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[Wybrane zagadnienia pedagogiki społecznej, Wojciech Sroczyński, Siedlce 2011, ss. 267]
Review of: Wojciech Sroczyński "Selected topics of social pedagogy". Siedlce 2011, 267 pp. by: Krzysztof Dziurzyński
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Review of: Wojciech Sroczyński "Selected topics of social pedagogy". Siedlce 2011, 267 pp. by: Krzysztof Dziurzyński
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This scientific work is inspired by a current event – the premiere for Bulgaria of „Ba-ta-clan“ – an operetta by Jacques Offenbach, performed by the Academic Opera Theater (AOT) at AMTII „Prof. Asen Diamandiev“ – Plovdiv (12.10.2020). The author, initiator and director of the production, analyzes the prehistory, preparation and realization. Factology related to the history of AOT, the work of Offenbach, the work of the production team is covered. It is important the place of the analysis of the media response to the event, which is indicative of the prestige of AOT at AMTII „Prof. Asen Diamandiev“ – Plovdiv.
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Peking Opera originates from Chinese opera and was created and developed through the continuous synthesis and clash of different types of Chinese opera. The article presents historical facts, events and analysis related to the origin and development of Peking Opera, since the end of the 18th century to the present day. The article discusses the contributions of different periods, genres and even cities (in the case of Shanghai) to the distinction of the Peking Opera, its aesthetics, integrity and personalization, focus on performance and openness and compatibility with individual performers.
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Review of: Уметност Живојина Павловића. Приче, светови, медији. Ур. Бојан Јовић и Невена Даковић. Београд: Институт за књижевност и уметност, 2022, 346 стр.
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The presented report charts the creation of Archival and Documental Studies specialty during 2002/2003 academic year in the Faculty of History of Sofia University St. Kliment Ohridski with regard to the 70-year-old history and development of the Bulgarian University Archival Studies as contemporary national educational model. The objective is to outline the different stages with their specific features and achievements as result of the efforts of the management and the academic community in Sofia University as of 1952 until the present, in order to provide professional training in the field of archival studies with regard to the formation, preservation and organization of the use of our national public documental and archival resources.
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The article is devoted to the initial history (1972 - 1982) of the History Department of Sofia University "St. Кliment Ohridski". Emphasis is placed on the personnel development of the Faculty during the specified period. Some processes and events reflected in the puЫished memories of Ilcho Dimitrov, Nikolay Genchev, Nikolay Todorov and Petar Petrov are analyzed.
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Book review: De Brigard, Felipe. Memory and remembering. Cambridge University Press, 2023, 79 p. ISBN: 9781108955447
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Transgenerational trauma is not a new phenomenon. The recognition, perception, and understanding of this phenomenon, however, date back to the relatively recent past: the late 1960s in Canada. During that period of time, there was a noticeable increase in requests for psychological assistance from relatively young individuals whose parents had survived the Holocaust. Although these individuals did not directly experience the trauma themselves, its effects were evident in their lives, becoming internalized and passed on to the next generation. Since then, psychology and related fields have been exploring patterns in the transmission of transgenerational trauma, viewing it as the formation of inner reality and its expression across multiple generations, stemming from the original trauma experienced by an ancestor or close relative. Trapped in the cycle of transgenerational trauma, entire social groups continuously reenact the past, which hinders the present from being a secure space. Burdened by inherited trauma, individuals are deprived of the opportunity to develop their authentic voices and provide their perspectives on various aspects of the world and the society they are part of.
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Од успеха романа Ухвати зеца (2018), Лана Басташић једно је од водећих имена женског ауторства у постјугословенској књижевности. Али ова исказна реченица као да самом својом изричитошћу поставља нека потпитања. Намећу се, као најважнија, два: шта је то „постјугословенска књижевност?” И: шта је то „женско ауторство?” Додајмо и треће потпитање, које нема нужно везе с првом реченицом овог текста, али има с његовом разрадом: да ли и какве везе све то има с феминизмом и антифашизмом?
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Review of: Brižit Žiro: Živeti brzo, preveo sa francuskog Bojan Savić Ostojić, Akademska knjiga, Novi Sad, 2023)
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Review of: Alen Segura: Jedna sezona s Marijanom: poslednja nadrealistkinja, preveo sa francuskog Aleksa Golijanin, anarhija / blok 45, Beograd, 2022
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Review of: Karl Uve Knausgor: Jutarnja zvezda, preveo s norveškog Radoš Kosović, Booka, 2023
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Review of: Gojko Božović: Nastanak pesme, Narodna biblioteka „Stefan Prvovenčani”, Kraljevo, 2023
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Review of: Branka Petrović: Pisma Draganu i Saši, Laguna, Beograd, 2023
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Prema saznanjima, deset do petnaest procenata ukupne svetske populacije ima neki oblik onemogućavanosti.1 Kako je Damjan Tatić u uvodu svoje studije Zaštita ljudskih prava osoba sa invaliditetom iz 2011. godine zapisao: „[U] svetu je tada živelo oko 650 miliona osoba sa nekim oblikom invaliditeta” (Tatić, 2011: 14). Takođe je, u istom tekstu, konstatovao da kada se uzmu u obzir i članovi porodica tih osoba, to znači da skoro dve milijarde ljudi, na neki način, indirektno oseća posledice invaliditeta.
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Bijenale umetnosti, koje se od 20. aprila do 24. novembra 2024. godine održava u Veneciji po šezdeseti put, u znaku je drugosti, dekolonizacije, političke korektnosti, ali i ozbiljnih ekoloških i političkih kriza i ratnih sukoba na globalnom nivou. O ovome govore tema 60. Bijenala – Stranci svuda, nagrade dodeljene na svečanom otvaranju u venecijanskoj palati Ka Đustinijani, ali i polemike i protesti u vezi s Bijenalom. Na prethodnom izdanju Bijenala umetnosti prvi put je u istoriji ove manifestacije na Centralnoj izložbi izlagalo više umetnica nego umetnika. Iako ovoga puta to nije slučaj, 60. Bijenale umetnosti nastavlja da propituje i osnažuje koncept različitosti. Umetnici/-ce na Centralnoj izložbi: stranci, imigranti, izbeglice, iseljenici, umetnici/-ce iz dijaspore, višestruko marginalizovani LGBT+ umetnici, autohtoni umetnici/-ce i tzv. autsajderi – uglavnom prvi put izlažu na Bijenalu i/ili vode poreklo iz manje privilegovanih delova sveta. Većina njih se ne uklapa u istorijski etablirane „norme” o umetnosti, identitetu, rodu i maskulinitetu.
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