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This paper attempts to scrutinize a concept of historical actor/agency from the epistemological perspective of praxeological theories as formulated by Pierre Bourdieu, Anthony Giddens and Andreas Reckwitz. These theories are examined as potentially fruitful starting-points for theoretical re-articulation of the concept of historical actor/agency, mainly for their heuristic values and empirical research possibilities from the disciplinary perspective of historical anthropology. Moreover, the focus is put on detecting possible convergencies/divergencies of the praxeological notions of actor/agency with “grammatological” anthropology, the theory of intersectionality and dispositive analysis. In conclusion, this paper highlights indeterminacies, resistances and “residues” of agency as well as the (im)possibility of theorizing phenomena of ontological and phenomenological“différance”.
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The article is oriented to art projects and interventions in industrial cultural heritage in certain cities in the Republic of Croatia, which are trying correctively to motivate the powers-that-be to consider both theoretically and practically the various aspects of conservation and/or conversion to other uses of individual heritage structures.
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While this study intends to chart the present state of the ethnomyth of Šokci in Slavonia, it will also take some obligatory detours into Slavonian and Šokci literary imagology where the basic Šokci mythologems lie. I am going to analyze the most striking components: myths of origin of Šokci and of imaginary Šokci ancestral land, founding memory figures (“great Šokci”), established images of identity preserved in literary icons of the Šokci world (Đuka Begović, Tena) and recent Šokci cultural practices including the procedures through which the tradition is being renewed or constructed. The study attempts to point not only to the background of the rhetorical operations of the replacement of the Slavonian name with the Šokci name but also to contribute to a better understanding of the personal, non-Šokci insider position in Slavonia which is interspersed in the mesh of Šokci ethnomyths. For comparative and heuristic purposes a cursory overview of the fate of ethnomyth of Šokci in Serbia (Voivodina) is given.
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Author’s interpretation of the phenomenon of otočki rock rests upon the attempt to read the islandness constructed by music and music constructed by islandness through the texts of otočki rock – its music, its lyrics and multiple levels of its verbalization in extramusical texts that it is encircled by. If we can talk about islandness as a cultural fact and individual experience, can it be, and how, (re)construced in music? How does, then, this “message” sent from the perspective of the “island” musicians grasp the receptors of its coastal and continental – non-island – listeners and interpreters? Can their islandness itself, and through which mechanisms, serve as a guarantee to the otočki rock musicians to rise up above the sea of non-islandness of the rest of the domestic popular music scene? On the existence of which imagination precisely does this category count on and which Island does it create and invoke through its promotional discourses? And finally, is there a non-island part of the otočki rock and how is it poeticized and set to music? – these are some of the starting questions of the interpretation of the otočki rock phenomenon presented in this article.
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The task of this contribution is to point to the complexity of the Dalmatian folklore urban song [dalmatinska folklorna gradska pjesma] as a musical phenomenon, and to show, taking into account all the research conducted so far, why the Dalmatian folklore urban song is the subject of ethnomusicological research.
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While focusing on the specific experience of migration and return, the author deals in her work with narrative and practical ways of establishing, affirming and even denying belonging to a particular physical space. As a supporting analytical construct she chooses the term “home” which, although adjacent in meaning, surpasses the more commonplace concepts implied by the term identity. Thinking about home in light of contemporary approaches to return migrations which emphasize plurality, complexity and ambivalence rather than uniformity of returnees’ experiences, the author relies on the ethnography of the particular as almost the only acceptable way of grasping the “reality” of anthropological subjects (determined by the meanings that they themselves attach to their experiences of migration, return and home). In the context of such an approach, home emerges as a multilayered space of commonality defined by place, time, rights, obligations as well as other different critera.
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An effort has been made with this research to gain an insight into the extent to which the music practice of Srebrenica has changed in the context of the 1992–1995 war and the genocide committed in July 1995, but also to uncover how much music has remained amongst the surviving Bosniacs of Srebrenica, how relevant it is in relation to the major human tragedy, and how much of an integral part of the culture and life of the survivors it is today. Examples of the range of religious music practice are presented in the paper, of the international humanitarian organisations’ music therapy projects, along with examples of music works of diverse genres that have emerged in the name of Srebrenica.
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Who or what sets the priorities of the profession? The market, politics and scholars. A historical review of the profession’s priorities from 1948 to the present day on the example of the Zagreb Institute of Ethnology and Folklore Research. Interpretation of old priorities could well be of help in establishing the new ones.
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The article discusses the presumptions, interdependences and paradoxes of representations of folktales in 19th century literary collections (Wilhelm and Jacob Grimm Kinder- und Hausmärchen and Mijat Stojanović Narodne pripoviedke) and contemporary scholarly works. The focus is on paratextual and epitextual differences as markers of ideological and epistemological background of Wilhelm Grimm’s “Schneeweißchen und Rosenrot” and its verbatim Croatian translation “Bielka i Rumenka” by Mijat Stojanović. In the conclusion, representation (definition and concordance) of Grimm’s text and its verbatim translation in the latest edition of The Types of International Folktales is discussed regarding the blurring borders between the oral and written, text and research in folk narrative research.
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This article seeks to introduce the topics of green schools and sustainability education to the reader as the first article in a series of pieces on such subject matters. With respect to the first essay, the modern historical development of sustainability related education is assessed through the lens of its roots in both the U.S. educational system and the environmental movement. Furthermore, many of the purported benefits of green school construction practices are examined subsequently given their relative importance and popularity with respect to the topic. Finally, a brief but important examination is proffered per several of the philosophical ramifications of these efforts in an effort to further develop the understanding and discussion of such topics and the related series of articles.
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Since European settlement, the Western calendar has insufficiently accounted for the seasonal nuances and multiple temporalities of Australia. Beginning with Tim Entwistle’s recent proposal to revise the four-season Australian norm, this article traces the emergence of the Western calendar in Europe and its institutionalization ‘Down Under.’ With its emphasis on land-based calendars, the Indigenous Weather Knowledge Project (IWKP) is a partnership between Aboriginal communities and the Bureau of Meteorology aimed at preserving and promoting knowledge of the endemic seasons of Australian regions. As the most recent addition to the IWKP, the six-season Nyoongar calendar of the South-West of Western Australia is based on meteorological conditions (ecological time), such as wind directions and temperatures, but also on the procurement of food, maintenance of cultural knowledge, and performance of ceremonies (structural time). Through the fusion of phenomenological (experiential, sensory, place-based, actual) and phenological (cognitive, visual, enumerative, digital) approaches, the endemic seasons of Australia can be appreciated in their depth and extent.
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This article explores one of the iconic spaces of the Western Front of the Great War: ‘No Man’s Land.’ It offers an explanation of why one of the most extraordinary events of the First World War, the Christmas Truce of 1914, was only possible in that space. The paper suggests that the subversive nature of the truce required undermined the legitimacy of the state and thus forced state authorities to suppress further similar occurrences. One of the enduring images of World War I is that of trench warfare, featuring two dug-in-sides firing at each other across a space than spanned anywhere from sixty to two hundred yards. The space that was fired across, dubbed ‘No Man’s Land,’ became an iconic symbol representing the destructive nature of the Great War. This article explores why one of the most extraordinary events of the First World War was only possible in that space and why the event could never be duplicated.
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