aim of the paper is to understand the position of music in the Serbian animated film during the first two decades of organized production of this artistic type in socialist Yugo- slavia (1949-1969). It is about the period that begins with the creation of the first (post-war) Serbian animated film, Pupil and a Bad Mark, authored by Vera and Ljubiša Jocić (1949). In this regard, we used the historical method, the method of analysis and a case study. The paper first provides insights into the context of the emergence and stages of development of Ser- bian cinematographic animation, and looks at the problems of understanding the poetics and status of this art, position, and function of music in an animated film, and then turns to the selected titles. The works analyzed in this paper assume the anthological oeuvres of the most prominent names of Serbian animation of the said period (Vera and Ljubiša Jocić, Divna Jova- nović, Marijan Vajda, Slavko Marjanac, Nikola Majdak, Ivo Kušanić, Borislav Šajtinac); the selection, therefore, refers to the totality of the visual, cinematographic, and auditory qualities. The result of this research suggests a considerable range in terms of the relations between music and image, that is, the important position of music as a constituent of narration; reveal- ing the rapid rise of the then still young artistic domain on the Serbian cultural scene. It is important to point out that the research we have conducted is the first attempt to consider the position of music in the historical context of the art of animation in Serbia.
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Manevic, Zoran, Rajka Davison, and David Davison. "Art Deco and National Tendencies in Serbian Architecture." Journal of Decorative and Propaganda Arts 17 (1990): 70. http://dx.doi.org/10.2307/1504080.
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Stankovic, Maja. "10.5937/kultura1443297s = Participative practices in contemporary Serbian art." Kultura, no. 143 (2014): 297–318. http://dx.doi.org/10.5937/kultura1443297s.
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Šešić, Milena Dragićević, and Mirjana Nikolić. "The Mediatization and Culturalization of Populist Political Communication." Cultural Management: Science and Education 4, no. 1 (2020): 73–84. http://dx.doi.org/10.30819/cmse.4-1.04.
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Researching the impact of populist political communication on media, art, and the cultural sphere in Serbia, the authors investigate various different phenomena that are rising under the pretext of market liberalisation and identity politics. Deregulation of media may have brought “independence” from power, but also complete market-dependence. In the cultural sphere, pressures on the arts from right-wing populism have lead to extreme nationalism in Serbian media and cultural practices while simulta-neously seeing a commercialisation of programming. “National discussions” regarding the status of real-ity show programmes on commercial television and accusations of anti-patriotism against most promi-nent Serbian artists have been lead by right-wing populists. At the same time, this research takes into account several forms of left-wing populism, mostly developed within the independent scene.
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Mikicević, Jelena. "Crkva Bogorodice Odigitrije u selu Mušutište kod Prizrena." Šumadijski anali 19, no. 13 (2023): 12–55. http://dx.doi.org/10.46793/sanali19.13.012m.
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The history of Serbian secular art begins in the 16th century during the reign of King Milutin. In a strengthened state, Serbian nobility gained a new position in society. The new role of the nobility, as well as their newly acquired rights and responsibilities, became most evident through the construction of their own endowments.Taking inspiration from their ruler and his significant philanthropic activities, the most powerful among them followed his example. We don't have much information about the early noble endowments. The oldest known such endowment, which has been preserved to this day, is the Church of Virgin Mary Odigitri in the village of Musutistu near Prizren. Based on the donor's inscription that was located above the lintel of the western portal, we know that the church was built in the year 1315 by the great treasurer Jovan Dragoslav.Jovan Dragoslav, a high-ranking state official with executive authority, was the guardian of the royal treasury and had access to the material resources that the king allocated for the construction of a large number of endowments. The Church of Virgin Mary Odigitri in Musutistu was built following the model of a royal endowment, the Church of St. Nikita in Skopska Crna Gora. The builder replicated the architectural design that had been realized in this royal church a decade earlier. The architectural concept of both churches had its origins in the main Byzantine centers. This could also suggest the origin of the builders, who likely came to Serbia from Thessaloniki.The frescoes of the church have suffered significantly over the centuries. Only about ten figures of saints were preserved in the sanctuary and the northwest part of the cella. The rest of the surfaces had been painted over. Based on the preserved figures, it was clear that talented craftsmen had worked here. This was evidenced by the preserved figures of archbishops, holy women, holy warriors, and one figure of a holy physician.Byzantine artists brought the spirit of Palaeologan art to Serbia. Among the best of them were Mihajlo Astrapa and Evtihij, who served the king and came from Thessaloniki. We do not have information about the origins of the artists who painted the Church of Virgin Mary Odigitri in Musutistu. The preserved inscriptions on the frescoes were written in both Serbian and Greek, which was common in churches of that time. The great treasurer Jovan Dragoslav, who was respected court nobility, could undoubtedly have easily accessed skilled and talented artists. They can be counted among the finest artists of their era.Changes in the Serbian state during the reign of King Milutin led to material and spiritual progress for the people. This is best observed through the noble endowments, which were in their infancy at the time and marked a new chapter in the history of Serbian art, beginning in the early 16th century.
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Mikić, Vesna. "Constituting Neoclassicism in Serbia or: How and Why Neoclassicism Can Be Understood as Modernism – a Study of Ristić’s Second Symphony." Musicological Annual 43, no. 2 (2007): 99–104. http://dx.doi.org/10.4312/mz.43.2.99-104.
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The paper examines the possible re-contextualization of the Serbian musical neoclassicism in the field of (sober) modernism/socialist aestheticism characteristic for Serbian art and literature of the fifties. From that perspective, the Second Symphony (1951) by Milan Ristić is seen as the constitutive piece of neoclassicism/sober modernism, i.e. of artistic tendency that is going to become very important for understanding Serbian music in the second half of the 20th century.
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Mihaljinac, Nina, and Vera Mevorah. "Broken promises of Internet and democracy: Internet art in Serbia, 1996–2014." Media, Culture & Society 41, no. 6 (2019): 889–900. http://dx.doi.org/10.1177/0163443719831177.
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The article uses case studies of artistic and cultural practices on Internet in Serbia (1996–2014) to provide a deeper analysis of possible uses of internet technology and internet art for social and political change as well as showcasing changing attitudes toward the internet in a transitional semi-periphery state. Through analyzing these questions, the article defines several phases of development of internet and art projects in Serbia including (a) the phase of techno-utopia when internet technology was used for staging and supporting student protests and the so-called first ‘internet revolution’ in Serbia (1996–1999); (b) the phase of ambivalence or ‘mixed feelings’ toward the Internet, triggered of by Kosovo War and North Atlantic Treaty Organization (NATO)-led bombing of 1999–2000; (c) the phase of optimism and hope about the Internet after the ‘October 5th’ revolution (2000–cc. 2005); and (d) the phase of disillusionment with both the Internet and democracy (2010–2014). This study re-evaluates early achievements and democratic principles of networked society and illuminates core issues and accomplishments of cyberculture from the 1990s until present times through the point of view of multiple actors present within Serbian art and culture.
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Jankovic-Begus, Jelena. "Music-theoretical writings of Vlastimir Trajkovic as a reflection of his advocating for a new recognition of Serbian art music." Muzikologija, no. 31 (2021): 95–126. http://dx.doi.org/10.2298/muz2131095j.
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In this paper I analyse selected articles by the composer and academician Vlastimir Trajkovic (1947-2017), published in various collective monographs and journals over the period of nearly three decades (1982-2008). These writings emphasise Trajkovic?s constant urging for a fairer (from his point of view) evaluation of Serbian art music in a wider, European and global context, but also within the state/national frameworks. Trajkovic aimed to prove that Serbian art music, as well as writings on music, would have enjoyed a wider recognition, had certain of their top achievements not been left forgotten and unpublished, and thus unavailable to potential researchers and performers. That is why he pleaded for the improvement of sheet music publishing in the country, as well as for the targeted promotion of Serbian art music repertoire. Moreover, he insisted on the proximity of the Belgrade ?cultural climate? in the interwar period with the artistic and scholarly tendencies in France and its ?zones of influence? in the same period. Consequently, Trajkovic particularly insists on the new evaluation of the opuses of the composers and musicologists Miloje Milojevic (1884-1946) and Dragutin Gostuski (1923-1998) - whom he saw as those creative and intellectual individuals who had fallen victims to the ?historical injustice? and whose (re)positioning within the Serbian music culture would increase the relevance of that same culture both in the national and international contexts.
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Kostić, Ana. "Religious art and the public in the Principality of Serbia (1830-1882)." Zbornik radova Filozofskog fakulteta u Pristini 52, no. 2 (2022): 193–211. http://dx.doi.org/10.5937/zrffp52-36847.
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In the Principality of Serbia in the 19th century, the Orthodox Church represented a significant entity and had a privileged position as a state and national institution. This all affected its place in public life, as well as the public control of all the church activities regarding the churches' construction, equipping, painting, and renovation. Thus, the aesthetical criteria, demands, and effects of the cultural and scientific public were a tremendous factor in making church art common during the 19th century. The public had an influence on art development through various forms in the Principality of Serbia, and some of the instruments were both daily and periodical (printed) press. The public's attitude towards the church art was stated in the press and humongously affected the people's consciousness of the Church and church art's significance in relation to the state and nation, as well. Also, the ordering parties' tastes had thus been formed, which also had an impact on the complex mechanisms of the general church art trends during the 19th century. This kind of practice was characteristic of 19th-century Europe and Russia, and from there it was also accepted and developed in Serbia. Despite the fact that in the 19th century the Serbian people had lived in the territory of three states - the Ottoman Empire, the Principality/Kingdom of Serbia, and Austria, the periodical literature and newspapers had been available to the Serbian social and cultural elite at the mentioned territories. Since the press had not been strictly limited by the state boundaries, a wider reading audience had been familiar with the information and attitudes about art presented in both the newspapers and periodical literature, which were printed in Serbia and Austria, as well. The newspapers coming out in the period 1830-1882, such as Šumadinka, Srbske novine, Novine Čitališta beogradskog, Sion, Podunavka, Golubica, Orao, and others, contained different aesthetical attitudes on the church painting and architecture, but also considered various problems on the topics of erecting and painting the churches. The public significance of the works regarding the construction and equipping of the churches had been highlighted. Certain models of the church architecture and painting had been promoted, along with the individual artists' works. By reading the daily and periodical press, the reading public had been informed about the church heritage from the past through the reports about medieval churches and some debates on their renovation. Finally, the public of experts promoted, by using the (printed) press, certain advisable behavior models, such as the contribution activities towards the Church which were seen as the ultimate patriotic endeavor.
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Dragojevic, Predrag. "About the award culture in Serbian modern art life." Kultura, no. 145 (2014): 33–42. http://dx.doi.org/10.5937/kultura1445033d.
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Sijakovic, Bogoljub. "The Great War, ethics of Vidovdan, memory." Zbornik Matice srpske za drustvene nauke, no. 150 (2015): 1–42. http://dx.doi.org/10.2298/zmsdn1550001s.
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After a characterization of contemporaneity (dominance of the financial sector and high technology, politicization of economy, ideological use of culture and thought control) and a brief analysis of expansionism (political, economic, cultural) on the eve of the Great War, the author gives a more detailed description of the spiritual situation in the wake of the Great War: in philosophy, literature, and art, as well as the national political programmatic texts and war propaganda publications of German intellectuals of the time. The continuity of the Austro-Hungarian colonial policy towards the Balkans and Serbia culminated in instigation of a preventive war against Serbia by the elites in Berlin and Vienna, which is important for the question of responsibility for the war, with concrete war aims which reflected in the causes of the war. These war elites wanted to declare the assassination in Sarajevo as the cause of war, which in fact was a political assassination and tyrannicide. The liberation movement of democratic youth Mlada Bosna (Young Bosnia) needs to be viewed both in the European context and inspired by the Serbian tradition of Kosovo cult and the ethics of Vidovdan (St Vitus Day) speaking about the sacrifice as sublimation of history and about honorable suffering as element of identity. Historical memory suggests that historical responsibility is transgenerational. The epic proportions of Serbian suffering in the Great War have additionally incited the idea of the Temple of St Vitus Day (Vidovdanski Hram) conceived by Ivan Mestrovic. The bases of this idea were shaken by Milos Crnjanski in his Lyrics of Ithaca where he succeeded to bring back to Vidovdan (St Vitus Day) its inexhaustible national power of validity. Because of enormous Serbian military and civilian casualties in recent history, the establishing of a Victims of War Memorial today would have identity, existential, ethical and ontological significance for the Serbian people.
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Buseva-Davidova, Irina. "The mosaic decoration of the Temple of Saint Sava." Napredak 1, no. 2 (2020): 17–46. http://dx.doi.org/10.5937/napredak2002017b.
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The Holy Synod of the Serbian Orthodox Church and the state representatives of the Republic of Serbia, with the brotherly aid of the Government of The Russian Federation and its Department for External Church Relations of the Moscow Patriarchy are nearing the completion of the Temple of Saint Sava. The unique style and artistic concepts of Nikolay Mukhin is in complete harmony with the architecture of Hagia Sophia in Constantinople, the foremost example of Byzantine and Serbian medieval art. There are four representations in the great arch of each cupola of the Temple of Saint Sava, grouped according to meaning and history as presented in the Holy Testament, with the aim of faithfully depicting the earthly life of Christ and the Mother of God. The rich and original iconography of the mosaics and iconostases is awe-inspiring in their artistry for the over three hundred artists engaged in their execution. The conceptual knot of the interior: the dome, the space below, the pendentive and main arches, with their beautifully decorated altar space, have enriched Serbia and the world with one of the most imposing and magnificent monuments of Christianity today.
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Sentevska, Irena. "All that turban-folk: Orientalism and neo-folk music in Serbia." Bulletin de l'Institut etnographique 68, no. 3 (2020): 641–60. http://dx.doi.org/10.2298/gei2003641s.
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In this paper I look at the ?oriental controversy? of the neo-folk music in Serbia, focusing on the changes in the perception of the longstanding Serbian-Bosnian ensemble Juzni vetar (Southern Wind) in the academic circles, media and various segments of the music industry. The affirmative attitude towards the performers and music legacy of Juzni vetar, which has in recent years gradually entered the media from the alternative (non-commercial) music and art circles, may be observed in the context of the contemporary globalized music industry which constantly challenges orientalist assumptions and divisions between East and West. The key turning point in this process is the newly-embraced understanding of Juzni vetar (and ?turban-folk? in general) as part of Serbia?s cultural heritage. Using a representative sample of academic and media comments, in this paper I shed some light on the shifts in the reception of Juzni vetar primarily as an indication of the wider changes in the reception of the Ottoman legacy and contemporary influences of the ?Orient? in the contemporary Serbian culture, not excluding the wider context of Southeastern Europe.
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Isakovic, Smiljka. "Classical music in the new millennium: Return of philantropy." Zbornik Matice srpske za drustvene nauke, no. 147 (2014): 323–36. http://dx.doi.org/10.2298/zmsdn1447323i.
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Artists need economic base and financial support, either by individuals, corporations, non-profit organizations or government institutions. Investing in culture implies the provision of natural and human resources for artists and cultural institutions, in order to achieve, in return, certain counter services - generally improving the image. Those who want to influence the world must offer to the society something healing and positive, such as culture and art. These contribute to the vitality and mental health of society in finding the sense of identity and the meaning of life in turbulent times. Thus the benefactor eternalizes his name for future generations while artists sometimes become a living advertisement of their patrons or sponsors. In 2011, Ministry of Serbian Culture established the "Golden Wreath" award for the contribution to the development of Serbian culture through sponsorship and donations. This is the ideal form of support for the existence and development of arts and classical music in Serbia.
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Nowińska-Antoniewicz, Natalia. "Breakup of Yugoslavia Portrayed by Serbian Alternative Comics Scene - The Case of Aleksandar Zograf." Kultura Popularna 60, no. 2 (2020): 16–25. http://dx.doi.org/10.5604/01.3001.0013.7333.
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The article presents phenomenon of emergence of Serbian alternative comics scene during the period of breakup of Yugoslavia. The analysis is focused on anthology of works “Regards from Serbia” by Aleksandar Zograf who is considered the founder of the new direction in comic art. The works drawn over the nineties were portraying everyday life in Yugoslavia during its breakup. This period has been considered a strong taboo since and is not being willingly taken up by scientist from former-Yugoslavia what makes it difficult to gain knowledge that would meet scientific standards. Zograf’s comics were being published both in his country and abroad, what made them source of knowledge on situation in the Balkans of the world. In the article comic art is also being treated as anthropological evidence that enables understanding of foreign culture and processes related to attempts of rejection of the old ideological, moral, and axiological order.
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Peno, Vesna, та Ivana Vesic. "Serbian еcclesiastical chanting for the glory of god and in the service of the nation". Zbornik Matice srpske za drustvene nauke, № 164 (2017): 651–64. http://dx.doi.org/10.2298/zmsdn1764651p.
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Shaped in complex social circumstances and in accordance with the postulates of baroque historicism, Serbian ecclesial art has expressed clear tendency toward nationalization of Serbian religious identity during the 18th century. Due to general musical illiteracy of the clerics, the real conditions for the development of chanting art in Serbian Church were nonexistent. However, by the end of 18th and at the beginning of the 19th century the myth of authentic Serbian national Church singing, being the result of special ?Serbian folk piety?, was established. The construction of Serbian Church chanting tradition was primarily initialized by the growing distance from Greek psalmody in Serbian worship. In other words, because there was no historically relevant form of singing, the ancient singing of Fruska Gora and Krusedol, i.e. the singing of Karlovci, had to be constructed as an antithesis to Byzantine- Greek musical tradition. By comparing historical facts and critically reading the narrative of the origins of national Church music in the time of Metropolitan Stefan Stratimirovic of Karlovci, a new interpretation of common stereotype about Serbian musical reform and its main protagonists was produced. This paper offers an original analysis of the origin of: 1) the singing of Fruska Gora, in the context of the belief that Fruska Gora, with its monasteries which preserved the memory of the golden age of Serbian history, are sacred spaces - Serbian Mount Athos; as well as 2) the singing of Karlovci, where was the centre of Metropolitanate of Karlovci and first Ecclesiastical Seminary which was connected the ungrounded belief that it was nursery of a magnificent form of church chanting by the end of the 18th and the beginning of the 19th century. This paper, also for the first time, pointed the relationship between the monasteries of Fruska Gora, as Serbian sacred spaces of great importance for national identity, and their abbots Dimitrije Krestic, Dionisije Cupic and Jerotej Mutibaric, who were, according to oral tradition, the creators of singing of Karlovci. The adequate music and historical sources that would offer us an insight into the process of musical reform that was conducted by them do not exist, but their contributions in constituting national self-awareness and ?Serbian piety? are well known and documented. In conclusion, by the end of the 18th and the beginning of 19th century, but also during the entire century of ?nationalism(s)?, the prayers in Serbian Church were chanted for the glory of God, although with a clear tendency to emancipate a new religious identity of Serbian people. However, the catholic ecclesial spirit of Tradition was repressed in order to fulfill the goals of ideology of religious nationalism.
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Vasic, Aleksandar. "Problem of the ′national style′ in the writing of Miloje Milojevic." Muzikologija, no. 7 (2007): 231–44. http://dx.doi.org/10.2298/muz0707231v.
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Dr. Miloje Milojevic (1884-1946) was a central figure in Serbian music criticism and academic essays between the World Wars. A large part of his writings on music were dedicated to the issue of the Serbian ?national music style?, its means of expression, and the question of modernity, i. e. to what extent modernity is desirable in the ?national style?. This paper analyzes some twenty articles - reviews, essays, and writings for special occasions - published by Milojevic between 1912 and 1942 in various Serbian newspapers magazines and collections: Srpski knjizevni glasnik (The Serbian Literary Magazine, 1912, 1913, 1914, 1923, 1924, 1935), Prosvetni glasnik (The Educational Herald, 1914, 1921, 1942), Politika (The Politics, 1921, 1922 1923, 1937, 1938, 1940, 1941), Muzika (The Music, twice in 1928) Spomenica-album Udruzenja muzikanata Kraljevine Jugoslavije 1928-1930 (The Commemorative Volume - The Album of the Society of Musicians of the Kingdom of Yugoslavia 1928-1930, 1930), Smena (The Change, 1938), and Slavenska muzika (The Slavonic Music, 1940). In the course of those thirty years Milojevic passionately believed that the future of Serbian music lies in the ?national style?, i.e. in the artistic transformation of anonymous Serbian folk songs and melodies. In spite of the changes of styles that occurred over the years, he never gave up anticipating the appearance of an ingenious composer who would develop the ?national style? to its climax and enrich Serbian music with ?national? symphonies, operas and chamber music. Milojevic was in favour of a ?national style? mainly on principle. He rarely got into a discussion about the stylistic and technical means he considered most suitable for the ?national style?. In his text Nas muzicko umetnicki program (Our music and artistic programme), published in the Serbian Literary Magazine in 1913, and another article, Za folklornu muziku (In favour of Folk Music), published in the Belgrade daily newspaper Politics in 1921, he recommended that Serbian ?national style? composers followed the model of some representatives of the European national schools of romanticism impressionism and moderately modern music. In a special kind of manifesto Za ideju umetnosti i umetnickog nacionalizma kod nas (In favour of the idea of art and artistic nationalism in Serbia), published in 1935 in the Serbian Literary Magazine, he gave an indirect answer to the question of which means of musical expression he preferred in the ?national style?. For example, he singled out the composition Sever duva (North Wind) by Kosta P. Manojlovic (1890-1949), from his collection of choral songs Pesme zemlje Skenderbegove (The Songs from the Land of Skenderbeg, 1933), as an outstanding example of what he meant by ?national style?. This Albanian folk music was transformed into a relatively modern, but yet not avant-garde composition. Therein lies the answer as to what kind of ?national style? Milojevic preferred. An advocate of a moderately modern music language, he wished Serbian art music to use its very rich folk heritage as best as it could. He was well aware that times had changed, and that there was not much inclination towards this style and ideology in the interwar period. However, he never abandoned this idea. Basically, he never accepted more radical, expressionist treatments of folk elements as a solution to the problems of ?national style?. It is also very significant that he never mentioned the name B?la Bart?k in his writings, which is something we analyze in this paper. He was never able to give up romanticism, a style that never had time to fully develop in Serbian music. Serbian folk music was a perfect basis for composing in a romantic style. Nevertheless, due to many unfavourable circumstances in Serbian history, the Serbs became part of European music world only at the beginning of the 20th century, when it was too late to develop a modern romantic national style.
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Elezović, Zvezdana. "Affirmation of Serbian sculptures in Kosovo and Metohija." Bastina, no. 56 (2022): 553–62. http://dx.doi.org/10.5937/bastina32-36832.
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The paper discusses the affirmation of Serbian sculptors in Kosovo and Metohija in the second half of the XX century. It began to develop in the province in parallel with painting, and the founding of the Academy of Arts in Pristina in 1973 can be taken as a turning point. Most artists have already been involved in current creative trends in fine arts in Kosovo and Metohija and beyond. Bužančić says that sculptural achievements, as well as facts from the art scene at the time and a promising future, reject any allusion that sculpture was still a less important sector of Kosovo's art. As the founders of Serbian sculpture in Kosovo and Metohija, we can mention Svetomir Arsić Basara, Radoslav Musa Miketić, and after some time Zoran Karalejić, and they raised sculpture in Kosovo and Metohija with their artistic creation and pedagogical work. The circle of Serbian sculptors then began to expand and prosper, with new profiles and sensibilities, enriching sculptural production in the province.
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Stefanovic, Ana. "Traditional vocal music as a reference in contemporary Serbian art song." Muzikologija, no. 20 (2016): 151–70. http://dx.doi.org/10.2298/muz1620151s.
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The article examines the relation between traditional vocal music and contemporary compositional poetics in Serbian art song, created in the last two decades. The special relationship between the ?eastern? Balkans inheritance and ?western? compositional practices which characterized Serbian music throughout the 20th century is considered in a contemporary, post-modern context and within a particular genre framework. The status of the reference itself, as well as of referential relationships, are examined through examples taken from three works: Dve tuzbalice (1997) for soprano, viola and piano by Djuro Zivkovic (1975), Da su meni oci tvoje (2008) for soprano, flute and piano by Ivan Brkljacic (1977) and Rukoveti (2000) for soprano and orchestra by Isidora Zebeljan (1967).
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Kušter, Denis. "The Impact of Working Capital Management on Profitability: Evidence from Serbian Listed Manufacturing Companies." Economic Themes 60, no. 1 (2022): 117–31. http://dx.doi.org/10.2478/ethemes-2022-0007.
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Abstract Working capital management (WCM) plays a significant role in company’s operations. The aim of this research is to explain how working capital management affects profitability of Serbian companies measured by ROA indicator. In order to answer the question, a quantitative analysis of working capital management was performed on a sample of 79 companies in the field of manufacturing industry from the territory of the Republic of Serbia. All the companies were listed on the Belgrade Stock Exchange in business year 2019. Analysis was performed via Spearman’s correlation coefficient and multiple linear regression. The results of the research show that there is a negative and statistically significant correlation between profitability and accounts receivable turnover in days (ART), accounts payable turnover in days (APT) and inventory turnover in days (IT). On the other hand, it was found that there is no statistically significant correlation between cash conversion cycle in days (CCC) and profitability. The issue of working capital management has not been sufficiently examined in the territory of the Republic of Serbia and it is difficult to determine which theoretical knowledge about working capital is true, which emphasizes the importance of research on this subject.
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Starodubcev, Tatjana. "The questions of the artistic influences of the Christian east in Serbia in the late twelfth and thirteenth century and the paths of their transmission." Zograf, no. 40 (2016): 45–72. http://dx.doi.org/10.2298/zog1640045s.
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The paper analyses the questions of the influences of the Christian East on Serbian medieval art based on the works in which such impacts have been recognized in previous studies, carried out at the time when many Eastern Christian monuments had yet to be studied and published. They include the headpiece at the beginning of the Miroslav Gospel, the first-layer frescoes at the Hermitage of St. Peter of Korisa and the miniatures in the Prizren Gospel. Finally, the paper addresses the question of whether the influence of the Christian Orient reached Serbia via the Apennine Peninsula or came directly from the East.
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Bilyk, Nataliia L. "CONTEXTUAL DIMENSIONS OF M. PRODANOVYCH`S NOVELS POETICS." Alfred Nobel University Journal of Philology 2, no. 22 (2021): 69–81. http://dx.doi.org/10.32342/2523-4463-2021-2-22-6.
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One of the most original figures in modern Serbian literature is Mileta Prodanovic ‒ an artist, art critic, writer, winner of international awards in the field of literature. The expressive diversity of M. Prodanovich`s works draws special attention to all effective indicative aspects. The context of the activity of creative figures is traditionally considered to be a separate inalienable fruitful plan of their coverage. The contextual cultural process of the last quarter of the twentieth century, in line with which M. Prodanovich`s work developed, has acquired the definition of the postmodern era. Analytical systematization of contextual factors and their artistic reflexes in the artist's prose need additional coverage. Accordingly, it is important to express the context (marked by the manifestations of postmodernism) of the formation of the creative worldview and to determine the priorities of the figurative language of the contemporary Serbian artist. The aim of this article is to focus on the postmodern dimensions of certain types of Serbian national art and in particular literature, contextual for the prose work of M. Prodanovic, with regard to the poetics of the artist. The study is based on the performance of comparative-historical and genetic-typological methods in combination with structural analysis and cultural semiotic approach. M. Prodanovic`s work has not only a chronological connection with the era and the concept of postmodernism in Serbian literature. Already in the early stages of artistic activity, in the early eighties, when postmodernism was a new theme, the conceptual core of his work was centered precisely in connection with its landmarks. Accordingly, a special purposeful concretization of the definitive features of the national-mental adaptation of the ideology of postmodernism in Serbia acquires special significance. These are the fundamental conceptual features of postmodernism, which in the stream of postmodern philosophy demonstrate its meaning of the eclectic movement, focused on an alternative approach to the world, aimed at the concepts of methodology of phenomenology, structuralism and existentialism. A number of developmental conceptual solutions relevant to the contextual interaction of the postmodern worldview with the literary process are contained in the empirical experience of artistic creation in general. In its vein, one of the programme items for the correlation of the art poetics with the concept of postmodernism is the experience of architecture. At the same time, there has been an active figurative expansion of postmodernist solutions in the fine arts since the mid-1960s. And the literary process, particularly in the Serbian national format, was strongly influenced by the ideology of postmodernism. Thus, the defining contextual dimension of M. Prodanovic`s creative credo is formed by (thoroughly revealed in the Serbian national fine arts and in the literary process) classical conceptual principles of postmodernism, the manifestations of which are natural for the poetics of the artist's prose and testify to the writer's creative reactions to the signs of various forms of postmodern poetics. In their perspective in terms of semantics of M. Prodanovich`s novels it becomes more contrasting illustrative for the context disclosure of cognition of the world, the metaphysical basis of civilization through atypical for this context inexhaustible potential for humanistic solution of universal philosophical questions of existence, with recognition of its essential importance in explication of the special author`s experience in the art of word.