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.

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.

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.

The Fascist Turn in the Dance of Serge Lifar

2020 ◽  
Author(s):  
Mark Franko
Keyword(s):  
Nineteenth Century ◽  
World War Ii ◽  
World War I ◽  
Critical Reception ◽  
World War ◽  
Close Attention ◽  
Before And After ◽  
Gradual Development ◽  
Critical Discourses

This book is an examination of neoclassical ballet initially in the French context before and after World War I (circa 1905–1944) with close attention to dancer and choreographer Serge Lifar. Since the critical discourses analyzed indulged in flights of poetic fancy a distinction is made between the Lifar-image (the dancer on stage and object of discussion by critics), the Lifar-discourse (the writings on Lifar as well as his own discourse), and the Lifar-person (the historical actor). This topic is further developed in the final chapter into a discussion of the so-called baroque dance both as a historical object and as a motif of contemporary experimentation as it emerged in the aftermath of World War II (circa 1947–1991) in France. Using Lifar as a through-line, the book explores the development of critical ideas of neoclassicism in relation to his work and his drift toward a fascist position that can be traced to the influence of Nietzsche on his critical reception. Lifar’s collaborationism during the Occupation confirms this analysis. The discussion of neoclassicism begins in the final years of the nineteenth-century and carries us through the Occupation; then track the baroque in its gradual development from the early 1950s through the end of the 1980s and early 1990s.

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