scholarly journals Vasićev zakon periferije

2016 ◽  
Vol 11 (3) ◽  
pp. 775
Author(s):  
Monika Milosavljević ◽  
Aleksandar Palavestra
Keyword(s):  
World War I ◽  
Material Culture ◽  
Direct Contact ◽  
Analogical Reasoning ◽  
Complex Mechanism ◽  
World War ◽  
Cultural Changes ◽  
Archaeological Material ◽  
The World ◽  
Phases Of Development

The understanding of the ways in which the pioneer of Serbian archaeology Miloje M. Vasić explained cultural changes is important for the archaeological tradition we work in. Consequently, the aim here is to detect the weak spots in the epistemological foundations of the Serbian archaeology and to enable the improvement of the conceptual tools we use. Vasić’s entire interpretive concept of the praehistoric Danubian valley periphery was constructed before the World War I, and stated that it was decisively influenced by the religious ideas from the cult centres of the Aegean, and by the direct contact with the Greek colonists as well. Searching for the explanations for the then unknown material culture of Vinča, he chose cult objects because he believed these objects preserved conservative practices and reflected conservative tendencies of communities. The conclusions founded upon cult objects Vasić transformed into generalizations related to all other phenomena. Having chosen his sample, he used specific methods for analysis of archaeological material, developing a complex mechanism to explain how in the periphery these original ideas were transformed beyond recognition. He used stylistic analysis and method of groups, proceeding to the Kopienkritik method, developed by his teacher Adolf Furtwangler. Just like written sources are valorised by their place in the chain of reproduction form the original, in the same manner certain objects represent forms whose distance from the centre can be estimated. However, Vasić further complicated his equation, by introducing at least one more force operating upon the degeneration of objects on the periphery – the influence of deep substrate levels of the peripheral cultures. This intersection of forces may be labelled as Vasić’s “law of periphery”, according to which the corruption of material culture in the periphery is influenced by the distance from the centre and the conservatism of the deeper popular layers. Although he linked this profound traditionalism of population to the survivals, in Vasić’s interpretive key these in fact represent the mutated form of the concept of survivals, borrowed from unilineal evolutionism, and are more linked to substrate, according to which continuity is supposed to be monitored, than to evolutionary phases of development. He identified this mutated concept of survivals and substrate in folk customs, the most famous being the recognition of the Dionysian ritual in the ethnographic present of his time. This manner of chronologically and spatially unlimited analogical reasoning inevitably led to erroneous interpretations, with long-lasting epistemological consequences in Serbian archaeology.

scholarly journals Serbian perception of Hungarian cultural achievements between two World Wars

2014 ◽  
pp. 875-900 ◽  
Author(s):  
Gojko Malovic
Keyword(s):  
World War I ◽  
Visual Arts ◽  
Direct Contact ◽  
Ministry Of Education ◽  
Visual Artists ◽  
World War ◽  
Close Attention ◽  
State Institutions ◽  
Theater Music ◽  
The World

Because of the conflict between the Hungarians and the Serbs in the World War I, several years after its end Serbian public did not put much effort into perceiving and forming impressions of Hungarian cultural achievements. Nonetheless, Yugoslav state institutions, primarily the Ministry of Education (also in charge of cultural affairs), paid close attention to developments in the domain of Hungarian cultural achievements. Serbian public gradually became more interested in Hungarian cultural achievements and contents. It was informed about Hungarian cultural achievements largely through articles in Hungarian newspapers and magazines, above all those specialized in cultural and artistic contents in Hungary, particularly in Budapest, covering the events in the following fields: literature, theater, music and singing, visual arts, film, and radio shows. The Yugoslav (Serbian) press also published articles on Hungarian cultural contents. Many recorded notes, findings, impressions and opinions-predominantly positive ones - of leading Serbian intellectuals, primarily writers, were preserved, which may be viewed as paradigmatic Serbian interpretations of many segments of Hungarian cultural and artistic events between the two world wars. There were many initiatives by Hungarian cultural figures, as well as by leading Serbian intellectuals, for a closer and more direct contact with Hungarian cultural achievements through visits and presentations of cultural contents by prominent Hungarian writers, actors and theater troupes, singers and choirs, visual artists and other Hungarian cultural and artistic groups in Serbian towns, foremost in Vojvodina, a significant number of which were carried out. Many Serbs became directly acquainted with Hungarian cultural contents and accomplishments between the two world wars by visiting numerous cultural events in Hungary, primarily in Budapest.

he designs of the Russian war memorials from the World War I in the Kingdom of Serbs, Croats and Slovenes / Kingdom of Yugoslavia: Ideas, symbols, realization

2020 ◽  
pp. 204-227
Author(s):  
Milana Živanović ◽  
Keyword(s):  
World War I ◽  
World War ◽  
War Memorials ◽  
The World ◽  
The Will ◽  
Kingdom Of Yugoslavia ◽  
The Military

The paper deals with the actions undertaken by the Russian emigration aimed to commemorate the Russian soldiers who have been killed or died during the World War I in the Kingdom of Serbs, Croats and Slovenes / Kingdom of Yugoslavia. The focus is on the erection of the memorials dedicated to the Russian soldiers. During the World War I the Russian soldiers and war prisoners were buried on the military plots in the local cemeteries or on the locations of their death. However, over the years the conditions of their graves have declined. That fact along with the will to honorably mark the locations of their burial places have become a catalyst for the actions undertaken by the Russian émigré, which have begun to arrive in the Kingdom of Serbs, Croats and Slovenes (Kingdom of SCS) starting from the 1919. Almost at once after their arrival to the Kingdom of SCS, the Russian refugees conducted the actions aimed at improving the conditions of the graves were in and at erecting memorials. Russian architects designed the monuments. As a result, several monuments were erected in the country, including one in the capital.

Ukraine and the Challenges of Post-Totalitarian Transit (1990-2019)

2021 ◽  
Author(s):  
Volodymyr Holovko ◽  
◽  
Larysa Yakubova ◽  
Keyword(s):  
World War I ◽  
Essential Feature ◽  
State Building ◽  
Self Awareness ◽  
World War ◽  
Successful Completion ◽  
Wide Audience ◽  
The Third ◽  
The World ◽  
History Of

The key problems of nation- and state-building are revealed in the concept of the chronotope of the Ukrainian “long twentieth century,” which is a hybrid projection of the “long nineteenth century.” An essential feature of this stage in the history of Ukraine and Ukrainians is the realization of the intentions of socioeconomic, ethnocultural and political emancipation: in fact, the end of the Ukrainian revolution, which began in the context of World War I and the destruction of the colonial system. The third book tells about the contradictions of post-Soviet transit. The three modern revolutions, the development of “oligarchic republics,” the subjectivization of Ukraine in the world through self-awareness of the European choice are visible manifestations of the final stage of the century-old Ukrainian revolution and anti-colonial liberation war. The essential transformations of the Ukrainian project are understood in the broad optics of post-totalitarian transit, the successful completion of which now rules for the national idea of Ukraine. For a wide audience.

A Fontana de Lutécia: Contos Virais

2021 ◽  
Author(s):  
Wilson Alves de Paiva
Keyword(s):  
World War I ◽  
Middle Ages ◽  
Ancient Greece ◽  
World War ◽  
Marcus Aurelius ◽  
The North ◽  
The World ◽  
Spanish Flu ◽  
The Village ◽  
Water Spring

A fictional book with five short stories that address the main pandemics in the world. The first story takes place in Ancient Greece, in 428 BC at the time of the Peloponnesian War. Tavros, the main character flees the plague by traveling to Gaul and discovers a mysterious water spring near the village of the Parisii. In AD 166, when Rome, is devasted by the plague, Marcus Aurelius sends out soldiers to the North. One of them, Lucius, arrives in the region of Lutecia and finds the same fountain that Tavros had been to. The water from this spring gives him strength to escape from the persecution of Christians and Jews. In his old age, Lucius becomes a Church elder and writes letters. One of them was read, many centuries later, by a Franciscan Parisian monk during the Middle Ages, who decides to pilgrimage to Jerusalem but is surprised by the Black Death. Back home, he is saved by the water spring, builds an orphanage and has his life converted into a book - which is red by a young journalist who takes the ship Demerara with his fiancée to Brazil in order to avoid the World War I, the Spanish flu and some Russian spies. The last story is about a Brazilian professor, called Lucius Felipe who, in 2019, travels to Paris to develop his postdoctoral studies. Unfortunately he has to return to Brazil due to the COVID-19 pandemic. But not before having visited Lutetia’s fountain and felt its power and the memories it holds.

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