Nicolas Berdiaev ou la Révolution de lEsprit (Espaces libres) (French Edition)

In all presentations we will tr y to aimed at a collectivisation of living space and at the show the artistic struggle with utopia. She and Hungar y, where the idea of collective living was addressed herself to women and the female place in promoted by left-wing avant-garde architects. Shortly the Zionist movement and at the same time she wrote afterwards, all upcoming projects were stopped for a lot of short stories and some novels about Jewish several reasons.

They were not resumed even after life in Galicia. After World War I, she was a member , when East Central Europe became part of the of the new Polish Parliament and dedicated herself to Communist Bloc, as the Soviet Union had abandoned feminist topics and wrote about birth control, marital the concept of collective housing.

However, there is partnership, the future of love, but also eugenic no doubt that the idea of collectivisation did have politics. The new Polish state was connected with an impact on the major housing developments under deep hope for a better future and for new possibilities the auspices of the new communist power.

This paper in the new state. But the more the nationalist parts traces the emergence of the communal house projects of Poland gained influence, the more the hope failed around , the reasons for their failure and their for the Jewish part as well as for other minorities. What I want to discuss arnold bartetzky Gwzo - GeisteswissenschaFtliches zentruM Geschichte are the aesthetics, which is connected with this hope und kultur ostMitteleuropas, [leipziG centre For the of a better world and the tension between the utopian history and culture oF east central europe] bartetz uni-leipziG.

What are the mechanisms of their ideological and aesthetic struggles? How does I am proposing a closed panel on late utopia change into dystopia in their works? The panelists will present on a diversity of in terms of ideology and aesthetics. Indeed, before genres, regions, and decades, thereby highlighting the Second World War, these artists were openly the degree to which European utopianism marks supporting left-wing revolutionar y movements as contemporar y Latin American texts and societies. Nevertheless, the end of the war and the communist The three speakers are distinguished scholars, who coming to power in Czechoslovakia in brought have garnered considerable recognition in their fields a lot of disillusion and sobering up the Czech poet of endeavor.

She is currently working to a clandestine existence and the complete falling on a book, tentatively called Mourning El Dorado, which out with the communist regime in place the Czech examines novels about Amazonia as dystopia. She will show how the novels propose an Ga briele j utz: Today, obsolescence is a relevant topic not I would be the third speaker.

Professor of Spanish at Vanderbilt University in This panel addresses the question why there is this Tennessee. I will speak on the Argentinean poet Juan interest today and how the obsolete can ser ve critical, Gelman , who, early in his life, embraced the even utopian purposes.

Nina Jukic analyzes how the hopes for a better world provided by Marxism. He current resurrection of analogue photography in became a Communist but, following a disagreement popular culture reflects utopian desires to resist the over strategies, he left the party in Yet Gelman digital abundance of the modern world, yet relies on never lost sight of his utopian goals. By violence capitalism itself. In my paper, I will discuss showing that their attitude to the new technologies the way Gelman, through his poetr y, seeks to recover of audio visual reproduction was retrograde, but from his disappointments with Marxist strategies necessarily so, given their radical utopian aspirations.

I will show that the Media theory, university oF applied arts vienna, austria poetr y written in exile is grounded, in part, in the utopian perspective that informed his earliest work. The three thought that project a harmonious future free from panelists examine dystopian fiction, treatments of the dissonant antagonisms of the present, Ernst Bloch musical form, and the political implication of voice in argues that it is precisely these antagonisms that most both fiction and avant-garde sound poetr y to question forcefully open up utopian possibilities. In this paper, I will revisit the most famous can be heard as attempts to utilize the contradictions fiction of Zamyatin, Huxley, and Orwell in an attempt of the present as pathways to a fortuitous future.

In Kurt Schwitters, conversely, departMent oF enGlish, princeton university, usa the solo voice comes to celebrate linguistic nonsense J. Giulia la M oni: This u to pia panel proposes to envision utopia as the result of se ssi on 23 — or inter vening term in — processes of dislocation enacted by contemporar y artworks and critical texts Labor is the subject of much utopian produced since the late s. In particular, while literature. How is utopia produced or transformed by such strategies?

This proposed panel examines the relationship The papers will explore utopia as between labor and utopia in a series of modernist dislocation from different perspectives. Brito Alves texts--the fiction of Bogdanov, Le Guin, and Wells; will focus on the role of dislocation in the context the early drama of Beckett; and the poems of J. She will Pr ynne. Our focus will be how these texts represent explore installation works by contemporar y artists groups of workers as privileged synecdoches of social such as Ilya Kabakov, Miroslaw Balka and Gregor order.

Specifically, we will examine how these texts Schneider. Lamoni will analyze art criticism by use the labor of literar y coteries, administrative Italian writer Carla Lonzi as a discursive space where committees, and performers and their audiences to the words of the artists are dislocated in radical ways, imply and support utopian arrangements in the world thus unveiling a utopian perspective on art writing.

An important focus SENSE s of this interdisciplinar y session are the political saara hacklin implications of these artistic practices. This panel analyzes humour as a our sensor y abilities. Yet they were independent researcher and author in urban studies and architecture, austria also seeking to subvert the strict moral codes of the rudolF. Many factors contributed to the but it is still not clear how we should understand failure of these hopes of a democratic revolution, the decade.

Should we tell a stor y of utopia, dystopia recession. I propose to look at these issues I will look at some examples of avant-garde through the particular prism of Finnish neo-avant-garde art in the context of the youth and student revolt in poetr y and its relations to politics and media.

In the the s in Denmark in order to explore the tension s, Finnish poets of the young generation sought to between art, politics, theor y and practice. Focusing poetic movement originating in the 70s, with cultural on four different cases the panel will investigate and political origins in the 60s has a differential, these positions, their responses, and the connections both affirmative and critical, relationship to utopia.

First of four volumes and material opacity. In this paper, I will chart the was published The polarized political culture speed, suddenness, rupture — towards a post-crisis of the time generated different responses to avant- mode of experience that is sometimes figured as a garde aesthetics, and the new ideas and art forms non-time. These timescapes state on the virgin soil of East Africa. This panel were the result of several thousand years of cultural investigates manifestations of deep time thinking development, nor that the modern Abyssinian nation in different literatures and periods.

It tracks the had built its own railway, telegraph, telephone, road and appearance of these timescapes in literar y modernism postal networks. A revision of his work, and of many others exegetic potential of poetr y in relation to painting: Disconnected from what was of the artwork as a technically specific object where happening in those years in the art world, his work the material craft is resuscitated as poiesis ; whose remains wholly modernist, and it has been considered abstract form is governed by spatial rhythm; producing an epilogue of his own generation Licht, This paper takes Soulages as the chief underpinnings of this stage of his work.

The Modern Movement introduces the dimension of leisure equally, with the plan of cities from scratch. Then, in a period that is Barcelona. The first is the Beato Angelico Cooperative, questioning towards life and the world — in a postwar founded in and managed by eleven women, mostly climate - the psychoanalysis theor y arises with the artists, until Following the same line of reasoning, Situationism These two examples will be discussed against the proclaimed anarchism as establish itself and individual political and cultural background of Mediterranean condition and situation.

Disconnection dictated the death image in favor of ambience. Over years of modernist aesthetics Modern Greek culture — with special has, rather successfully, reduced Venustas to be reference to sculpture — will be examined under about abstract masses and abstract space, free from the lens of centre and peripher y — with Greek art ornamentation. During the last decades, though, we seen as peripher y. I will particularly elucidate the have seen an interesting development: Furthermore, these challenged in Greece. They can be created on low movements, but will also be placed within the context budgets and in accordance with sustainable goals.

As a mode of making and agreed to award her a postgraduate travel grant towards and expression — as an energy — with ancient roots, attending the conference. The contours of New York Dada are Martine antle difficult to discern, made more obscure by the lack roMance lanGuaGes, university oF north carolina, usa of a self-identified group of participants, consistent aesthetic or clear manifesto. The evidence most often cited as concrete proof of an American Dadaism is the ru t h apt e r-Gab rie l: Indeed, it marked se ssi on 10 the first and only time that contemporar y American artists referred to themselves by this label yet, when This paper will start with a brief comparison examined in the context of the relationship between between the prevailing Jewish art in Tsarist Russia Tristan Tzara and the New York Dada editors, there in the early 20th centur y and the emerging Jewish are reasons to suspect the sincerity of this endeavor.

Its major sources will be This paper would demonstrate that the publication discussed: Lissitzky in particular, but also stance of the movement. I satirical, overly emphatic, adoption of the label. Each in his own way, Rebora, Eliot, and Mandelstam strove to define what the European literar y tradition is and what it means to be a European poet, and in anna are s i: However, further work needs to be done in order to achieve a deeper This paper will explore similarities understanding of Italian modernism in poetr y.

To this between the work of German post-war archtectural aim, it is fruitful to study Italian modernist poetr y writers and their English counterpart, William Richard against the background of European modernist poetr y: Furthermore, the international scholarship on philosophical publications and correspondence, arguing European Modernism provides conceptual frameworks that architecture should always evolve from a play of that can be applied comparatively to Italian modernism natural and cosmic forces and man-made innovations.

I do so both by medium, and architect and writer alike reached their focusing on his reception of Dante and in comparison audience through grand quixotic parables of a dream- with two other modernist poets, T. Eliot and Osip like world. Yet the novel provides a fascinating ni r a n baibulat: The novel also emerges from the real context of post- A pattern is not received only in visually, revolutionar y Mexican nation-building. In this paper, I but also through bodily approach. I see a pattern as explore the ways in which The Plumed Serpent leans on a performance or at least as bodily lived experience.

This is how an ornament festival of to explore the distinctions between could be seen as a flexible construction, not a fixed the European and the American, between colonial and composition. In this construction the sense may be understood in the light of live debates around of interior is created by linear proceeding, stich after the culture and philosophy of New World nationalisms, stich development. Here crocheting is seen by bodily and their opposition to European models. In this paper, gestures and trajectories. Then the body dav id ba rnes holding the piece in hand extends and the piece of Faculty oF enGlish, univ ersity oF oxF ord, uk work is seen by distance.

Changing the scale enables to investigate the structure or composition as a spatial whole or as a temporal part. And yet because the representation, mobilised to reinforce the state avant-garde works being revived emphasise music as narrative and project territorial power. Because basis of policy-making and practice in a field of applied they were originally devised, improvised or recorded, science and technology. Their performance style artistic ideals and strategies, cartographic plans and also facilitates playfulness and interactivity for the projects, and the shifting modalities of authoritarian audience.

Are they creating an avant-garde canon? This se ssi on 96 temporal iconoclasm is related to a radical criticism to the concept of time inherited of Enlightenment: It proposes and closed past, useless to an active and transformative that post-revolutionar y artists and cartographers, memory. Avant-garde cinema proposes a series of although operating in dissimilar professional fields, strategies to defy the enlightened concept of time. These strategies conservative tendencies even as those avant-garde forms are the denial of linear time, the fight for the record, of art are rejected for being too avant-garde.

We might the work on optical unconscious, the search for the query that belief, however. Perhaps they were rejected meaningful actualization of time. That, at This paper proposes to study Avant-garde least, is what I will assert. The proposal is an aesthetical paradigm of history based on constellations of ideas zuza na ba rtosova: However, I would update it.

And this, in turn, does not guarantee either utopian art or avant-garde art. Nevertheless, utopian tendencies dominate: This paper examines Russian and Soviet monumentalised figures of workers meeting to plan spatial utopias through six decades of the avant-garde a better future; uniformly-depicted figures suggesting quest. My focus is on the interaction between the their symbiosis of thought and physique; the solidarity literar y and visual arts.

How did the artists rework of mourners uniting in grief, possibly also in shared their media of expression in order to grasp the reclamation. Pignon, dismissed from Renault and transcendental behind the physical world? The utopists of the s followed compositional rhythm. Most and scientific progress. F rench retired , univ ersity oF stirlinG, uk For the early utopists the transcendental was an open field of exploration, for the nonconformists — an inner refuge in spirituality. Much like the avant-garde movement, auditorium, individual and crowd, dream and reality Caragiale deviated the resources of popular culture and between literature, theatre and music — reveals towards a wholesale critique of modernity.

The itself more so than the traditional theatre stage as Romanian avant-garde, I will suggest, sprang up in this an appropriate means to realize surrealist and poetic fertile niche unlatched by Caragiale. Radio drama thus presents a step towards the realization of the intentions of the historical avant-garde: As understanding of life writing.

Nicolas Berdiaev ou la Révolution de l'Esprit by Marie-Madeleine Davy on Apple Books

Hennings, by an it flourished, Neo-Magnetism intersected with experienced performer and poet, still awaits a full Neo-Lamarckian Transformism alongside Spiritism, recognition of her own contribution to the success of Bergsonian Vitalism and Anarcho-Communism, as the Cabaret Voltaire. Yet unlike Dufau, Kupka deployed little magazine , on the emergence across Europe of magnetism as a medium and as an ar tist not only new forms of exclusionar y nationalism. The stories in the collection began as ch r i s t ina b rit z o lakis: Moreover, poetics of omission. Even though we know that the author anna b rus: And yet, Proust At the beginning of the 20th centur y was claimed early on by no less a figure than Georges the so called primitive ar t was greatly admired in Bataille for the literature of evil and transgression.

It also ser ves as an impor tant foil for these Utopian dreams in an exhibition-project. Chekhov studied theatre art and gained his knowledge of it from the standpoint of the actor and not that of the Viktor Shklovsky wrote Zoo, or Letter s Not director as did Meyerhold. The actor, his technique and about Love while living in exile in Germany. The book personality, was always paramount for Chekhov. Petersburg by Andrei Bely were landmarks in the Both texts juxtapose these two figures, an unrequited, mastering of new methods of acting.

Chekhov attempted between the privileged life in Soviet Russia and a to solve the basic problem of the actor, that of the grim picture of the state of society and culture in personality and the artist, and the actor is meant to the West. Moreover, the added five letters create be the creator of a certain ideal and liberated life. However, in Paris Chekhov relationship with Alya and his geographical, political managed to realize his theor y rhythmic acting in musical and cultural displacement.

The practicalities of directing often defeated Chekhov, especially when he tried to bring his utopian visions to the stage. Michael chekhov in the s: And, finally, in the last manifesto he visualises a totally new society, based on Equality, freedom, decentralisation, work as a creative activity, and free j oyce chenG: Down ignored in anthropological and cognitive approaches. In turn, the paper seeks to j uipi chen d ept.

M a rtina ciceri: In tackling the influence of African art on great impact both on social life and on the aesthetics the development of cubism, critics who adopted of modernism. In this context, the Garnett family played micronations: Michelangelo Pistoletto, whose work especially during The intent of this paper is to investigate the the last two decades was enlightened by utopian issue of utopia and modernist aesthetics in relation to tension. I selected Ilya of modernity the authors in question belonged to can Kabakov and Sam Durant as ambassadors of their be re-read as a utopian artistic community.

Already present in the work of Durant, the link between modernism and utopia is the key point of a recent artistic trend which uses modernism as a central reference, implementing various strategies si M one ciG lia: FroM till today Through the exploration of one of the se ssi on most fascinating cultural archetypes, this presentation offers a contribution to historicize the art of the last This presentation wants to be a guide to twenty years.

Two distinct paths are traced: After having its distinctly modernist features that emblematize traced out some historical roots, there is a return to and exemplify the modernist characterization of the focus on the period examined from till today , first stage of Montalian poetr y. The starting point of in which we discover a partial revival of utopia.

One of the most interesting is the exceptional awareness of the present age: This paper explores the utopian Gozzano, sbarbaro, and Montale. In MonteIgnoso, real places are transfigured gathered Portuguese and Spanish-born artists and poets in metaphorical space to explore the themes of death, previously established in Paris, as well as foreigner love, motherhood, crises of roles.

In Periferia the protagonists of the avant-garde. I also want to of Masino: His view on the poetic process se ssi on 84 overtly promotes the random combination of words and the arbitrariness of meaning. The constancy of this practice and at the cusp of the s, marking the histor y seems to contradict the flamboyant rhetoric of of second-wave feminism in Britain in an expanded nihilism that characterises his manifestos.

Therefore, dateline from This that the constancy with which Tzara transferred his paper will look at these utopian moments in a histor y texts from various publication ephemera to the stable and reactions to them which ranged from censorship form of the book may reflect a utopian dream of the to scandal, to fierce debates about the values and total work of art disguised under the rhetoric of its strategies within the developing feminist movement. It is written by someone who was not part of this movement until when she became an art student e l i z a de ac ioana and these attempts to look back are undoubtedly depart Men t o F r oMan i an li ter at u r e, li ter ary theo ry, ba be s-b o lyai un ive rs it y, ro Man ia coloured by constructions upon events from the perspective of later developments.

Feminist Ar t in s London Most other The Brazilian version of Modernism pursued documentation about the s remains in individual a twofold challenge. In , several key export. This unequal approach supplanted rule poetics, but the conform adaption to was apparently solved when poet Oswald de Andrade a collective identity was left unchanged.

Somewhat made Brazilian society more aware of its archetypal later, a musical modernism seemingly exposing a consciousness. The paper and their contexts. This method treats the studio as a spatial The French musical life around was interface between the visual world of paintings and dominated by collectivist conceptions of the ideal the textual world theories. The surface manipulations role of music, with rather well explicated aims and in the studio test ideas about the relationships of poetics, and heated debates. The paper technique was treated as a discipline, and a dogmatic explains how Mondrian conceived of a deferred utopia rule poetics based on authority was the central with periodically changing criteria as a way of critically tenet.

The paper exposes other arts is this to be ascribed to an offensive of contradictions in the method but also suggests that artistic individualism. Her montage work of the Kylberg was a unique figure in the landscape s juxtaposed images of mass culture and modern of Swedish film in the s. In an industr y heavily urban life to question evolving gender stereotypes laden by literar y adaptations and realism Kylberg of the Weimar era. In the layers and juxtapositions of , both films featured his orchestral composistions a single work, we can see ethnography in tension with in free tonality. Like his avant-garde peers Kylberg European modernity; fer vent primitivism clashing with was an artisanal totalitarian artist, taking control over a savvy critique of the exotic Other ; and a celebration image, music, editing as well as scriptwriting.

M a rija n dov ic: Young Special attention will be placed on their relationship people and artists played a significant role in the to contemporar y cosmopolitan network of European protests. A new public culture appeared and many avant-gardes and on their unique attempts in the genres of arts emerged such as street art, music and s to redefine the space of European arts and different form of literature. Enthusiasm and hopes cultures. From this perspective, the early Croatian for a better future involved new utopian visions of attempt futurist circle of Zvrk in Zadar, Dalmatia was modern life in the Egyptian cities.

For this aim, I will particularly a primitive genius, invading the rotten and decadent examine the latest Egyptian young music and literar y West. The final step of my research M a rija n dov ic institute oF slov enia n literature, zrc sa zu, slov enia will be a comparison with cultural production and transformation which came from and after analogous revolutionar y phenomena of European modern histor y konsta ntina dra kopoulou: Guerrilla art in the streets oF athens: Proletkult theoreticians, as well as semi-musical Such artistic inter ventions in public space events that took place mostly as a part of theatrical — based on the aesthetic of vandalism — reclaim urban performances or as a mass Bolshevik festivals.

By space as a canvas for encouraging, communality, shedding light on this largely obscure phenomenon, democracy, equality and love, while they challenge the we argue why and to what extent the constructivist dominant hegemony in a way that resists and defies sonic ideas may deser ve utopian feature and can they all explanations. The politicized urban art ser ves as a still be a reference point for contemporar y sound-art reminder not to be complacent and highlights the fact productions.

There is always something missing, hidden, konsta ntin duda kov-k a shuro o F coM par at i v e stu di es i n li terat u res an d cu ltu res , tacit, ineffable or unspoken, and while the artist loM onosov M oscow state univ ersity, cannot in any way or form fill or patch these gaps, russia n F ederation he or she can certainly demonstrate their existence; reveal their inner workings; and bring them into view for ever yone to behold.

I will use this moment to and intentionally kept traditional values. A flow of new cultural information fastened the k atherine ebury development of processes. Georgian artists studied school oF enGlish, univ ersity oF sheF F ield, uk abroad and returning back they were actively involved in creating new cultural forms. Verschiedene Dichter und Philosophen a point of transition into an unknown future. The Ribemont-Dessaignes and other Dadaists who wrote return to the Avant-Garde and Stalinist aesthetics theoretical texts, such as Tristan Tzara or Georges and reassessment of the Soviet period have become a Hugnet?

I will discuss his projects Novonovosibirsk from and New Moscow from in which he is offering a neo-avant-garde This paper investigates ritual structures in vision the Eurasian Empire. Building on this structural similarity I claim writinG oF F dada history that a certain spiritualization of experience takes place se ssi on 47 in their poetr y, i. Where experimental theoretical claims. Why did Tzara react against Ribemont- Dessaignes?

How do such short pieces contribute to erik erla nson coM pa rativ e literature, lund univ ersity, sweden a definition of Dadaism? In the first, far researchinG public space on a Guerilla Mode. And evidence of visiting Soviet Russia in Having such a research object brought me to modeled as quasi-fictional, which, too, represents a design an adapted methodology which has transformed new hybrid genre.

Both analyzed anti-Soviet writings myself into a guerilla researcher. Coming from the art world and being a Dr. For this presentation, I want to look both at ca rl F indley iii: Hoping to shake not only our ever yday practices, but also the way we, academics, look at ourselves. In The Man Without Qualities, Robert Musil re-defines innocence in modernist, erotic, and utopic e Me l i ne e ude s terms as an imaginative state of mind from which an Geo Gr aphy, ladyss- cn r s , F r an ce alternative model of pan-European regeneration might arise.

Through the innovative combination of erotic imager y and eschatological language that fundamentally v lad iMir Fe s h ch e n ko: The erotic experimentation of The paper juxtaposes two experimental the hero and heroine in The Man Without Qualities , the prose writings of the early Soviet time: War will foil to earlier, more ancient conceptions of innocence come to be seen as a necessity, a means to an end of as a morally simplistic and untutored state. Musil offers a radically new concept of innocence as staGinG Modern ruins: In the early s, i nt e r dis ciplinary s t udie s , Me rce r un ive rs it y, usa his oil sketches revealed skewed buildings in dimly lit side streets.

By the end of the decade, his landscapes increasingly drew on allegor y, and were populated Fi nn Fo rdh aM: Mo der n i sM an d the avan t-Gar de tr an sFo r Med: This paper will examine wa r ii. I argue that in response to the growing The outbreak of World War I was itself sense of crisis in Europe, Berman moved away from remembered and echoed at the outbreak of World urban scenes and instead sought to stage a world War II.

Histor y was repeating itself, not as farce but already beyond war. His early dystopian alleyways rather as tragedy; as frightened pessimism rather than gradually transformed into post-apocalyptic ruins.

I enthusiastic optimism, as Harold Nicholson wrote. Drawing on a large histories. This cyclicality was reflected in works by collection of postcards, Berman looked to the past — Joyce, Eliot and Benjamin, skeptical of the Messianic both the ancient past and a more recent histor y — in goals of Utopian progress. The crisis however brought piecing together fantastical urban spaces. By examining the diverse Utopian staged ruins offered a space for imaginative projection, reactions at this period, I will question the quality a retreat from modern life.

FroM nationally peculiar and a barrier to international utopia to heterotopia se ssi on 52 peace. The desire to produce an international Taking the lead from the analysis of writing system produced two general approaches. Iconic writing, it was hoped, Benjamin defines as weak messianic power — as well could be spontaneously understood by ever yone. Further, the characters in ontological categor y of the possible and of the Systemschrift were not entirely arbitrar y, as they repetition. In this way, Moretti elaborates subiects verfolgte, um die Kunst mit sozialen Zielen — jenseits peculiar to Leopardi e Pascoli in an original way.

Weimarer Bauhaus verwandt waren. Acta Academiae Aboensis, Vol. The Spititual in Art — Abstract Painting — Los Angeles County Museum of Art, Von Much bis Modrian The discussion dia na Ga rv in: I contend that this dichotomy construction and classification of gender and national plays out through the rhetoric of moral hygiene: The normative version of woman is medical establishment.

Some of the paintings by magazines, their outlook and the reproductions on the Danish artist Jais Nielsen have been their pages are the focal point of this presentation. What needs Since the second decade of the 20th centur y, the to be studied more is how the Futurist movement magazines and books of the avant-gardes in Europe had created a link between avant-garde art and modern life become a powerful means of quick dissemination of in Denmark.

Danish art and design have always been images. For the first time those editions made possible looked at separately. What the Futurist movement did the wide circulation and propaganda of images created — much more than Cubism and Expressionism — was to in the contemporaneity. The typography occupation was Not only Jais Nielsen but also other Danish characteristic of the editors at that time. The artist such as Svend Johansen , Mogens protagonists of those editions often manifested Lorentzen , Georg Jacobsen themselves as artists too.

For me, it opened a new of information. Images are of particular interest to way of looking at the Danish art from to the us in this case. In the short period between the end s, with Futurism as a ver y important base. In particular, recruitment of Modernism. The reception of the the use of intertextuality in Il muro della terra European modernist movements in Greek theatre establishes some relevant connections to Modernism.

The prevailing tenor of his essays of the s devoted to modern anton is G lyt z o uris: In spite of his disapproval, Huxley single European theatre Modernism. But, all in all, the borrowed from Blok his messianic vision of the picture becomes even more complex when linked Revolution. This gained currency only after the publication of The End paper addresses to the non-familiarized with Modern of Our Time which Huxley read in later to Greek theatre English speaking reader ; and the use for the epigraph for Brave New World. In these limits the animal was Joyce Mansour.

All three writers have been connected repeatedly given a curious and paradoxical status to prominent avant-garde movements that expressed — often neglected even by the artists themselves — differing responses to women, the body and the erotic; which opened representational possibilities from Baroness Elsa with Dada, Loy with Futurism, Mansour worst sexual nightmares to utopian visions. This paper will read their erotic in , this way of seeing the animal world had its poetries as a dialogue with the masculinist selves logical outcome in a theoretical work when the articulated in the aesthetic rhetorics of these avant- extra-academic then Surrealist philosopher Georges gardes, examining the linguistic and formal strategies Bataille wrote his Theor y of Religion in which he stated of their work and their connection to an imagined, that the poetics i.

And by what measures will argue, utilise the heuristic value of poetr y. Familiar but insignificant were indeed the sand dunes just outside Lima, Peru, As an iconic electro pop act Kraftwerk where When Faith Moves Mountains, a participator y art have had a ver y distinct way of looking into the past.

This one undistinguished sand dune was human creativity and man-machine symbiosis. I argue temporarily transformed into a significant centre, that Kraftwerk should be understood not only as a where new set of relations and potentialities could modernist band but as a group that was inspired by the emerge. In my presentation I will examine the utopian past futures and the histor y of modernism. Kraftwerk aspects of this monumental art project. For example, German expressionism, the Bauhaus School and the films of sylv ia ha kopia n: Kraftwerk session 72 transformed pieces of traumatic histor y into an alternative basis for West German youth in its search In this paper, I concentrate on the way in for identity in the s.

According to Bertolt Brecht utopia emerges Within the body of my thesis, I ask: Hence, do Italian Fascist textbooks and education reforms utopia is to be found in ever yday life as a tendency assume about children, Italian nationalism, families, towards something that is not yet; a weak potentiality and learning; what are their utopian impulses? My that is not yet articulated nor imagined. Many of me to raise skepticism regarding the subjection of these artists who were so committed to a utopian children to Fascism.

New Mexico and California. It was legally chartered as a non-profit organization in h e r b e rt h art e l: The Transcendental abstract styles in the s to s while living in Painting Group was eventually formally disbanded a few New Mexico and California. This period in the histor y years after it had ceased all group activities. Although of American art is one in which figurative styles and it was a short-lived experiment whose success was socially aware subjects dominated. The most famous minimal, it is one of the numerous idealistic, utopian American artists of this period include Edward collectives of the inter-war period that advocated and Hopper, Thomas Hart Benton, Grant Wood, Ben upheld the original goals and ideals of abstract art.

Shahn, and Jacob Lawrence. The interest in current It deser ves wider recognition for the example it set. The continuation of modernist, abstract art in imager y. It is important to remember herbert ha rtel that numerous European artists fled occupied Europe F ine a rts , hoF stra univ ersity, usa at this time, and these artists brought firsthand knowledge of European modernism to Americans eager to learn about it.

Reading this holograph the possibility of mastering it technically. It is well dream of a further, electric, evolution. These experiments encouraged Kandinsky to her revelation scene within the emancipator y, develop an entire system of visual elements whose atemporal space of the dream; locus for the idea corresponds to music.

There, not only on music but also in painting. Kandinsky various sub rosa themes addiction, betrayal, guilt got ver y little understanding to his experimental elsewhere suppressed or censored can be fed into system within his day; it was taken too formalistic and the machine of consolator y dream logic. However, several similar theoretical systems confessional, revelator y, fantastic and redemptive, the were under development within s: It ends, accordingly, in these.

Can we benefit form recent developments in among the disjecta of Unidentified Fragments at the the natural sciences like cognitive neuroscience in Beinecke Librar y. A second period came around This mural, unique in the histor y of Silver Bells and an essay on the ego-Futurist Igor photography in France, addressed an essential issue Severjanin.

The third period showed a weakening of in the social and political histor y of the period Futurist influences around works of Hiir between the two wars, one that concerned all large and Kivikas; Barbarus and his poems influenced by cities in industrial countries. It presented a long French Simultaneism. My presentation will concentrate on two characters, midway between documentar y and fiction. Her goal was to alert Parisians to the fact that the deplorable planning of the capital was not inevitable, the experiments with language: I propose a contextual reading of the experiments with texts: Some young men Johannes Semper et al corresponded with Marinetti and received In a letter to a close friend, the 20 year Futurist publications from him.

In a letter tinged with repressed whom she herself identified. Kallas and many others desire, this takes on a more hidden significance. Through what contradictor y discourses liberating moral relativism of his philosophy professor did the Young Estonians, the most important avant- Edward Westermarck and the poetr y of Vilhelm garde movement in Estonia at the beginning of the Ekelund, quivering with desire, showing a method 20th centur y — construct their utopian identity?

I shall argue most radically innovative poetries of the twentieth that L. In subsequent broad picture of the specific role that Futurism played articles Nuori-Viro. In other words, the accepted view sees scandal as essential to the definition and utopian Dada revelled in its own internal divisions program of the avant-garde. But even though scandal and ruptures, but it might be argued that this ver y has become a rarity in the contemporar y art world, fractiousness created a matrix in which Dada could the modernist critical framework based on opposition thrive.

As the and springs from a more personal response to the many existing first-hand accounts of dada events possibility of creating art at this point in time. In suggest, the artists cultivated a special, ritualized Duchamp was toying with the idea of abandoning art relationship with their adversaries, who in another for chess.

At the same time, he was involved in the light may be described as not only participants but one-off issue of New York Dada which would explicitly even collaborators in the creation of the new art. This paper aims to show how na oM i huM e: Among the arcs against a black and white background in Amorpha: I explore the convictions that lead artist Juozas Petrenas, better known under his pen- Kupka to believe that abstract art could promote name, Petras Tarulis.

He introduced the principles political, social and spiritual well-being. Following of Futurism to book design. The exhibition did not take place, but in Nacktkultur movements that celebrated the body several interesting manifestations of Futurism and a return to nature to combat the effects of took place in Lithuania. The artists Vytautas Biciunas, industrialized society. Hovewer, be necessar y physical preparation for an artist. Kupka Futurism like other radical avant-garde movements did believed he had composed Amorpha scientifically not take roots in Lithuanian culture.

My presentation with a clarity of mind derived from daily attention will discuss the manifestations of the Futurism to nature and his own body, such that the painting in Lithuanian art of the early s and present offered the viewer a direct experience of the vibrancy the reasons for the short life of this movement in that anarchist social reform could make possible. The spirit of Futurism After significant post-war success as an is evident in the first modernist manifesto proclaimed explicitly reconstructive circulator of modernist in by the group Keturi vejai Four Winds.

The text writing at the Athenaeum, John Middleton Murr y concludes with an authentic Futurist slogan: This paper offers an account early 20th centur y idiosyncratic spirituality, and how of the most important and exemplar y events in the this came to develop into the conception of a marxist- early Danish reception of Futurism between and socialist communal living project. Were the vague, Khlebnikov, Mayakovsky, Malevich actualizations, this This somewhat disarming assessment is hardly to be paper presents positions, strategies and esthetical seen as an acknowledgement of the revolutionar y doctrines of Serbian artists, writers and intellectuals powers of contemporar y Scandinavian poetr y of the avant-garde period B.

Nastasijevic regarding important aspects assessment may ser ve as an adequate description of of the primitivist impulses in European art and the early reception of Futurism in Denmark. Dance, Space and Subjectivity. Palgrave of folklore primitivism typical for the Russian Macmillan Basingstoke awareness of the importance of contemplating the and New York: On Nostalgia, Exile, and and its possible artistic expression is widespread.

Both authors reach back to poetic As discussed by Peter Fritzsche experiments of the historical avant-garde and literar y amongst others, the concept of nostalgia has both a modernism to develop strategies for post-genocidal, temporal and a spatial dimension: While Weiss and for a utopian past as well as for a lost place that in Sebald share an interest in non-linear narrative twentieth-centur y modernism increasingly became forms, their narratives engage with the future in the inaccessible homeland of the exile. In this paper, ver y different ways. Hence, Weiss employs This discourse of healthy and unhealthy bodies — of anachronism for a narrative futurity not caught in the individuals, societies and races — resonated strongly logic of teleological historical development.

The analysis transcipt-Verlag, Bielefeld.

Nicolas Berdiaev ou la Révolution de l'Esprit

FroM bricolaGe to utopia session 40 Moni ka kais e r: Kvindeudstellingen pa Charlottenborg using documental And when they made plans to transform or modify material, such as Fotos, articles and inteviews. Kvindeudstellingen is bothering themselves with the possibilities of realizing a prominent example for the concept of Feminist Art their suggestions. The plans the future Situationists Space of that time, which is hardly forgotten in the made in the Lettrist journal Potlach no. The latter seem to be utopian in the sense planned an international woman Artists Exhibition that no city planner would take them seriously.

I want to confront the more radical spacial we reach the urban utopias of Constant, we enter a concept of the Danish Exhibition with the much more utopia in a completely different sense: For that reason, woman artists, realistic: I argue, however, that this tendency of Feminist Art Space.

The art spectators at the Exposition Internationale in Paris. Artists, imagined vistas inspired by travel and its technologies. Indeed, these anticipated overall scheme as a vast panorama underpinned by and transformed forms of wooden architecture were utopian thinking. From this perspective, I intend to transferred from Switzerland. Back in Romania he engaged in modernization. The eponymous figure impresses upon a Maxy in Still, Maxy backed the current society as sceptical interlocutor the position that he best and historical apex.

Submerged in collectivity,the integralists in his professional pursuits, in which the pure play produce its style,following the instincts. His early leftist penchants resurfaced. Late 30s rationality, cynicism and utopia. Due to the genre characteristics of the little accordance with polish actuality of the regained prose, it opposes such tendencies of mineralization, independency and newly formed social structures. Platonov, on the contrar y, is modernist impact with the petty bourgeois glamour alien to cyclisation.

His prose is characterized by large so long refused, is one of many paradoxical effects of narrative forms. However, these large narratives are this situation. The case of polish modernism illustrates open: The unifying element of the prose is no longer a character, but a aGnieszk a k luba d epartMen t o F h i sto r i cal p o eti cs , in sti tu te o F style.

Such devices can be found in k a roly kok a i: Garde literature session 99 vad i M kh o kh ryakov d epartMen t o F hi sto ry oF ru ssi an li ter at u r e, s ai n t p e t e r sburG s tat e un ive rs it y, rus s ian Fe de ration From its ver y inception, the avant-garde acted as the utopian branch of modernism. Its utopianism did not cease to exist, nor was it lessened aG ni e s z ka kluba: ModernizinG polish literature and the concept oF by difficulties, failures or any proofs of unrealizability.

Polish reception of avant- — often called the underground or the second public garde ideas and artistic forms of expression exposes — displayed all aspects of utopia. A group based on the relativity of these transmissions: By means of the avant-garde — the encr yption of modernity inevitably interfered with the local of politically, socially or aesthetically controversial cumbrance, mainly the reality of post-partition legacy. What existed in small and selected circles — a specific social world the ver y nature of avant-garde ideas — the utopian came into being in which virtually ever y member gesture aimed against bourgeois culture — was in participated as a creative part of the collective.

Setting rational and clearly legible work. Preser ved by elaborated collage of fragmented images, particular attention relation between built and natural environment and to physical perceptions, and strong subjectivity imaginative application of technology it is important behind an outwardly objective style. Even more egregiously, Dix and terrestrial space as finite and subject to national and Schad doggedly pursued a painterly practice deemed imperialist competition, and as a cue for the figuration regressive by critics, then and now, for its embrace of of alternative forms of mapping and sovereignty pre-modern representative modes and its proliferation beyond the restrictions of terrestrial space and its of patriarchal, bourgeois subjectivities.

Was Dada cartographic representation. This paper will consider a term whose technical and ludic senses seem the tactics of dadaist sell-out as both progressive and particularly relevant to Dada. The hope is also to regressive enterprises. European Modernist utopia of a centur y ago can be The paper also addresses more general seen as a yearning for social calm and stability, and questions about the engagement of the Russian avant- international fraternity. To address the evolution of utopia as it relates to diversity over the k a isa k urik k a: Thus the fourth dimension is juxtaposed In What Is an Author?

Michel Foucault with third space within the framework of utopia as it is wishing for a future where the author-function relates to diversity. Untola used 45 different can be a force to make forms which determine frames author-names in his writings expanding from realism of the so called composition in art? Ornament has to experimental fiction, from novels to newspaper never played a central role in the utopia of modern articles. Using different author-names the middle of a composition? Moreover, how far can with different ways of expression is a way of fabulating the papergon-function reach?

Aby Warburg spoke a new possibility of becoming-author. For Kant ornaments are which identify the proper name with the personality supplementar y and adjunct structures which frame of the writer in question. I conceptualize author- the main subject in the work of art. Ever y myth creates its own his author-names had written. Indeed, in that way can ornament be sex of a myth when being a eulogy of some new mythical k a i sa kurikka force? Mythical thinking, adoration and ornamentation Fi nni s h lit e rat ure , un ive rs it y o F t urku, Fin la nd really create a chain.

In this sense the ever repeating verbal adoration of pure art in modernism was invisible ornamentation read: Let us take an se ssi on 66 example: Can ornament still when it postmodernism finally emerges? How answer to two basic questions: And… are screws on the walls of late functionalist houses ornaments? Northmore Pugin associated the new pure dots , pure Music in kandinsky?

Gothic style with Catholicism, John Ruskin se ssi on 15 employed of a pre-Reformation Protestant England and merged them with Gothic style. He regarded Gothic as the visual art and music in his two books Point and Line to historical style of the north and as the only regional Plane and Concerning the Spiritual in Ar t.

English language of architecture and ornament. The relationship he describes between Ruskin associated with Gothic style the music and visual matters — verbally — is far from a times before the division of labour and was hoping for self-evident or a straight connection. He thinks that a new happy and socially just society brought about by there might be a kind of straightforward way to music new products and new conditions of production. He and that he can describe it visually better than a was supported by Karl Marx. His cloth and music Concerning the Spiritual…. From the point of wallpaper patterns however quoted historical patterns view of our day he does not recognize or acknowledge from all over the world.

Kandinsky and Crafts combines ornaments with political and really thought that his dots are more abstract because social meaning. In this way Kandinsky writes a univ ersity oF pa derborn, GerM a ny kind of competing score without noticing it. Viita can be characterized as an se ssi on 66 antimodern modernist, for he challenged in his poems the new poetics that were being promoted by the In the 19th centur y historism was the dogmatic modernists. Regardless of his criticism Viita preferred style in architecture and art.

It was faced the same issues as his contemporaries. Being characterised by quotes from different eras and equally modernist, he offered an alternative to the supported by industrialisation. I focus Arts and Crafts was a countermovement to on two interconnected themes. In my analysis, I apply the personal or social liberation. Although old land highways such as Via Militaris or Via Egnatia connected Southeast Europe with Byzantine Constantinople or Ottoman Istanbul and the Mediterranean, the long coastline played a major role in the development of this region.

Seacoasts, islands and large rivers, such as the Danube, served as avenues for connections, transportation and commerce bringing advanced Mediterranean techniques to the Balkan people — a process that is largely reflected and studied in terms of numismatics, material and artistic artifacts and literary works but not by comparing agreements with the Mediterranean powers which is the aim of this paper.

Interaction with local factors made long-distance trade manageable, regulated by diplomatic and commercial treaties that introduced European administrative, legal and judicial practices. Acceptance of the established rules and procedures facilitated collaboration and integrated the region commercially stimulating local production and productivity through regular contacts.

Due to a climate of economic cooperation created by means of agreements and practiced during the 13th—15th centuries, the advent of the Ottoman Empire did not isolate Southeastern Europe from the Mediterranean system, but with Dubrovnik merchants as proxies in both land and sea trade, Balkan lands remained a part of that system at least until the late 17th century.

This paper attempts to determine the extent to which eighteenth-century Bosnian and Bulgarian Franciscans identified themselves as Europeans vs. Balkan subjects of the Ottoman Empire through an analysis of Ottoman Turkish terminology used in Francisan religious writings of the time. During the eighteenth century, Catholic friars were often educated in Italy, frequently wrote in Italian and Latin and used Italian orthography when writing in their native languages.

Despite their Western education and European religious affiliation, the Bosnian and Bulgarian Franciscans used a significant amount of Ottoman Turkish and even Islamic terminology in their homilies, retellings and interpretations of the Bible when writing in their native tongues. The first part of the paper briefly discusses the many core Ottoman Turkish loanwords employed by the Franciscans. These loanwords suggest the Franciscans wanted their writing to be understood by the local layman for whom a Turkish term might be more familiar than a Slavonic or Latin term: The next section looks at the possible political and religious motivation behind the semantic extension of Ottoman Turkish loanwords in Bosnian and Bulgarian.

Lastly, the significance of Islamic terminology used in homilies and retellings of the Bible is analysed with regard to determining the cultural identity of the Franciscans in eighteenth-century Bosnia and Bulgaria. South-Eastern Europe in the 15th century — part of Europe or no? Aspects of similarity and diversity based on Western travelers' accounts.

Based on the information provided by western travellers who had visited Southeastern Europe during the 15th century, we shall scrutinize several basic issues that elucidate their views about this region as both an integral part of the European continent and the opposite, as a part of the European mainland loosely connected with the west European civilisation from cultural, historical and political point of view.

The basic sub-topics are: The aim of my paper is to review the sources on how Western travellers to the Balkans were fed on the road during the XIth-XVth centuries. For this purpose I will study the Latin and Slavic sources. I aim to clarify the relation between the food offered to travellers and their social standing. For example, messengers and diplomats relied on good welcome and were sometimes invited to royal feasts.

They also took advantage of the hospitality of their compatriots, ambassadors and representatives in the area and saw assistance for purchasing food from the market. Merchants and pilgrims also relied on the help of compatriots, purchased food from the market and visited taverns to seek food, drink and lodging. Soldiers were usually provided with a daily ration by the army supply transport, but in many cases relied on theft and robbery to obtain food and other provisions. I will also review the information of how travellers prepared for the journey, i. Their vast steppe dominions stretched along the broad contact zone between the nomads and the sown — the so called Outside world.

The main goal which the nomads fallowed during these interactions was to find suitable access to the resources of the agrarian Outside world. Thus the steppe chiefs looked for opportunities to exercise their long lasting superiority in the art of warfare — either as invaders, allies, mercenaries or participants in the internal strife in the Outside world. Thus in the 12th and in particularly in the 13th century many rulers in East-Central and South-East Europe used Cuman auxiliaries in their campaigns.

But the Cuman military aid was not restricted to them and was used by other as well, including the Latin barons of Constantinople. All these actors used their nomad allies or mercenaries to support their campaigns not only against each other in East-Central Europe but also on the battlefields in other parts of the continent, as shown by the Italian and Central-European expeditions of the Hungarian Cuman contingents.

Tus both Catholic and Orthodox rulers used the support of the pagan steppe dwellers and at the same time were victims of their raids. The aim of purposed presentation is to research the ideological arguments which the Christian rulers used against their opponents, that benefited by the Cuman aid. A deep-going analysis of the 18th cent. In point of political ideology the quest for a valid model was tellingly relentless.

Specific forms of freemasonry life inspired by the Western models were witnessed with outstanding results in drawing people together in the effort of modernization. The original lay literature was prose as such , then a genre which can be said to announce the literature of the absurd which was invented in the same area two centuries after , much theatre and a kind of local entertaining poetry set on music. In the first quarter of the 18th cent. If public performances were more of a wishful aim inspired by what was going on in related Transylvania,Moliere for instance was translated in his entirety and there were original texts imitating him but in a totally adapted manner.

The social role of the theatre was achieved either through perusals or performances in the puppet theatre. The translations from Western languages ranged from mirrors of the princes which were more of handbooks than guides for a moral behavior to military guides , instructions for good baking and of course much entertaining literature. Imparting translations were the linguistic skills. Alongside with the liturgical language, the cultivation of the vernaculars, the knowledge of ancient Greek, the actual knowledge of Ottoman languages, actually the proficiency in Western mainly Italian, French and German languages was remarkable.

If at the beginning of the century that was the privilege of an elite, by the ending decades it spread more widely with as a result the afore mentioned translations of which most were adaptations. A partir du 11e s. Ce rapprochement de part et d'autre concerne surtout le monde catholique et le monde orthodoxe. New epigraphic and archaeological testimonies. The geographical territory that is covered by my contribution largely coincides with the areas of Eastern Serbia and Western Bulgaria, the frontier zone of three Roman provinces: This is the area that was crossed by the several very important Trans-Balkan Roman communication lines that where not always mentioned in the historical sources, like Roman itineraries itineraria , even they represented the strong military, mining, cultural and balneological links.

This time I would like to concentrate myself on the very significant, but so far scientifically less elaborated communication routes. For the starting point I would chose the large Roman settlement of Timacum Maius, near modern Svrljig, that is situated in the upstream of Timachus River valley, close to the municipal territory of ancient Naissus, the well known crossroad of major roman roads in Central Balkans.

For eight consecutive years, with our French colleagues from Bordeaux University, we are investigated the remains of Timacum Maius, that is mentioned in Tabula Peutingeriana as the first station on the Roman road from Naissus in the northeastern direction to Danube and Colonia Ulpia Traiana Ratiaria. The latest archaeological and epigraphic results shad new light on the area of this important communication line, its military organization, connections with Danube frontier limes , mining and balneological character. On the other side, recently discovered or rediscovered milestones as well as the epigraphic inscriptions points to the importance and character of the second, south-eastern communication line that linked Timacum Maius and Pautalia, situated in the region of Thracian Dentheletica in western Bulgaria, which is not mentioned in the Roman itinerary sources.

Wind of change in the Balkans: Balkan multilateral cooperation during the Cold War. This paper will attempt to investigate a largely unstudied issue of Cold War history, i. Primarily based on recently declassified Romanian archival sources, as well as documents made available by the digital archive of the Cold War International History Project, the proposed study will focus on the following questions: What was the rationale behind the initiation and sustainment of a multilateral cooperation process within the Balkan Peninsula during the Cold War?

At the same time, our research intends to look upon the long term significance and implications of this process for the post-Cold War development and implementation of the concept of Balkan multilateral cooperation. The basic hypotheses of this study asserts the idea that although it did not have the grand scale of the interwar period or the dynamic of the post-Cold War era, Balkan regional cooperation was a reality of Europe during the Iron Curtain years.

Neither the persistence of the traditional political and territorial disputes between the Balkan states nor the ideological, economic and military divisions of the Cold War could completely suppress the need for cooperation. Strongly influenced by the principles and the spirit of the Conference on Security and Co-operation in Europe and the Helsinki Final Act, the convening, at the Greek government's initiative, of the Balkan Conference in Athens was a first effort in the direction of establishing a mechanism for multilateral cooperation in the region.

1. Publications;
2. Tribbs Trouble (Good Reads)!
3. Venices Most Loyal City: Civic Identity in Renaissance Brescia (I Tatti studies in Italian Renaissance history).

The distinctive feature of this endeavour lay in its multidimensional character, as well as in the fact that it tried to overcome the bloc mentality of past initiatives: In the first years following the Athens Conference, the dynamic of the Balkan multilateral cooperation process remained timid, avoiding to take on a political character, while concentrating on other, more technical dimensions of cooperation, most notably in the fields of transportation, communications, energy resources and environmental protection.

During the s, however, there was a visible increase in momentum. This was also encouraged by the new realities in international relations, marked by an improved climate in the relations between the superpowers, as well as the perestroika process underway in most European socialist countries. Within this context, the Belgrade Meeting of the Foreign Ministers of the Balkan countries, held in February , could be considered the culmination of this development, as well as a ground setting effort for post-Cold War cooperation initiatives in the region.

Regardless of its inherent limitations, Balkan multilateral cooperation during the Cold War holds a symbolic importance, on the one hand because it came into being as a genuine Balkan initiative and on the other hand because it proved that regional cooperation, in this tumultuous and complicated area, was not, contrary to many beliefs, a utopian idea. The territorial changes after World War I. However, the existence of new small states did not bring a satisfactory solution for the future.

Only greater territorial units could give adequate responses on the global economic and world political challenges. This was recognized by the states of the region especially from the end of the 's and plans mushroomed from the 's proposing the co-operations of the small nations of the Balkan Peninsula and Southeast Europe. Hungary, despite it lost both World Wars eagerly observed the attempts of the Balkan States to co-operate and was in many occasions ready to participate in planning and also to be involved in the planes related to different types of collaboration between the Balkan States and nations of Central Europe.

Especially in the period from the third decade of the 20th century up to when by establishing the one party communist regimes in the Eastern part of Europe put an end to this endeavours. In my paper I would like to present the standpoints of the Hungarian political circles and public opinion regarding the integration plans in South-East Europe based on archival sources, memoires and most relevant newspapers before and after the World War II.

In a bid to adapt to the demands of Modern times, the Ottoman Empire experienced major transformation during the 'long nineteenth century' Important phase of this process was the so called "Tanzimat" The reorganization policy implemented in this period was incited by internal forces. However during the Tanzimat the Western great powers gradually started to exercise influence on the empire. The Crimean war gave a significant impetus to this process. By the Treaty of Paris, which announced the end of the conflict, the Ottoman Empire was integrated in the Concert of Europe, e.

Another result of the enhancing European influence over the state of the Sultan in the s was the declaration for continuation of the reforms made by the Ottoman government with the Imperial Reform Edict of One of the key elements in the modernization program of the Sublime Porte during the next two decades was the improvement of the communications in the state. This measure was seen as a tool for achieving economic and political progress.

Slide Example

The Ottoman reformers attach a great importance to railways as a means of modernization. This is why by the mids the Sublime Porte was trying to develop railway transport in the empire. However it had two major problems related to the construction of a railway infrastructure — lack of capital and lack of know-how. Due to these reasons the Sublime Porte developed a system of concession granting to a foreign entrepreneurs who started to construct and explore the Ottoman railways.

As a result of this policy until the end of the Tanzimat period the basis of the Rumelian railway network was laid. The new communication system build in the European provinces of the empire during this period was far from perfect. This was due to the wide speculation opportunities provided by the system of concession granting in the Ottoman State. This presentation is addressed to the problems of the railway construction in the province of Rumelia in the second stage of the Tanzimat and the place of the foreign European investors as a factor in the Ottoman railway policy.

It will focus on the social networking of the main concessionaries of the Rumelian railways as a tool for achieving financial goals in the process of acquiring concessions, building and exploring railways in the Ottoman Balkans. Such is for example the Parisian banker baron Maurice de Hirsh.

His strong connections with influential European banker houses, such as the Bischofcheims and the Goldsmids, had important role in realizing his financial maneuvers concerning the Ottoman railways in South-East Europe. Federalism in the era of nationalism: West European proposals for Balkan political organization.

This paper examines the idea of political unification in the form of an Eastern or Balkan federation which originated in Western Europe at the era of nationalism. It was brought up as one of the options for settling the Eastern Question at the onset of the 19th century, but in effect had very little impact and no practical significance.

Expressed by a few individuals -diplomats, intellectuals, publicists and revolutionaries- at different times and under different circumstances, it comprised an assortment of proposals, which were of a rather general and somewhat vague character rather than consisting of any concrete, detailed plans that were meant for implementation. Besides, never was there any real political influence nor was this prospect taken seriously into account as having the capacity to form a realistic policy to arrange the political future of Eastern and Southeastern Europe.

In this context the paper presents how the French writer Cyprien Robert envisaged the transformation of the Ottoman Empire into two confederations: The former proposed the formation of the 'United States of the East' made up of a Danubian and a Byzantine confederation; the latter suggested the foundation of a Yugoslav state including Serbia, Carinthia, Croatia, Montenegro, Dalmatia, Bosnia and Bulgaria, whereas in , he opted for the replacement of the Habsburg and the Ottoman Empire by a Danubian and a Slavo-Hellenic confederation both allied to Italy.

In addition the paper relates the abovementioned visions with national ideology. On July 1, Croatia was the second former Yugoslav Republic which became part of the European Union, but that happened nine years after Slovenia. The nationalism, dominating on the Croatian political scene in the s was hostile to the very idea of united Europe. In when a great part of the Croatian territory was under Serbian control, the Western countries were on the side of Croatia which needed to be protected against Miloshevic's aggression.

Although Tudjman signed the peace treaty in Dayton, European politicians in did not invite the country to start negotiations for accession to the EU. So, Tudjman appeared as a "Savior" to the Croats not only from the Serbian threat, but also from the "Great Powers" that "threaten" the national interests of the country. The Croatian President felt the winner of the war on Yugoslav territory and rejected with confidence what he considered "unfair" EU requirements. He was against every initiative for the regional cooperation which was interpreted as an attempt by the West to restore the "new Yugoslavia".

The result of the blooming Croatian nationalism in the s was the international isolation of the country. Building its own independent national state Croats were very suspicious to all mega-national organizations and projects and their country had very far-away perspectives for the accession to the Euro-Atlantic structures.

Although primarily defense alliance when Little Entente was founded, the new Pact, especially in its preamble and in the Article 7, focuses on strengthening of economic ties with Central European States as well. The Economic Council task was to coordinate economic interests of the three States, either among themselves or in their relations with third States and it functioned as an auxiliary advisory organ of the Permanent Council in the conduct of its general policy.

Furthermore, the Pact emphasized forming of an advanced international unit, which may be acceded to by other States in order to stabilize conditions in Central Europe. Therefore, for the purpose of this paper, the various agreements among the three States regarding the economic policy issues will be analyzed in order to stress out one of the most neglected sides of the alliance — the effort of normalizing the international trade and economic integration of the Little Entente. In the paper will be point out as well that the Little Entente politically showed noticeable degree of international cooperation during several years but economically it failed to overcome the narrow regional boundaries.

The construction of Bulgarian national identity and its reflection in Bulgarian media in s. The present paper probes deeply into the Bulgarian public policies by quoting more than 20 messages from the Bulgarian newspapers of around s. The author picks mostly the speeches of some national elites, represented by Georgi Rakovski, Lyuben Karavelov. Rakovski was the first ideologist and organizer of Bulgarian national liberation movement, his extensive experiences and theoretical ideas were highly inherited by the later generations in their struggle.

Through text analysis, the pre-Liberation public opinions, the people's concerns and the response to major events could be perceived. Prior to the organized revolutionary movement, the Bulgarians attempted to separate their Church from the domination of the Constantinople Patriarchate. In order to suppress the negative attitude taken by Russia on the independence of the Bulgarian Church, Bulgaria turned to other Western Powers for help. The Church issue always put the Bulgarian press on the defensive even after "Bulgarian Exarchate" was restored by a decree of the Sultan in The debate on the preparation of revolution in the press focused on the either-or situation — to count on the Great Powers or on self-strength, which also involved expectations and suspicions towards Russian aid.

The controversy between these two philosophies showed public confusion, which might be one of the reasons for the lack of revolutionary preparation. The public responses to Russo-Turkish War and its aftermath reflected that the Bulgarians were grateful to the liberation and independence brought by Russia, and to a greater degree, however, they feared being actually controlled by Russia.

This explains the ambiguous attitude of the Bulgarian toward Russia, as well as indicates the orientation of the Bulgarian national identity. The period is characterized by attempts of the Balkan countries for mutual rapprochement despite the existing national differences. At the same time in its effort to move beyond the geographical Balkan confines and marginalization, the Bulgarian Church looked to a wider European future. The renewal of its dialogue with the Ecumenical Patriarchate of Constantinople, in the hope of healing the Schism that existed since , is a good example of this European dimension, as it coincides with the participation of representatives of the Bulgarian Church in the Lambeth Palace intercommunal Conference held under the auspices of the Anglican Church in London in Looking at discussions held behind the scenes before, during and after the Conference we get a clearer picture of the reactions to the efforts of the Bulgarian Church to build alliances and establish its formal recognition as an independent Church among other Churches, Orthodox, Roman Catholic and Protestant.

The research, based also on unpublished documents preserved in Lambeth Palace Library, is part of a larger project concerning the Church of Bulgaria and its ecclesiastical relations with other Christian Churches in both East and West. European identity in the Balkans? The historical background since the 19th century. The paper will explore the shaping of the idea of Europe in the Balkans during the 19th century as well as its bearers — the educated elites, the political class, representatives of the business circles, media.

It will provide examples showing Pro and Anti Europe reactions in the particular countries provoked by external agents, initiatives, dependencies. They will be analyzed in the context of the dichotomy Europe-Orient as part of the post-Ottoman problems and of the processes of building up national and collective identities within it. Further, the attempt will be made at revealing the "mapping" of the respective country in the ideological and cultural terms of the time. The practices and mechanisms of creating an European identity before the Balkan Wars will be an issues of special interest.

South-East Europe and Pan-Europe — an unaccomplished project in the interwar period. Historically and geographically the Balkan nations belong to the European family. They have been aware of that throughout the centuries and although, because of complex external and often internal factors, they have failed to unite, they have developed their cultures in the direction of Europe and Europeanism.

In the late 19th and early 20th centuries, led by national-centric ambitions they have not always managed to reach the heights of Europeanism in the modern sense, although their intellectual elites have adopted European values and most of them have been brought up with them. However, the same is true for the whole of Europe, therefore European nations were faced with an unknown until then anti-European phenomenon - World War I, or as it used to be called - the European War.

This war, which ended in despair for all combatants and took the lives of millions of Europeans, which wrecked so many human destinies and settled in the souls of the orphaned families the bitterness of the senseless destruction of men was also the first major European failure. One of the most powerful responses to this failure was the Pan-European movement, dating back to with the first publication on that topic of Count Nikolaus Coudenhove-Kalergi.

There has never been in the world such other movement to gain so much power for four years only, which was manifested at the First Pan-European Congress in in Vienna. From the Balkan countries in that congress took part only representatives of Bulgaria and Greece, and after it were established sections in the other Balkan countries - first in Bulgaria, then in Yugoslavia, Romania, Greece. Each of these countries, however, showed nationally superimposed views to the general idea of the Europeans.

Therefore we could not talk about uniformity in the views on Pan-Europa in the Balkans. Nevertheless, the beginning was laid and revealing the specificities and the national differences in the attitude towards a future united Europe is an important part of the overall cultural and political disposition of the people of the European Southeast towards togetherness. On the basis of newly discovered evidence in the report will be made conclusions about the national stereotypes and their reproduction in the pan-European proposal.

Greece as 'the bearer of European civilization in the East': The European idea as propaganda in the wake of the First World War, The First World War was undoubtedly the greatest event of its time, not only for what happened during it but also for its subsequent impact. The peace settlement and the establishment of a New World of free and democratic nations was the pre-eminent political legacy of the conflict.

The peacemaking process was evidently an onerous task, exacerbated by disunity and disagreements over the treaty terms. Faced with these challenges, Greece's propagandist campaign at the Paris Peace Conference focused on the European idea. Greece was to be as 'the bearer of European civilization in the East'. The official Greek discourse on the Asia Minor Campaign was to follow this pattern. The Greek army was fulfilling a peacemaking and civilizing mission in the Near East.

The aim of my paper is to closely examine the parameters of the Greek propagandist campaign and to highlight the extensive use of the European idea by Greek propaganda. The roots of this policy are to be traced in the discourse of the Greek Greater Idea Megali Idea , first espoused in , and more particularly in the ideological and propagandist arguments of the allied Balkan nations in their confrontation with Turkey in In , Greek civility was contrasted to Turkish barbarism, and Asia Minor in its capacity as the birthplace of eminent ancient Greek philosophers and scientists was pronounced as the cradle of European civilization.

The debacle of proved that this misuse of the European idea was defunct and certainly did not have a real resonance in the European audience. Influence of French and Italian European projects on Yugoslav reevaluation of Regional pacts Changing international political climate and the Great depression had initiated broad discussions on reorganization of international cooperation for preservation of Peace in Europe, in late s and early s.

During the turbulent period of awakening political revisionism and economy crisis, Yugoslavia was closely following changing attitudes of France and Italy. French plan for Regional pact for mutual assistance of European continental countries and Italian plan for reestablishment of the Directory of Great Powers Europe through project of Patto a Quattro were opposing two basically different ideas.

Although the Great Britain, Germany and the U. Yugoslav statesmen had to reconsider future role of regional pacts in the scope of the League of Nations policies, Brian-Kellogg Pact and projected pacts for the East European countries. They came to the conclusion that regional pacts would remain important factor for preservation of Peace in Europe. That assumption was one of the factors for Yugoslav activities, since , on strengthening existing and creating new alliances in Central Europe and in the Balkans, two regions which were of the greatest importance for Yugoslav Foreign Policy.

Therefore, Yugoslavia was working on reorganization of the Little Entente in and creation of the Balkan Entente in In this paper, first, are summarized the causes of the European debt crisis and its implications on the financial and real sector of the EU Member States. The thesis of the authors is that the Great Recession of - will have a significant negative impact on EU enlargement and integration processes within the EU.

The problems of macroeconomic convergence real and nominal within the EU are further complicated due to high budget deficits and cumulation of public debt, more difficult access of the countries to the capital markets, weaker pace of foreign direct investment and shrunken flows of goods and services between the economies. These factors will particularly affect countries on the periphery of the EU which are already members of the EU and countries with special status candidates for EU membership. But regardless of this, the countries that aspirant in the future to join the EU will have to ensure macroeconomic stability through prudent policies fiscal and monetary , dynamic economic growth and empowerment for creating of new workplaces.

The Bulgarian community in Salonica in the early 20th century. It is said that among them the European cultural influence infiltrates considerably later than among another nationalities in the city. Exactly the 'Europeanization' of the Bulgarian community in Salonica is the focus of my proposal.

The aim of the presentation is to explore the ways through which the European ideas influenced the Bulgarian population in the city and to set the chronological framework of this process. My research is focused on the change of mentality, because the dissemination of the typical to the period ideologies - nationalism, socialism, anarchism, ext.

However, If we look at the European ideas in terms of the changes they bring in the everyday live of the ordinary people, we will better understand why these ideas are so exciting and attractive. This paper is based on my experience of working in the capacity of a research advisor with the Silk Road Ensemble under artistic direction of cellist Yo-Yo Ma. In , the Silk Road Ensemble created a new chamber arrangement of the opera written by Azerbaijani composer Uzeyir Hajibeyli in and recognized as the first opera not only in Azerbaijan but also in the entire Muslim East.

From to , this arrangement became a highlight of the Silk Road Ensemble's repertoire being introduced to audiences in Europe, Asia, and North America. The plot of Hajibeyli's opera was based on the ancient legend of Layla and Majnun, the two ill-fated lovers, often referred to as Romeo and Juliet of the East.

As for the music contents, Hajibeyli's work is defined as "mugham opera" as it features a unique fusion of the features of Western opera with mugham, quintessential genre of traditional music of Azerbaijan. The new arrangement preserves the spirit of the Hajibeyli's opera as both literary and musical contents derive from the original score. Meanwhile, essential changes have been made that transformed the aesthetics, as well as stylistic and genre characteristics of Hajibeyli's work into a new distinct concept.

First, three-and-half hour long epic opera has been compressed into a forty-five minute long piece. Only main protagonists remain on stage. To compensate for the absence of the other characters, the authors of the new arrangement increased the value of each timbre. Every instrument is highly personified, and altogether, they create an illusion of many voices surrounding the main protagonists. Second, the new arrangement presents a different balance between the two main components of the score: In the original score, these two components co-existed, without being interspersed.

Ensembles and choruses were fully notated and performed by singers and a symphony orchestra. Distinctively, mughams were included in the opera in their original form: They were performed by the singers with the accompaniment of traditional mugham trio. In the new arrangement, mugham episodes involve not only traditional musicians but also the rest of the ensemble, and all operatic episodes in a Western format allow significant amount of improvisation.

As a result, these two components are firmly integrated with each other increasing stylistic consistency of the work. Hajibeyli was aware of the large multicultural span of his project: However, Azerbaijani composer narrowed the aesthetics and stylistic scope of his first opera down to the demands of his native music and culture. The new arrangement is shaped by many cultural and musical energies coming from various sources.

It is also known as the 'Inner city'. Therefore this paper attempts to briefly describe 'old Osijek' and the circumstances of that period. It provides a description of old Osijek, called Mursa at that time. The data about music and culture of that period is very scarce. The initial information refers to church music only. The first mentioned musicians were the Franciscans and Jesuits appeared in This was the period of re-Christianisation of the town. The following musicians had a significant role in the promotion of church music: The other known teachers were the musicians: David Heimb, an organ player date unknown ; Liborius Marker organista recenter adveniens , etc.

Other significant teachers were the organ players: Hummel, a teacher and organ player. In he also founded an association for secular music "Essegger Liedertafel". In both associations merged into "Essegger Gesangs-Verein" which existed until The understanding of Bulgarian folk music depends on a variety of definitions. It begins during the period of national rebirth and proceeds with the extensive work of musicologists during the socialist period until today. The definitions can be summarised chronologically in the history of Ethnomusicology in Bulgaria.

Selected examples help to explain, how the use of the term authentic folk music. It has changed over the centuries while the scientific definition remains constant. Currently, the accessibility to musical materials is particularly important by databases, archives, instruments, notes, audio, etc. The question "Which kind of scholarly intervention in the process of making music is useful, wise and reasonable?

The focus is on the changing perception and the knowledge about traditional music. It relates different periods and places with the present concept of "authentic Bulgarian folk music. There have already been two reviews in Bulgarian and English. European transitions and local traditions in the Balkans. The case of Greek musicology. Musicology in Greece is a relatively young discipline. However, music philosophy and theory are deeply rooted in the Ancient Greek World and continued to be developed during Middle Ages and up to newer times.

Greek Musicology focused during the 20th century on one hand on the study of Greek music in all its expressions, both from a diachronic and systematic point of view, on the other hand it explored Western European traditions and musics of the world, keeping path with older and newer developments in the field and also opening new perspectives in some areas of Musicology worldwide.

Our joint presentation follows the following structure: Ethnomusicology and Byzantine Musicology in Greece and other countries of the Balkans: One of the main purposes of the IMS Regional Association for the study of music in the Balkans is to promote the research on the different local traditions in South-East Europe and their interactions. Balkan countries share in their musics many common elements.

The present report addresses some developments and contemporary major trends in all fields of Music Studies in the Balkans. It focusses on the Proceedings of the Conferences organized by the IMS Regional Association, as well as on some other important scientific events of the last decades in the Balkan countries. A Cypriot composer at the crossroads of Asia and Europe. Probing Faidros Kavallaris' musical language. Faidros Kavallaris is a Greek-Cypriot composer.

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He studied architecture and music. In the mid 70's he started studying and performing Cyprus traditional music, byzantine ecclesiastical music as well as researching ancient Greek music. Since the early 80's he has started focusing his interests in the European compositional techniques of his days. He participated in courses and seminars at Centre Acanthes in France in and with Luciano Berio and Iannis Xenakis respectively, and at Darmstadt in Germany in , and Meanwhile from he also studied the music and wider culture of the East.

He lived and researched in India for a year , and subsequently for two and a half years in China - mainly at the Central Conservatory - and one year in Japan under "Japan Foundation" fellowship He holds a doctoral degree from the University of Columbia for his dissertation on 'Musike and Ethos in Ancient Greece'. One of the main research activities of the composer is the exploration of the link between Eastern Mediterranean music traditions and the music of Far East. He probes the correlation of the musical streams originating in the most ancient traditions of the world.

As a result of the above scientific research and also his internship with the music of Asia, Kavallaris managed to join the philosophical aspects of the music of ancient Greece, India, China and Japan with the Western European tradition. The epicentre though is always the island of the Cyprus. The aim of this paper is to discover the influences of the Cypriot composer; present his musical language; analyze the acceptance of the composer's compositional work and research on the island of Cyprus and in Europe; to identify the impact and dissemination of his local and regional culture.

This paper attempts to introduce priest Georgios Ryssios as keeper, inerpreter and composer of Chanting Art in the manner that he was taught by great teachers. He, in turn transmitted this knowledge to subsequent generations. We will try to shed light on aspects of his life and his composing work which is largely unknown. The history of the Balkans is an example of mixture between different traditions, which need to be explored in contemporary context, because of the new multifarious realizations.

They are based historically on experience of many communities, diverse music and culture layers and perceptions that coexist together and interact. The modernized traditions could be seen through the common tendencies as well as in the individual style and accomplishments of musicians with different background.

Thus the focus of this case study is a music practice of Yildiz Ibrahimova who proves herself as a performer with many faces and realizes her projects in different music areas. Among them are jazz, contemporary art and folk music. The vast experience and large knowledge of this singer are good fundament for understanding music peculiarities and similarities in the region of Southeastern Europe.

Yildiz Ibrahimova is a person who connects and unites through music and this is something very important for her. It is a platform that she follows consecutively. Here I search her ideas, experience and achievements and also point out some important examples of her work. The basis of the study is concerts, recordings, and interviews.

In the first half of the twentieth century, two discussions related to musical culture caught the attention of Bulgarian society. The first of them, initiated in the late nineteenth century, raised the question of creating a Bulgarian style of church music, whose foundations were to be sought either in the monodic psaltic chants or in the melodies designated as "Bolgarskij Rospev". In the second discussion the issue of a Bulgarian style is much more broadly debated as a necessity of an identification marker for the Bulgarian musical composition creativity in the context of European music.

The report analyzes the relationship between national and universal from a cultural-historical point of view to the benefit of both discussions, which run in parallel and some of whose participants take part in both. On the international musicological conference Musical Romania and the neighbouring cultures: New directions in Romanian musicological research. The purpose of the International Musicological Conference was to bring together Romanian and foreign musicologists and ethnomusicologists, researchers and students with interests in ancient Romanian, Balkan or Eastern-European music to debate topics such as music iconography, Byzantine and folkloric traditions, as well as the music of these regions in modern and contemporary times.

The conference was open to all theoretical and methodological means documenting the traditional and contemporary music traditions of the Balkans and Eastern Europe, requiring documentation of the interactions between liturgical, folkloric and academic creation within this multi-cultural space. Our joint presentation observes the following structure: Topics and trends in Romanian Musicology through the mirror of Musical Romania and the neighbouring cultures: Moreover, we are called upon to unify the research of traditional music and contemporary works, given the diverse postmodern compositional options.

The cultural exchanges throughout centuries have contributed to the evolution of musical tradition in Albania by creating and preserving its unique originality and at the same time enriching it with those characteristics that defines it as the music of the Balkans. The cultural and musical commonalities as well as distinctions between the Albanian music and that of neighbouring countries are numerous and significant.

This article aims at presenting the musical tradition in Albania by focusing on two core aspects: It covers a time span that starts from the middle of the XIX century and extends till the beginning of the XXI century. This historical trajectory is characterized by efforts and struggles related to the country's liberation movement, the foundation of Albanian state, the formation of ethnic and cultural identity, the communist totalitarianism and so on. By analyzing concrete paradigms, this article will highlight the commonalities emerged, viewing them from an East — West perspective, and the specificities of musical tradition in Albania from a comparative perspective.

The reflex of identity — be it individual or collective — for Bulgarians has always been a result of the accumulation of complex historical factors, cultural policies torn between officiousness, opportunism and moral integrity, national inferiority complex and traumas, all of which deeply mark the national mentality. Bulgarian professional music is a later development, it belongs entirely to the 20th century the first Bulgarian opera was written in and the first Bulgarian symphony — in , for the needs of amateurs.

In the development of professional Bulgarian music three stages can be observed that are determined by complex relationships between individual and collective identity and the way these are structured, as well as ideological doctrines: Actually, national identities have acquired sufficient stability as traditions in European music after 90s years that Homi Bhabha is able to create a theory of mixed identities, a new, essentially plural cultural space against which current developments can be assessed.

In recent studies Austrian musicologists have likewise discussed the mixing and crossing of cultures in Central Europe. In Bulgarian Art Music there are two different phases of emigrant work — before and after 90s. In the center of the report we will discuss the question about the identities of two groups of composers: Will be discussed the question of the choice of identity - Western European, Balkan, hybrid, and the reasons for it. Bulgarian professional music, that has a history of just over a century, since its embryonic phase has been of a hybrid nature: In the periods of migration before and after , the Bulgarian authors find a personal identification marker in preserving the local native culture over the influences of the foreign.

The recent years prove that the musical processes in our country have continuously found expression in seeking culture dialogue, keeping the positive effects of traditionalism and nativism. This study discusses a Turkish music education model similar to El Sistema. The program gives complimentary music lessons particularly to deprived children, who at the beginning were prone to crime.

With music education, the attitudes of the children turn to a positive aspect. The aim of this initiative provides social and cultural awareness, which serves the same mission as the world known El Sistema. In , the Music for Peace project received Deutsche Bank Urban Age Award, which is a prize presented to enterprises that improve the quality of life in urban environment. Since , the Music for Peace continues the symphonic music education at its own place.

In , Music for Peace gained foundation status, and started to accept donations as musical instruments for children who attend the courses. Now in , the foundation has three ensembles: The aspects of the European integration of Serbian musicology are multifaceted and numerous to such an extent that we could say that Serbian musicology is a consistent segment of the European musicological map. That segment has been coordinately shaped through several components: Also, our musicologists' membership in international associations has largely contributed to the current European position of Serbian musicology — foremost in the IMS, and its Regional Association for the study of music in the Balkans, and their active participation in the work of these institutions.

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Thus, in , in the framework of the latter association, a conference was organized in Belgrade, on the subject "Musical Folklore as a Vehicle? Scholars from the Balkans and from the rest of Europe took part, focusing their investigations on the issues of folklore as a significantly determinative phenomenon for professional music creativity, and this, not only in the culture of the Balkans.

The participants presented a variety of topics and the interdisciplinary examination thereof. Besides the treatment of the ethno- musicological aspects, these included methodologies based on the perspective of social psychology, political and cultural studies, and aesthetics. Therefore, the proceedings from the conference, otherwise published before it, the intent of which was to give the participants an opportunity to prepare themselves for the conference debates more thoroughly, offered an important "polyphonic answer to the question of the transmissive function of musical folklore within culture and society".

Due to that representation within the regional association, Serbian musicology has contributed to the scientific elucidation of the folklore in the Balkans, and folklore as an essential musical phenomenon in general. Therefore, having the opportunity to organize that activity within the IMS in , Serbian musicologists not only increased the European integration of their work, but also made it more visible in a purely formal sense. Posting into the text various syllabic combinations came from Byzantine church-singing culture, where they are still in use.

After reforms of church-singing in 17 century syllabic components were abolished, they have been preserved only in Old Believers tradition. Researchers and tradition's keepers have different views about using and nomination of these kinds of syllabic components. The process of transition in Eastern Europe and its influence on the music education in the countries on the both sides of the ex-Iron Curtain examples from Bulgaria, Austria, Hungary and Slovakia. Music schools are rarely seen as a subject of research or as a topic for international comparison.

They are often seen more as a place for free time activities. In some European countries such as Austria and Germany, however, the importance of the music school as educational, social and cultural center has been reevaluated. The different specific characteristics, missions and goals of music schools have been subjects of numerous studies and research projects. The legislative basis and the funding of the existing music school systems Europe-wide as well as the institution of the music school in cultural and educational policy are being explored in a number of ongoing dissertations and PhD projects — the conclusions of which may be of interest to international organisations such as the European Music School Union and UNICEF.

The purpose of the current study is to encourage and to boost cooperation worldwide on research related to music schools. A number of interviews have been made with musicians, musicologists and other persons who are representative of the music culture of the involved countries - Bulgaria, Slovakia, Hungary, Austria and Chile.