5. Multinational Beginnings in the Interwar Period: The Kingdom of Yugoslavia

2006 ◽  
Keyword(s):  
Interwar Period ◽  
Kingdom Of Yugoslavia

scholarly journals War Veterans, Fascism, and Para-Fascist Departures in the Kingdom of Yugoslavia, 1918–1941

Fascism ◽  
2017 ◽  
Vol 6 (1) ◽  
pp. 42-74
Author(s):  
John Paul Newman
Keyword(s):  
Interwar Period ◽  
First World War ◽  
World War ◽  
War Veterans ◽  
Kingdom Of Yugoslavia ◽  
Second Wave ◽  
First World

This article discusses the role played by war veterans in the various fascist and para-fascist groups present in Yugoslavia in the interwar period. The article finds that significant numbers of veterans and the nationalist associations to which they belonged contributed to proposed or actual departures from the democratic norm in interwar Yugoslavia, and were especially supportive of King Aleksandar Karadjordjevic’s dictatorship of 1929–1934. In this respect, they could be termed ‘para-fascist’. The article also notes that whilst the two groups typically identified in the literature as ‘fascist’, the Croatian Ustashe and Serbian/Yugoslav Zbor, fit into the ‘second-wave’ of 1930s fascist forces not usually marked by a strong presence of First World War veterans, their membership and ideological organisation were nevertheless significantly influenced by both the traditions of the war and the men who fought in it.

scholarly journals The early Prague spring: Analysing the re-establishment of modernist aspects according to the example of three piano concertos by the “Prague group” of composers

Muzikologija ◽  
2017 ◽  
pp. 127-141
Author(s):  
Marija Golubovic ◽  
Nikola Komatovic
Keyword(s):  
World War Ii ◽  
Interwar Period ◽  
Cultural Context ◽  
Socialist Realism ◽  
World War ◽  
Short Period ◽  
Prague Spring ◽  
Kingdom Of Yugoslavia ◽  
Do So ◽  
Piano Concertos

The interwar period brought about a number of modernist tendencies in the heterogeneous cultural context of the Kingdom of Yugoslavia, which is particularly salient in the works of the young composers belonging to the so-called ?Prague group.? Having completed their studies, dozens of composers and conductors, including Ljubica Maric (1909-2003), Stanojlo Rajicic (1910-2000) and Milan Ristic (1908-1982) contributed to the establishment of the new movement in the conservative milieu of interwar Belgrade. After World War II, socialist realism became, in effect, the only approved style for the artists of the period. However, only a decade after the Tito-Stalin split, modernist tendencies reappeared fullblown in the output of Yugoslav composers. It is therefore of the greatest interest to analyse and present the way in which modernist music managed to find its way back to Yugoslav composers, performers and audiences in such a short period of time (the 1950s). To do so, we have chosen three piano concertos, written at the very beginning, in the middle, and at the very end of this period. This overview would not have been possible if we had analysed works belonging to other genres, as most had already been established in the pre-war period. However, it is also safe to conclude that the limitations on the Yugoslav scene were not imposed only by political authorities, but also by the conservative tastes of its audience and society, which were already in place before WWII.

scholarly journals The Romanian Orthodox Church in Hungary and the Kingdom of Yugoslavia in the Interwar Period

2018 ◽  
Vol 9 (1) ◽  
pp. 190-195
Author(s):  
Alin Cristian Scridon
Keyword(s):  
Interwar Period ◽  
The Political ◽  
Orthodox Church ◽  
Great Poet ◽  
Romanian Orthodox Church ◽  
The Times ◽  
Kingdom Of Yugoslavia ◽  
Romanian Orthodox ◽  
Political Realities

Aim. The Romanian Orthodox Church in Hungary and Yugoslavia encountered a series of shortcomings between the two world wars.  Conclusion. Regardless of the political realities of the times, the Romanians coalesced around the Romanian Orthodox Church. That is why, not by chance, the great poet Mihai Eminescu identifies the Romanian Orthodox Church with the institution that preserved the Latin element near the Danube. The activity of the Romanian Orthodox Church in Hungary and Yugoslavia in the interwar period was mainly performed by priests.  

scholarly journals Latino o cirillico? Le proposte di un alfabeto misto nelle visioni di unità jugoslava del periodo interbellico

2021 ◽  
Author(s):  
Giustina Selvelli
Keyword(s):  
Interwar Period ◽  
Writing System ◽  
The One ◽  
Novi Sad ◽  
Kingdom Of Yugoslavia

This paper discusses the context of script choice (Latin and Cyrillic) in the Kingdom of Yugoslavia in the late 1920s and early 1930s, focusing on bialphabetism and biliteracy as official policies of the country. I place the topic in the framework of Latinization in the interwar period and examine three texts by Yugoslav authors that propose a ‘hybrid’ writing system containing the characters of both alphabets as a solution to digraphia. It then explores some reactions to such proposals, including the one of Aleksander Belić. The article is based on the analysis of previously unknown sources found in the Matica Srpska Library in Novi Sad.

Designs for Living: Female Designers, the Designing Female, Modernism and the Middlebrow

2011 ◽  
Vol 6 (1) ◽  
pp. 155-177
Author(s):  
Chiara Briganti ◽  
Kathy Mezei
Keyword(s):  
Gender Roles ◽  
Interwar Period ◽  
The Other ◽  
Urban Modernity ◽  
Other Hand ◽  
Sexual Ambiguity

During the interwar period, the artistic endeavour of the female interior decorator was dismissed as old-fashioned, nostalgic, and, tainted by its association with commerce; it was excluded from the rarefied circle of the higher arts of painting and sculpture and architecture; in the novels and plays of middlebrow authors of the same period, on the other hand, the female interior decorator, mocked for her edgy modernity, became a disturbing icon of urban modernity and a controversial advocate for new designs in living. This essay proposes to demonstrate how the representation in fiction and drama of the interwar period of the female interior decorator, a magnet for anxieties about changing gender roles, class distinctions, sexuality and sexual ambiguity and the ‘sanctity’ of the home, complicates the complexity and mutability of the middlebrow and its fraught relationship with modernism.

„Rzymski” Żyd – nieznana twórczość Romana Brandstaettera

2012 ◽  
Vol 53 (1) ◽  
pp. 47-61
Author(s):  
Dariusz Konrad Sikorski
Keyword(s):  
New York ◽  
Social Norms ◽  
Cultural Values ◽  
Interwar Period ◽  
Free Speech ◽  
Role Model ◽  
The Self ◽  
Polish Literature ◽  
The Bible ◽  
The Law

Summary After 1946, ie. after embracing Christianity, Roman Brandstaetter would often point to the Biblical Jonah as a role model for both his life and his artistic endeavour. In the interwar period, when he was a columnist of Nowy Głos, a New York Polish-Jewish periodical, he used the penname Romanus. The ‘Roman’ Jew appears to have treated his columns as a form of an artistic and civic ‘investigation’ into scandalous cases of breaking the law, destruction of cultural values and violation of social norms. Although it his was hardly ‘a new voice’ with the potential to change the course of history, he did become an intransigent defender of free speech. Brought up on the Bible and the best traditions of Polish literature and culture, Brandstaetter, the self-appointed disciple of Adam Mickiewicz, could not but stand up to the challenge of anti-Semitic aggression.

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